Fashion Articles

An Interview With Sofia Corneskog text Josie McNeill photography Sandra Myhrbergfashion Alicia Hurstall clothing Sofia Corneskog all jewellery & headpiece Stylist’s Own Sofia Corneskog, a couture designer based out of Sweden, believes party and formal dresses should be worn for more than that one special occasion. According to her website, she designs clothes to be combined with other items in the customer’s wardrobe to create unexpected outfits and color combinations. Her designs range from custom designed bridal and party gowns to more casual, skirts, trousers and shirts. All her designs have a classic Corneskog flare, with bold colors mixed with timeless and romantic tulle, organza, and lace fabrics. Her hand-stitched, dreamy designs deserve to be taken off the closet hanger more than once. And if you listen to her fashion philosophy, you’ll find a little extra space in your everyday wardrobe just for that. “When you fall in love with your clothes, they will last longer,” Corneskog wrote on her website.How did you first become involved in fashion and design?My interest in creativity has always been a part of me. My mother is very artistic and had a great interest in various forms of creation. She used to sew a lot, and I got the opportunity to try it out, so my interest in sewing developed at a very young age. My interest in fashion and design came about during my teenage years when I realized that I could sew the garments I wanted to wear. How would you describe your design aesthetic?I would describe my design aesthetic as “clean” and “simple,” with a touch of playfulness. I’m also drawn to the contrast between the delicate and the raw, the beautiful and the cool, all at the same time. Who do you mainly design for?I mainly design for women who dare to take up space and be noticed.   What designers had the biggest influence on you?I draw inspiration from a wide range of designers, such as Vivienne Westwood, Stella McCartney, and fashion icon Iris Apfel. Generally, I’m inspired by women who dare to be themselves, who stick to their design language, and who show that it’s never too late to fulfill your dreams. How does French couture influence your designs?French couture influences my designs through the tailored and custom-made aspect. The craftsmanship involved, where each garment is made to order and unique, tailored to fit one’s body shape. How do you keep sustainability at the forefront of your designs?I prioritize sustainability in my designs primarily by creating garments on demand. This eliminates waste and the need for inventory. Additionally, I use fabrics from suppliers who have some form of sustainability certification. It’s not easy to find such suppliers, but I try my best. What is your creative process?My creative process is always with me, and I find inspiration from life in general, both the harsh and the soft aspects. Many designers get ideas and sketch them out. I had a mentor once who encouraged me to experiment in the creative process, and that’s usually how I approach it. I can be inspired by a beautiful fabric and then experiment until I achieve the desired end result, similar to painting a picture. If it doesn’t turn out as intended, I make adjustments until I create the design I envision. earrings Stylist’s Own earrings Jocelyn earrings Sägen   earrings Clara Fina earrings Sägenbag Weekday shoes Nude Of Scandinaviabag Atelier Fanny Castrobracelet By Jolinaearrings Clara Fina How do you find a balance between your own aesthetic and the design that a customer commissions?Finding a balance between my own aesthetic and a customer’s commission is something I struggle with. However, I no longer accept clients who want me to create something they have designed themselves. I want to work based on my design language and put my name on a design I can stand behind. Of course, customers can still provide their preferences and wishes. Do you mainly receive commissions for bridal or party dresses?Currently, I would say it’s about a fifty-fifty split between bridal and party dress commissions. A couple of years ago, the majority of clients were brides, but now there are as many people seeking party dresses. What would you say is the main difference between your bridal designs and party dresses, besides the colors used?The main difference between my bridal designs and party dresses, besides the colors used, isn’t significant in my opinion. Perhaps I allow myself to be a bit more adventurous with a party dress. Otherwise, I start with my design language, which is based on a clean and stylish expression with a hint of playfulness. Do you think there could be more crossover in the future between your bridal and party dress designs?I hope there will be more crossover between my bridal and party dress designs in the future! When I created the bridal collection for 2023, I designed some garments to be versatile enough to be worn as party dresses as well, which expands their usability significantly. earrings Jocelyn ring IOAKUsunglasses Emporio Armani shoes Steve Maddennecklace Atelier Fanny Castroearrings Becca Design photography Sandra Myhrbergfashion Alicia Hursthair & makeup Paloma Gonzalezmodel Astrid Baauer / The Wonderspost production Emelie Hammarfeltall clothing Sofia Corneskogspecial thanks to Floroteket

text Linnea Ruiz Mutikainenphotography Sandra Myhrberg all clothes Stine Goya jacket “Noreia” t-shirt “Margila” skirt “Sif” shoes “Butterfly” nose jewellery Ana Vivero tote bag “Rita” all clothes Stine Goya shirt “Juno” dress “Naomi” socks “Verita” sunglasses “Cat Shield” shoes “Butterfly” plastic scarf In Crime Content Trailblazing Danish designer Stine Goyahas upped the ante for contemporaryfashion of the North. Here, in conversa-tion with Odalisque, we dissect the pastand the present of the vibrant forerunner. Dopamine dressing is buzzy, of the moment term gaining notable momentum in the ever-changing fashion landscape. The primary purpose spells well-being, presented through lively hues and bustling garments, in an ode to elevate one’s mood. Remarkably, its predecessor was brought up surrounded by zeitgeist muted Scandinavian minimalism. “Stine Goya first saw daylight because I wanted the distinction,” ponders Goya herself. “It was a conscious decision to challenge the fundamentally rooted fashion repertoire of the region. ”Born in tranquil Taarbæk, Goya’s childhood years bathed in Northern ease, with proximity to both flourishing greens and the sea. “When I turned 16, I really wanted to explore.” In Goya’s case, exploration translated into an undaunted year in Honduras, slowly shaping the foundation of a more eclectic agenda. “The cultural switch-up made me grow quickly. I had to take care of myself, continuously making responsible choices. It shaped my present day self. ”For Goya, the connection between fashion and curiosity is core. Starting as dress-up in her mother’s wardrobe to then crafting her first dress aged 9, an undeniable passion for the craftsmanship has always been there. “My vision has never changed. I wanted to design for myself while establishing a brand.” all clothes Stine Goya shirt “Charlota” trousers “Amalie” skirt “Sif” hat typical from Canary Islands nose jewellery Ana Vivero shoes “Butterfly” LINNÉA: You’ve been in diverse roles within the fashion field; model, stylist, and editor. Why venture into fashion design? STINE GOYA: It’s been a driving force since forever. Modeling pro-vided a thorough understanding of garments and their movement, whilemy editorial stint focused on curating looks. Fashion design blossomedinto my next, bigger vision. In hindsight, experiencing multiple areas before venturing into my own brand was a privilege. L: I’ve read how you don’t consider yourself a typical Scandinavian designer. SG: In 2006, when I founded the brand, Scandinavian fashion was strictly minimalist. I wanted to create a brand that truly set itself apart.Opting for the complete opposite, encouraging color and creativity, was quite the statement. It still is. all clothes Stine Goya top “Una” panties Cecilia Rafael sunglasses “Cat Shield” bracelet Reserved shoes In Crime Content all clothes Stine Goya shirt “Juno” dress Celsia trousers “Fatou” nose jewellery Ana Vivero L: How do you integrate sustainability into your crafting? SG: It is fundamental to our business, present in every decision we make.Right now, sourcing responsible garments is our main target. Occasionally, it is quite a challenge. But the browsing process and all potential hurdles often birth unexpected creative turns. L: Creative turns that seem to help distinguish Scandinavia on the fashion radar. SG: There’s Copenhagen Fashion Week too, which has turned into a significant pillar of the fashion calendar. Its great success is directly correlated with endless demand. As long as the supply is there, and expands, we continue to gain momentum. The reach increases and so is visibility.We’re just seeing the beginning, particularly in terms of global expansion all clothes Stine Goya blazer “Hanne” shirt “Charlota” dress “Stina” shoes Butterfly L: What makes the Stine Goya AW23-collection standout? SG: This collection, called Freeze, is inspired by Danish author Hans Christian Andersen and his fairy tale, The Snow Queen. There’s emotional value, being one of my childhood’s most defining tales, revisiting my life as of late. The storyline is progressive, challenging the male hero narrative by shining light on the bravery and power of female protagonists. I wanted to explore through a contemporary lens. The result is quite laissez-faire, inspired by the luxurious mountain tops ofAspen and all well-dressed women on the slopes. Think extravagant layering, out of proportion-shapes, and elevated dresses with a subtle touch of skiing. all clothes Stine Goya shirt “Juno” dress Celsia trousers “Fatou” nose jewellery Ana Vivero L: Any favorite detailing? SG: I do love the sweetheart necklines. You get the feel of the frozen heart, fundamental in the tale, yet it is sharply juxtaposed with androgynous power-play silhouettes and oversized coats. L: What lies ahead for Stine Goya? SG: We’re experiencing incomprehensible global growth and expansion.As much as Copenhagen and Scandinavia will always be our home, welust for the international field of play. We have set our sights abroad all clothes Stine Goya dress “Elena” gloves Reserved all clothes Stine Goya t-shirt “Margila” photography Sandra Myhrbergtext Linnea Ruiz Mutikainenfashion & set design Maria Vinagre / In Crime Contenthair & makeup Elba Ahlbinmodel Maria Penanose jewellery Ana Vivero / Mad Modelsfashion assistant Mica Pelejaproduction assistant Carlos Ortega  

An interview with Rasmus Georgiadis – winner of the NK Young Talent Award by Beckmans text Ulrika Lindqvist With botanical elegance, sculptural precision, and an unwavering vision of beauty, the winner of this year’s NK Young Talent Award is turning heads and turning fashion into art. Fresh from receiving the prestigious honor, Rasmus Georgiadis speaks with us about the journey from childhood sketchbooks to intricate, nature-inspired couture, the challenges behind the celebrated collection A Flourishing Confluence, and a creative process rooted in emotion, detail, and transformation. Ulrika Lindqvist: Congratulations on winning the NK Young Talent award. What are your initial feelings? Rasmus Georgiadis: Thank you so much. I’m incredibly grateful, and it feels truly rewarding to have my workacknowledged in this way. This kind of recognition makes all the hard work feel worthwhile. UL: Tell us a bit about your backstory. What did you study or work with before getting accepted to Beckmans? RG: Fashion has been a focus of mine for quite a while — both creatively and through academic research. In high school, I studied a fashion program with an emphasis on sustainability, which taught me a lot about materials, production processes, and their environmental impacts. From early on, I became aware of not just how I design, but why I choose certain materials over others. I began experimenting with draping during this time, since we mostly worked from pre-made base patterns. But I wanted to build garments from scratch, so after graduating, I took a year to study patternmaking in Malmö. Alongside drafting skills, I also learned Photoshop and Illustrator — tools that have since become essential in my work at Beckmans and beyond. In 2020 I moved to Stockholm and began studying Fashionology — and honestly, had I not gotten into Beckmans the following year, I likely would have pursued a full degree in that field. UL: What initially drew you to the fashion industry? RG: I think it started with art. As a child, I was always drawing — filling sketchbooks with characters, especially princesses and fairies. What fascinated me most was designing their dresses. That creative impulse never really faded. Over time, those fantasy figures turned into models, and the designs became more diverse and expressive. If you’d asked me what I wanted to be as a kid, the answer was always “a fashion designer.” There have been moments of doubt, of course — where I wondered what I’d do if fashion wasn’t an option. But I’ve never found a real alternative, which tells me this is the only path forward. UL: What is your inspiration behind your designs — and this collection in particular? RG: Nature has always been a big source of inspiration for me — especially botanical textures and organic forms. In this collection, that connection is very present. But the core idea was to explore how a garment and the wearer could appear to grow together — to feel like one unified form, or like an extension of each other. To give structure to that concept, I turned to one of my favorite childhood art styles: Art Nouveau. Its romantic, flowing aesthetics — seen in everything from illustration to interior design — became a guiding reference. I used this collection as a showcase of my techniques and creative growth. For example, I looked at how Art Nouveau book covers used symmetrical, botanical patterns, and translated that into laser-cut designs in gold silk, placed on mesh to give a two-dimensional “glued-on” effect. I also drew inspiration from ornamental metalwork, which I interpreted using 3D modeling and printing. It was a long process — from sketch to CAD model to physical piece — including patination to mimic aged metal. These components were meant to feel alive, as if the model was wearing, or becoming part of, an art installation. I try to create some kind of layered thinking for each piece — I enjoy working in small detailsthat tell a bigger story. UL: Can you share some insights into your creative process?  RG: For me, creativity is driven by emotion. I want my work to evoke a feeling in others — and forthat to happen, I believe I have to feel it twice as strongly myself. That can come from setting a mood with certain music, or from hours of draping until I land on a detail that truly excites me. If I, as my own toughest critic, feel something powerful about what I’ve made, it’s usually a good sign. I also rely heavily on drawing. I don’t use erasable tools when I sketch — I prefer the permanence of ink. It forces me to trust my hand, to commit to the line. The embroidery patterns in this collection were created by freehand sketching — letting intuition lead the way, thentranslating those lines directly into stitchwork. UL: What are your core values as a designer? RG: At the heart of my work is a commitment to creating my own version of beauty. I believe beauty is incredibly powerful — not necessarily in how others perceive it, but in how it can transform how someone sees themselves. To help someone feel strong, confident, and like the best version of themselves — that’ssomething I find deeply meaningful. Fashion can be a powerful tool for empowerment, and that sense of emotional transformation is what I strive for in every piece I create. UL: What was the biggest challenge in creating this collection? RG: The biggest challenge in “A Flourishing Confluence” was managing the weight and structure of the heavier pieces. I wanted the garments to feel light and effortless — almost like gravity wasn’t an issue — but, of course, gravity had plenty to say. For instance, the Ginkgo leaf piece is covered in thousands of rhinestones and weighs several kilos. I had to find hidden structural solutions — like reinforced stitching and built-in wire — tomake it appear weightless. Similarly, the angelic white dress worn by Carola was made from a material too heavy to hold its own shape. I ended up integrating metal wiring to support andsculpt it, and it took multiple prototypes to reach the final result. At

AERON’s Pre-Fall 2025: Where Tradition Meets Innovation in a Wardrobe for the Modern Woman Ulrika Lindqvist Budapest-based label AERON continues to carve its distinct identity with the launch of its Pre-Fall 2025 collection, a tour-de-force of pared-back silhouettes and progressive design. Inspired by the attitude, lifestyle, and wardrobe of the fisherman and fisherwoman, this collection skillfully balances elegance with utility, offering a sophisticated reinterpretation of traditional workwear. Founded by Eszter Áron, AERON is defined by its commitment to seamlessly blending timeless tailoring with cutting-edge design techniques—all filtered through the lens of a modern woman’s complexity and daily life. The Pre-Fall 2025 collection exemplifies this ethos, reflecting a harmonious synthesis of contrasts: soft fabrics meet structured cuts, quiet tones mingle with bold accents, and classic references are reinvented with contemporary precision. Born in AERON’s in-house atelier through collaboration with seasoned professionals, the collection offers a refined selection of best-in-class staples alongside standout statement pieces. It’s a wardrobe built for women who value sustained evolution over radical revolution, pieces that feel both novel and familiar, designed to empower and support a thoughtful approach to dressing. From contemporary suiting and standout leather styles to the ZERO line of core knitted essentials, AERON is also steering the industry toward greater responsibility. The brand’s commitment to quality is matched by sustainable sourcing and waste-reducing innovations, underscoring its ambition to lead without compromise. With Pre-Fall 2025, AERON crafts a narrative of empowerment, balancing utility and elegance for the modern woman ready to navigate her world with confidence and grace.

Acne Studios Unveils Capsule Collection and Art Exhibition with Jonathan Lyndon Chase By Ulrika Lindqvist In time for Frieze New York, Acne Studios deepens its creative dialogue with Philadelphia-based visual artist Jonathan Lyndon Chase through a new capsule collection and exhibition in the heart of SoHo. From May 7–11, Acne Studios’ Greene Street location transformed into a temporary gallery space, showcasing a vibrant and intimate body of work by Chase. Known for their layered explorations of Black identity, queerness, and tenderness within domestic spaces, the artist presents soft sculptures, furniture, and paintings—many of which first appeared in the scenography of Acne Studios’ Spring/Summer 2025 womenswear show in Paris. The collaboration now expands into a limited capsule collection titled Acne Studios Loves Jonathan Lyndon Chase, marking a tactile extension of the artist’s visual world. Chase’s expressive illustrations—figures often drawn from personal relationships—appear across ready-to-wear pieces and homeware. Highlights include reimagined Acne Studios ‘1981’ jeans, T-shirts, cushions, and a blanket, rendered in fabrics that play with the illusion of denim. The capsule, imbued with both emotional texture and artistic impulse, mirrors Chase’s unique ability to merge vulnerability with bold graphic expression. A playful reinterpretation of the Acne Studios bow motif also weaves through the collection. The Acne Studios Loves Jonathan Lyndon Chase collection is available exclusively at Acne Studios Greene Street in New York through mid-May and will be released globally in select stores and online at acnestudios.com in late June.

Loewe Paula’s Ibiza 2023 text Ulrika Lindqvist The liberated summer spirit that defines the Ibiza mindset finds in music and its culture a veritable epicenter. Ibiza is the island where music catalyses creative energies into an all-encompassing, laid-back lifestyle. The new LOEWE Paula’s Ibiza collection is an homage to this unique attribute, building on the fact that the original Paula’s Ibiza boutique, far from being a mere store, was in fact a meeting point for all the creatives and the musicians that, over the years, made the island their home and sent waves around the world. Island life: that’s what makes Ibiza, Ibiza. Hours spent on the beach, on a boat or by the pool, day and night, having fun in the glaring sun and in full contact with the elements. This ethos permeates the collection, which is meant to be enjoyed in an island scenario or to give an escapist vibration to summer in the city. There is an ease to the pieces that makes themversatile and, with a stress on weaving, braiding and texture, aligns with LOEWE’s sense of craft. Polo shirts, skirts, dresses are made in crochet, and some of them feature leaf patches. Real alocasia leaves are morphed into tops. Solid surfaces in organic tones are juxtaposed with vibrant prints. The LOEWE Anagram recurs as a motif, even on denim Satin lambskin is cut into slinky dresses. Jersey tops are immediate and easy. Fringes dance along hemlines. Denim is a must for polos, Bermuda shorts, and micro shorts that are an epitome of freedom and ease. Woven raffia and Iraca palm are the protagonists of the accessories, with the launch of the LOEWE Font Tote, available in three different sizes and featuring the logo spelled out loud, the Petal Basket with its wavy profile, and colourful new iterarations of the Anagram basket. The petite and practical Gardener Bucket is inspired by greenery. The capacious foldshopper for men is apt for different uses, from beach to town. For adding a personalised touch to bags, the collection also includes a wide selection of playful charms. Summer life cannot do without sunglasses, which this season are particularly bold and playful. The Wave Mask and Flame come in oversized shapes with padded contrast profiles. Shoes round the looks off with panache: vulcanized Terra slip ons, Bubble slides in Extralight® foam rubber with the logo popping on oversized tonal hardware. On the weaving and craft side, there are espadrilles in an array of styles. The accompanying visual portfolio, shot once again by Gray Sorrenti, is a celebration of island life with the creative community that gathers around LOEWE. The images, captured outdoors in Ibiza and Colombia, feature a cross section of international creatives and talents: Alewya, Bad Gyal, Mason Hyce Barnes, Guitarricadelafuente, Emily Ratajkowski, Devin Halbal and Karol G are portrayed in sun-drenched moments, simply having fun. LOEWE Paula’s Ibiza launched in stores April 20. All images courtesy of LOEWE

Mats Gustafson and Ted Muehling’s Journeys in Reclaiming Beauty text Natalia Muntean “He was wilder than me,” jokes jewellery designer Ted Muehling about his partner, referring to Mats Gustafson’s spirited early years in New York. “The city was kind of a magnet at that time. People came from everywhere,” continues Swedish illustrator Mats Gustafson about New York in the 70s, when he crossed the Atlantic in search of parties, creative freedom and himself. In the realm of both artistry and love, the influence between two individuals can be a profound and transformative force. In talking with Mats Gustafson and Ted Muehling about their beginnings as artists, their sources of inspiration, and the “Reclaiming Beauty” exhibition, I observed glimpses of this force, along with a strong sense of complicity, respect for each other’s work, tenderness and humour. The couple, who have been together since the 90s, are currently showcasing their works in a joint exhibition hosted by Millesgården, one of Stockholm’s most famous museums. Mats Gustafson’s artistic journey began in the late 1970s. While studying set design at Dramatiska Institut, he started doing fashion illustrations on the side. It was H&M that was one of his first collaborations and he considers it to be his proper school. “We’re talking about the late 70s. They were still doing advertising with illustrations and that’s how I learnt to work fast,” he recalls. Since then, he has worked with renowned fashion brands, such as Chanel, Comme des Garcons, Yohji Yamamoto, Svenskt Tenn, Viktor & Rolf and many more. His dedication to creating with his hands and paper has set him apart as an artisan. For the past ten years, Gustafson has collaborated with Dior, creating illustrations for some of the most iconic looks of the French fashion house. “My job is to understand and depict the designer’s work. I want to find the best in it, or what I consider the best, and interpret it,” he says about his work in this world. Mats reflects on his transition into exhibiting commercial art, a departure from his usual applied art. This shift presented both a challenge and an opportunity to view his work through a different lens. “Working with applied art or commercial art works very well for me,” says Mats. “I like not having to make up my mind all the time; somebody else decides, and I appreciate that. But I think, at some point, when I had my first show, exhibiting commercial art was an unfamiliar experience. It required me to look at it differently. Is it worth looking at? It’s meant to be consumed, and especially in the fashion world, you know how fast things move.” He recognizes that every exhibition brings something new and unfamiliar. Despite his illustrious career, he confesses, “I’m still learning. I’m still inexperienced.” The AIDS epidemic represented another major turning point for his art. It influenced his desire to create more portraits and explore themes of intimacy, homosexuality, and death as a way to deal with the crisis. Amidst his enjoyment of fashion-related work, he recognised the need to delve deeper and convey more profound themes. It was during this period that he gravitated towards nudes as a means of artistic expression. “My first work out of fashion was to do nudes,” he reveals. Stripping away the clothes allowed him to embark on a new artistic path. Nudes, for him, represented the most fundamental subject to depict, opening the door to exploring other classical themes such as nature and interiors and this shift marked a transformative period in his creative evolution. Always having nature as a starting point, Ted Muehling has created jewellery and objects inspired by nature since 1976. With a major in industrial design, he was drawn to the poetic and artistic side of making functional objects. While many of his classmates were venturing into car and appliance design, Muehling had a different vision. “I preferred creating beautiful shapes that you can hold and touch,” he shared. Despite not taking a specific jewellery class, Muehling’s talent caught the attention of the head of his department, who allowed him to focus on live drawing instead of automotive designs. “He was very generous in giving me the freedom to choose interesting subjects,” Muehling reflected. He embraced a hands-on approach, working directly with the materials to truly understand their potential. “I always think architects should build a house before using a computer, just like they build a structure,” Muehling mused, highlighting the importance of hands-on exploration. He found great joy in experimenting with materials, especially in the realm of jewellery, and acknowledged the serendipitous moments that arise from such exploration. “You see what it does, and then you think, ‘Oh, that’s a good direction.’ It keeps feeding you surprising elements,” he added. The first piece he created is part of the Reclaiming Beauty exhibition and was inspired by Gingko trees found in New York. Their bright yellow leaves adorned the streets during autumn, forming captivating shapes. “I tried to interpret this shape, which could resemble a fishtail, using a long stone and created a pin hair,” he shared. Since then, Muehling has cultivated a niche following that appreciates the authenticity and simplicity his designs embody. “We represent a quieter, more authentic life,” he asserts. He describes his customers as smart women who avoid status trappings and materialism. Their search is for something deeper, a connection to their essence. Muehling’s creative journey is not just about aesthetics; it’s about balance and harmony. “The jewellery I create should be a subtle punctuation mark, an intriguing little movement, as a dear friend of mine describes it. It shouldn’t overpower or overwhelm. Finding the balance between too much and too little can be challenging, but it’s essential,” he tells me.Muehling’s path to success has been a gradual one, spanning nearly five decades. From having a few assistants to a team of 11 dedicated individuals, he has crafted a business that supports and nurtures its members. “I feel lucky to do what I