Fashion Articles

Evolving World of Fashion, An Interview with Patricia Beurskens – Director of Design at Hunkemöller text Sandra Myhrberg In the ever-evolving world of fashion, where trends come and go with the wind, the essence of true craftsmanship and a deep-seated passion for one’s work distinguishes the extraordinary from the merely good. Patricia Beurskens, Hunkemöller’s Director of Design, embodies this exceptional blend of dedication, talent, and vision. With a career spanning 15 years at the helm of the design team of this renowned lingerie brand, Beurskens has not only witnessed but also shaped the brand’s evolution, infusing each piece with the brand’s signature blend of femininity, confidence, and empowerment. In an industry that constantly seeks the new, her journey reflects a rare constancy and a love affair with lingerie design that began almost by serendipity and blossomed into a lifelong passion. Her approach, balancing creative experimentation with a critical eye ensures the brand’s identity remains intact, irrespective of the fleeting trends. As the fashion landscape navigates the complexities of inclusion and sustainability, Beurskens’s strategic, heartfelt efforts in these areas underscore her belief in designing “for someone, not for everyone,” a philosophy that has kept Hunkemöller at the forefront of lingerie design. This exploration of Patricia Beurskens’s journey and vision offers an inspiring glimpse into the mind of a designer for whom lingerie is not just apparel but a canvas for empowerment and artistry. Sandra Myhrberg: How did your journey as a designer lead you to specialise in lingerie? Patricia Beurskens: I’ve always been creative and I liked drawing. As a little girl, I always said, “When I’m older, I want to do something with fabric and drawing.” At that time, I didn’t realise that being a designer was an option. When I found out that it was possible, I was determined to become one. So, I enrolled in Art Academy, and getting there made me happy. After two years, I found myself in a small lingerie boutique, and it suddenly struck me: “You can design lingerie too.” I had never considered it before, but from that moment on, it became my aspiration. I can still remember that moment in my heart. I was around 18-19 years old at the time, and although I was content with what I was doing, I had never felt such inspiration before. I distinctly remember it was August 2002 when everything clicked. It made sense for me to work with lingerie because I had always been drawing a lot of women’s bodies, particularly naked women’s bodies, so I was already familiar with the female form. SM: What aspects of lingerie design do you find most exciting compared to other areas of fashion design? PB: For me, the excitement lies in the combination of fabric and body shapes. Exploring the delicate designs and beautiful laces, and how they interact with the wearer’s body is endlessly fascinating. That is where we can develop them. But also, embroideries—they are so delicate, so refined, and feminine. And because it’s so sheer, it’s how it’s playing with the body, and that’s really what inspires me. Then, thinking about a woman’s body inspires me as well. “How does that play?” Because designing lingerie is also very complicated, as it has a function. There are different shapes, but how can you play with it and how can you reinvent it? That’s why the material is such a big part of what a design looks like, playing around the body and what I want to achieve. Like a pusher does something different, and now also with a lot of unpadded styles, which you see a lot nowadays. Then it’s very beautiful to think about the sheerness of material and what you see and how you play with that and that combination. Comfort is also very important, but colour is also a massive part that brings inspiration as well. SM: Do you feel like you’re using different colours now from when you started? Do you follow the trends with the colours? PB: I always like to say that we do look for what is in focus at that time. I have a colour specialist, and we really examine what we are doing. I can see that there is a massive change in lingerie. We use WGSN, a forecasting website, so at the same time, we keep an eye on the catwalks, on what’s happening right now. And from my experience over the past 15 years, I’ve noticed that colour doesn’t always change super fast; there is a slow change. Then there’s the direction when it’s about yellows. It can span from lime yellows to softer yellows. And it’s always combined with what’s going on in the world. When sustainability becomes a concern, that influences our colour palette. We try to tone it down, but at the same time, why is lavender such a big thing? Because it’s a digital colour that works very strongly. What you see now is a lot of neutral tones but with a pop of colour. But where does that come from? It’s also from a digital point of view because when everything is too muted, it can be distracting. SM: I saw that you had the shapewear in different skin tones. How long have you had that? Is it a new thing? PB: A few years ago, we already tried to have bras in a lot of different skin tones. But then, you know, that is also exploration, like diversity and inclusivity which is something that is going on in the market, which is super important. But there is also always a kind of exploring to find the best way to not right away put it in store. But to elevate and find an inclusive product.  SM: Could you elaborate on the process of maintaining Hunkemöller’s feminine and confident brand identity in your designs? PB: Yeah, it has always been a big topic, especially with our lingerie. It’s quite difficult because everybody needs something different. It’s important for us

Dr. Martens x Rodrigue “Archive Sandals” Collection text Alicia photography Julia Sixtensson Rodrigue, a dynamic content creator and model, embodies a fervent dedication to infusing creativity into every project he touches. With an unwavering commitment to innovation, he collaborates on captivating visuals and narratives that deeply resonate with audiences worldwide. His boundless enthusiasm for pushing creative boundaries makes him a sought-after collaborator, eagerly welcoming opportunities to work with like-minded individuals and brands who share his passion for originality and ingenuity. Embracing the iconic Josef Black and Josef Savannah Tan boots, Rodrigue sees donning each pair as an opportunity to channel the timeless spirit of innovation and originality synonymous with Dr. Martens’ latest collection “Archive Sandal”. Just as the fashion of the 90s era evokes nostalgia, Rodrigue infuses his unique style and creativity into every stride, seamlessly intertwining his vision with the heritage of Dr. Martens. This collaboration promises to be a bold statement, resonating with audiences worldwide through Rodrigue’s distinctive flair and the brand’s legendary craftsmanship. What inspired you to work in your industry and what content do you prefer to create?I started doing it for the fun of it, but then I realised that there was no one who looked like me in the industry, there was, and sometimes lack of diversity in the industry and I’m trying to break that cycle. Lately I have been enjoying makingTikToks and reels mostly of my outfits, but sometimes of what I do in a day. Do you get inspired by any other content creators?I get inspired by many creators, it changes once in a while. Lately I have been inspired by @laravioletta she is so cool and effortless chic, she has just launched her own magazine and it’s amazing, I will be definitely subscribing. Another creator I enjoy is @brendahashtag her aesthetic is stunning. Most of all my friends who also are creators inspire me the most! Their every endeavor exudes brilliance, from their unique style to their boundless creativity. They truly excel in every aspect of what they do. What is your favorite part about being a model?The best part of being a model, for me would be meeting so many inspiring people, the opportunity to be a part of creating something and seeing the end result is rewarding. Have you encountered any challenges as a content creator and model, and how do you handle them?As a model sometimes it would feel like I was the token Blackmodel, just there to show diversity for a certain brand, but I just learn to not stress about it, regardless. I will do my best and I will be running to the bank with my check smiling. As a content creator it is mostly the same, but again I just learn to brush it off and instead use the privilege to make way for the others who look like me. How do you handle feedback or comments on social media?I once in a while stumble upon a rude comment here and there on TikTok, but really I don’t care as much because it’s usually the blank profiles that comment or send weird dms.  Also, the positive feedback and comments always outshines the negative, and they always encourage me to keep on doing what I do. How do you strike a balance between your personal life and your professional career?In some weird way my personal life and professional life has ended up merging together, because most of friends are in the industry, and sometimes I get the honor to work with my friends, which is always a blast. What advice would you give someone looking to become a successful content creator or model?Not to sound cliche, but just be your true self. Embrace your uniqueness and always remember to have fun. What is your first memory of Dr. Martens?My first memory of Dr. Martens is back in the Tumblr era – I was obsessed with Tumblr. There was always a cool, moody post with someone wearing Dr. Martens. The campaign focuses on the Dr. Martens “Archive Sandal” collection. Do you feel like these vintage inspired styles fit you and your aura?I do love a sandal for the summer, and what I love about these, is that I can wear them with a cute outfit and not feel casual. I love a sandal that would still make me strut down the street with music blasting in my ears, feeling myself.  Link to Dr. Martens ”Archive Sandals” Collection with Rodrigue here! (Josef Black) and here! (Josef Savannah Tan)

Dr. Martens x DJ Suzy ”Archive Sandals” Collection text Emelie Bodén In the vibrant tapestry of Stockholm’s music scene, DJ Suzy emerges as a beacon of innovation, infusing her tracks with a unique technicolor glow. Amidst a landscape known for its precise pop melodies and dark metal undertones, DJ Suzy defies conventions, crafting soulful compositions reminiscent of Erykah Badu’s groove, Mariah Carey’s vocal prowess, and the introspective depths of Tyler, The Creator’s flat-7th side. But DJ Suzy is more than a songwriter; she is a world-builder that crafts songs and videos rich with symbolism, cultural references and personal insights. This collage is the DJ Suzy experience. Her musical gift and crystal-clear artistic vision make chaotic emotion become pop perfection. Adding yet another layer to her artistic canvas, DJ Suzy is poised to embark on a thrilling collaboration with Dr. Martens’ archive sandal collection. Wearing the Laketen Mule and the Wrenlie Fisherman Sandal, DJ Suzy embodies the timeless 90s nostalgia that Dr. Martens’ new collection is all about. What DJ:s or musicians inspire you the most?My friends that also makes music, but lately I’ve been listening KARRAHBOO, I like her style 😉 What is the best place you’ve performed?When I had just released my first EP I’m still changing, we had a release party and all my friends were there. It was so special. Do you have any way to prepare to go onstage?Where the f*** do I even begin haha.. I massage my voice with different techniques, voice warm ups and straw phonation. I stretch, do yoga and meditate. Also me and my keyboardist have started a secret handshake that we do right before going on stage – But that’s all I can tell you haha.   photography Julia Sixtensson What advice do you have for someone who wants to become an artist?Believe in your ideas even though everyone might not get you at first. Trust what comes easy to you but still be open to try new things regarding collaborations and goals. Can you share any upcoming projects or goals you have?I’m releasing new music this spring! My first single is called Digital girl and will be out everywhere on May 16th! <3 Can you tell us about your experience as a DJ and an artist so far?What I love the most is playing live and especially when you feel like the audience is responding to the energy I give out because I can feel it bouncing right back x2 and that is amazing! But it also feels just as good when I just finished writing a new song that I’m obsessed with so I’d say it’s 50/50. What genre of music do you listen to that inspires you?Swedish jazz and hip hop but everything can inspire me, I’m not really genre based. What was the best part about collaborating with Dr. Martens?Hard to say, maybe actually just wearing the shoes they looked good they smelled good I feel so fresh starting out the summer in them! Do you have any connection to the 90s style that has inspired the Archive Sandal collection from Dr. Martens that makes these pieces special to you?I’m a 90s baby, born and raised! Link to Dr. Martens ”Archive Sandals” Collection with DJ Suzy here! (Archive Fisherman Wrenlie Black) and here! (Archive Laketen Mule Charro) Link to DJ Suzy’s spotify here!

Interview with Filippa Fuxe and Joel Andersson, winners of the NK Young Talent Award By Beckmans text Ulrika Lindqvist photography Ava Nylanderdesign Filippa Fuxe image courtesy of Filippa Fuxe On a sunny February morning, the Stockholm fashion crowd gathered at the historical department store Nordiska Kompaniet for breakfast and for celebration of the NK Young Talent Award by Beckmans winners Filippa Fuxe and Joel Andersson. Odalisque  had the opportunity to interview them.  Ulrika Lindqvist: Congratulations on winning the NK Young Talent award, what are your initial feelings?Filippa Fuxe: I feel very honored to receive this award, and I am grateful for the recognition.Joel Andersson: Thank you, I am super proud and thankful for the award. The exhibition and everything surrounding it has been great. UL: Please tell me a bit of your backstory, what did you study or work with before getting accepted to Beckmans?FF: Before Beckmans I studied at Central Saint Martins in London, and during my childhood up I sewed my own clothes together with my grandmother. We used to go to an H&M store and purchase my favorite garment, sew one of my own, and return it. Clothing quickly became a very important way for me to express myself.JA: So before Beckmans I dabbled in a couple of different things. I did a one-year course in sewing and pattern making followed by one year as a tailoring apprentice and one additional year of fashion theory. UL: What initially drew you to the fashion industry?FF: I have always been obsessed in the craftsmanship of making garments and of the female body. Growing up in a family of four sisters we always shared clothes, and I remember being fascinated over how a garment looked so different on all of our bodies in different stages of puberty and childhood.JA: Honestly, I think my interest in fashion started through my discovery of street wear which was followed with a deeper dive into the world of high fashion and designers such as Margiela, Raf Simons and Jil Sander. UL: What is your inspiration behind your designs and this collection in particular?FF: My latest collection is based on an embodiment of a recycled and biodegradable material’s path through time and between bodies. I have used the raw product Circulose®, a material that has been dissolved from old clothes into cellulosic fibers that have been compressed, spun to thread, and woven into new fabrics. My philosophy is therefore that the material has its own life. It descends, is reborn and its soul reincarnates from one garment to another.The material’s reincarnation is visualised through inspiration from spiritual artists from the 1930´s such as Agnes Pelton and Emma Kunz.JA: With this collection I wanted to weave together my past and present. When I first started to pursue fashion, I kept it separate from the rest of my life. I think it was due to the fact that I didn’t feel like it was a realistic career path. I had a feeling of ambivalence (hence the name of the collection) toward fashion. Growing up in a rural part of Sweden as a child of carpenters a lot of the clothing that I was subjected to were workwear. This stands in strong contrast to the tailoring, deconstruction and Avant Garde fashion that caught my eye later on in life. By creating something that I took into account, everything that has shaped me in my role as a designer I wanted to erase this weird pre and post fashion barrier that I had in my head. PhptographyAva Nylanderdesign Joel Andersson image courtesy of Joel Andersson UL: Can you share some insights into your creative process?FF: I always work best when I let my creativity emerge organically and is based on enthusiasm, experimentation, and intuition.JA: Initially my process is made up of a lot of research. I try to cast a wide net and soak up as much inspiration as possible in the early stages so that I can edit and narrow things down as I go. I also like to mix two- and three-dimensional sketching through both drawing and draping. UL: What are your core values as a designer?FF: Design processes are many times so speeded up.One of my core values are really that your art – in whichever media it might be –  needs time and commitment. I believe in the importance of giving yourself over to your craft, and nurturing it with the time and energy it deserves.JA: So for me it’s very important that any project is conceptually driven. I don’t want my clothing to just be clothing. I want every design decision to be made with the concept and initial inspiration in mind. Through the course of fashion school sustainability has also grown to be a core value of mine. UL: What was the biggest challenge creating this collection?FF: The collection is created through biodegradable material both in a three-dimensional way, from the outside through the usage of recycled fabrics from Circulose®  and from the inside through the usage of cellulosic fibrers that created padding inside the garments. That was probably the biggest challenge, being limited by the material used in the collection.But limitations and boundaries often open up for creativity, I see it as a reliable tool for bringing new ideas to what I am working on.JA: For me the biggest challenge was sourcing the materials. Since I decided to make everything out of upcycled textiles but still had very specific materials in mind it took a lot of time to gather everything. UL: What can we expect from you in the near future?FF: Over the past six months, I have worked intensively as the Creative Director for a new brand, Leoní, which is launching this spring together with fashion entrepreneur Nathalie Schuterman. Leoní’s first collection reflects a balance between the sculptural and the minimalistic, garments that have undergone an extensive design process but are uncomplicated to wear. Moving forward, you will see something that I have never really worked with before, namely clothes that are practical for everyday use. For a long time, I have been in a period where I solely focused on creating clothes based on specific concepts, and sometimes

Denim Celebrates 20 Years! An Interview With Founder Alexander Graah text Ulrika Lindqvist photography Ellinor Sjöbergall clothes Ulrika Lindqvistall clothing Dr. Denim This year, Gothenburg-based denim brand Dr. Denim celebrates 20 years of redefining casual fashion. We caught up with founder Alexander Graah to discuss how the brand went from indie beginnings to becoming a household name, gaining global attention with stars like Harry Styles, and what’s next for their future. Ulrika Lindqvist: Congratulations on 20 years of Dr.Denim! Please tell me a little about how it all started 20 years ago? What is your background and why did you found Dr.Denim? Alexander Graah: Dr. Denim was born in Gothenburg in 2004 as a true garage brand. Within years, the brand had become an explosively popular household name in its native Sweden, before subsequently going international. Now, twenty years since its founding, Dr. Denim products are sold across dozens of markets around the world and continues to produce some of the world’s finest denim garments at its price point. Dr. Denim was essentially born from the idea that we wanted to right some wrongs in the world of denim. With a focus on exceptional quality and longevity through craftsmanship and an obsessive attention to detail, we wanted to challenge the notion that you must pay through the nose to get hold of a great pair of jeans. I think it’s fair to say we were predestined to get into denim. My brother and I grew up around denim, collecting denim, breathing denim, and we’re third generation entrepreneurs in the fashion industry. We’re very much self-taught, never studied fashion design or anything like that – we’re both economists – but at the end of the day you get far by being determined and passionate about what you do. UL: I’ve heard that you are inspired by your father, Morten, what about him inspired you? AG: Growing up in a family of small business owners teaches you something about being 100% committed to what you do, about the importance of building something independent that’s not subject to the whims of banks and venture capitalists who don’t care about what you do for a living. Morten is also the reason we encountered denim pretty much from birth. And he’s a bit of a weirdo, in a good way; he’s always taught us to go our own way and not care about what others think. UL: What would you say are the core values of Dr.Denim? AG: The six of them are:Hard-working but easy-goingPassionateWryUnpretentiousHonest & AuthenticDetail-obsessed UL: Please tell us about the process of creating the FW24 collection?AG: Relatively speaking, our collections are timeless staple fits, so it’s a matter of spending time with our product developers reiterating until we have it right, tweaking fits, and getting the little details right. There’s no shortcut. To celebrate 20 years in action, we’ve taken a deep dive into our archives to create anniversary pieces, a sort of trip down memory lane with re-issues of denim and other things that brought us to where we are today. You’ll find the return of our skinny straight unisex jean Snap which was launched in 2004 and quickly became the (un)official indie uniform of the 00’s and changed the Scandinavian denim landscape. We’re also releasing Dash – Stream Dry with detailing inspired by its 2004 ancestor, the Unagi. The point here is not to make a heritage denim product but to bring back some of the good stuff and provide a take on our not-so-brief history. The Annivarsity Jacket is exactly what it sounds like. A varsity jacket celebrating our anniversary, featuring artworks from past collections to celebrate what has been and will continue to be. UL: Please tell us about the process in creating the FW24 collection?AG: Relatively speaking, our collections are timeless staple fits, so for us it’s a matter of spending time with our product developers reiterating until we have it right, tweaking fits, getting the little details right. There’s no shortcut. To celebrate 20 years in action, we’ve taken a deep dive into our archives to create anniversary pieces, a sort of a trip down memory lane with re-issues of denim and other things that brought us to where we are today.  You’ll find the return of our skinny straight unisex jean Snap which was launched in 2004 and quickly became the (un)official indie uniform of the 00’s and changed the Scandinavian denim landscape. We’re also releasing Dash – Stream Dry with detailing inspired by its 2004 ancestor, the Unagi. The point here is not to make a heritage denim product but to bring back some of the good stuff and provide a take on our not-so-brief history. The Annivarsity Jacket is exactly what it sounds like. A varsity jacket celebrating our anniversary, featuring artworks from past collections to celebrate what has been and will continue to be. UL: How would you describe the Dr.Denim customer?AG: Global consumers who appreciate responsible, long-lasting garments in ultra-modern but timeless fits at affordable price points. We have a pretty broad range of customers which is how it should be. Appealing to many, the brand has a two-way relationship with many denim-loving subcultures. UL: What have been the most challenging aspects these 20 years of Dr.Denim?AG: It’s inevitable that a lot of things happen over the course of 20 years. The entire landscape has changed. I mean, we used to work with a huge range of independent stores which are now long gone, replaced by e-commerce and highly complex logistics, so we’ve had to transform our business in a lot of ways which probably sounds easier than it is. These days, it sometimes feels as if we’re running a tech business as much as a denim business. What I mean by that is that fashion and craftsmanship are, of course, the core of what we do, but we’ve had to put enormous resources into tech around that core in order to thrive in the landscape as it looks today.  UL: Please tell us a memorable moment

Crafting Timelessness: The Essence of Sara Robertsson Jewellery text Natalia Muntean In the field of contemporary jewellery design, Swedish jewellery designer Sara Robertsson stands out for her approach, weaving together organic minimalism and sustainable aesthetics. Established in 2015, Sara Robertsson Jewellery is deeply grounded in genuine craftsmanship, with each piece meticulously produced either in Sweden or Portugal, and Scandinavian minimalism. Sara’s designs are the result of a thorough design process where intuition and patience are combined. This delicate balance ensures that each piece takes the time it needs to develop without rushing. Discover more about the core identity, creative process, and future vision of the Sara Robertsson Jewellery brand. Natalia Muntean: How would you define the core identity and values of the Sara Robertsson Jewellery brand? And what sets it apart from others in the industry?Sara Robertsson: I’m a designer first, and this shines through in everything my brand is about. Every decision in the company comes from my deep passion for creating beautiful, sustainable pieces that speak a universal language. I think this is what makes the range I offer a unique mix of organic universal shapes and minimalism, both with pieces you will want to wear every day and also bold statements that can be seen as wearable sculptures. NM: How did your background in womenswear design influence your transition to becoming a jewellery designer, particularly in terms of inspiration and techniques?SR: From the moment I created my first piece in silver, I felt an immediate connection and meaning that I felt was lacking for me working with fashion womenswear. Working with jewellery also matched my longing to work with a more sustainable approach and to move away from fast fashion and set production quotas and seasons. I would say that being a womenswear designer first is definitely a very big part of my expression as a jewellery designer. For my collection Silk, I am inspired directly by fabric and draping, and I wanted to create lightweight pieces in larger sizes reminiscent of the flow of fabric. Being trained in working with such a different material first has given me a different approach to silver and what that material can do. I think it has made me freer as a jewellery designer. NM: Could you elaborate on the concept of “organic minimalism” that serves as the core ideology for your jewellery collections, and how it is reflected in your designs?SR: I’m very inspired by the shapes in nature and evolution, but I always strive to find the core of the shape and simplify it as much as possible to make it feel universal, timeless and elegant. It’s not minimalism in the sense of straight lines and geometric shapes, it’s soft and organic but very stripped down and simplified.   NM: What sources of inspiration, whether from art, nature, or culture, consistently inform your designs? How do you stay creatively inspired and avoid design stagnation?SR: Like probably all creatives, I have my good and bad periods creatively, that is inevitable. But having worked as a designer for so long, I have now come to learn what helps me when I’ve lost inspiration. The most important thing is to not try to push it since that almost always leads to bad decisions that you will regret later. Have patience and trust that these periods are also important. When I start the design process, I always try to work intuitively and not overthink. It can be sketching, painting simple shapes with watercolour, or working with clay, paper or thin metal sheets. The important thing is to let the hands work and find the connection between the hands and the mind. That’s where the magic happens. I find most of my inspiration in the shapes in nature, but I can also look to art, sculpture, clothing, ceramics, interior design or other creative fields. Sometimes just a glimpse of something sparks the mind and starts the process. NM: Given your emphasis on a balance between intuition and patience in the design process, could you walk us through how you typically approach the creation of a new piece of jewellery from concept to completion?SR: This is very much related to the question above. Trust is the key, I think. Trust in the process, that ideas will come and you need to let them evolve in their own time, and not rush it. Typically, I start with one of the above creative processes, where I use my hands and work intuitively without overthinking. When I find a shape or silhouette I like, I explore it further in more sketches or other 3-D techniques like clay or paper. I always try to simplify and stylize as much as possible. Once the shape is set, the technical part starts: how is it worn, do I need a lock, an ear pin etc. And then I create either a prototype in my studio or a digital technical drawing. Then it’s ready to send to the workshop to create the first samples, and these are then revised until everything is perfect. I never work with set production timelines, a piece is finished when it is finished and it will take as long as it takes. That is the beauty of working in your own company, you can decide this yourself. I think there are so many bad products released on the market just because companies want to fill their production quotas and always release news instead of focusing on only the actual good products. NM: Your designs are meant to be worn and cherished for many years. How do you ensure both durability and timelessness in your creations?SR: I always put a lot of consideration into the designs, making sure they are as simple and genuine as possible – focusing on the core expression and removing any unnecessary elements. By simplifying, you automatically move towards more timeless shapes and minimise the risk of it just being a trend. I also only work with very experienced goldsmiths with excellent

“The Silk Vault” Unveiled: Anna Möller’s Artistic Odyssey in Crafting Timeless Silk Scarves and Embracing Ethical Fashion text Alicia Hurst foundation Lumene 16 hour longwear foundation 0.5concealer glossier stretch concealer g11blush glossier generation G Jamlips Natasha Denona Baby gold palette Oro Anna Möller, the creative force behind The Silk Vault, graciously provides insights into the enchanting world of her unique scarf designs. With a background in fashion design, garment pattern making, and a wealth of cultural experiences from London, New York, and now Stockholm, Anna’s journey shapes the brand’s identity and design language. The Silk Vault’s commitment to sustainability and ethical practices stands out in an industry dominated by fast fashion, emphasising the creation of timeless, limited-edition pieces. In this interview, Anna delves into her creative process, inspirations drawn from architecture, arts, travel, music, and subcultures, and the brand’s philosophy of exclusivity. Join us on a captivating exploration of the artistic journey that culminates in each meticulously crafted silk accessory, embodying a fusion of Anna’s diverse influences and a fervent dedication to enduring beauty in fashion. Can you share more about the creative process behind your unique scarf designs, and how you draw inspiration from architecture, arts, travel, music, and subcultures?Each of my scarf patterns start from an initial idea of inspiration. That idea is then researched and sketched up – by hand or digitally. Once the motif is sketched up, I add colour and play around with it, exploring the best and strongest layout. Incorporating a beautiful border design is an important part of the overall impression. I love designing the scarves with different patterns or colours in each corner. The idea is that the bearer can vary the expression of the scarf, depending on how it is knotted and draped on the body. I consider each and every detail of the design and aim to make each scarf a sustainable and lovable accessory to wear often and for years to come.I draw inspiration from everywhere and anywhere, high and low. A vast source for new ideas comes from visiting new places; exploring architecture, local craft, and nature. During a weekend trip to Florence, Italy, I visited the cathedral and noticed an unusual clock on the wall that took my breath away. I instantly realized it had to be turned into a scarf motif and got on my knees on the cathedral floor to photograph the marble tiles, which had stunning green and salmon pink tints. The tiles turned into patterns around the clock motif of the scarf, which got the name Firenze. I’ve had the opportunity to travel in Japan a couple of times, and their art and design is an endless source of inspiration to me. The Silk Vault signature silk tunics are inspired by the simplicity of the kimono cut, then decorated with prints. My scarf designs often have a nod to Japanese design too. The hand-painted scarf Orchid came about after stumbling across an international orchid exhibition in Okinawa, Japan. Whilst on a factory work trip to Hangzhou, China, I managed to sneak away for a few hours to visit the local silk market, where I spotted beautifully hand-painted silk pieces with the specific style of the region. I fell in love with the technique and decided to explore it for The Silk Vault’s collection. During the same afternoon I got on a dragon boat and watched the sunset over The West Lake and the surrounding mountains. I had a few magical hours that afternoon that led to multiple design ideas. The dragon boat can be spotted on the new scarf Jubilee, from the latest collection. A person in my life that has meant the most to me creatively is my aunt, the late artist Ingegerd Möller. She taught me about composition, colours and how the eyes should travel in an artwork. She gave me lots of art books which was the start of my art book collection. I frequently refer to my favourite artbooks, and one of them is about Diaghilev and his Ballet Russes. I love listening to music when I work. A great way for me exploring new music is through the BBC 6 Music app. Independent dj’s have their regular shows, without restricted, commercial playlists. Two of my favourite dj’s there are Iggy Pop and Huey Morgan who both play eclectic music mixes where I have discovered lots of great new and old music. I met my fiancée through music. He is a dj and is part of a music movement, Funk Freaks, a dj collective based out of Santa Ana. The Street Funk movement is originally part of the Orange County Chicanx culture, but it has spread worldwide and they have a following in Europe and Asia too. I met so many inspirational people through music, and I think fashion and music really go hand in hand. My favourite (Modern) Funk artist and singer, Moniquea, has become one of my muses when I design. The Silk Vault’s emphasis on limited editions and exclusivity is intriguing. Could you explain the reasoning behind this approach and how it aligns with your brand’s philosophy?Ten years ago, I was working in London as a design director for a company designing and producing collections for retailers in the UK and France. We focused mainly on nightwear and lingerie with a crafted handwriting and beautiful encrusted lace placements. When I first joined the company we used beautiful silk fabrics, prints and French laces, but over the years and following the world economy, the products became more simplified. Silk got replaced with polyester, French laces with cheaper copies, and chasing low prices and high volumes became the focus. I fell out of love with my work in fashion, which had started from a love of arts, beautiful textiles and craftsmanship. I had never chosen to work with fast fashion, but this is what my job turned into. I felt frustrated and wanted to leave the fashion industry but was realistic enough to realise I couldn’t afford to leave work as it is very expensive living in

The small-scale sculptural: A. Roege Hove and The Inventor of Classics: Georg Jensen text Linnéa Ruiz Mutikainen & Ulrika Lindqvist all jewelry Georg Jensen x A. Roege Hoveskirt worn as dress COS photography Sandra Myhrbergfashion Ulrika Lindqvist In celebration of the collaboration between the two Danish brands A. Roege Hove and Georg Jensen, Odalisque interviewed Amalie Røge Hove, founder of A. Roege Hove, and Ragnar Hjartarson, creative director at Georg Jensen. Additionally, our team of editors interpret the collection through imagery shot on one of the last summer evenings of the season. The Small-scale Sculptural: A. Roege Hove In 2019, Amalie Røge Hove founded her namesake brand following several years as knitwear designer for Cecilie Bahnsen and Mark Tan and was awarded the prestigious Karl Lagerfeld Award for Innovation at the International Woolmark Prize earlier this year. In conversation with Linnéa Ruiz Mutikainen, Røge Hove put words to her creative core, known for freely mixing traditional with progressive. Linnéa Ruiz Muitkainen: How did A. Roege Hove’s journey commence in the first place? Amalie Røge Hove: It was a spark of an idea combined with the simple thrill of knitting. There was no fully fledged reality. Our products, from vision to reality, have come on leaps and bounds. It is incredible to see how far we have come. LRM: Your inaugural collection did only consist of accessories. Why did you decide to branch out? ARH: I sensed that these artistic experiments had the potential to blossom into something bigger. That is when I decided to dive into ready-to-wear. While bags are fantastic, they are static. Clothes have the ability to layer and flow, to create a symphony of expression. I yearned for that dimension of movement and interaction in A. Roege Hove’s pieces. LRM: The same collection is described as “a study of small-scale sculpturalism” on your website. Is sculpturalism still core to your practice today? ARH: The foundation of sculpturalism is deeply embedded in our work. Craft is more than just a technique to me, there is an emphasis on craft in everything that I do. It is a pathway to pushing boundaries, focusing on how aesthetics and tactile sensation intertwine. We want clothing to be approached just like art, with reverence for the thought, intention, and skill behind each piece. LRM: Your work is experimental yet based on traditional knitwear practice. How did this aesthetic come to be? ARH: Our aesthetic did not happen overnight. It stems from a blend of traditional practice and experimentation. The journey has been fueled by a passion for innovation, but also profound appreciation for original craftsmanship and its artistry. LRM: Is knitwear an obsession for you? ARH: It’s equal parts obsession as it is a specialty. From the get-go, I envisioned A. Roege Hove as a conceptual knitwear brand, destined to challenge the norms with a continuous modern twist. We focus on what we do the best, which is crafting garments in revolutionary silhouettes, made from groundbreaking materials. LRM: What inspires you? ARH: Japanese paper artists carry a special place in my heart. To me, their meticulous artistry has a unique way of transcending boundaries. Martin Margiela’s avantgarde spirit plays a pivotal role in shaping my creative process as well. Then there is my enduring fascination with Sci Fi films. The way they envision the future intrigues me, it is a realm where imagination truly takes flight. LRM: I imagine that opting for knitwear only could be perceived as quite niche, maybe even limiting in today’s fashion landscape. ARH: It has its challenges. But that is what makes our brand stand out. Our approach to knitwear is not just to craft garments; we want to redefine the boundaries of what knitwear can be. While it may seem limiting, I have learned that running a brand is not about building entire wardrobes. You have to specialize in something, develop an exceptional skill, and create undeniable value in that product. LRM: There is a collaboration with Danish jeweler Georg Jensen. Why did you decide to merge knitwear with jewelry? ARH: It came to me naturally. We had experimented, explored new possibilities, and realized that this collaboration would not only challenge our designs. It would also allow us to infuse fresh, daring ideas into our work. Georg Jensen’s reputation of crafting quality products that last for a lifetime resonated with our brand ethos. It is an exciting merge of two worlds. blouse & Other Storiesdress Remake Stockholmskirt Cosshoes Vagabond top Viktoria Chan The Inventor of Classics: Georg Jensen An interview with Ragnar Hjartarson, creative director of Georg Jensen, the classic brand that started in 1904 and still reinvents itself through new visions and striking collaborations. Ulrika Lindqvist: Georg Jensen is a brand with notable heritage. How has your journey at Georg Jensen been and how would you best describe the brand? Ragnar Hjartarson: Georg Jensen is a leading Danish brand with more than 119 years of history. Collaborating with different designers is an essential part of how we approach design. We have worked with forerunner designers, including Verner Panton and David Thulstrup for our hollowware, most recently fashion designer Stine Goya for jewellery. Collaborations challenge our designs and allow us to bring in fresh, daring ideas into our work. The collaboration with A. Roege Hove is no different. UL: Tell us about the classic moonlight grapes collection. How does Amalie’s version differ from it? RH: The original Moonlight Grapes collection was inspired by some of the silversmith’s earliest hollowware designs. These were adorned with intricate grape-shaped ornaments. At the same time, the silver beads add a sense of transformity to the jewelry.  So this collaboration represents a specific take on a collection that will forever evolve.A key element for the collection was the power to constantly reinvent itself, which the new collection is a perfect example of as well. By merging our heritage collection with Amalie’s forward thinking approach, we see a distinct meet between two crafts: our century-long metalwork expertise and A. Roege Hove’s expert knitting skills. It translates into a unique design. It seamlessly combines two languages. Georg Jensen’s bold and organic silver beads and the strict and linear knitwear of A. Roege Hove. coat Remake Stockholmunderwear Sloggiboots Vagabondtop Viktoria Chan photography Sandra Myhrbergfashion Ulrika Lindqvisthair & makeup Elva Ahlbinmodel Lovisa L / Mikas UL: What

Paula Pantolin: Crafting Personal Narratives in Metal text Ulrika Lindqvist Since founding Pantolin in 2006, Swedish jewelry designer Paula Pantolin has turned her deep-rooted love for art and storytelling into wearable works of meaning. From soldering her first piece as a student to creating emotionally charged collections like Isola, each design reflects a balance of craftsmanship, heritage, and personal history. In this interview, Pantolin shares the inspirations behind her work, the legacy of creativity in her family, and how her pieces invite the wearer to become part of the story. UL: Can you tell us how long you have been working in jewelry design and what originally inspired you to pursue a career in this field?  Paula Pantolin: Pantolin was founded in 2006. My grandmother was a textile artist and my mother is a painter, so I grew up in a creative environment where expressing oneself through materials felt completely natural. It was clear to me early on that I wanted to find my own voice within the fine arts.During my years in art school, I worked as an assistant to a silversmith. I started out doing the more repetitive tasks like casting and polishing, but I was always eager to learn more. The first time I saw two metal surfaces fuse together through soldering, I was completely mesmerized. That moment sparked something in me – a deep fascination that’s stayed with me ever since. Eventually, I earned a Master of Fine Arts in metalsmithing and jewellery design, and that became the foundation for what is now Pantolin. UL: What motivated you to found Pantolin?  PP: I never really liked working for others, haha. But seriously — I knew my designs stood out, and I wanted to create jewellery that I actually wanted to wear myself, since I rarely found pieces I liked (except for vintage, of course). I’ve always loved the idea of people wearing my art close to their hearts. UL: We would love to hear more about the Isola collection. What inspired it, and how does it differ from your other collections? From idea to finished jewelry, can you take us through the process?  PP: It’s a deeply personal project. My late father — who was a professional sailor, among other things — and I sketched this together many years ago. He sadly passed away last year, so I wanted this piece to serve as a kind of homage to him. The new collection is inspired by the idea of a life ring, something that helps you stay afloat in the turbulent sea of life. Its name refers to “island” or “solitude.” The collectionis meant to include the wearer in the creative process, encouraging personal expression, as there are no rules for how to wear it. The round shape of the pendant works just aswell on a scarf, a link, or a chain necklace. For example, paired with Pantolin’s cross chain. As for the process: I draw all the time, and often my ideas don’t fully mature until years later. When I decide to bring something into three-dimensional form, I explore which techniques might best serve the piece — soldering, casting, smithing, sculpting… almost anything. UL: Can you walk us through a typical workday for you?  PP: I don’t have typical workdays, I’m afraid. Every day looks a little different. But I’m very disciplined. My mornings usually start with exercise, followed by checking emails and handling web orders. Then it’s a mix of sketching, packaging, running to the post office, and whatever else the day brings. I also spend a lot of time working by the bench, doing all the silversmithing myself—it’s where I feel most grounded. Alongside my own practice, I work part time as a fine metal conservator, restoring historical objects. UL: Which piece from the Isola collection is closest to your heart and why?  PP: The bangle. It’s unique, it has a distinct character and feels truly good to wear. UL: Is there any symbolism or hidden details in your jewelry that people might not immediately notice?  PP: Yes, it’s in Pantolin’s DNA to hide little surprises inside the jewellery, whether it’s a pattern, engraving, or a gemstone. UL: Your jewelry is inspired by the Swedish west coast. Is there a particular reason for that?  PP: That’s where I grew up, and where my grandmother and mother spent their summers. UL: What do you want people wearing “Isola” to feel?  PP: Feeling empowered and beautiful, while participating in the process of how to wear it, will inspire creativity in them as well. UL: How do you see the future? What’s next? Are there any specific projects, goals, or ambitions that you are particularly excited about? PP: I’m currently working on a few new pieces that relate to the rituals around the table – an area I findendlessly inspiring. I’m also very much looking forward to my upcoming solo exhibitions this summer and autumn, which will offer new perspectives on my creative process.

Monki x Iggy Jeans text Josie McNeill Growing up, Ingrid “Iggy” Berg, founder of Iggy Jeans, the latest company to collaborate with Scandinavian street style brand Monki, said her aesthetic was influenced by two polarizing styles: that of Scandinavian minimalism and Italian classicism. “When I came to Stockholm, I noticed a big contrast to Italian culture with dressing up and the general approach to fashion,” Berg said. “It was a contrast to the Scandi-minimalist street style approach. That in itself was not negative for me. Rather I think it had an interesting impact on how I balanced the two worlds.” Berg said that looking back at the time she moved to Stockholm, she sees “how growing up in both Italy and Sweden have affected my way of seeing fashion.” She found inspiration in the colorful patterns of the ’60s, especially those involving the Gruppen-10 in Sweden. This group, which Brigitta Hahn, Berg’s grandmother, was a part of rebelled against the Swedish “folkhemmet” in the ’60s and ’70s with its use of bold patterns. Berg integrated the use of bold patterns and colors and used them on a timeless fabric: denim. Thus her designs were both modern and chic and also maximalist and trendy. She created the brand Iggy Jeans after collaborating with orjanandersson on a 10-piece painted jean collection for the brand in 2017. She then went on to showcase at Stockholm Fashion Week in 2018 when she was just 15 years old, completed a year-long internship with Miu Miu in January 2023, and now, she is onto her second collaboration with Monki. Berg grew up in Treviso and Milan, Italy before moving to Stockholm for school when she was 10 years old. She later started painting denim after school and on weekends. Berg said she found that painting denim allowed her to “merge [her] artistic side with [her] interest for clothes.” Odalisque Magazine sat down with Berg to discuss her interest in fashion from such a young age, music inspiration, and her evolving work with Monki. Before releasing your first collection with Iggy Jeans you did a previous collaboration with Monki. How does the new Monki x Iggy Jeans collaboration differ?Our first collaboration was smaller, just a story about me and I painted a couple of Monki jeans that I kept myself. This time around, it’s a much bigger collaboration where I’ve designed pieces for Monki that will be sold in stores in Europe, and we’ve created a campaign around it where I’ve been creative director. I’ve gotten complete trust from Monki on creative decisions and ideas, which I am grateful for. For someone like shopping for the collection, how would you describe the collaboration between Iggy Jeans and Monki?This is a very fun collection but also something that you can wear every day. At first glance, when you see everything together, it might be kind of shocking, like, oh my God, I’ve got all these colors and bows. But my thought in the whole process has been that I want to create something that is different from the work that I’ve done earlier. I wanted to create something where I have thought of my everyday wardrobe as a starting point. Like could I wear this maybe with a shirt and a cardigan or like you know just a t- shirt and not feel like I’m overdressed? It’s so versatile. Is there any element of the new collection that is most special to you?Of course it’s been very exciting to work with different elements such as print and patches. I really wanted to merge the maximalist part of me with my more minimalistic part and think about my everyday closet, as with italy vs swedish expressions. Did your internship with Miu Miu affect your approach to designing this collaboration?I learnt a lot working with professionals within denim design at Miu Miu, and the technical process of designing but also how to convert ideas to something that has a red thread, and how to create a red thread within a brand. I read that you have a passion for the music scene as well. How does music influence your designs in general, but especially your designs for the Monki x Iggy Jeans collab?When I have thought about the person wearing my designs, music has helped me understand who that person is. For example, when I listen to The Hives (whom I’ve done costumes for) or one of my all time favorite artists ShitKid, I think about a girl that has a naif spirit, a rebelliousness that encapsulates the feeling of being a teenager but also some sort of tenderness. For specifically how music has inspired my collaboration with Monki, I looked at sound waves and the shape of them and their repetitiveness, which is reflected in the green shapes on my designs. What was it like showcasing Iggy jeans’ first collection when you were 15 at Stockholm fashion week?It was a long time ago, I was just a child at the time. I’m grateful for the opportunity that I got to do it and that it pushed me to keep on going. But at the same time, I know that it’s rare for a 15 year old to do such a thing. I still believe that if you do something out of will and pure desire, it doesn’t matter if it’s during Stockholm Fashion Week or for a couple of friends in your living room, it is what keeps you going forward. How do you think your designs have changed since creating the Iggy jeans brand when you were 15?When I was 15 I worked more with patterns and not the jeans in context to a person or story. Now I think more about who will wear my things, who I want that person to be, and how I’m styling the clothes I make. I’ve created a bigger story in my mind of how the world of Iggy Jeans is and all that comes with it. Can you elaborate on what you envision this “bigger story” of Iggy Jeans to be?Gosh, that’s such