Fashion Articles

Nestled into Drakens Grand, an alley in the old town of Gamla Stan, lies Akind–a sustainably and ethically sourced fine jewelry company. Anna Wallander, a native to Sweden, co-founded the brand in 2019 when she moved back to Stockholm after living and working in the legal field in Dubai. Eager to branch out after returning home, she longed to pursue something more business related instead of just “reviewing legal papers.” So what initially drew you to the jewelry industry?I had nothing to do with jewelry before. I had a completely different background. Actually, it was just a random conversation in the middle of the situation when I came back to Sweden, and I was like, okay, I want to do something more, something else, and I want to be my own. I had a conversation about the jewelry business, just in general, especially in North America. We saw some brands that were quite interesting from Canada and the US, and we’re like, well, they are, you know, on the forefront with their digital business model, embracing more of the sustainability part, and being more transparent, etc. So I was looking back to Europe, and I couldn’t see any of it happening here. That started to put me into a lot of reading, and when I then read up about this really heavy diamond mining industry, and then looking at the European market, I noticed there’s a huge space. There’s a huge, empty space here with room for something new to take place and something good to be done. Because it’s a very dirty industry. Do you design yourself or do you just run the business side, mostly?Mostly the business side, but of course as an entrepreneur from the beginning, you’ve done everything on your own. There’s nothing I haven’t done, but we have an in-house designer and she has been with us since the very beginning. So even though I had a vision of the design and all that, she is the talent that actually draws everything. And I can’t do that. She’s great, and she’s with us still, and she is the designer in the team. Now and then I sit with her in deciding together what we want to do and what kind of shapes and forms and then she draws different examples. images courtesy of Akinds How did Akind come together as a company?So it was right there when I got inspired by North American companies and felt that Europe was really far behind. And when I dug into all these reports that I came across, I realized that it’s like a heavy mining industry, and I wanted to create a brand. I just saw the opportunity of a brand that was embracing this in full because, even from the North American brand, I saw it wasn’t like there was super dedication for sustainability. People are touching upon it but it’s really hard to be sustainable. And it’s such a greenwashing word even today. But I read up on lab grown diamonds and that was also interesting because it was starting to grow fast in the US, but was still really far behind here. People are new to the concept, but now in the last two, three years, some quite big moves have happened also in Europe. But there is also the recycled gold part. Not all gold is recycled. It is quite hard to get a whole lot of 100% recycled, so it’s been a little bit of a mission of course. And that’s how the company came together. I got fascinated about everything that we can do. We created a team, so we’re three co-founders. One is a graphic designer with a branding background. The other one is a serial entrepreneur, and then it’s me with a legal background. So no jewelry background. So you said your diamonds are grown in labs. Do you want to talk more about that and why you decided to start instead of the mining one?Lab grown diamonds just made so much sense at the very beginning because the lab grown diamonds are grown in laboratories that mimic the Earth or the soil underneath the earth where a diamond is created under high heat and high pressure underneath. I mean, it takes millions of years for it to grow and become substantially big enough for it to be worthwhile to take out or extract. Whereas in the laboratory, they have worked for a century to get the right technique in place. It’s been a really long process.  I feel like when you have these above ground diamonds that are used without extracting all these earth or soil and digging up these huge like City Halls and using poor materials or substances in order to get into the caves, then I would prefer everyday and week to use a laboratory. It’s the same thing it’s 100% Carbon both ways. So it’s a real diamond, not a synthetic etc. And it’s having some carbon pressed under the same. Do they look any different?You can’t tell the difference. The only thing you can see is that some diamonds or most diamonds, have some particles or blemishes etc, which have an origin from wherever they were extracted. So for example, if something like diamond comes from South Africa and has some blemishes that you notice through a microscope, and that diamond, you can sort of track it to their soil because it’s a different soil than it is in Peru or whatever. But a diamonds’ value from a mine is higher the less blemishes and particles it has, so you don’t want that. In the laboratory, it’s clinically clean more or less so you don’t have that sort of blemishes so that’s the difference and that also raises the quality of the diamonds in laboratories. And then where do you see the diamond industry going in the future? Do you think it will become more sustainable?100%. I mean, I think first of all, right now, lab grown diamonds have about 10 plus

The creative journey of Christopher Bastin: Balancing heritage and innovation at GANT text Natalia Muntean photography Ellinor Sjobergfashion Ulrika Lindqvist “I never went to design school and was driven by a bottomless curiosity and obsession with clothing rather than being a ‘fashion kid’,” says Christopher Bastin, GANT’s Creative Director. His first step into the fashion world was a stroke of luck. “I got a job selling denim at this really cool store called SOLO back in the day and got hooked on vintage denim,” recalls Bastin, reminiscing about the catalyst that ignited his enduring love affair with fashion. This experience led to a position at H&M’s headquarters, followed by stints at ACNE and Whyred. Eventually, his journey brought him to GANT, where he initially made his mark as a shirt designer, and eventually ascended to his current role as Creative Director. “Doing things at a whole new level was really scary at first, and it still is. It really keeps you on your toes,” he says.When exploring Bastin’s creative vision and aesthetic, one discovers a captivating blend. “I particularly enjoy the storytelling aspect and the brand elements of my job, so that’s something I really embrace and nurture,” he reveals. NM: How would you describe your creative vision and aesthetic as a creative director? What sets it apart from other designers or brands?Christopher Bastin: There are a ton of senior designers who are better than me at designing fashion per se, but being a total nerd about American sportswear and GANT’s history provides a tool that goes deeper than just seasonal trends. It’s an amazing tool to have, this obsession of mine. It also helps being one of the original brands who helped shape Ivy and Preppy. NM: You mentioned in one of your interviews that you grew up having a passion for music and even had your own band at some point. If you could collaborate with any musician or band to create a collection inspired by their music, who would it be and why?Christopher Bastin: We did two gigs in total and both sucked so I wouldn’t put too much into it, but I do love music and in a different universe I would have loved to produce and write music as well. I have to confess it would be pretty amazing to dress Harry Styles. The collaboration we did with St Vincent was a dream gig, she really brings it. And we’re dressing Benjamin Ingrosso and his entire band for the tour he is currently on, which is really cool. He’s a musical genius who will conquer the world. NM: Can you tell us more about the inspiration behind GANT’s touring archive exhibition? What motivated the brand to showcase its 70-year brand history in this comprehensive manner?Christopher Bastin: I’ve been wanting to do this for like 10 years, it was time. I love that we’re being democratic about our archive, opening it up on display to the public. The concept of having a local curator for each city brings a little je ne sais quoi to each exhibition which is really nice. The foundation is the same in all cities, but a part of it comes through the curator’s eyes and gets a different point of view. We started off in New York in our brand new space, our first GANT Studio, located in the heart of Nolita where the Archive Exhibition was curated by Throwing Fits. It then traveled to London and Paris where the local exhibition was respectively curated by denim specialist Samuel Trotman, aka Samutaro, and Manuel Schenck, an icon within the local skateboarding scene. The latest iteration of the Archive Exhibition recently took place in the Studio space in our new Stockholm flagship store, with Jason Jules (Garmsville) as curator. NM: In what ways does the exhibition reflect GANT’s commitment to preserving and celebrating its heritage while embracing innovation and progress? How does this balance between tradition and modernity inform the brand’s overall philosophy?Christopher Bastin: Having a legacy comes with a certain amount of responsibility. There aren’t that many brands still around who were there when American sportswear was born. It’s GANT, J Press and Brooks Brothers who are still standing. It’s looking back and knowing where you came from that makes it possible to move forward. We were always a very progressive brand back in the 1950s and 1960s, and I want us to keep evolving. To be the future of American sportswear. NM: If you could only have one outfit for the rest of your life, what would it look like?Christopher Bastin: A GANT Oxford button-down shirt, washed out worn in, faded out 501’s, a pair of great sneakers or loafers and a vintage Rolex. Throw a club blazer and a good wool coat in for the winter season. NM: How do you strike a balance between pushing creative boundaries and meeting the commercial demands of the fashion industry? How does this balance influence your decision-making process?Christopher Bastin: Ah, the balance…first of all, I’m really happy we’re not a public company with a quarterly pressure to deliver to shareholders, the pressure today on a lot of creatives is getting out of hand, it becomes a commodity in itself. I’m not sure it’s a sustainable approach. Of course we have a huge responsibility to our owners to grow and develop the brand both short and long term but we can play a different game: the long game. Knowing your consumer is everything, while you have to dare to push the envelope enough to make a change and stay relevant, and therein lies the balance. But it’s a cyclic movement, not a seasonal thing. It might be holding off a season to push a certain silhouette, while I personally would have loved to have it in stores yesterday, long term it’s better to wait until the early majority has caught up and you can actually make a business case out of it. Merchandising is a fine art. I’m still learning every day. NM: Can you share some insights into your creative process? How do you approach the concept

Jannike Combines Queerness and Pop Art in ‘Popwave’ text Josie McNeill Drawing from the shapes of Basquiat’s graffiti and the vibrant colors of pop art, Jannike Sommar designs for the bold, the queer, and anyone who is unafraid to express themselves. Jannike’s self-titled brand released its latest collection ‘Popwave’ on May 21, 2023. The brand will be showcasing ‘Popwave’ in the park during Stockholm Pride, which lasts from July 31 to August 6. Jannike was born and raised in Stockholm but currently resided in Paris. They began the Jannike brand alongside their partner Renata Souto after graduating from the Royal Academy of Fine Arts Antwerp in 2016. Renata now acts as both Jannike’s wife, manager, and director of e-commerce. The two work to promote the vibrant clothing that Jannike creates.  How did you first build the Jannike brand?J: It started a long time ago because ever since I started doing fashion, like when I started to study, I knew I wanted to do my own brand. Then when I did my higher education in Antwerp. I did my bachelor and master in the fine arts. So then I started to develop the idea of what I wanted to start with. I wanted to do this queer brand with this patchwork technique with the pictures I do. I knew I wanted to start with this kind of kissing graphic. So I started school and then I worked for a few years and then we met and then we decided to go for it. R: We actually met at Stockholm Pride eight years ago. And one of the first things I noticed when we met, because it was very warm and Jannike had shorts on, I noticed a very gigantic Basquiat tattoo that they have in their legs. Later when we started to date, I went to Antwerp to see her masters collection. Oh my god, her show was a full Basquiat color sensation graphic, very graphic. So I was connecting this universe that they have in their mind, and I started feeling that there was a potential with the brand during COVID. Because during COVID, we had a little more extra time to work on the branding and the products. We started to launch some products as a test, and we felt a lot of traction from the spontaneous media from markets and then we decided to take the risk with our jobs. And now it’s been a little time that we are both dedicating fully to the brands.   What is the inspiration behind your newest collection ‘Popwave’?J: It started with the pop star posters from the 80s and 90s. These mainly showed cis-women, so we wanted to take this mood, but put it in our queer universe. To put this pop art in a more non-binary vibe. And then we created these slogans like, “Pop Your Star,” “Gender is a Wave,” “Stay Queer,” just to convey the meaning to express exactly who you are the way you want. Stay queer. R: It’s pretty much inspired by the pop art posters and the queer community. And then what is the importance of this collection surrounding pride?R: Visibility. I think not only for this collection, but all our collections and the brand itself. It’s a statement for visibility, representativity. Because nowadays, it’s still very harsh for the queer community to thrive. So it’s really the message of we’re here, we’re queer. This is pride month, but the brand is bright throughout the whole year, and we need to give visibility to queer people and people who are not afraid to express themselves. How would you describe the style of this collection?J: Before I did more like hoodies, sweatshirts, and more like loose streetwear. Then I started doing more looks where you can feel a little bit more dressed up. And I got requests from customers that they missed some more tight pieces, and pieces that you can combine for parties maybe or the beach and other suits that you can combine as you like also. R: I would say this style of pop wave is the classical Jannike whimsical, pop, colorful pieces but translated to a dressed-up, sexy look. And then you kind of mentioned this at the beginning, but the queer kiss is kind of a motif in that collection and your past capsules. So I was wondering if you could talk a little bit about why it’s important for you to incorporate this graphic into a lot of your designs?J: The core of the brand is like the queer culture and pop art. This is part of my style, the wavy but very graphic, signature style. It’s so important that you recognize everything as a Jannike piece, which makes sense to me. Do you think there is a connection between queerness and like pop art and graffiti, especially because you mentioned Basquiat, and with figures like Andy Warhol being a pioneer of the street and pop art genre?R: Yeah, absolutely. It’s about art and arts in general. It’s not being conventional in the way of expressing yourself. So it’s absolutely connected and we’re very proud that it’s actually visible and that you’re mentioning this. What was it like dressing Robert Fux for Drag Race Sweden?J: It was really a dream. I was extremely happy to get the request because I knew him for who he was for a very long time and I looked up to him and I love what he’s doing in drag. I mean so it was really great.  He’s such a nice person. It was a very nice collaboration. AR: Funny story. We are actually based in Paris and Robert Fux is based in Stockholm. So it was a whole process of defining the style, validating the sketches in distance with Zoom calls. We were fitting a friend here in Paris that has a similar body, kind of, so we did fittings, and then Jannike who went to Stockholm to do the fitting of the first one. So it was very challenging, very different, but it

Mats Gustafson and Ted Muehling’s Journeys in Reclaiming Beauty text Natalia Muntean photography Ellinor Sjobergfashion Ulrika Lindqvistall clothes Baum und Pferdgarten FW23 “From the very beginning, we were captivated by each other’s work and continued to hold admiration for it,” they say. Quintessentially Danish, Baum und Pferdgarten has established itself as one of the most popular and distinguishable clothing brands in Scandinavia. With its name honouring the collaboration between Rikke Baumgarten and Helle Hestehave, the brand was born in 1999, after the two designers met at the Royal Danish Academy of Fine Arts in Copenhagen. The two shared passion and vision, while also staying true to their different aesthetics, a detail that “complemented each other very well.” Their debut collection received positive reactions at Copenhagen Fashion Week and “gained attention for its unique style, combining vintage-inspired designs with contemporary twists.” Helle’s attention to detail and sporty, masculine aesthetic find expression in tailored, monochrome silhouettes in navy, grey, and black. Rikke, on the other hand, adds drama and opulence to the equation. “I embody elements like puffs, ruffles, and embellishments,” she explains. Their distinct design approaches result in a quirky and harmonious fusion. By bouncing ideas off one another, while remaining united by their shared dedication to the craft, Helle and Rikke leverage each other’s strengths to create a cohesive vision and shape collections that transcend norms. NM: How do you deal with disagreements in visions when working on a new collection?Baum und Pferdgarten: When we stumble upon disagreements, which is very rare, we believe in open and respectful communication to find a resolution. We value each other’s perspectives and understand that creative differences can often result in an even more creative outcome. NM:How would you describe the Baum und Pferdgarten woman?Baum und Pferdgarten: We wouldn’t say that there is one specific Baum und Pferdgarten woman. We design for all women to be able to express themselves with our clothes in different ways. But overall, we would describe her as someone who is grounded in herself, curious and strong – someone who never fears standing out. This woman would be a mix of the two of us: she is effortlessly sporty one day and the next day she craves a dramatic, fun look. NM: If you had to design an outfit inspired by a famous painting or piece of artwork, which one would you choose and how would you interpret it?Baum und Pferdgarten: This sounds like a good idea for a future collection, let’s do it! NM: In your opinion, what defines a typical Scandinavian style, and how does Baum und Pferdgarten align with or deviate from that definition? Are there any distinct design elements or principles that reflect the Scandinavian design heritage in your collections?Baum und Pferdgarten: Minimalism is symbolic for Scandinavian fashion, we of course love the straight lines in silhouettes and the understated elegance, but we have always liked to bring fun and unexpected elements. However, throughout the last 15 years, Scandinavian fashion has evolved into being more than just minimalistic. It now stands more for expression and thinking outside the box, which we of course LOVE. NM: How do you prioritise functionality and comfort while maintaining a sense of fashion-forwardness and creativity in your designs? Can you share any examples of how this balance is achieved in your latest collection?Baum und Pferdgarten: We often draw inspiration from the world of sports, it adds to the comfort element and functionality of the styles. In previous collections, we closely took inspiration from sports such as swimming, hiking, jockeys, and skiing. In this AW23 collection we took inspiration from Chas Tenenbaum’s passion for tennis and created our tracksuits and jumpsuits. They are a perfect mix of fashion forward thinking and functionality.  Including sportswear influences lets us add a unique twist to the overall atmosphere of the collection, which ensures that our pieces never become “just” costumes. We always consider that the styles are nice to wear, not only in their appearance, but also in the comfort they bring to the wearer. NM: How do you approach designing fashion for “real people living real lives”? What are some considerations or principles that guide your design process to ensure that your pieces are wearable and practical for everyday situations?Baum und Pferdgarten: As we mentioned before, we are prioritising comfort, versatility, and quality materials. Our pieces are suitable for everyday situations, but we want you to be able to transition seamlessly between occasions. We want our pieces to be able to be worn from work and straight to dinner parties.Copenhagen is famous for having a lot of bikes. So, sometimes to try out the designs we jump on a bike and cycle around the block to make sure the clothes are “bike-friendly”. NM: What was the inspiration behind your latest collection? Can you share any specific influences or references that shaped your designs?Baum und Pferdgarten: The AW23 collection we showed during Copenhagen Fashion Week this February is inspired by Wes Anderson’s film The Royal Tenenbaums and it explores the iconic style of each character from the movie. The influence that Wes Anderson’s films has had on the fashion world is well documented, as his precise colour palette, memorable locations and intricate details are rich with inspiration. This collection delivers outfit classics that are now timeless, such as Margot Tenenbaum’s long mink coat and tennis dress combination, Chas Tenenbaum’s red tracksuit and Richie Tenenbaum’s tennis-wear-made-formal look. But it’s also exploring the character’s stories, dysfunctions and quirks. NM: Can you share any upcoming projects or collaborations that further explore the intersection of Scandinavian design, functionality, and fashion? What can we expect from Baum und Pferdgarten in the future? Baum und Pferdgarten: We are so excited for our show this summer, and to show all of you our SS24 collection! text Natalia Munteanphotography Ellinor Sjobergfashion Ulrika Lindqvisthair and makeup Filippa Smedhagenmodel Amanda / Le Managementfashion assistant Filippa Berglind Finnspecial thanks to Café Nizzaall clothes Baum und Pferdgarten FW23

An Interview with Elmina Ekman text Josie McNeill Artist and designer Elmina Ekman needs a break from fashion. After finishing her degree at the Swedish School of Textile last year in addition to various other arts schools and then completing a fashion internship in Paris, Elmina Ekman released her ’80s inspired Dusty Delights collection. The 26 year old designer drew inspiration for her latest project from her parents’ closet as well as her boyfriend and collaborator Hannes Mörk’s parents’ home. The collection consists of lacey leggings, dainty lace up tops, and soft knitwear—perfect for the current rise of ballet-inspired fashion. But now she said she’s taking a much needed rest and recovery from fashion design before letting her creative energy flow into making garments again. What’s your main focus now instead of fashion design?Well, for now, I just moved to a new apartment. So now it’s all about, you know, interior design and finding new furniture and kind of, yeah, the new place to work. I also have a new studio so I will start doing some new stuff pretty soon, but now I’m getting to know the new place. How would you describe your design aesthetic?I think it’s a little bit difficult to pinpoint. Because, you know, when you’re a new designer, you’re new to the fashion world. I mean, it’s only been a year. It’s kind of hard to to niche. And also, when I went to school, I didn’t want to set my aesthetic too early. I just wanted to explore. I think I still have that a little bit inside me. And I definitely will say that I like working with the materiality of this kind of handy, crafty aesthetic. I will say it’s about structures and kind of neat details. I am mostly working with and get inspired by crafty things, materials, and of course, I love walking around into flea markets to look for interesting whatever actually, it could be textiles or objects. For your dusty delights collection, why’d you decide to use more lace and knitwear fabrics because I feel like it differs greatly from the materials on your past designs?For this project, I collaborated with Hannes, my boyfriend and often when we do these shootings, we decide the location after you know the aesthetic of the clothing. For this project, we set the mood and atmosphere and the location first. And then made the pieces when we shot it in this kind of mix and match spare apartment at Hannes’ parents house. We have this granny longstocking vibe because it’s kind of a bit weird, and it kind of reminds me of when I was visiting my grandparents house and looking at my mom’s old ’80s clothing and knitted pieces that my great grandmother had made. I wanted to kind of achieve this kind of new romantic look with lace and leggings. For this, gown dresses have been ripped apart. And that was like the idea for Dusty Delights, when you went through your mom’s old wardrobe. So we went for that and had like this kind of polish look with no defined curls and neat makeup. I really liked that it was kind of like ballet inspired here with leg warmers and lace.Yeah exactly. And also for some of the pieces drawn from my graduate collection. I used some tall fabrics that I cut in small pieces, glued together, and stick stitched because I wanted to achieve, on the surface, the impression of paper. So for Dusty Delights, I use elements that I had developed from my graduate collection from school. Can you talk a little bit about your experience at the Swedish School of Textiles?Well, my experience was great. I think it was a perfect time in my life to move to a smaller city because I’m from Stockholm. It’s not like you’re supposed to be like commercial fashion. It’s more a place to work with materiality. And I really would say, I mean, it has pros and cons, but I always say like overall I’m really pleased with my education and my experience with teachers was great. I think I learned a lot from being at school. However, I kind of feel like what I missed a little bit, was like the commercial part actually, because it’s not like that when I graduated, I had all the tools to go out into the industry and start working. And then how would you describe your design process from start to finish?I start sketching in my head. Especially now during my work hours, I listen to podcasts and it’s this perfect opportunity to be in your head and thinking, so I kind of sketch in my head. Again, I often like working in the material world in either 2d or 3d. When I start a project I go all in, zero to 100%, so it gets really intense in the studio I also look at a lot of magazines and the internet and listen to music. For example, for Dusty Delights, because I wanted to have this 80s inspiration, I listened to ’80s music because I wanted to get into the mood. So that’s part of my process. And then I try and try and try and go back and cut and sew again and hem. I work really free. What was some of your favorite 80s music to listen to when you were designing Dusty Delights?Maybe I should pull up my Spotify Spotify? I made this amazing French 80s playlist, so I mainly like listening to French 80s music. Elmina sent the song that was most inspirational to her for Dusty Delights, “Les démons de la minuit” by Images, after the interview. And then do you think you’re gonna do a lot of other collaborative photography projects with your boyfriend in the future?Yes, I think so. I mean, he’s my partner in crime. How did the collaboration with your boyfriend first come together?He used to photograph my school projects, and so on. We have a good working relationship too. I’m sorry. We just have

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.