Fashion Articles

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

Samsøe Samsøe AW23 Collection: Futuristic Flair Reign Supreme text Linnéa Ruiz Mutikainen LRM: Any personal favorites in terms of looks? MMF: So many. But I particularly love the Shelby leather jacket with white and orange inserts. The pinstripe tailored Luzy suit is another favorite, also the oversize Solene knit hoodie. I have lived in it this past winter. LRM: What lies ahead for Samsøe Samsøe? MMF: We have found a good structure for all collections. The team is solid, we have all worked together for a few seasons. Now we can really focus on details, fits, and general improvement of products. We have just been through a significant process to pinpoint the brand’s position and persona. To have words and visuals clear for the creative teams will only make us stronger and help deliver great collections. We are so excited about the future. For autumn, Danish label Samsøe Samsøe pens an ode to the future, while celebrating its 30th anniversary. Sartorially Scandinavian, reimagined. We are all familiar with the sleek silhouettes, trademark neutral hues and monochrome stylings. This season, Samsøe Samsøe takes the plunge into its own archives, a fashion legacy spanning three decades. Classics are reinvented, further hybridized with bolder aesthetics, hinting at a bustling vibe shift. Odalisque’s Linnéa Ruiz Mutikainen talks to Meme Marta Fagiuoli, Head of Womenswear at Samsøe Samsøe.   Linnea Ruiz Multikainen: Describe the AW23 collection in three words. Meme Marta Fagiuoli: It is Scandinavian, modern, and with a slight edge. LRM: There seems to be a merge between the past and the future. What inspired this collection? MMF: We are in the middle of a process where we look deep into our styles. Revisit our classics, identify what we are good at. Fits and silhouettes have been two constants, we always strive to update them. To elevate the collection, we searched for the items we were missing. It’s a stimulating exercise finding a balance between being proud of our heritage and developing new styles. Hopefully, they will blossom into core pieces for the brand. The key is to have the modern woman and customer in mind when designing. photography Ellinor Sjöbergfashion Ulrika Lindqvisthair & makeup Filippa Smedhagenmodel Oceane / MIKAsfashion assistant Filippa Finnretouch Emely Majrelltotal look Samsoe Samsoe FW23

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