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Hope, being a Scandinavian fashion brand with a tradition in tailoring and utility, stands for the foundation of my interpretation of the brand. By means of an understated tailored aesthetic and silhouette. Having built my collection on classic garments, my vision is to embrace the sensuality of the everyday. In a time of urgent need for a more diverse representation of fashion beyond gender, my collection is designed for everyone to wear regardless of one’s gender identity. I have also chosen to present my collection as a Resort. Casually mixing swimwear, evening wear and everyday essentials, my idea is to provide an effortless wardrobe to be worn with elegance through the day and for any occasion.

During my design process I have been looking to the body, as a means of empowerment. In the relation between the dressed up and the stripped down, is the nude.

Understated. A contradiction. Escapism into the plain.

Fashion for longevity is my stance on sustainability. I would like my design to make whoever wearing it feeling raw, effortlessly beautiful and alive. Wanting to create that bond, that makes us care for our garments and keep them in use for years to come. The majority of the materials used in my collection are deadstock fabrics carefully selected and sourced from fashion houses, wanting to be environmentally resourceful using existing resources. For my Swimwear range, I have chosen to work exclusively with ECONYL®.

Which is Lycra created from Nylon waste from landfills and oceans around the world. Lastly, I have also used plastic. It’s my vision to make a 100 percent mono material, an easily recyclable product for several life cycles to come, encouraging taking better care of and recycling plastic waste.

Materials: 50% Deadstock fabrics (Wool, Cashmere, Silk and Cotton), 25% ECONYL®, 20% Polyurethane, 5% Silk

Thanks to: Patrik Guggenberger for his engaged involvement and support throughout the collaboration. An extra thanks to the team for letting me use their deadstock fabrics, as part of my collection.

Inspired by the surrealistic idea of taking familiar objects and putting them into new contexts, my starting point for this project was my grandma’s house.

Misplaced lampshades and glued porcelain figures, leather couches and wooden floors. I wanted to combine something a bit odd and twisted, with something more classic and minimalistic in the Filippa K spirit.

Suits, dresses, heels and jackets, my collection is based on our most classic garments. With just a few colours and fabrics I wanted to keep the collection minimalistic in some way, and to work with somewhat odd shapes and accessories.

Shoulder-pads, curtain-like drapes, leather jackets and interior inspired details are recurring themes in the collection. The collection contains only natural fabrics, mostly second hand but a few carefully selected from other sources.

Materials: 18% leather from second-hand couches, 13% second-hand wool carpets, 9% wood waste, 26% leather waste, 22% silk, 6% second-hand lampshades, 3% sheep fur, 3% second-hand porcelain

Thanks to: Siden Selma, Göran Lingestål

For the collaboration with Filippa K I wanted to stay true to their DNA: modern, timeless and elegant everyday wear. My collection reflects a synergy between their foundation and my vision by simply creating uniforms for the future. Uniforms built on playfulness and function leaving room for versatility and individual expression. At the same time, extending the lifespan of the clothes and broadening Filippa K’s customer group.

In order to create new shapes for everyday wear I looked back at earlier ideas and visions of the future, combined with modernism. Mixing collected hardware components such as an old parachute, deadstock wool and cotton and leather waste.

From a sustainability perspective, I have extended the life span of my design by creating contrasting ways to use the garments in my collection. As well as seeing the value in the use of already produced materials such as an old parachute, leather from old furniture and deadstock fabrics.

Materials: 100% nylon - old parachute, 100% organic cotton - deadstock, 90% wool with 10% cashmere - deadstock, Faux leather with 20% recycled leather - leather from old furniture, 100% leather - leather waste

Heavy tailored garments in symbiosis with lightweight materials with a variety of functions; resizing, buttons and ties to be adapted and styled for the individual. As an ode to Filippa K I have worked with earth tones and a few selected colours. All garments can be combined with each other in various ways, thus creating everyday wear in a new futuristic dimension.

This is a story based on a true-life situation. A story about when two separated worlds collide and create a place where beautiful attributes have a tendency to become painful affliction.

You are strong, but dependent on others. Your existents are based on their needs. You ignore yourself to satisfy your surroundings. They take you for granted, because they know you will always be around. They look down on you, do not give you the appreciation you deserve. You are characterized by a culture that are no longer around you. You are the only one, and maybe I am as well? I have learned from you. Walked the same path. Experienced similar adversity and reactions. The world is different now, not as it was before. You and I see it with different eyes. We are neither from this time or universe. We are different, but still one in the crowd. The beauty you know do not exist here, here everyone is independent. You are strong, but in a destructive way. I want to show you something, something that will lighten your heart. I want to show you what independence can be, the strength to prioritize your own health.

In this collection I want to explore the limit between accessory and garment, experiment with the purpose and letting the accessories take a bigger space in an environment that I associate with recovery. Letting the atmosphere in the bedroom inspire me to create a collection that radiates calm and safety. By using objects that already exists in the bedroom, I want to try to find a coherent expression between feeling and reality.

The garments are made from materials that I have a personal connection too. Handpicked with care on places where memories were made and donated from loved ones who let me give a second life to something that no longer considered of any value. Associations leads to added value. In this case, a sentimental value, which contributes to better care and longer life span.

Materials: 10% recycled wedding dress, 2% recycled tulle, 10% recycled cotton lace tablecloths, 18% recycled leather, 30% recycled cotton sheets. 10% recycled bed skirt, 15% recycled linen, 5% recycled cotton bedspread.

Thanks to: Magnus Nyström and Pia Thorup Steen

“Rave Review is an upcycling clothing line which creates progressive re-make and shows how to combine remake and high-end fashion. The numbered collection is designed and produced in Sweden in an exclusive process where uniqueness is guaranteed and quality is uncompromised.” – Rave Review

The brand has inspired me to work exclusively with second hand textiles and to make clothes with a value of textiles that, in a way, already lost their status. Rave Review use a mix of both colors, structures and different textiles qualities in their collections. The way of working creates an opportunity to play with memories which is in the textiles and put them in to an contemporary fashion scene. With memories and association possibilities in mind, the collection is based on personal memories from my grandparent's old summerhouse, the sun-bleached and washed out aesthetic together with an active watersport feeling from my closest remembrances. The collection includes already used qualities like washed-out terry towels, old sportswear in a colorful combination and old wetsuits.

All the textiles used in the collection come from Myrornas, a second hand chain in Sweden and from my grandmother’s home. From the outset, sustainability was the main focus of the collection. Also working with textiles with an obvious limit: sometimes it was not enough for an idea, so a new idea had to comes from the limitations, to let the piece of material in that specific quality make the design choices. It was interesting how the limits created the design and how important it was to hold on to the principle. The combination of qualities comes from research of the possibilities in second-hand market and the realization of how many technical garments that exist in second-hand stores.

The limits of creating with this specific way of sourcing can be difficult as a foundation for a company to create an economic sustainability. But the method is fantastic since the world is full of qualities that are more than good enough to create new things in. The second-hand market is important for the future, both as a way of giving garments a second life as well as finding the base to create new designs. This makes every garment unique. This collection wants to encourage the way of looking at resources that already exist. It is inspired and created from the benefits of textiles that stretch to fit the body, with a vision to create new shapes and to make them fit the body once again. With color blocking and lines and cuts similar to wetsuits, the collection is flirting with activewear.

Materials: 40% washed-out second-hand towels, 30% old wetsuits, 30% old sportswear

In my collection I have chosen to work with the idea of a teenager who has access to her aunts funny wardrobe. The collection explores the discrepancy and the contrasts between these two people and their character traits; what they appreciate about each other and what their dissimilarities are. The collection is based on the question of how to approach a younger target group and how to reach them throughout my collection.

The starting point for me was to work with the idea of the established and conscious Dagmar woman and how the curious teenager might challenge the strict style of the Dagmar woman based on how I would challenge and establish a clothing line for a younger target group. While preserving a clear connection to Dagmars core values: sensuality, masculine vs. feminine, with a breath of Art Deco and the 70s spirit.

Based on these thoughts, I chose to work with cuts and garment types that clearly breathe Dagmar classics. And thereafter based on my questions, I proceeded to challenge the garment types and cuts to give them a younger tone. My answer to that question was to challenge their tasteful way of showing skin in the products. To take it one step further, where it becomes more interesting for me and to continue working further with the sensuality in the garments; and the way that the collection has grown throughout styling and different ways of combining and using garments. With certain ‘dressed’ undertones and contrasts that allow them to play with each other.

Differences and combinations are something I found interesting, both in my concept and in the selection of materials. And that is how my sustainability concept was formed as well; That this younger person who has access to her older aunts wardrobe has an appreciation for the totality and the heritage that is free for her to use throughout the wardrobe. From the old to the new. Where there is only one of each, garments that have been kept for a long time, or will be kept for a long time. That to me is a certain kind of sustainability. Investing in garments that are unique with a higher degree of quality will make purchases less frequent. And this, in turn, may make the person in the long term consume fewer and more durable garments. As well as work on styling and combining the clothes as a principal focus to really utilizing garments to the full. That is why I have chosen to work with both new and old materials.

Materials: 10% deadstock silk, 25% old second-hand denim jeans, 25% new vegetable tanned leather, 20% organic cotton and jersey fabrics, 5% second-hand bijouterie jewellery, 15% recycled leather from furniture

In my work I have chosen to be inspired by the core values from the House of Dagmar brand, and the lessons the three founders learned from their grandmother, Dagmar. She was a proud craftsman, a tailor, who taught her grandchildren the importance of quality and textile care. In my collection for House of Dagmar I have worked with the ambition of exploring Dagmar as a fictional person born as generation Z. My work reflects what she would have articulated as the most important thing to pass on to the generation of today.

It has been important for me to stay close to the aesthetics of House of Dagmar as a brand. I have looked a lot at what types of garments keep on coming back season after season, in different variants and interpretations on that legacy. Dagmar Z is an example of what a branch business that focuses on being environmentally sustainable, using as much recycling as possible, could look like. An initiative that strives to transform the consumer's view of consumption of recycled clothing in general and what consumption of reprocessed products could look like.

My approach has been to work with material from torn clothes such as leather jackets, jersey and heavy knits. These materials have been resourced at a sorting station for donated clothes at PMU and other second-hand stores. The goal has been, as far as possible, to use only torn clothes.

Materials: 35% upcycled leather, 10% upcycled jersey, 15% deadstock jersey, 15% upcycled heavy knit, 5% upcycled wool, 10% upcycled hardware, 10% wood

Thanks to: PMU, Peter Nilsson and Järna Trä

“Body positivity is about more than just having curves in the right places. Let us put hypocrisy aside and open our eyes to the bodies that are underrepresented.

Together with the essence of Nudie Jeans we raise our hands and celebrate the most important thing we have: our bodies. Breaking free from the Madonna-whore complex and a modification of today’s bombshells. From the elevated glory the shapes are lifted, so let us embrace their magnificence.”

In collaboration with Nudie Jeans I have chosen enhance their essence through well-finished garments with a long life and carefully selected materials that come from a strong awareness of the need to protect the environment, today and for future generations. A sense of punk, and of being part of the people, have been essential and particularly strong in Nudie Jeans’ DNA. The sense of willpower, integrity and of a “couldn’t care less” vibe is something that I have embraced and found to be very important in my collection.

The Larger Than Life collection describes what I and many others find problematic in the world of fashion; that is to say, the tremendous feeling of excluding the bodies that fail to fit into the norm or the garments that are produced today. In an investigative study I have chosen to challenge myself as well as the tools that we are given as fashion designers in a world that embraces a very selective ideal. My choice of sizes and models has been an extremely important part of the process therefor I’ve decided to only work with size 44 and larger. Focusing on what is underrepresented, demanding the space and thereby questioning the way we see fashion and the fashion world in general.

The Madonna/Whore complex, which sadly lives on in our society, and the way in which parts of the society views women, is something I’ve found very interesting and useful throughout the process. I want to modify our gaze by taking inspiration from the bombshells of the 1940s on to the 1960s. A beautiful and free individual who takes on the world and its challenges but doing so within her own conditions. My choice of models is, thus, of mixed ages, ethnicities and sizes.

My take on sustainability is the social aspect of it. I have chosen to examine and question the fashion industry throughout history. The materials has been carefully selected and are a mixture of spillage and second-hand. I have also very carefully considered the materials prior to cutting to reduce spillage in my own garments. It has been important to me to imitate Nudie in selecting materials that have a long life and so there is a lot of denim and leather in my collection. I have also been inspired by Nudie’s way of working with their iconic orange stitching. I have used my interpretation of the stitches in order to emphasize different parts of the body such as the stomach, hips and breasts.

The collection will act as a counter question and as a critique of the fashion industry. For both recipient and sender.

Materials: 100% real people

Thanks to: Nudie Jeans for the fabric and thread and Daniel Larsson

With the essence of Axel Arigato being their sneakers and sporty style, I wanted to create something fun and with an attitude for their young clients.

This is materialized by using bold colours, transformable elements and shoelace details to embody the modern club kid who mixes pleasure with business and likes to flow between different scenes.

A majority of textiles are waste from industrial fabric production. Accessories are made of Jesmonite and 3D-printed PLA. The garments are also designed to be multifunctional.

Materials: 30% Deadstock fabric, 30% Polyamide from industrial waste, 15% Raw Silk, 10% Bamboo jersey, 10% Jesmonite, 5 % PLA

Thanks to: FOV Fabrics, Kourosh Hekmatara, Jonatan Hörnfeldt Asklund and Ofelia Jernelius

To have a sustainable concept in the fashion industry today is a must because we are consuming more fast fashion than ever before. Rave Review has a truly unique concept of using only second-hand textiles to produce very high-end garments. To use only second-hand materials is definitely a challenge but something that really interests me. Rave Review has the ability to create something very youthful and luxurious from old and outdated fabrics and that is what I focused on.

With old and already patinated textiles I wanted to express a feeling of old treasures that have been passed down through several generations. Upper-class textiles and silhouettes that have been reconstructed and combined with more romantic and rough materials to make it more norm-breaking and interesting while still retaining craftsmanship and quality.

Fluidity in gender is something I always have in mind when I create but especially in this project. For me, it's more about personality and attitude in this collection than a very well thought out target group. In this project, I have mostly used second-hand textiles like old lace curtains, jeans, pinstriped suit trousers but also leather waste from the furniture industry. To find the exact fabric you envisioned is almost impossible and the unpredictable material gathering process has pushed this collection further. The materials I used are mostly wool, polyester, cotton, linen, and leather.

The essence of this collection is very romantic and powerful with contrasts between the draped lace dress and the oversized tailored jacket with a combination of textiles and textures as recurring features.

Materials: 90% upcycled materials, 10% new materials

Hope is an inclusive brand when it comes to gender and colour. I was inspired by this but wanted to do it in a different way, and to include ageing and sustainability.

My collection started with two quotes “Scale back on doing more, to focus on doing better” and “Style and passion are not restricted to youth”. I also worked with some keywords: “Express, Desire and Openness”. My vision is to include an older audience on the runway, and a way for them to express themselves emotionally. The whole collection is based on sustainability, as a way to live our lives and consume products. If we scale back on doing more and focus on doing better, in all of our choices, like the food we decide to eat, who we surround ourselves with, how we move our bodies, take time to take care of ourselves and the things that we own, we can save time, energy and money. I believe that we can have a huge effect on our lives, and I want my clothes to be a reflection of that.

All the decisions we make create changes. A sustainable collection therefore includes a lot of things. I want my clothes to be used by my grandma, my grandpa, my mother, my brother… A sustainable garment for me is one that can be used by many people, in different ways and for a very long time. It is therefore important to use good materials with flexibility; and that the owner takes care of the product.

The fabrics in my collection are deadstock from Hope. Most are wool and/or cotton. All were woven and rigid fabrics so I decided to add an elastic to some garments, which made them more “sporty” and flexible. Since one of my key words for the collection was “Openness”, I worked with that, literally. Most of my garments have openings, in the front, on the back or on the sides. I do not want older persons who wear the clothes to hide their bodies – just because they are older.

My vision was to make clothes for my grandmother that I would like to borrow from her. Garments that show emotions, life and energy.

Materials: 98% Deadstock, 2% New elastic bands

Thanks to: Patrik Guggenberger

Content Aware is a collection inspired by the Hongdae streetstyle, but placed in a world of neo noir cyberpunk. It’s athleasure-heavy garments where aesthetic decisions have been left to digital coincidence. The print designs are all created with content aware techniques and the 3D-printed accessories are printed in ways so that the software and hardware have been forced to do their own choices. The digitalism in this project is one of its' strongest components. Nothing would complete its' purpose more than if it only existed in a virtual world or someones Insta-story.

When it comes to sustainability, I’ve worked from two angles. Firstly, I've completely digitized the design process by pre-modelling 3D-versions of the garments. Secondly, I've realistically sourced material in a way that I believe Axel Arigato could implicate in their own production. I've used a mix of industrial waste and recycled polyester with digital prints that don't require any water during the printing process.

Materials: 55% industrial waste, 40% recycled polyester, 5% silk

Thanks to: FOV Fabrics, Gulen, BJOERN, Marcus Nystrand, Frida Moberg and Anne Skoug Obel

Drawing inspiration from the same sources that inspired the founders of Nudie has enabled me to present a fresh take on the brand while staying true to its roots. David Bowie and Mick Jagger are two musicians who today are just as associated with razor sharp tailoring as the ragged street-style they first pioneered were two of these influences. At the same time, punk-rock with its DIY-ethos were equally important in shaping the brand’s early identity.

The idea of creating a new garment through deconstruction has long been a mainstay in high fashion as well as punk-culture and presents a perfect tool for combining the brand’s original influences with contemporary values of sustainability. My target group is a 25-40 year old city-dweller who leads an urban lifestyle and thrives on the big city pulse which mirrors the music whose aesthetic has shaped their taste and values. Belonging to the middle-class, yet never defined by income alone and with a keen interest in fashion yet never yielding to trends, preferring uniqueness rather than uniformity.

In terms of sustainability, my approach has been two-fold. Favouring natural fibres, ecologically sourced when possible, entirely from ”deadstock” supplies as well as online second-hand outlets. These fabrics have been carefully shaped into classic, timeless garments, which have proven their aesthetic value and longevity over the past 100 years, and then filtered through my influences as well as my vision for the future of these garments.

The second part of my approach has been to manufacture the pieces to the highest possible standard with the aim of proving that most garments manufactured today are severely lacking the artisanal touch that makes all the difference between a garment to be worn and cherished for years to come rather than quickly and frivolously disposed of. By providing the customer with exceptional quality, both in terms of design and craft, the customer is less likely to feel the need for replacing the garment which in turn leads to less consumption. Since denim-culture has long championed the aging of a garment, ascribing value to the scars of time, this aspect felt like a natural extension of the sustainability approach.

In an article for SZ Mag, Editor in Chief Eugene Rabkin touches upon the current fashion climate in terms of sustainability. In short, as it stands today, no fashion brand is truly sustainable. Some brands put more effort into sustainability than others, sure, but this is nowhere near enough to be called a sustainable brand. The obvious follow-up question would be: What is the solution to this very real problem then? The solution is in fact quite simple yet no-one wants to touch it with a ten foot pole since it would entail a complete collapse of the entire capitalist system which lies at the core of our entire global economy. Buy less clothes yet of higher quality and wear them until they literally fall apart.

The notion of actually saving up for something, whether it’s a garment or a new cell phone, just like virtually every generation hitherto has had to do, is completely lost among today’s young consumers. They crave instant gratification which their consumption patterns show all too clearly. The very same consumers are usually quick to point out that they’d happily pay more for a sustainable product. Yet statistics prove that these are but empty promises. This is not a popular opinion for obvious reasons. It shatters the very foundation upon which most people outside of developing countries build their entire existence.

As an artist, artisan and fellow human being, I wholeheartedly stand by this statement since, after all, it wouldn’t be very punk if I didn’t, now would it?

Materials: 70 % deadstock organic cotton denim, 10 % recycled chains from old necklace, 15 % deadstock wool, 5 % recycled buttons