Written

Lovechild 1979 SS24 Interview
Written by Ulrika Lindqvist
An interview with Lovechild 1979's creative director Mia Kappelgaard about the SS24 collection.
UL:Please tell us about the process in creating the ss24 runway show?
MK:The collection has been focused on the feeling rather than seeking perfection, and we've strived to integrate that essence into the show. During the development process, we carefully worked with compositions and hybrids, selecting a remarkable location above the rooftops of Copenhagen, featuring beautiful details, layers of history, and a raw industrial charm.
For me, it was crucial to find a female voice that embodies both lightness and darkness, and we are truly grateful that Josephine, an exceptionally talented musician, wanted to join our project. Her multifaceted voice allowed us to create a soundscape backdrop for the collection, infusing it with an intimate and sensory intention.
We can hardly contain our excitement as we prepare to showcase the collection, alongside Josephine's stunning soundscape. It's a humbling experience to bring together the feeling of the collection and the grandeur of the location, and we sincerely hope it creates a memorable experience for the viewer.
UL: What does the SS24 collection represent and what was the main inspiration for this collection?
MK: The SS24 collection, 'Sensitive Standards,' draws its inspiration from the profound and tactile brilliance found in the renowned American photographer Irving Penn's work. Our goal was not to pursue perfection, but rather to evoke emotions and explore the inherent beauty of materials and the creative processes involved in their transformation.
At the core of SS24 lies a celebration of the quintessential woman – someone who embodies proficiency, imagination and self-reflection. To convey this essence, we are embracing a modern and sculptural approach to textiles, inviting a closer examination of the interplay between form and surface. Through seamless fusion of masculine elements and feminine shapes, we are aiming for a soft tailoring that gracefully envelops the body while maintaining an alluring blend of wearability and aesthetic appeal, bridging atelier with a breezy ambiance of summer dressing.
The path to achieving this balance involved thoughtfully working with a diverse range of materials, including luxurious heavy textiles and ethereal cotton-silk voile. Meticulously draping satin and crepe fabrics adding a sense of density and contrast, elevating its visual allure, and infusing each piece with a distinctive character.
UL: What was the biggest challenge creating your ss24 collection?
MK: During the creation of the new collection, we faced some challenges with managing the production. You know, ensuring materials arrived on time, dealing with transportation logistics, and managing production costs. It was a bit of a juggling act to meet strict deadlines and stick to specific parameters. It is always team effort that makes all ends meet and in the end everything was sorted out. I'm really happy with how all the pieces turned out, and I truly feel they reflect our commitment to craftsmanship and developing collections with longevity in mind.
UL: How would you describe the Lovechild 1979 woman?
MK: Our collections are designed with the quintessential woman in mind. She is a proficient, imaginative, and self-reflective individual, exuding sophistication, and an undeniable sense of self. This alter-ego we create for embodies a timeless elegance, seamlessly blending classic charm with contemporary flair. She is unafraid to challenge conventions, making audacious choices that set her apart as a true trailblazer. Our designs celebrate her unique spirit, empowering her to stand out and make a lasting impact in the world.
UL: What can we expect from Lovechild 1979 in the future?
MK: We're very excited about what lies ahead! Our hope is for organic growth and subtle development in our brand. One of my dreams is to introduce a more extensive selection of shoes and bags, so you can easily find the perfect accessories to complete your look. Our designs will always be versatile, effortlessly complementing the pieces you already have and helping you create elegant ensembles.
Another big dream of ours is to take Lovechild 1979 to an international level. It would be incredible to see our creations embraced by women all over the world!
But, above all, staying true to our values is paramount. Crafting contemporary pieces with a longevity mindset is essential to us. We want you to cherish our designs for years to come.
All images courtesy of CPHFW
- CREDITS
- -
- +
photography Ellinor Sjoberg
fashion Ulrika Lindqvist

The creative journey of Christopher Bastin: Balancing heritage and innovation at GANT
Written by Natalia Muntean by 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 development and design phases when creating a new collection?
Christopher Bastin: Procrastination is my best friend and my worst enemy. With the years you learn to trust your instincts and especially once you know the brand as well as I do. It might be something I listen to, a certain mood, an image that catches my eye, someone with a unique style. Sometimes I have a super clear idea from the start, then it’s easy. Sometimes it takes throwing five ideas in the trash and verifying my sanity with my design team before I’m even convinced I have an idea at all. Anxiety is one hell of a force.
NM: How would you describe GANT's latest collection?
Christopher Bastin: Pre-Fall 23 is kind of an homage to the movie The Graduate, a casual yet iconic wardrobe. The club blazer, the varsity jacket, leather blouson jackets for women, raw silk ties, perfect shirts, all that good stuff. It’s also the season we bring back our original GANT crest logo that was designed in 1985 in NYC. Laid-back and sexy at the same time.
NM: What emotions or feelings do you hope to evoke in people when they see or wear your latest collection?
Christopher Bastin: Emotions are important, and I think we can make the consumer feel both savvy and effortlessly cool when stepping out of the store.
NM: Are there any specific messages or statements that you aim to convey through your latest collection? How did you incorporate these ideas into the design process.
Christopher Bastin: That good style is timeless, and that GANT truly is a force to be reckoned with. It’s in the subtle details, the cut, the wash, the fabric. There’s been a lot of talk about quiet luxury, and for a good reason. Prep is back, the way it’s supposed to be: effortless, a bit chic and extremely wearable.
NM: Can you talk about any upcoming collaborations or exciting projects GANT is working on? What can we expect to see in the near future?
Christopher Bastin: We just opened our brand new flagship store in Stockholm which we worked on for over two years, and we’re very proud of it. We partnered with New York-based design Snarkitecture to reimagine the space where interior details are a reference to our heritage and Ivy League legacy. A must-see destination in Stockholm if you ask me. In our GANT Studio (our second GANT Studio and a new multifunctional concept that will serve as a creative hub and bring the community together), we will keep on hosting inspiring and exciting activations throughout the year.

photography Ellinor Sjoberg
fashion Ulrika Lindqvist
hair and makeup Filippa Smedhagen
models Livia / Mikas and Tage / Mikas
fashion assistant Filippa Finn

all clothes Gant FW23
- CREDITS
- -
- +

photography and art direction Adam Kaiser
fashion Paloma Gonzalez Axeheim
shirt and trousers Levi's shoes Eytys necklace All Blues
bracelet and ring KSV Jewellery

High Life: An Interview with Kimchi

Written by Natalia Muntean by Josie McNeill

“Music heals. I hope mine does too,” says Kimchii, the part that brings more clarity to Kim Söderlund, a Stockholm-based artist. Kimchii is “an outlet for everything Kim can’t express” and, as the artist puts it, they make “a good team.”

Kimchii released his debut single When You Feel The Time Is Right in 2020, on the legendary French record label Kitsuné Music. Since then, he has been refining his skills as a producer and songwriter. Embracing collaboration and exploring new genres has expanded his creative spectrum in all directions, and challenged what good music means to him. But believing in his ability to make a living out of his art made “the biggest difference” in how his music has evolved.

In early 2023, Kimchii released Energetic Fields, an intriguing blend of organic instruments, electronic accents and feelings galore. The song was followed by Own the Night, a collaboration with Marseille-based artist Anoraak. Despite never meeting or speaking, their musical styles share a common language, reinforced by their passion for disco and electro-pop music. The two artists brought the idea of “owning the night” to life, and the single put Kimchii on BE Records' radar.

NM: What inspired the single’s sound?
Kimchii: When writing my songs, I often get a clear vision that plays out in my head and translates into lyrics and melody. With Own The Night, I wanted to capture the feeling of standing at the edge of the world in the night, dancing with strangers, being confident and in control

NM: What story is Energetic Fields telling?
Kimchii: Energetic Fields was inspired bynightlife, having too much of a good time, and how easy it is to lose yourself in it. The video embodies the dark side of partying, three creatures dancing their way deeper into the night. I won’t say more. You’ll have to see it for yourself!

NM: How has working with BE Records been?
Kimchii: Bon Entendeur is an amazing band from France, and I’ve loved their music for a while. They heard Own the Night and wanted to feature it on their new compilation. It’s easier working with labels run by musicians, as there’s a deeper understanding of how things work, and it’s an honour to release music on their label.

NM: Who is on your collaboration wishlist?
Kimchii: I’m very inspired by the Australian band Pnau by the craft of their productions, and I am confident we would create something magical together. Another Australian band I admire is Confidence Man. Amtrac is a producer I’d love to collaborate with.

NM: Do personal experiences play a significant role in your music?
Kimchii: We all have different parts of ourselves - I get inspired by these and try to exaggerate them conceptually. We’ve all stayed out too long, not wanting the party to end, like in Energetic Fields. And as in Own the Night, we have all felt insecure on the dance floor.

NM: Can you give us a sneak peek of your upcoming projects for 2023?
Kimchii: I have some singles and collaborations coming up, including with two artists I love: Tensnake and Satin Jackets. I’m also performing live at the Porsche SCOPES festival in Stockholm, at the end of May. And there’s more to come!

NM: How do you hope to develop your sound in the future?
Kimchii: You can expect more alternative dance-driven & up-tempo sounds, while keeping a dream-like texture, influenced by 70s disco and 80s post-disco music. I don’t like to restrain myself. The sky’s the limit!