• photography Jack Huang 

    FLOSO: Designing a Future Rooted in the Past

    Written by Ulrika Lindqvist

    Founded by Ariel Zixin, FLOSO is a studio built on the belief that heritage and sustainability can coexist,  not as opposites, but as allies. With a deep reverence for historic fabrics like Loden wool and Tea silk, Zixin creates garments that marry timeless design with contemporary function. In this interview, the designer shares the philosophy behind FLOSO, the textures that inspire her, and the quiet power of clothes made to last.

    Ulrika Lindqvist: How long have you been designing, and what inspired you?

    Ariel Zixin: I’ve been designing for over ten years. It began with a visceral draw to heritage fabrics, materials with stories woven into them. Loden wool and Tea silk, in particular, captivated me with their history and durability. I wanted to resurrect that spirit instead of simply recycling trends.

    UL:  What drove you to found FLOSO?

    AZ: I wanted to build a space that went beyond fashion. FLOSO is about reviving heritage textiles with honesty and intention. It means creating pieces that respect the past while serving the present.

    UL:  How do you choose which materials to work with?

    AZ: Material selection is everything. We look first for durability, natural beauty, and environmental integrity. Loden wool, for example, is wind resistant, water repellent, and breathable. Tea silk has a structured drape and luminous sheen, thanks to plant-based dyeing and river mud finishing. These fabrics bring rich texture and timeless performance, making them our foundation.

    UL: Can you walk us through a typical workday for you?

    AZ: My day starts with a morning workout. It clears my mind and energizes my body, often sparking new ideas. At the studio in Birkastan, I explore fabrics and samples, letting texture guide the creative process. I connect with our production team via Zoom to confirm details. When clients visit, I walk them through fittings, offer styling advice, and finalize custom pieces with the right fabric and design.

    UL:  What is your favorite piece from the current collection?

    AZ: I’m especially fond of the Loden Wool overcoat from our Autumn/Winter collection. It has a clean, strong silhouette and all the qualities I value, including protection from the elements, breathability, and understated elegance. It perfectly embodies FLOSO’s blend of function, refinement, and longevity.

    UL:  What would you say are the 3 core values of FLOSO?

    AZ: 

    Heritage and Craftsmanship: Reviving time-honored fabrics and traditional techniques.

    Sustainability and slow fashion: Made-to-order pieces with chemical-free materials and minimal waste.

    Timeless Design: Classic silhouettes with subtle personalizations that outlast trends.

    UL:  How would you describe the FLOSO customer?

    AZ: Our customer appreciates quiet luxury as an alternative to fast fashion. They look for pieces with fabric that feels alive, such as the dense warmth of Loden or the soft luster of Tea silk, cut with precision and made transparently. They value garments that grow more beautiful over time rather than faster.

    UL: Tell us a memorable moment from your journey with FLOSO.

    AZ: One of the most memorable moments was the launch event at our Birkastan showroom. A longtime customer told me, “I don’t just wear your clothes. I live in them.” Hearing that someone feels at home in a piece I helped create was incredibly rewarding. It reminded me why care and heritage matter in design.

    UL: What are your plans for the future of FLOSO?

    AZ: We plan to expand our bespoke customization, offering more natural fabrics like cashmere, linen, and cotton. We are also developing a limited-edition capsule collection that explores heritage textiles from underrepresented regions. In addition, we will host more art events that transform our showroom into a living gallery to immerse guests in the textures, sounds, and spirit of FLOSO.

  • photo courtesy of HEIGS

    HEIGS: The Art of Understated Luxury

    Written by Ulrika Lindqvist

    HEIGS was founded by Johanna van der Drift, with Daan van Luijn joining soon after as co-founder. Together, they bring a shared vision: to create timeless pieces with real meaning and purpose. Rooted in Swiss precision and shaped by a deep reverence for craftsmanship, their bags speak in subtleties, unbranded, intimate, and designed to grow with time. In this conversation, the duo reflects on heritage, restraint, and redefining what true luxury can be.

    Ulrika Lindqvist: How long have you been working in accessory design, and what originally inspired you to pursue this career?

    Johanna van der Drift : I’ve always been a designer at heart — whether it was hotel interiors, custom tableware, or television production. The idea for a bag came to me on a drive between Switzerland and France — a very specific stretch of road. I was chasing a form I hadn’t yet seen: something elegant, unbranded, deeply personal. Not long after, I met Eloise in Paris, a master leather artisan trained at Hermès and Louis Vuitton. Our connection was instant, and HEIGS started to take shape. It was less a career switch, more a continuation of everything I’d been building toward.

    UL: What motivated you to start HEIGS?

    JvdD: We wanted to create something lasting — a counterpoint to the speed and spectacle of fashion today. HEIGS is our answer to what we felt was missing: true luxury that doesn’t rely on noise, but on quality, intimacy, and care. Every part of HEIGS — from the untreated leather to the storytelling linings — is designed to grow with you. We believed there was a customer who wanted more meaning, less branding. And we were right.

    UL: Can you share the story behind the name “HEIGS”?

    JvdD: HEIGS stands for Heidi Goes Safari — a playful reimagining of the classic character Heidi. To us, Heidi isn’t a girl in the Alps. They’re a non-binary adventurer, rooted in nature but always exploring. It reflects our own story: I’m Swiss, Daan is Dutch; we live between cities and mountains, tradition and experimentation. HEIGS is about grounding and movement — heritage with curiosity.

    UL: In your opinion, what are the most important features a bag should have?

    Daan van Luijn: Quality. That might sound obvious, but it’s not always a given. A lot of luxury pricing doesn’t reflect the labor or craft behind the piece. Ours does. Each HEIGS bag takes two full weeks to make — by a single artisan. Over 150 steps, most of them by hand. That’s where the value sits. Not in trends. Not in logos. But in the time, care, and technique it takes to make something that actually lasts.

    UL: Switzerland has long been known for its quality leather goods. Was entering this market intimidating?

    JvdD: It wasn’t intimidating — it felt like home. I lived in Switzerland for over 20 years, and that culture of clarity, discipline, and craftsmanship is in my bones.
    Entering that space wasn’t about competing, it was about contributing something thoughtful to it — something rooted in the same values but expressed in a new
    way.

    UL: How do you decide which materials to work with for your collections?

    JvdD: I work from emotion. I search brocantes and flea markets across France and Switzerland, always looking for materials that carry story. We’ve used antique textiles, linings from ballet shoe ateliers in Paris, even pine and wildflowers.

    UL: Do you have a favorite piece from your collection? What makes it special to you?

    DvL: Probably the Beurre bag. It’s logo-free, white, undyed, uncoated. There’s something radical about how understated it is. No branding, just form. It represents the next chapter for us: going even deeper into restraint and refinement.

    UL: What would you say are the three core values that define HEIGS?

    JvdD & DvL: 

    Craftsmanship, Meaning over marketing, Intimacy over spectacle

    How would you describe the typical Heigs customer?

    JvdD & DvL: They notice quality, texture, stitching and the way a bag ages. They value quiet confidence. Many of them work in creative fields or care about design, but they’re not trying to show off.

    UL: If you could design for anyone, who would be your dream client?

    DvL: Lily-Rose Depp. There’s something so je ne sais quoi about her—a kind of effortless cool that feels inherited, maybe from her mother, Vanessa Paradis, who I’d also love to design for. They both have this rare, confident elegance.”

    JvdD: Carolyn Bessette-Kennedy. I’ve always pictured her with the bag in her hand—even from the very beginning, four years ago. To me, she’s the ultimate in
    understated sophistication: original, elegant, and timeless.

    UL: Could you share a memorable moment from your journey with HEIGS so far?

    DvL: For me, it was definitely the shoot in the Swiss Alps. That experience felt really foundational. The way the whole team came together—there was this shared energy, this collective vision—and what we created there felt so inherently ‘Heigs’. It was one of those moments where everything just clicked.

    JvdD: I almost want to say the same, but for me, that place in the Alps is more than just a backdrop—it’s my homeland. That’s where my journey truly began. So
    rather than a moment, it feels like an era. But if I had to choose one moment, it would be the day I held the first ‘En Suisse’ bag in my hands, after a year of working closely on the master with my leather maker. I’ll never forget it. It was exactly as it was meant to be.

    UL: What are your plans and vision for the future of Heigs?

    DvL: We’re not scaling in the traditional sense, but instead are working on smaller collaborations with brands and artists like Brigitte Tanaka and BillyNou, we’re focusing on pop-ups in Paris and will perhaps add a product category into the mix at some point. Right now our mission is to familiarise the world with our ethos and core collection.

    photography Yuma Greco
    photography Yuma Greco 

  • Socker Sucker: The Art of Swedish Fika

    Written by Ulrika Lindqvist

    Socker Sucker in central Stockholm has been a go-to destination for innovative and delicious pastries since opening its doors three years ago. Now, founders Frida Bäcke and Bedros Kabranian have collected a range of their recipes and step-by-step guides into a book, giving home bakers the tools to recreate their celebrated pastries at home. Odalisque sat down with the duo to talk about their inspirations and what they hope readers take away from the book.

    UL: What was the driving force behind writing Socker Sucker? Was there a particular moment of realization that made you want to share these recipes in a book?

    Bedros Kabranian: Not really, we got a great offer and it felt like there was space for it.

    Frida Bäcke: Exactly, and it also felt like a beautiful way to sum up our careers. We've been working for a long time, and this feels like the next chapter, to wrap it all up in a book in a nice way because we don’t really know what’s coming next.

    BK: Also, when this idea came up in the past, it didn’t feel like the right time. But now everything aligned, and it just felt right.

    UL: Many of these recipes have a luxurious twist. Can you give us an example of a classic pastry that you’ve reimagined in a surprising way?

    BK: Everything from the cinnamon bun, really, we changed the shape just to break the norm. It's super simple but just changing the form makes it into something else.

    FB: And the Napoleon is another classic that’s always been done a certain way, and that we’ve also reworked. It really represents both of us with its lamination, filling, and flavour. It’s definitely one of those classics we’ve reinvented. But we’ve also taken flavour inspiration from the classics.

    BK: We've said before that we break a classic down into its different flavour elements, and then rebuild it. A lot of our work comes from that approach. Everything, I’d say, is in some way reinterpreted from a classic.

    UL: You draw inspiration from global influences. Which international flavours or techniques have influenced your recipes the most?

    BK: For me, it’s the Middle East. That’s where my foundational palette is, along with the rest of the world. For you (Frida), it’s the forest and your childhood in Dalarna, picking things yourself, spruce tips, berries…

    FB: Yes, exactly. It becomes more of a blend between the two of us, and that makes it special in a way. Also, during the pandemic when we couldn’t travel, we pulled in flavours from other parts of the world. But we really work with ingredients when they’re at their seasonal best, wherever they happen to come from.

    UL: The book covers baked goods for every season, from Semlor to Christmas saffron buns. How did you approach balancing tradition with innovation in these beloved recipes?

    BK: It actually wasn’t too hard. We set some boundaries for ourselves so we wouldn’t stray too far. And once we were in it, it was about small adjustments like swapping raisins for cranberries. Not just for the sake of it, but because we think it adds a different effect and taste. We kept the Semla pretty classic, it’s a classic, after all.

    FB: It’s the little things we do, like toasting and refining ingredients in the best way.

    BK: Yes, instead of regular sugar you might use a different kind. Or instead of butter, browned butter. Seeds and flours can be toasted. It’s those kinds of things.

    FB: It feels more thoughtful. Considering today’s ingredient shortages, it seems like a shame to waste good ingredients. We want to really care for what we have.

    BK: We’re always respecting the original. We're not butchering The Classic, we’re elevating it. And sometimes adding a flavour twist or a visual twist.

    UL: Step-by-step guides are a key feature of Socker Sucker. Which techniques do you think home bakers will find most useful or most challenging?

    BK: Lining a tart shell. I think that’s something many struggle with.

    FB: Exactly, you cut it into strips and stamp it out.

    BK: And just having someone show you, that’ll be an aha moment for many.

    FB: Yes, like not pressing it all the way down.

    BK: Right, because you’ve done that your whole life. And then it cracks and looks bad. Just thinking a bit differently makes a huge difference. And chocolate lamination, of course.

    FB: Yes, chocolate lamination. We actually put the hardest ones at the beginning of the book to try and show them clearly.

    BK: There’s already a lot out there, but showing readers that we ourselves do it this way and get these results, I think that matters.

    UL: Your professional backgrounds and competition experience clearly show in your expertise. Are there any secrets or pro tips in the book that most home bakers wouldn’t usually have access to?

    FB: Oh, I feel like the whole book is full of that kind of candy, really.

    BK: Right at the beginning, we’ve got a section with tips on everything from liquids to temperatures, and how to think about small details. But each individual recipe also has tips that are second nature to us but might be crucial. Everything from proofing to contact loading.

    When I started working in the industry, so many times I had those “aha” moments, like, “of course, why didn’t I do it this way before?” Because you’re stuck in your habits. I think just seeing a different way opens up your thinking.

    FB: Exactly. And we’re still learning those things all the time. That’s why this profession is so fun. You keep discovering things. This book represents how far we’ve come now—and there will be more.

    BK: Volume one.

    UL: Precision and perfection seem to be hallmarks of Socker Sucker’s baking. What small details make a big difference in achieving bakery-quality results at home?

    FB: Read everything through first, have a plan. Don’t decide to make an entire cake in one day, plan it out. Maybe make the fillings and interiors on Tuesday, the sponge on Wednesday, assemble on Thursday, and glaze it on Friday. Planning your bake makes it much more enjoyable, instead of cramming it all into one day.

    BK: With buns and things like that, make a sugar syrup and follow the recipe. It’s not always obvious where to brush with egg wash. Don’t overdo it unnecessarily. Some people use both egg wash and sugar syrup, it becomes redundant.

    UL: For someone attempting one of your more advanced pastries like mille-feuille or croissants, what advice would you give to ensure success?

    BK: Start smaller. That way, you stay in control of the dough and butter. Clear out space in your fridge and freezer so you can pop the dough in and out. It’s hard to say “go by feel,” but if something gets too soft or warm just get it back in the fridge. Take it out 10–15–20 minutes later when it's manageable. Also, butter warmer than dough is preferred. That way the dough affects the butter, giving you a larger window to work in than when everything is at perfect temperature which actually makes it harder.

    UL: If a reader could try just one recipe from the book first, which one would you recommend and why?

    FB: I’d probably go for the Hallongrotta or Hasselnötsdrömmen.

    BK: Yes, they’re popular classics, everyone loves them. They’re likely to turn out well, so they’re very rewarding. But I’d also recommend the creams, sauces, and caramels, those things people often shy away from. I really like that stuff. The candy in general is rewarding to make.

    FB: The apple pie too, if you nail that, you’ll feel a bit proud afterwards.

    BK: Yes, and sure, it’s a bit of a pain and tricky, but it’s very impactful.

    UL: Was there a particular recipe in the book that took extra effort to perfect? Any unexpected challenges during development?

    BK: Well, we made seasonal products out of season, which was a bit odd.

    FB: Mentally it was weird, standing there doing summer in autumn, I think.

    BK: Yes, and we had to work in smaller batches, which we’re not used to. But it was good, because it gave us a sense of what it’s like for home bakers. Normally, we work with 20, 30, 40 kg of dough, this time we did 2 kg. That’s a huge difference, even with fillings and so on.

    UL: How did you ensure that the recipes work just as well for ambitious home bakers as for professionals?

    FB: That’s where the small test batches came in. You realize what’s hard to do or hard to source at home.

    BK: I wouldn’t say the ingredients we use are only available to professionals, most things are accessible. In some cases, we’ve included alternatives if you can’t find or don’t want something. The environment, your kitchen, oven, etc, that’s going to be the real variable. You’ll have to figure that part out. But we encourage people to just try. It takes time to get to know your kitchen. You’re comfortable in your own kitchen, but new recipes are designed for a different one. You have to keep that in mind.

    FB: We really hope people play with our recipes too. Maybe take one part from one recipe and mix it with something else.

    BK: That’s really the idea behind the book. We do things our way and that’s great, but it’s even more fun if someone takes a cream from here, a base from there, a topping from somewhere else, and creates something new with it. Let your imagination run wild with the help of the book.

    FB: There are so many great basics in here that people can build on. That’s how we’ll keep working, building and developing.

    BK: We always start from a base. We work smart. We don’t reinvent the wheel every time we create something new, we go back to what works, then build on it. So it’s good to have a foundation.

    FB: This book is really a base and a bible of foundational recipes. There’s so much in here.

    Socker Sucker: The Art of Swedish Fika is available in stores and online, and if you get the chance, be sure to stop by Socker Sucker in Stockholm for a delicious treat.

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