Fashion Articles

Refined Elegance: Edwin Nenzell on Rose & Born’s Legacy and Vision for the Future text Ulrika Lindqvist Founded in 1989 in Stockholm, Rose & Born has been a cornerstone of modern menswear, blending Scandinavian aesthetics with classic tailoring traditions. In this exclusive interview, Edwin Nenzell, Partner and Buying Director, shares insights into the brand’s origins, creative processes, and its mission to offer timeless sophistication with a personal touch. From the challenges of navigating the fast-paced fashion industry to opening an international store in Zürich, Edwin reflects on the journey and future aspirations of this iconic brand. Ulrika Lindqvist: Can you share how Rose & Born was founded and the inspiration behind its creation? Edwin Nenzell: Rose & Born was founded in 1989 in Stockholm with a vision to offer contemporary menswear rooted in classic tailoring traditions. The inspiration came from a desire to provide proper personal experiences as we redefine modern elegance. Today that means combining Scandinavian aesthetics and values with the craftsmanship of traditional menswear. We want to create a space where our customers find clothing that blends sophistication, quality, and a sense of individuality. Over the years, this mission has evolved, but the essence remains the same: being available to help our customers look and feel confident in every setting. UL: What is your background, and how did it influence your decision to collaborate with Rose & Born? EN: My background is deeply rooted in menswear. Having worked in the business for many years, I early developed a passion for fine tailoring and an appreciation for the nuances of men’s style. Joining Rose & Born felt like a natural step — it was an opportunity to combine my understanding of menswear with a platform that values craftsmanship, personal service and understated elegance. After a few years at Rose & Born , I became a partner of the company and today I oversee the buying and made-to-measure services. UL: How would you describe the dynamic of working with your team at Rose & Born? ED: The dynamic is one of collaboration, a mutual vision, and a shared passion for what we do. We are a small, dedicated team that thrives on creativity, attention to detail, and a commitment to our customers. Everyone has different backgrounds and brings unique perspectives, and our open dialogue helps us continually refine and evolve the brand. The trust and clear understanding of what we’re trying to achieve is essential to maintaining the brand’s integrity and vision. photography Daniela Spiroskafashion Ulrika Lindqvisthair & makeup Wanda Perssonmodel Zebastian/Mikas UL: What are the three core values that define Rose & Born as a brand? EN: Personal Service: Building genuine relationships with our customers and offering tailored experiences that make them feel seen and valued. Craftsmanship: A relentless focus on quality and the artistry behind every garment. Timelessness: Designing pieces that transcend trends and remain relevant for years to come. UL: Can you take us through the creative process behind your latest collection? EN: Our creative process always begins with a consideration of the past and what’s essential for both style and comfort today. We explore themes that align with our brand DNA — contemporary elegance and functionality. For the Fall Winter 2024 collection, we drew inspiration from the nature and landscapes of Sweden and Switzerland. Many times they are as understated as our collections. One can see clear connections both in the colour palette of the garments but also the focus on functionality with garments focusing on being wearable in these climates. I would say all our collections are crafted to seamlessly transition between different occasions. We have a great permanent assortment as well which is meticulously tested and improved, ensuring each garment lives up to our standards before it reaches our customers. UL: How would you describe the ideal Rose & Born customer? EN: In a year we meet all sorts of customers, and they are all very different individuals. For us that is the most important start, understanding the customers’ needs and wants. But trying to define the ideal Rose & Born customer, I would say it’s someone who values quality, and personal style and has a long-term relationship with their wardrobe. UL: What have been the biggest challenges you’ve encountered while building Rose & Born? EN: I would say the pace of the fashion industry. Maintaining a commitment to our core values has always been important to us while adapting to new customer needs — such as incorporating e-commerce, expanding internationally, and navigating quick changes in shopping behaviour — has required constant learning and adaptation. However, these challenges have also been opportunities to grow and refine our identity. UL: Can you share a memorable moment from your years at Rose & Born? EN: What comes to mind first is opening our second physical store, which we did in Zürich last December. Seeing our vision resonate with a new international audience and succeed in the way we imagined is incredibly rewarding. It truly reflects the years of dedication to developing this company into what it is today.  It also reinforced our belief that there is a global appetite for what we envision Rose & Born being – uncompromising quality and effortless quality with the personal experience at centre stage. UL: What are your future goals and aspirations for Rose & Born? EN: Our goal is to continue growing our global presence while staying true to our core values. We aim to enhance our digital experience and grow our physical presence. Making the online business as seamless and refined as our in-store services is key to achieving this. Ultimately, we want to deepen our relationship with our customers worldwide, offering them garments and experiences that embody the values of Rose & Born.

Meet the Designer: Interview with Henrik Vibskov text Frank-Adam Hagman photography Sofia Malmiaall clothes Henrik Vibskov Henrik Vibskov is the Danish designer, artist, and musician known for turning fashion shows into immersive, theatrical experiences. As a Central Saint Martins graduate, he moves fluidly between clothing, sculpture, and performance, balancing bold, chaotic concepts with a distinctly Scandinavian structure. From mint-scented installations to nature reclaiming human spaces, his inspirations are unexpected, his approach instinctive. Odalisque caught up with Vibskov to talk storytelling, creativity, and why fashion should always have a sense of humor. Frank-Adam: Your runway shows are known for their immersive, almost theatrical experiences. What is the starting point for creating these worlds, and how do you balance the conceptual with the wearable?Henrik Vibskov: The starting point for creating this world can vary greatly. I think it’s a continuous search for something interesting or thought-provoking. Sometimes, we just need to explore different directions—often, it branches into three different paths, and perhaps one or two of them connect. Usually, we begin and see where it leads. You could say that coming from Central Saint Martins, storytelling, concept development, and creative exploration have been a much more significant part of my education than business planning. It can take many forms, offering reflections on how we live, what we do, what we eat, and the reasons behind it all—essentially, reflections on life in general. I think my approach has changed a bit—not so much focusing on different cultures anymore, but more on what happens in the studio, the mistakes, and all the little things that, hopefully, come together to create a story. Sometimes, something unexpected appears, and I think, “Hey, that’s super interesting!” Of course, balancing concept and wearability is always a challenge. At the end of the day, it’s also a business—employees need salaries, and at some point, you have to find a balance. F-A: Danish design is often associated with minimalism, yet your aesthetic is bold, playful, and maximalist. How do you see your work in relation to traditional Scandinavian design principles?HV: When I studied at Central Saint Martins, I loved colors, chaos, and a lot of movement. But coming from Scandinavia, I couldn’t fully relate to its aesthetic. Over time, though, I realized I needed structure—a tight frame to contain the chaos. So when I present something very colorful or chaotic, it’s always framed in a clean, structured way—like a white carpet, a minimalist backdrop, or a carefully curated space. There’s a certain conservatism in how I frame chaos and color. For example, I was once invited to South Africa to represent Denmark and speak about Danish aesthetics and design. I remember thinking, What the fuck? because I arrived with a blown-up, mint-green project—super colorful and completely different from what I expected to represent. I couldn’t really relate to it. But looking back, I realize that my background—growing up in the ‘70s and ‘80s, surrounded by Scandinavian design, school chairs, architecture, and art—has shaped me more than I consciously knew. That influence, however subtle, has framed my perspective in a distinctly Scandinavian way. Intuitively, I think that reflects a lot in my work. F-A: You’ve worked across multiple mediums, from fashion to sculpture to performance art. How do you decide which medium best serves an idea?HV: Deciding on the best medium to serve an idea? I don’t know—I’m constantly critical of myself, always questioning whether something could be done differently or if it feels complete. But I think time and deadlines often shape the project, and towards the end, a lot of unexpected things happen. Actually, deadlines are really valuable in this process because otherwise, the work could go on indefinitely. There’s always that thought of, “Oh, I could have done this differently,” but at some point, it’s too late, and you have to move forward. I try to take a step back and assess everything we’ve done—asking myself, What should the audio be for this? How should the sound enhance the experience? What kind of lighting would work best? Should there be movement, or should it remain still? It’s a continuous process of imagining what would work and how it will all come together. Sometimes it turns out better than expected—other times, not so much. But that’s part of the process. F-A: Your collections frequently reference unexpected themes. What’s the most unusual source of inspiration you’ve ever had, and how did it translate into your work?HV: I incorporated everything I could think of related to mint—it was the central theme, the spice, or is it a vegetable? Either way, mint was the essence of it all. I even created a mint-inspired step dance with music and drums because, after all, I’m a dancer. The entire room was filled with the scent of mint. Visually, there was an presence of it—a massive, blown-up mint installation that resembled a giant crocodile mouth or something like that. The music had a minty, drum-and-bass dance vibe. For taste, I created a mint vodka milk cocktail for everyone. We also dripped mint oil all over the space. Every sense—sight, sound, taste, smell—was completely immersed in mint. It was minty, minty, minty, minty. I’m sure I’ve done something else as well. F-A: Social media has changed the way artists and designers share their work. Do you think it’s helped or hurt creativity, and how should young creatives navigate it?HV: I don’t know if it helped or—I think for me, it’s been more difficult somehow to kind of deal with that. But maybe I’m also a little bit old school. I’m still dealing with, you could say, social media and building it up in, you could say, an old-school way. Maybe not posting constantly, but rather posting something that’s good. And you could say the speed of that is different from young people who are just posting everything. Okay, now I’m shopping for something. I’m buying a new something. I’m doing this, I’m doing that. For sure, I have a much slower pace. F-A: What common connection do you see between your A/W 25 show and Hess Is More’s

IN CONVERSATION WITH VALERJ POBEGA TEXT JOSIE MCNEILPHOTOGRAPHY WENDY BEVAN VALERJ POBEGA HAS NEVER BEEN A TYPICALDESIGNER; SHE’S ALWAYS VIEWED HERSELF ASMORE OF AN ARTIST. “MY COLLECTIONS ARE ENTIRELY DESIGNED, CUT,SEWN, AND THEIR FABRICS HAND -PAINTED BY ME IN NUMBERED LIMITED EDITIONS, CROSSING THATFINE LINE OF WHAT IS USUALLY CONSIDERED ARTOR FASHION,” SAYS POBEGA DESIGNER VALERJ POBEGA IS FIRST AND FOREMOST AN ARTIST AND STORYTELLER The Italian avant-garde designer’s works are edgy, in-your-face, and at times futuristic. Her designs are not meant to just be worn but show- cased. The Los Angeles County Museum of Art even obtained two of her hand-painted gowns for its permanent collection. Her pieces are often accompanied by innovative photo campaigns, videos and theatre performances. Pobega’s designs have been featured on the cover of coveted fashion magazines such as Vogue, and most recently, CR25: Love and Fantasies, the CR Fashion Book’s 25th issue released on October 28th. In this edition, Angelina Jolie wears a silk kimono handpainted with stars and a poem by Pobega Herself. Pobega’s unique approach to fashion can be traced back to her unusual roots in the industry. She grew up with two artist parents and first tasted the fashion industry through modelling. While pursuing this path, Pobega attended art school instead of fashion school for the level of freedom and self-expression it offered her. Pobega chose this background because she wanted to be able to create her own rules in fashion design. She is almost fully self-taught with the help of the occasional patternmaking class to learn the basics of garment construction. This lack of formal training allowed Pobega to truly forge her own path and cement her own style in the fashion world. Her unorthodox fashion background, and consequently out-of-the-box designs, have caught the attention of eccentric celebrities such as Madonna, Lady Gaga, Billy Corgan of The Smashing Pumpkins and most recently Angelina Jolie. Pobega called designing for these celebrities a “full circle magical” moment. “Posters of Madonna are still hanging in my teenage bedroom at my parents’ home in Italy,” says Pobega. DESIGNING FOR HER MUSES “Fast forward to decades later, and I’m working on two custom dresses for a music video for Madonna, followed by another custom dress that was requested to wear during one of her live awards ceremony performances. ”The dress Pobega is referencing is the one Madonna wears in her iHeart-Radio Music Awards performance of her single “Ghosttown.” The outfit consists of a black corset and garters, a white button-down shirt and bloomers-style black lace shorts styled with Pobega’s red silk dress. The design meshes Madonna’s Western burlesque aesthetic for her Rebel Heart album with Pobega’s punk style. Pobega’s dedication to her craft is highlighted with these intricate, special request designs for celebrities. The behind-the-scenes work involved in these projects is often chaotic and goes unseen, according to Pobega. One of these last-minute moments occurred with her design of Lady Gaga’s dress on American Horror Story–Pobega was finishing hand-painting the sleeves the day the show was scheduled to film. “At 2:00 in the morning, I was still drying a sleeve with a hairdryer because they were coming to pick it up at 6:00 in the morning,” she recalls. “That dress ended up becoming so iconic on the show, and Lady Gaga told Rolling Stone magazine that it was one of her two favourite dresses to wear on the show.” collaboration Wendy x Valerj talent Wendy x Valerjtext Josie McNeilphotography Wendy Bevan FINDING INSPIRATION IN ART “I put it together soon after he died,” Pobega said. “I scraped away what I was currently working on, as I felt it was the least I could do to honor someone who has been such a trailblazing force in my entire life and also for generations of so many people and other artists.” Pobega said she handpainted lyrics from “Heroes” on one gown in the collection and golden spiders from Mars on another garment in reference to the late singer’s album, and also his alter ego, Ziggy Stardust and the Spiders from Mars. The trait that Pobega most clearly draws from Bowie is his fearlessness. Bowie was a pioneer in fashion with his unapologetic, gender-fluid outfits, and Pobega channels the same energy in her innovative designs. Another characteristic that Pobega shares with Bowie is her emphasis on storytelling. Similar to how Bowie creates diferent alter egos for his albums, Pobega imagines concepts for her collections. She draws from specific art and cultural references for each collection and then reflects these themes in the design of each garment. “It has never been just about the clothes for me. I’ve always been a storyteller, so it always makes sense to create a whole world around each collection, and not just the clothes that are part of it,” Pobega said. Pobega says she has been working on her dream project for the past three years. She mentions that she has a couple of projects in the works now and is currently deciding which world to unveil first. “It will tie even more of the disciplines of my artist self, the writing and directing parts, while creating even more worlds through storytelling, all taken to the next level.” Pobega designs artistic pieces for her eponymous label that are paradoxi-cally timeless and avant-garde, all while drawing inspiration from music and poetry. She refers to these sources as “the two creative forces behind what has always inspired me as a person, artist and in my work.” One genre that is particularly inspiring to Pobega is rock. The first record she ever bought was Nevermind the Bollocks by the Sex Pistols. Pobega also cites Siouxsie and the Banshees, The Cure, and Bauhaus as formative to her process, but her number one muse has always been David Bowie. “Him and his music inspired me to go for it for myself, to take chances (not to mention that my hair has been coloured in diferent shades of red since I was 13 years old because of him),” says the designer.

SUGAR Y SAL BLENDS BOLDNESS, HISTORY,AND POLITICS INTO GENDER-FLUIDDESIGNS THAT CHALLENGE THE TRADITIONALBOUNDARIES OF MENSWEARAND WOMENSWEAR. THE BRAND, BORNOUT OF PERSONAL EXPERIENCE ANDOBSERVATION, PROMOTES INCLUSIVITYAND SELF-EXPRESSION THROUGH FASHION.FROM ITS UNOFFICIAL START IN 2019AMIDST THE CHALLENGES OF COVID-19,TO ITS BREAKTHROUGH COLLECTION IN2023, SUGAR Y SAL HAS STEADILY GROWNINTO A SYMBOL OF BRAVE, SUSTAINABLE,AND GLOBALLY INSPIRED FASHION. BYRINA YU, FOUNDER OF SUGAR Y SAL, TALKS ABOUT HER MOTIVATION TO CREATE THE BRAND, HOW POLITICS AND FASHION ARE RELATED AND HER HOPES TO BRING MORE ACCEPTANCE INTO THE WORLD. “I WANT PEOPLE TO WEAR IT REGARDLESS OF AGE OR GENDER, AS LONG AS THEY HAVE AN OPEN HEART AND ACCEPTANCE OF THOSE AROUND THEM.” Natalia Muntean: Could you tell me a bit about your brand? How did it start? And what does the name represent?Byrina Yu: It’s Sugar y Sal, a mix of English and Spanish. The Spanish part is because my husband is from Spain, and he has been my muse for every collection since I was in university. I thought, why not use that as part of the name? The brand was founded in 2019, but we didn’t officially release any collections at first because of COVID and all the bureaucracy went through, moving between Spain and China. The first collection actually came out around 2023-2024. The reason I started the brand is because a lot of my friends are gender-fluid, and I’ve listened to their stories. I’m not one of them, but I’ve seen the social pressure they deal with, especially from their families and in places like China and other countries. I feel like fashion and beauty are ways people can express themselves without pressure. If you try to debate concepts like gender fluidity, people can get defensive or angry. But when you talk about it through something beautiful, like art or fashion, it’s easier for people to see it and accept it, and maybe understand a bit more about how others think. For me, fashion is a way to communicate across different societies, and that’s the motivation behind the brand. Every collection touches on menswear, history, and even politics, especially with how tense things are in the world right now. So many issues come from people not accept- ing each other. So Sugar y Sal is really about communi- cation between different groups of people. NM: Could you tell me a bit about your background?BY: I started university in Kingston, London, where I did my bachelor’s in fashion design. In my second year, I shifted to menswear because I’ve always been drawn to its history, the manufacturers, and all the details. After that, I continued studying menswear at Westminster Uni- versity for my master’s. Then I studied visual merchandis- ing because, by 2018, I wanted my own brand. I felt that studying visual merchandising could help me create a physical shop—not just to make money, but to commu- nicate with customers through the space itself. It’s about more than just shelves; it’s about the message you want to share with them. NM: Communicating through clothes – that’s beautiful! So was it a conscious decision to create 163 non-gendered clothing?BY: Yes! NM: Is having a physical space important to you?BY: Ideally, yes. Eventually, I hope to have one because I think online shopping distances you from people. In a physical shop, people can experience everything—you know, they can smell, touch, and hear what you want to express. You also get to hear their feedback, which is so important. We always want to communicate and understand people—that’s our goal. NM: You said that in your second year of studies you became more interested in menswear and shifted focus. Where did that interest come from, and why did that change happen?BY: I was studying fashion design, and mostly everyone was focused on womenswear. I spent two years in China, in Shanghai, and I felt likeeveryone was doing the same thing. So I started wondering why people weren’t doing menswear, and why menswear trends were so much smaller compared to womenswear. When I moved to Kingston, I spent a lot of time in the library and discovered that, historically, men wore high heels, corsets, lace, and vibrant colours—more fashionable than women at times. It was tied to the fact that men had more power and money than women back then. That got me thinking. People today might not understand the history of menswear or gender roles, and maybe that’s why there’s discrimination against gender-fluid people. I realised that in the future, people might look back at our current discrimination and think it was ridiculous, just like how we look back at past racial discrimination. So I hope people can see through my collection that terms like ‘menswear’ and ‘womenswear’ are just labels. There shouldn’t be borders. Learning about the history of menswear really opened my eyes, and that’s why I decided to focus on it. NM: What do you believe sets Sugar y Sal apart from other brands in the industry?BY: I don’t want to say we’re very special, because every brand is special in its own way, right? But for Sugar, every design is so connected to my personal experience and how I think about things, which makes each piece unique. That’s something I learned at university in London—your perspective needs to come through in your designs. I may not always have solutions to the problems I think about, but I always raise them in my work, and I believe that’s what sets us apart. Of course, other brands have their perspectives too, but that’s our difference. NM: Can you walk me through your creative process when working on a collection?BY: Sure. I’m always sensitive to politics, and I keep up with the news. For this collection, I was inspired by a YouTuber who made a video about a terrorist attack in Barcelona a few years back. The people involved in the attacks were just normal individuals who turned to violence because they didn’t feel accepted by society. Their differences—being

The Man Who Speaks the Language of Dress: A Story of Art, Fashion, and Sustainability by Pavlo Blinov, Sweden/Ukraine text Aleksandra Mikhailova and Ksenia Rundin photography Sandra Myhrberg At the Center for Retailing, Stockholm School of Economics, Ukrainian-Swedish artist and artisan Pavlo Blinov is introducing a new installation that fosters dialogue at the intersection of art, business, and sustainability. Through the Retail Art Program (RAP), an initiative by Professor Pierre Guillet de Monthoux to bridge the world of contemporary art with retailing, marketing, and consumer studies, a new conversation is emerging—one that connects aesthetic vision with business education, and through the new exhibition—sustainability. “The Man Who Speaks the Language of Dress” is an eclectic and symbolic exhibition co-curated with Odalisque Magazine and its Editor in Chief Sandra Myhrberg behind the camera lens. Pavlo Blinov’s installation is created using discarded everyday materials, which, when combined with his artistic vision, are brought back to life with new meaning, all while telling a deeply personal story. The installation therefore reflects not only on art and fashion but also on communication—revealing how fashion, sustainability practices, and craftsmanship can intersect to tell deeper stories, not only about human experiences but also brand identities. Pavlo Blinov, renowned for his work in costume design and scenography at the Royal Dramatic Theatre and the Royal Swedish Opera, brings his unique vision to this installation. “The Man Who Speaks the Language of Dress” draws inspiration from Ukrainian-born artist Ilya Kabakov and his concept of ‘total installation,’ where space and objects come together to create an immersive experience. Similarly, for Pavlo, dress becomes more than just a visual element: it is a space—a canvas—that reflects the world’s inconsistencies and imperfections as revealed through the artist’s sublime perspective. The Orante: Transforming a Childhood MemoryThe centerpiece of the installation, “The Orante,”; features a finely crafted costume that includes a dress, a cape, and a halo-shaped headdress, which suggests a sacred symbolism while conveying a deeper personal meaning. As a child, Pavlo was deeply moved by the Orante fresco in Kyiv’s Saint Sophia Cathedral, which depicts Saint Sophia in a pleading pose, surrounded by a gilded divine background. That memory has followed him into adulthood, and now, through this installation, Pavlo offers his own interpretation of the Orante. He reimagines the original androgynous figure, not merely as a religious symbol, but as a timeless expression of hope and veneration. Through his work, Pavlo redefines veneration as something internal—no longer an external symbol of control, but a force that protects and nurtures the human spirit. The dress becomes more than just an object; it becomes a vessel of this transformation. Upcycling in Retail: Harnessing the Power of Art and SustainabilityIn a world increasingly focused on sustainability, Pavlo Blinov’s work takes on new relevance, particularly through his practice of upcycling—the process of transforming discarded materials into something of higher value. In the art world, upcycling is more than just a trend; it’s a way to reimagine value and push the boundaries of what materials can become when viewed through a creative lens. Pavlo’s expertise in costume design and scenography is evident in how he manipulates these materials, transforming what could easily be seen as waste into art. His work on some of the biggest theatre stages in Sweden has given him a deep understanding of space and composition, a skill clearly reflected in his upcycled pieces. Each element is carefully considered, with every material chosen for its potential to be reborn into a new story. Presented in an environment reminiscent of shopping window displays, the installation speaks not only to art enthusiasts but also to those engaged in the world of retail. It challenges us to reconsider our perception of materials and encourages to explore the intersection of arts, retailing, and sustainability. Pavlo’s creative transformation of discarded materials mirrors a growing movement in the retail industry, where brands are increasingly embracing sustainability through upcycling in visual merchandising. Traditionally window displays, often created for short-term campaigns, contribute to waste when they are dismantled and discarded after use. However, some forward-thinking brands are changing this narrative by incorporating upcycling into their window display designs. Brands like Dior, Aesop, Selfridges, and Anthropologie often turn to production remnants, scraps, and repurposed materials to craft unique, sustainable displays that not only showcase creativity but also communicate their sustainabile values to consumers. In Sweden, Nordiska Kompaniet (NK) is known for its innovative use of upcycling and recycling practices in its iconic Christmas window displays, offering a local example of how sustainable values can not only coexist with, but also stimulate creativity and artistic vision. Through upcycling and his unique immersive approach to dress, Pavlo invites the public to engage not only with the materials and spaces but also with the deeper meanings behind them. In a world driven by consumption, this installation reminds us of the power of transformation— unlocking potential in what we already own and creating value from what others overlook. It is about the stories we tell and the future we envision. As Pavlo Blinov’s installation connects art, retailing, and sustainability, it mirrors the very conversation that the Retail Art Program aims to inspire: one where creativity, artistic vision, responsibility and business acumen come together to reimagine the spaces we inhabit, the resourses we use, and the stories we tell.

Ribbons, Bows and Fancy Clothes an Interview with Sofia Hermens Fernandez text Sandra Myhrberg photography and creative direction Alies Torfsall clothes Sofia Hermens Fernandez We joined Sofia Hermens Fernandez, a rising talent in the fashion world with roots in Germany, Spain, and the Netherlands. She recently graduated from the MA Fashion program at the Royal Academy of Fine Arts in Antwerp. Pieces of her final collection are featured in the photos. Sofia’s work delves into the imagery and narratives surrounding Western girlhood. She takes a unique approach by exploring how handcraft can challenge and reimagine these narratives. Through her designs, Sofia invites us to consider girlhood not just as a phase, but as a creative attitude open to diverse identities. We’re excited to learn more about her perspective and the inspiration behind her work. Can you tell us about your background and how your Spanish and Dutch heritage has influenced your approach to fashion and design?I grew up in Hamburg, Germany, with a Spanish mum and a Dutch dad. Whenever my sister and I were off from school, we would visit our family in Spain and the Netherlands. My family, spread all over Europe and even into the US, considers different things beautiful, and there are certain colours and atmospheres I associate with each country. I suppose that being exposed to different languages, mindsets, and cultures has made me very open-minded; it has encouraged me to look for inspiration in places that feel close to me. I always feel at home everywhere and nowhere at the same time, if that makes sense. I realised that the way I see the world creatively is my own unique perspective. Of course, this is true for all creative designers, but you need to make that discovery, I believe. Staying true to who you are and your background always results in the most honest creative work. What inspired you to focus on the semiotics and construction of images of Western girlhood in your work?I have always been fascinated by the concept of girlhood and the images associated with it. Elements like ribbons, bows, and the colour pink are tied to Western girlhood. I have always liked these things, but for a long time, I felt like I shouldn’t enjoy and use them in my work, as they are often seen as frivolous and weak. Fashion and handcraft are powerful tools for constructing images of girlhood and different girlhood identities. They can also be powerful tools to subvert marginalised visions of femininity, such as girlhood, into a feminist context. This is something I finally wanted to explore in depth for my MA collection at the Royal Academy of Fine Arts in Antwerp. How has your experience at the Royal Academy of Fine Arts in Antwerp shaped your creative vision and approach to fashion?The fashion department at the Academy is a very demanding programme. The teachers invest a lot of time and energy into getting to know you as a creative person and pushing you. During my studies, I struggled with insecurities and doubts, but I learned to find my creative vision and, importantly, to express and explain it clearly. I met many talented and interesting people there, and although it was challenging, it was also a great place to experiment, make mistakes, and grow as both a person and a fashion designer.. You mention using handcraft to subvert traditional images of girlhood. Could you elaborate on how you incorporate handcraft techniques into your designs?Girls were traditionally taught handcraft techniques like embroidery, knitting, and sewing as part of becoming a woman and performing an ideal of femininity. Not everyone enjoys handcrafts, and they can even carry oppressive associations. Handcraft techniques have long been devalued as mere “women’s work” by patriarchal society and have been dismissed by feminists as well. However, there is also great beauty, creativity, and power in the handcraft techniques our grandmothers and mothers learned during their girlhoods. I find myself in a position where I can embrace these techniques by choice and admiration, which changes the whole context and gives them the potential to be tools of subversion. How do you hope your work will influence the fashion industry’s understanding and portrayal of girlhood?I want the fashion industry to understand that girlhood, as a state of mind, has always been relevant and is here to stay, with all kinds of gender identities able to have fun with it. I hope my work inspires a greater appreciation of handcraft, and helps people see the joy of “girlie” elements in fashion. I want to respect girlhood as a creative attitude that offers a meaningful means of self-expression. How do you balance the research aspect of your work with the design process? Are there specific academic or theoretical frameworks that guide your projects?I read a lot of feminist theories and literature focused on using handcraft and textiles as tools for subversion. A good example is Rozsika Parker’s The Subversive Stitch. I’m fascinated by how fashion and the needle have been used not only as tools to oppress women but also as means for self-expression and rebellion. As a young designer, what impact do you hope to make on the fashion industry, particularly in terms of inclusivity and representation?I hope the perception of what people in top creative positions look like will change and become more diverse. The fashion industry is not very open, and although it has always been perceived as feminine, the decision-makers are mostly white men. I hope to be part of a generation of designers where there is space, encouragement, and support for different visions and forms of success. We need to move away from large conglomerates owning multiple brands and all the power, and return to appreciating makers and craft. Who or what are your biggest influences in fashion, and how have they shaped your perspective on design?I continuously discover new artists and designers who inspire me; it’s a never-ending exploration. I am interested in the work of artists like Louise Bourgeois and historical designers like

The Making of MH 925 text Natalia Muntean photography Ellinor Sjöbergall clothes Ulrika Lindqvist all jewellery MH 925top and skirt Viktoria Chan Influenced by Scandinavian minimalism and a commitment to minimalist design, MH 925 is an intriguing Swedish jewellery brand, offering handmade pieces from recycled silver. Marie Häger is the visionary behind the brand and her background in advertising and fashion deeply influences her approach, blending Scandinavian minimalism with a dedication to creating lasting, quality jewellery. ​​ Natalia Muntean: What is your earliest memory related to jewellery? Marie Häger: When I was around eight or ten, my mom and I took a trip to Gran Canaria. During our visit, my mom bought a silver choker that inspired me. It’s similar to the one I have in my collection, but not exactly the same. I also remember our travels to my aunt’s place in Dalarna, known for its silver mines and independent silversmiths. We visited a lot of these artisans who sold their own creations. I also recall my mom buying long organic-shaped earrings, which I found quite special. These memories are some of the earliest ones that influenced me. NM: How did your journey with jewellery start and how did your background in advertising and fashion influence your approach to jewellery design?MH: I grew up in a place where there was a lot of steel extraction happening, with a mum and grandmother who were artistic and painted. Then, I think my experience at Beckmans College of Design, where everything should be very conceptual, with a strong idea you can explain, really influenced me. It shouldn’t be just anything nice, but something with a purpose. I wanted to do something connected, trained in doing ideas. I also had the conceptual idea of how to build a brand since I worked with brands after finishing school.My advertising background taught me the importance of a brand’s identity, which should be more than just a superficial layer. Brands often struggle to find their DNA, especially when they try to be something they’re not. This is why I found it frustrating to work for companies that didn’t have a clear vision, wasting time on concepts that never materialised.In 2014, I started taking silversmith courses and envisioned building my brand with a clear identity where the product, branding, and advertising were all interconnected, like a “red thread” that ties everything together, ensuring that the brand remains true to itself. NM: What would you like your clients to take away from MH 925?MH: I think it’s all that I have spoken about earlier: it’s very sustainable since I’m working with recycled silver. Half of my collection is made to order, so I often need to try on the rings to ensure they fit perfectly. This is important to me, but I won’t be able to do that when I launch the webshop and receive orders from outside Stockholm. It’s important that my products fit perfectly and are not wasteful, considering the environment. Everything is connected from beginning to end, and it’s a slow process. I don’t follow trends; I create when I want to. However, I realise I need a bigger collection to expand and sustain this business. I want to expand with meaningful designs that reflect my ideas. NM: Where do you get your ideas from?MH: There are some artists that I get inspired by, like geometrical artists. Artists that are doing something very special with environmental architecture, like Tadao Ando for instance, in Japan, he makes beautiful buildings. So it’s a lot of the shapes that I’m inspired by. For example, I created my first ring as an experiment about seven years ago, inspired by the ellipse shape, which I found to fit well on the finger. My hemisphere ring, also a product of experimentation, was challenging due to the technique required to shape it. I used to hit a flat round silver plate into a half-circle mould to achieve the final form.Initially, I made all my pieces myself, but as the process is time-consuming, I now collaborate with a skilled silversmith in Sweden who enhances and perfects the designs. He uses 3D technique moulding for the spheres, ensuring high precision. The ring rails and spheres are still assembled by hand. The cuffs and bracelet are made by hand. NM: What are the challenges and the rewards of maintaining a slow and non-seasonal production cycle?MH: The challenge is that it takes time when I do everything myself. And I’m very eager. Like finding time for everything and also continuing to be a perfectionist. So the challenge is that I have to wait a lot. I would like to get some feedback to prove that what I do is interesting, although I get that from friends and people in the industry. It would be nice to get more orders as confirmation that I’ve made something people want because it takes time. NM: Are you focusing on Sweden mostly now? Or do you want to go abroad?MH: I need to go abroad because it’s impossible to maintain the premium level in Sweden. When it’s handmade, it also costs. I am against fast fashion. So when you buy it, I want you to feel like it’s an investment that can last your whole life and be passed down to your child. I believe my designs are timeless; so, to answer your question, I aim to find stores in New York, Milan, Paris—the fashion capitals. NM: You are not focusing on trends and working slowly to build this brand. But do you have moments when you’re unsure of this path?MH: Very much. If I’m honest, I started going to a coach, which helped me because when I started the brand in 2021, I didn’t have the confidence. It’s so much work, and you have to believe in yourself. It doesn’t help that others say, “Oh, I love the rings,” if you don’t have the confidence. I was a bit unsure. It’s a lot of money that goes into investment before you get returns.

In Conversation With Nelly Skog, Founder of Imaskopi text Natalia Muntean Imaskopi’s non-gendered, hand-knitted and crocheted pieces defy norms of aesthetics and challenge gender conventions. Each garment, meticulously crafted in Imaskopi’s basement studio in Stockholm, is a unique expression of individuality. With production times ranging from 6 to 30 hours per piece, Imaskopi embraces the slow, deliberate process of creation. We sat down with Nelly Skog, the founder behind Imaskopi, to delve into her journey, inspirations, and the future she envisions for the brand. Natalia Muntean: How did you start your brand and what is your background?Nelly Skog: I usually say I started Imaskopi in 2020, but that was just when I created an Instagram account and uploaded pictures of sweaters. NM: Was it only sweaters in the beginning?NS: Yes, three sweaters maybe. But it’s hard to say when it started. I didn’t have a plan or anything. I did it for fun and wanted to do something with my partner, Emanuel, who had just started photography. He suggested that if I made something, he could take photos. That was how it started. Soon, the main focus of Imaskopi became creating a world where images, movement, music, and clothing brought this universe to life. I enjoyed that. At the same time, I started studying for my bachelor’s in gender studies and now I’m doing a master’s in fashion history at Stockholm University. NM: Do you remember what was the first thing you did for Imaskopi?NS: I think it was a brown sweater with sleeves that had cutouts. NM: You mentioned your universe Imaskopi with music, movement, and photography. Can you tell me more about that?NS: One of the best things about Imaskopi is sharing it with my friends and family, and doing stuff together. My partner Emmanuel takes the photos, my friends make music and model, and my sibling, an artist, makes posters, for example. It’s really fun. NM: Okay, so you bring it all together under this umbrella. Where did the name come from? What does it mean?NS: When I was thinking of the name, I wanted something related to knitting. The word maska means stitch in Swedish. The word Imaskopi means to be in secret understanding or collusion. I wanted to convey a sense of community or belonging. NM: Really cool! Your garments are non-gendered – what was the thought process behind it and how do you approach it?NS: Assigning gender to clothes before creating them is incomprehensible to me. A garment I make can signal combinations of masculinity or femininity, or something that is difficult to categorise, but then it’s up to the person wearing it to combine it with their body and their expression in a way that they like.   According to me, that is what fashion is about. What is perceived as masculine or feminine is constantly changing and renegotiated. I don’t think about gender when I make something. I envision the person wearing it, thinking about their personality, not gender. NM: What does your target audience look like? What are their interests?NS: It’s more like an image in my head, just fragments from a person. NM: When you think of Imaskopi, what type of person do you see wearing it?NS: Hopefully, anyone. From the beginning, I didn’t want to communicate a specific person in mind. I wanted it to be open so anyone could combine it with their own expression. It’s like a tool to make something your own. For example, the balaclava: many different people have bought it and combined it in various ways. It’s versatile and has many different associations. NM: Did the idea of making non-gendered clothes start before you studied gender studies?NS: I think so. I always wanted it that way and never thought about gendering the clothes. Studying gender studies helped me formulate it better. It’s rewarding to let theoretical work inspire practical work and vice versa. It heightened my interest and understanding of fashion and gender identity expressions, making it more interesting and fun. NM: Can you tell me a bit more about your creative process or what a typical day looks like at the studio for you?NS: My process is trial and error. I sometimes make drawings beforehand to remember an idea, not for technical details. I start with something, but 99% of the time it becomes something different because I get new ideas or things don’t work out. For themes or collections, I gather references and start working together with my mum, and it evolves over time. NM: Where do you look for inspiration?NS: I don’t have a specific place. It’s more about what’s in my head, what my friends are talking about, or movies I’ve seen. Every movie can offer something inspiring, like an image or a character. NM: Do you have any rituals to get you in the creative space?NS: I come to the studio and try not to do anything else but work, which helps me stay concentrated and disciplined. NM: What kind of material do you work with?NS: I don’t use any synthetic, so it is mostly mohair, wool, and cotton. And a lot of Merino wool. NM: Do you have specific colours that you go back to or use more frequently?NS: I don’t think any colours are no-gos, but I tend to use a lot of black and blue. For the first collection, I didn’t really think about colours that much. I just saw a colour I thought was lovely and I made something. But I didn’t think it through before. But with the last two collections, I decided before what colours to use. So, the last collection was yellow, grey, black and white. And now I’m working with blue and black. NM: How do you decide on the themes for your collections?NS: It’s hard to answer, but it’s what I have in my head at the time. I write down different garments I want to try and then build on that. I don’t have a specific method. NM:

La Force de Melodie, exploring AZ Factory an Interview with Norman René Devera and Peter Movrin text Susan Stjernberger dress AZ Factory Archive SS22stockings Swedish Stockingsshoes ATP Ateliergloves Handsome Stockholmsunglasses Maryam Keyhanibracelet Sägen dress AZ Factory Archive SS24shoes Eytysring Sägen AZ Factory was founded by the late great designer Alber Elbaz. Launched in 2021, it blends technology with fashion focusing on innovative and inclusive designs. The brand emphasises comfort and functionality, creating pieces that cater to a diverse range of body types and lifestyles. AZ Factory’s in-house designers Norman René Devera and Peter Movrin have for the first time together designed their very own Spring 2024 collection called “AZ Factory by Them”. Susan Stjernberger: What made you join Alber Elbaz and AZ Factory when he started his new brand? Norman René Devera: For me, it was quite easy because I worked with Alber previously and I always say Alber was the only person that was able to take me out of my first job at Céline with Phoebe Philo. Even though so many people approached me, it was only Alber with his whimsical and romantic way of speaking that moved me to Lanvin. It wasn’t even a second thought. This was the opportunity to continue the conversation we had begun at Lanvin and design together again. Alber was always the biggest inspiration for me. Peter Movrin: Unlike Norman, I hadn’t worked with Alber before. I was at Central Saint Martins and Alber was doing interviews and asked me if I wanted to join him in this new project. At the time, I didn’t know the brand’s name, I didn’t know the project, I didn’t know anything! It felt natural and Alber was such an inspiration to me that I accepted and moved to Paris! SS: Could there be more collections by you again? NRD: Inshallah! (I was laughing as it means “if God’s Will”).We have to wait and see especially with the format we have going with collaborations. One thing we have learned from Alber is to be patient and go with what comes naturally to us. We also love the element of surprise whether it be with the collaborations or when we design together. SS: What is behind the AZ Factory Collaborations? PM: You know it’s different. For example with Lutz, he’s already established with his own brand. But what’s especially interesting for us is the graduates, the future. We help them with the collection and give them the experience of working with an atelier, never forgetting Alber. Linda wearstotal look AZ Factory Archive SS22boots Stylist’s Own Livia wearsdress AZ Factory Archive SS22stockings Swedish Stockingsshoes ATP Atelierbracelet Sägenbracelet Sägen Linda wearsdress & shoes AZ Factory SS24ring Sägen Eden wearsdress AZ Factory SS24stockings Swedish Stockingsshoes Eytys Livia wearsdress AZ Factory SS24stockings Swedish Stockingsshoes New Balanceearrings Maria Nilsdottering Susan Szatmáry top & trousers AZ Factory SS24shoes New Balancejewellery Maria Nilsdotter They may think they don’t have anything in common with Alber or may not know him but when they dive into his past collec- tions from YSL, Guy Laroche, or Lanvin they get inspired and even obsessed with it. NRD: The turning point for me was when someone like Cyril Bourez described something and he used the same wording as Alber. I knew this was how Alber would have wanted it. Alber’s first collec- tion was about every woman, the bigger woman, the smaller woman and Ester Manas fit in perfectly into that. And Thebe Magugu comes from Africa and Alber had African descent, so everyone and every- thing that has come into our collaborative world has a connection with Alber. That’s why it feels so correct. When Peter and I are designing, we always look at each other and say “Would Alber like this?” We’re always honing him in and continuing his legacy. SS: What was the inspiration behind this collection?PM: We imagined the day, what she would wear in the morning, during the weekday, the weekend. We looked at the silhouetteand draping.NRD: The collection was really her day. She woke up and could wear her husband’s shirt, which opened the collection. Or, she could be wearing a lingerie piece and then she goes into this day dress which is a bit transparent, a bit playful with the flower print and then she goes into this miniature couture piece. SS: What was the inspiration behind this collection?PM: We imagined the day, what she would wear in the morning, during the weekday, the weekend. We looked at the silhouetteand draping.NRD: The collection was really her day. She woke up and could wear her husband’s shirt, which opened the collection. Or, she could be wearing a lingerie piece and then she goes into this day dress which is a bit transparent, a bit playful with the flower print and then she goes into this miniature couture piece. There’s a garment for each time of day.PM: All of this collection was beautiful, from the hair to the makeup, so nicely done.NRD: True to the lady from the day, her makeup was very rock ‘n’ roll. You didn’t know if it was freshly put on or if it was from yesterday! The makeup was a story in itself. SS: Any favourite looks from the collection?PM: The teddy bear blue look. The draped dresses and I like the print, actually a lot of pieces.NRD: Well, Susan, it’s like picking one of your children! Which one do you choose? Can you imagine? I think the whole collection just felt so unified. For me, it was the whole thing and I love it all. SS: How do you work with sustainability? How is that a part of AZ Factory?NRD: This is very natural for us. From when we are sourcing our fabrics it’s always the storytelling where we can get it the most sustainable. From using second-hand to deadstock fabrics, it’s second nature for us. total look AZ Factory SS24 Linda wearsdress & shoes AZ Factory SS24ring Sägen Eden wearsdress AZ Factory SS24stockings Swedish Stockingsshoes Eytys Livia wearsdress AZ Factory SS24stockings Swedish Stockingsshoes New Balanceearrings Maria Nilsdottering Susan Szatmáry SS: What inspires you these days?PM: I just came back from London and saw the Central Saint Martins show and the students inspire me. The future is bright! Norman

An interview with Felicia Halén Fredell, the founder of The Reverence Project text Ulrika Lindqvist picture by Sylwia Dziobon Fashion designer Felicia Halén Fredell launched The Reverence Project in April 2024. TRP takes it’s inspiration from their muses, their first collection being inspired by activist and poet Nattalie Ström Bunpuckdee. We had a chat with Felicia about her inspirations and the future of The Reverence Project. Please tell me a bit of your backstory, what did you do before launching The Reverence Project and what was the idea behind it?Like so many others the pandemic really affected me mentally. As a freshly graduated fashion designer I felt chewed up and spat back out, close to a burnout. My field completely lost its appeal and I was really stuck in a mindset of counting the fashion industry’s faults – the list goes on and on. It made me feel really powerless and at times even apathetic. I had too much time on my hands to think about what really matters. I realize this differs from person to person but for me, I concluded that meaningful and challenging conversations are what makes my life worth living. More than one person in my life said I was a good listener and I took that to heart and ran with it, that’s all I’d ever like to be. This idea kept on growing and brewing for years, and when you can’t seem to let go you know you have to realize it somehow. I wanted to create designs centered around other people’s perspectives. I wanted the privilege of getting to know people and zoom past small talk to where we talk about what matters most to them and why. I kind of found The Reverence Project to be a hack of sorts. It’s essentially about hope and how sharing experiences and stories with others make you feel less alone. It’s really empowering to be the trailblazer who first talks about their experiences, but it’s also really empowering to hear someone put your experiences into words for the first time as well. What is your inspiration behind your designs?The potential of fashion is endless because it’s a fine-tuned language, stories can be weaved into garments in so many ways. By now I’ve developed this standard form based on my first muses that basically is a template for an interview. I ask them about their relationship to their body, does clothes usually serve as a uniform, armor or creative expression? And then we talk about the relationship to the self. Are there recurring life themes that have shaped them as a person? Is there anything they wish someone would ask them? These conversations usually lead to really beautiful, vulnerable and fulfilling places, and I try to share some bits and pieces of myself so it doesn’t feel exploitative for the muse. When they word something in a hard-hitting way it usually becomes a visual metaphor that I can use in my design. It often ends up becoming prints or draping that is meant to represent the muse’s story. Whether it translates is a completely different thing, but how my design is received and further interpreted is just as interesting. Please tell us more about your muses?Anyone could be a muse, because everyone has a story to tell. But I sometimes describe my muses as unintentional activists. They’re the type of person who can’t help but to speak their mind in the eye of injustice. Maybe the mood at the dinner table becomes a little uncomfortable, but they sleep well at night knowing that they stood up for something they believe in. At first my muses were close friends who became my patient testing guinea pigs. I slowly developed the questions that I figured led to those radically vulnerable conversations. At its core The Reverence Project aims to be unapologetically intersectional feminist and so the muses often reflect that. Voices that are seldom heard should be amplified. And it’s my pride and joy to weave their stories into garments. What would you say are the 3 core values for The Reverence Project?Radical vulnerability – because it takes great strength to be soft.Authenticity – depicting my muses in a respectful and empowering way is something I take very seriously.Existential sustainability – it basically means hope, giving people hope through our shared stories. How would you describe your customer?I think my customer in many cases are very similar to my muses. They often stand for something, and in doing so stand out. Since their identity is a bit of a statement, blending in was never an option. They might as well dress expressively as well in colors, prints and silhouettes that can be exaggerated. It’s all a springboard towards expressing personal thoughts and ideas. I think my customers often consume a lot of culture in all its shapes and forms, fashion is just another of many interests and they happen to like something quite feminine even if they don’t necessarily always identify as a woman. But they’re daring in their softness and relate to specific stories and therefore garments from The Reverence Project as well. What have been the most challenging aspects of launching The Reverence Project?I think the fact that I’m alone in my business thus far. I’m surrounded by a lot of great creators and creatives that I’ve collaborated with while developing the brand. But as of now I don’t have a team and it’s probably the big thing up ahead of TRP. What can we expect from The Reverence Project in the near future?Expect more interviews with muses who wear their heart on their sleeves. And with them looks developed specifically after their stories that are jam-packed with meaning. But don’t expect them in the tempo of a fashion brand that shows collections several times per year during fashion weeks. When you least expect it, we might drop a beautiful story for you to enjoy! picture by Joanna Kell