ODALISQUE DIGITALODALISQUE Magazinehttps://www.odalisquemagazine.comen-gb2017-05-28T21:27:22+02:00Strung https://www.odalisquemagazine.com/articles/2012/02/16/strung


IllustrationsMira NamethSandra Myhrberg
creative concept & direction by ELLINOR STIGLE
Lost Dreams https://www.odalisquemagazine.com/articles/2012/02/06/lost-dreams
Stained by disgust and contempt https://www.odalisquemagazine.com/articles/2012/02/20/stained-disgust-and-contempt

Stained by disgust and contempt

WrittenKarin StrömSandra Myhrberg

You always saw yourself as superior. So you placed yourself on the outside.

Ex centrum. From the center, walking away. Why would the rules apply to you?

You could think for yourself. You created your own universe. Trapped in your own brain’s skull, how could you know anything else?

No one could force you into something you didn’t understand. Your fearlessness!

You were so fragile. Bound by nothing.

Behind the blinds, stained by disgust and contempt, you were waiting for salt, water, glands; you had stopped crying a long time ago. The colour of the houses gnawed in your capillaries. Hunger had a built-in meaning.

You could never throw away anything. Not memories, nothing.

Disrobing Fashionhttps://www.odalisquemagazine.com/articles/2012/02/09/disrobing-fashion

Disrobing Fashion

WrittenAmy SallSandra Myhrberg

We’d like to think that the fashion world is a place that we can mindlessly get lost in; a separate space where phantasmagoric elements and whimsicality become tangible and real. Though the fashion world is a sartorial dreamscape, behind the fantasy and creative imagery lie politics of race and representation. The political and social issues that surround the fickle fashion world shatter the fourth wall that separates fantasy from the real.

Representations of race and culture play large factors in the discourse of contemporary fashion. Questions surrounding how race is portrayed in an editorial or whether or not designers cast enough models of various ethnicities, are topics that have constantly been spoken about in the media. Yet, as much dialogue as there is surrounding these subjects, there is always another fashion spread or advertorial that feeds into stereotypes and racial coding.

The clothing and designs that come from some of the most talented designers in the world are creations beyond belief. The fashion editorials, which serve as the vehicles to creatively showcase these garments, at times do not convey them in the best light. There have been many editorials that have connoted stereotypes, leaving bad tastes in the mouths of many. Some, like Interview magazine’s editorial “Let’s get lost” shot by Mikael Jansson, have sparked debate regarding biased or negative portrayals of race in fashion. This particular editorial perpetuates the idea that whiteness is the object of desire, as it portrays model Daria Werbowy enveloped in a web of black models who are entangled with one another. She stands out, as the scene is dark and she is the only white model. The dark scene also connotes an air of primitivism and savagery; labels that have historically been used to categorize blackness. What comes out of spreads such as these, and others that also give way to stereotypes, is the idea that fashion disregards whatever social and political implications that may arise for the sake of an image. Aestheticizing stereotypes has now become a way in which fashion tries to sell itself to the public, and it is a phenomenon that is continually carried out in many magazines and other sectors of the fashion world.

Not only is racial coding present in magazines but on the runways as well. Designers such as John Galliano and Alexander McQueen articulate their collections through elaborate productions and their fashion shows serve as a narrative to give life to their designs. The models that are cast for shows are characters in these narratives and must fit the part. For the Chanel pre-fall 2012 show, Karl Lagerfeld presented a collection that was infused with Oriental motifs. Models appeared like Maharanis walking down marbled corridors of the Taj Mahal. They were adorned with jeweled headpieces and the few male models in the show, were reminiscent of Indian royalty wearing head-wraps and embroidered sashes. To add to the spirit of “the Orient,” there were a few female models who were of Indian or Middle Eastern descent (or looked close enough), sprinkled throughout the line up to give an air of “authenticity.” Shows such as these prove that designers are conscious of race when choosing models for their shows, and that racial coding infiltrates the spectacle of a fashion show.
When such staging in fashion occurs, it is in essence the staging and performing of cultures. This is problematic because of how immensely influential many publications and designers are. If key players in fashion continue to perpetuate images that push stereotypes, then these images will continue to be perennial symbols and signifiers of these cultures. Though the aim of the designer or the editor is not to represent a people through editorials, designs or fashion shows (that would be a foolish goal, and a heavy burden), they are constantly making some sort of racial/cultural commentary that often offends. This is not to say that fashion should not draw upon other cultures for inspiration; the issue lies within the homogeneity within the representations of such and the unremitting generalizations being made.

Whether it is the fetishization of primitivism and tribalism or the the exoticism of the East, the fashion industry continues to draw upon antiquated references to provide a context for the garments. Despite the controversy and critiques that have sprouted surrounding the representation of race and culture in fashion, nothing has significantly changed. It is an industry with an ideology rooted in “the image” and is not necessarily concerned with what is ethically just or politically correct. The politics and performativity of race are omnipresent in almost every sector of fashion. It is the continual aestheticizing of culture which allows such stereotypes to perpetuate and permeate the fashionscape. These issues need to be taken seriously, perhaps just as seriously as the issue of body image and representations of the female form. As an exigency of the fashion industry, rigorous discussions need to be had and a reassessment of how fashion is communicated needs to take place. Culture and race should not be boiled down and reduced to meager generalizations and stereotypes for the sake of a glossy image or runway narrative.

Roadside Sleepinghttps://www.odalisquemagazine.com/articles/2012/02/01/roadside-sleeping
SUCCUMB / SURRENDERhttps://www.odalisquemagazine.com/articles/2012/03/27/succumb-surrender


WrittenKarin StrömSandra Myhrberg

I want new streets, emptiness, freedom, filth. I want to pretend to be someone else. Jean Des Esseintes, Kurtz, Aubrey Beardsley. I want to sing like Nico. I want to be a cliché. I left my things at home. Everything that reminds me of who I am. I want to go too far. I want to fall, descend. I want the sweetness of giving in. I want romance, loneliness, boredom. Or just a nice view. Somewhere I can have a conversation with myself.
– My body is not wrong.
– You know what is right, even when you don’t know why. It is not for you to elucidate, only listen to. It evolved.
– I follow the rules of science. I follow the path of least resistance.
– It’s a moral grammar, like the unconscious rules of language, like musicality. It’s coded into your proteins.
– Nature has no conscience.
– But you are not nature.

Nilsdotter's Workshophttps://www.odalisquemagazine.com/articles/2012/03/05/nilsdotters-workshop

Nilsdotter's Workshop

PhotographySandra Myhrberg
snake necklace giant
bat ring, bow bangle & bow ring
rose neck / headpiece
talon necklace multi, snake necklace giant, rose neck
headpiece, claw ring feather, tiny bone ring, rabbit
ring, snake arm bangle & spider bangle giant
talon necklace multi
model  JOSEFINE H /Elite Stockholm
photographer’s asisstant INA NEDERDAL

tiny bone ring, claw ring,

feather dragon ring, rabbit ring

All Alonehttps://www.odalisquemagazine.com/articles/2012/02/23/all-alone
Rustic Rosehttps://www.odalisquemagazine.com/articles/2012/02/01/rustic-rose

Rustic Rose

PhotographySandra Myhrberg

top & skirt WEEKDAY

shoes ADIDAS

clutch bag MONKI


rings H&M


shirt TIGER

bra & panties HANKY PANKY 

make up & hair JOSEFINA ZARMÉN

model AMY / Elite Stockholm

Ida Sjöstedthttps://www.odalisquemagazine.com/articles/2012/02/01/ida-sj%C3%B6stedt

Ida Sjöstedt

WrittenMichaela Widergren

It’s not difficult to be drawn to her elegant and innocent designs. All of us who longed to become a princess at a young age are likely to be instantly amazed by her luminary and excessive dresses.

That longing is surely one of the reasons her work appeals to so many women. Her clients consist of a broad spectrum of very different people. She tells me that even though her brand is quite niched, the variation of customers is larger than most seem to think. Older ladies are more into coats and couture, while the younger women seem to head straight for the dreamlike gowns.

Ida loves when an outfit or a piece finds its rightful owner, when someone perfectly completes one of her garments. All of the designs are, of course, a reflection of Ida as a person, but, she tells me her personality will not fit in to one specific collection. And I agree. As people change over time and evolve, so does their way to express themselves. For inspiration, she frequently finds herself turning to fairy tales and legends. This often results in romantic, feminine and eccentric creations. I asked her about menswear, and she told me it’s not for her. She is very clear about this, since she once worked as a tailor of mens’ suits. It’s too detailed and not creative enough.

After our conversation, I felt I’d just met a woman with a very strong integrity and a decisive mind. Someone who wishes to be personal yet distances herself from her work. She hovers between nostalgia and modernity, and she knows exactly what she is doing.

pink tulle dress autumn 2010
gold dress spring 2011
white dress spring 2012

model ALEXANDRA K/Mikas
special thanks to STUREKATTEN

grey tulle dress autumn 2010
The Lovershttps://www.odalisquemagazine.com/articles/2012/02/01/lovers

The Lovers

PhotographyEllinor Stigle

sweater as hood HELMUT LANG 

top VPL

sheer legging CHEAP MONDAY


bra VPL


hooded top IVAN GRUNDAHL

knit tunic & bra VPL

sheer legging CHEAP MONDAY

The White Womanhttps://www.odalisquemagazine.com/articles/2012/02/01/white-woman

The White Woman

WrittenDavid BarrieMichaela Widergren

“I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose, had shrunken to skin and bone.”

Miss Havisham in Charles Dickens’ Great Expectations is one of the most shocking and resonant characters in the history of literature.

At twenty minutes to nine on her wedding day, Miss Havisham, the daughter of a rich brewer, received a letter from her fiancé that rejected her hand in marriage and made it clear that he was only interested in her for her money.

From that very moment, Miss Havisham’s life froze. The jilted bride stopped all the clocks in her mansion and became a recluse. She never changed out of the white satins, lace and silks of her bridal gown. A victim of deluded expectations, Miss Havisham became the faded spectre in the chair by the dressing-table glass, a veiled, conceited, yellowing weed. Driven by envy, she devoted the rest of her life to exacting revenge for her fate on the young Pip and Estella.

If you’re rejected in love, Miss Havisham is the exact person that you could, but don’t want ever to become: cold, grotesque, solitary and in darkness, secluded from a thousand natural and healing influences.

Generations of audiences have been haunted by the spectral character and enchanted by a book about personal morality, hopeless passion and which carries some of literature’s greatest, Hollywood-scale set-piece scenes - including Miss Havisham’s death, burned alive, patches of tinder yet were floating in the smoky air, which, a moment ago, had been her faded bridal dress.

But don’t think of Miss Havisham as just a ruined relic of fiction, since she may have been a Gothic grotesque that Dickens actually knew.

In 1853, seven years before he published Great Expectations, Dickens wrote about The White Woman, a woman who used to walk through Berners Street, off Oxford Street, London, dressed entirely in white, her hair plaited white round her head and face inside a white bonnet. She wore white shoes, carried a white umbrella and was described by Dickens as a conceited old creature who was simpering mad.

Also, for eleven years, Dickens lived in Marylebone, London, a short distance from a woman who lived the life of a recluse. Her suitor had shot himself on her sofa and his brains had splattered her clothes. After that moment, Martha Joachim never left home - her house filled with images of soldiers which she called her body-guards.

Extracts from Charles Dickens, Great Expectations (1860), edited by Charlotte Mitchell (Penguin Classics, 1996).

Maria Nilsdotterhttps://www.odalisquemagazine.com/articles/2012/02/01/maria-nilsdotter
Miss Havishamhttps://www.odalisquemagazine.com/articles/2012/02/01/miss-havisham

Miss Havisham

PhotographyJessie Lily AdamsMichaela Widergren

hat & dress BEYOND RETRO

necklace MAWI



ballerinas CAPEZZIO


bracelet and headpiece MALAYA JEWELRY

ballerinas CAPEZZIO


lace veil STYLIST’S OWN


ballerinas CAPEZZIO

make up SUNG HEE


model TIMEA at STORM

photographer’s assistant EMMA TURPIN

stylist’s assistans MAFALDA SILVA & VICKI IVIE

Corpore Floremhttps://www.odalisquemagazine.com/articles/2012/02/13/corpore-florem

Corpore Florem

PhotographySandra Myhrberg
       top CALIDA


lace collor STYLIST’S OWN

underwear CALIDA

transparent kimono STYLIST’S OWN

panties TOPSHOP

shoes and socks STYLIST’S OWN

floral lace catsuit AMERICAN APPAREL


panties TOPSHOP

faux fur STYLIST’S OWN





Release party at RICHEhttps://www.odalisquemagazine.com/articles/2012/02/02/release-party-riche

Release party at RICHE

PhotographyLove StrandellAnonymous
A drop in the oceanhttps://www.odalisquemagazine.com/articles/2012/02/27/drop-the-ocean

A drop in the ocean

PhotographyVivienne MokMichaela Widergren

knit bra & panties H&M

blouse VINTAGE

blouse VINTAGE

knit bra & panties H&M

body ASOS

belt & polka dot tulle dress VINTAGE

chinese silk dress VINTAGE

semi-precious stone head band VIVIENNE MOK


flower hairpins H&M

polka dot cotton voile dress LAURENCE DOLIGE

hair & make-up by VIVIENNE MOK


location HONG KONG

silk chiffon dress S.NINE
The Ideal Female Formhttps://www.odalisquemagazine.com/articles/2012/02/29/the-ideal-female-form

The Ideal Female Form

WrittenSally KennedyMichaela Widergren

The female body means many things to many people. It’s the focus of an enormous amount of attention, a source of unlimited power and money, an essential aspect of life and the production of it, and for far too many women, a cause of much suffering and angst. A historical review of the ideal female form, however, does nothing less than prove that there is no ideal female form. Whatever women are striving for at any given moment is directly linked to their place in history, geography, culture, and in many respects, the limitations of human development. Like fashion, the one consistent element about the ideal female form is that it constantly changes.

We’ve all run into cultural differences as far as the ideal female body is concerned. Jamaican women apparently clamor for chicken pills in order to develop bigger bottoms. Carolyn Cooper, professor of literary and cultural studies at the University of the West Indies, claims that “big bottoms” equal power. “If you have no meat on your bones, the society can’t see your wealth, your progress, your being.” In Tanzania, thighs are considered the ultimate sexual part of a woman. And it’s hard to miss the breast fixation in the United States, where bigger always seems to be better.

But even when we restrict ourselves to the examination of the ideal female body in a particular region, there is a consistent level of inconsistency. Take, for example, western European culture. Up until the late 1800’s, the rubenesque woman dominated the ideal. A very curvaceous, distinctly plump body screaming with inactivity was equated with ultimate femininity and beauty. As the 1900’s approached, the ideal became thinner. The wasp-waisted figure of the Edwardian Gibson Girl cinched in the wider girth of the previous era. Then, women’s liberation took hold in the 1920’s and the ideal female shape de-emphasized reproductive characteristics. Fashion toned down curves, and a more boyish figure was sought. This clearly happened again in the 1960’s when “the Pill’’ became available and Twiggy became a household name. But jump back just one decade to the 1950’s and think Marilyn Monroe. Size 14. In today’s standard, a frequent cause for both diet and the gym.

Sadly, the underweight woman has had a stronghold on the ideal female form since the 1960’s. There have been occasional periods of athletic relief, during the fitness craze of the 1980’s and perhaps today, when exercise is considered an essential part of any healthy lifestyle. But the waif, with her distinctly unhealthy overtones, has made an appearance more than once and she doesn’t seem to be disappearing anytime soon. She’s walking around right now on the catwalks.

How in the world you might ask, do I find all is all this comforting? Quite simply, because history and cultural differentiation prove that the obsession with the ideal female form has very few lasting truths. The ideal is dictated to us, and it changes like the wind. Virtually every woman fits perfectly into one ideal or another, be it from this decade or from another century. And for those of us whose genetics happen to match a current ideal, beware: the ideal will change again. Seems like a very good reason for women of all ages and sizes to focus to health and happiness, and start enjoying the fact that they have what everyone can’t stop talking about—an imperfect, fabulous female body.

Trend and Stylehttps://www.odalisquemagazine.com/articles/2012/03/07/trend-and-style

Trend and Style

WrittenJustine LévyMichaela Widergren

I remember when I went to my first meeting in a famous Trend Lab in Paris. I was asked to imagine a photo shoot that would define a new trend. I think it was for 2010 and we were in 2008, something like that.

So there I was at that meeting, we were maybe 4 stylists and 4 photographers. And, there was this woman whose job it was to put some words on the new trends. That is to say, throw some words on a piece of paper, words that would translate a new life style, a whole new atmosphere, a new base for the designers to work on, a new inspiration for fashion world.

I was really impressed by what a mission she had, and excited to read it all ! Here are new and fresh ideas, a new lecture of aestheticism that I would have to tell a story about in a photo shoot !

So she gives me my paper, the one and only, on which was written all our stylistic future. I’m surprised by something that concise, but all the more intrigued !

Luxurious sand
Beige bourgeois
natural ivory
bright shell
wooded light

That was it. More or less, because there were tons of shells on the floor, mixed with pictures from magazines (furniture, fashion shoots, piece of art)…

That’s a trend. That’s how trends are “created”.

A few weeks after, I worked on that trend with a friend of mine, one of my favorite artists/photographer/funniest guy ever, Philippe Jarrigeon. And one of the pictures was a rabbit with a banana on his head and wooden glasses on his tiny nose.

They loved it, and so did we.

The trend book of the season was sold out. I think it costs around 1500€. And all the professionals in fashion buy it. Designers, artistic directors, stylist, investors etc…

I worked for this trend lab for another season after that, then we stopped.

The reason why I tell that story is that it brings the discussion about Trend and Style.

In the dictionary you can read that the definition of trend is « a general inclination. A direction in which something tends to move. »

The definition of style is « The way in which something is said, done, expressed, or performed. ».

Style is a speech, that each season you treat differently. Style is a position. It is strong. It’s the end of a long intellectual and creative process that the designer had in himself before he started his brand, and that he goes through again every season. It’s a point of view on beauty. You agree or you don’t. You wear it or you walk naked. Each collection is a new argument that joins the speech, a new expression that enrich the definition of your style.

Trend is the opposite of it. To me, it has nothing to do with creation. It’s a proof of sensitivity. You have to be sensitive to digest and interpret a new trend every 6 months. And I can understand for sure that when you have a brand, and you want to fit to the market, because you want to sell, because you want your clothes to live on the girls in the street, you follow the trend, obviously.

Look at last summer collections, 2011. Colour block. Everywhere. And for fall 2011, color forms, And we do we need talk about that military look that comes and goes every 4 seasons ?

So now, you, the designer that followed the right path of fashion glory, have the right trend.

When you’ll describe your collection, you’ll be able to tell a story, about a woman, gorgeous and happy in flashy colours that contrast with the greys of the sad notes. Your style is set, you don’t have any. But you’ll never be has been. At least for a moment. A trend moment.

I’m consultant in Paris for fashion houses, and I also have a brand. I never worked with a fashion house that followed a trend. And of course, I never buy the trend lab book for my brand.

I tend to feel that big fashion houses will definitely stop following trends, and we’re gonna feel a come back to the essence of the style of each of them. Some of them already did it, because their creative director wanted to rethink the roots of the brand’s style. Guillaume Henry at Carven is the perfect example. As well as Pheobe Philo at Celine and Christophe Lemaire at Hermes who are doing a fantastic work on Style.

If there were more styles, and fewer trends, the shops would look like museums, full of creativity. There would exist fewer brands, and Asian factories would become real playgrounds.

Fashionistas would stop being angry and have real taste. And Zara would have to find a creative director. Because even if you can copy trends, you cannot copy an entire style.

« Fashion passes, only style remains. » Coco Chanel.

One Year Laterhttps://www.odalisquemagazine.com/articles/2012/03/11/one-year-later-0

One Year Later

WrittenJörgen Axelvall

After 15 years in NYC I made my move to Tokyo
On March 11 2011, at 2.46 pm I was landing at Narita Airport
Or trying to land that is
The now infamous Tohoku Earthquake struck at the exact same time
The landing turned into what they call a “touch and go”
And without a word from the crew we set course for Nagoya
I knew this from looking at the flight map on the display in front of me
After 20 minutes the captain announced that there had been an earthquake
All major Tokyo area airports were closed
And Nagoya Airport was already getting congested
from diverted traffic
Maybe Osaka, with Japan’s second largest airport, the captain said
I had some selfish little thoughts,
not aware of the devastation on the ground
I worried about having to move around
with my filled-to-the-brim bags
Another 20 minutes and the captain told us we were going to Yokosuka Military Base
This is close to Tokyo and close to where we where at the moment
The captain explained honestly and sincerely
Coming from NYC we simple don’t have enough fuel to keep circling
Or to make it all the way to Osaka for that matter
Then, a flawless landing with calm and relieved passengers
Military Bases don’t want to deal with civilians so we all had to remain in the plane
And wait for refueling and some airport that could accommodate us
During our four hour wait the single landing strip started to fill up
Big planes from all over the world
We got reports of the magnitude and the tsunami that followed
And we started to worry about our loved ones on the outside
Mobile phones were shared and passed around
The network was unfortunately not working very well
After what felt like a very long wait,
the neighboring big planes started to depart
One by one, all heading to Osaka
Being first one in, meant being last one out, since we where cornered
Shortly before our turn came, Haneda,
Tokyo’s second largest airport reopened
We made the 25-minute flight there
Got off the plane, through immigration and claimed our bags
I started smoking again
Tokyo’s infrastructure was closed down
No trains no subways no highways
Camped out on the floor watching the news
It was a long night
Got fed delicious fresh rice balls when daylight came around
Got hold of my boyfriend who had been in a train when the earthquake struck
He had walked the tracks to nearest station and spent the night there
Been reading magazines in a convenience store
He was on his way to meet me
About 30 hours after scheduled landing time we finally embraced
And then things started to move little by little
Together we got on the bus and made it to our place of rest
To the Nakameguro neighborhood where we have been living since

This is my personal story with a happy ending
For many more there was no happy ending
I didn’t lose anything, just gained an experience
My thoughts and love go to those who had real losses
As we all know there was, and is, a serious aftermath
The Fukushima nuclear power plant
I will talk about that some other time



PhotographyLinda Marina Portman


stay ups TOP SHOP

dress PAULE KA


stay ups TOP SHOP


dress PAULE KA


dress worn underneath TOP SHOP

necklace STYLIST’S OWN

Mon Chérihttps://www.odalisquemagazine.com/articles/2012/03/16/mon-cheri
Grey On Grey-a concrete bellehttps://www.odalisquemagazine.com/articles/2012/03/22/grey-grey-concrete-belle

Grey On Grey-a concrete belle

PhotographyEllinor Stigle

previous page & this page,

white leather opera gloves LA CRASIA

camel coat with fur trimming GALANOS

grey knitted sweater COMME DES GARCONS

antique beaded tap pants VINTAGE


supreme court


skirt PRADA

white leather opera gloves LA CRASIA



blouse (worn underneath) VIKTOR & ROLF
leather obi  STYLIST’S OWN

wool pinstripe plus-fours VIVIENNE WESTWOOD


top & tulle Skirt COMME DES GARCONS

wool pinstripe plus-fours  VIVIENNE WESTWOOD


top hat victorian polka-dot blouse VINTAGE

lace dress BALENCIAGA 



short sleeve jacket BALENCIAGA

turtleneck JIL SANDER


black leather opera gloves LA CRASIA

black tulle dress DIRK VAN SAENE
white blouse (worn underneath) ALEXANDER MCQUEEN
black leather opera gloves LA CRASIA


crystal cuff from LA SCALA costume department, Milan (Karl Lagerfeld design)

Deserted Homeshttps://www.odalisquemagazine.com/articles/2012/03/29/deserted-homes
Pure White Mode Stylehttps://www.odalisquemagazine.com/articles/2012/04/02/pure-white-mode-style
Elena And The Foresthttps://www.odalisquemagazine.com/articles/2012/04/05/elena-and-the-forest


PhotographySaga WendotteSandra Myhrberg
necklace STYLIST’S OWN


lace pants IDA SJÖSTEDT


hoodie SILENT


other jewelry STYLIST’S OWN

ruffled shorts & bracelets BEYOND RETRO 

make up & hair HANNAH BIRGERSSON
model OLIVIA D/Mikas

special thanks to VASAKÄLLAREN
lace jacket & beaded purse BEYOND RETRO



Everybody Knows This Is Nowherehttps://www.odalisquemagazine.com/articles/2012/04/17/everybody-knows-is-nowhere/photography-by-marianna-rothen

Everybody Knows This Is Nowhere

PhotographyMarianna RothenSandra Myhrberg
Elegant Buddyhttps://www.odalisquemagazine.com/articles/2012/04/18/elegant-buddy-photography-by-ellinor-stigle

Elegant Buddy

PhotographyEllinor Stigle

turtle neck & dress shirt UNIQLO

pants & blazer MAISON ROUGE HOMME

pocket square VINTAGE




turtle neck & dress shirt UNIQLO



pants, blazer & shirt MAISON ROUGE HOMME


turtle neck & dress shirt UNIQLO

The Colors of Marimekkohttps://www.odalisquemagazine.com/the-colors-of-marimekko

The Colors of Marimekko

WrittenMichaela Widergren

In the early 1950s the founders of Marimekko, Armi and Viljo Ratia began experimenting with fabric, prints and color. A fashion show was held, showcasing the beautiful and modern prints. The couple wanted to show what every woman could look like and accomplish with her sewing machine and the playful textiles of Marimekko. The original prints were seen as the most avant garde and became a natural success among the women in Finland.

When living in a habitat that’s pale white and grey most of the year, being drawn to vibrant colors becomes inevitable.

Sixty years later I’m invited to one of Marimekko’s concept store openings and for an interview with the people behind Marimekko. The first feeling I get when meeting these women is controlled but still most passionate. There is no doubt they live and breathe for the brand and its reputation.

I can feel the national romantic mentality of the designers and creators in the air, a mentality that is absolutely required to survive and develop for as long as Marimekko has done.

I had an inspirational talk with Erja Hirvi, one of the twenty five designers behind Marimekko’s current style. Erja is a designer of prints; she told me that all designers have their own interpretations of the world and that’s what most of them are trying to present. She said that the atypical interpretations of our world make Marimekko’s design differ from others.

It’s how you choose to present it, not what you choose to present that’s essential. Nature is a familiar theme, that evolves and never grows old, Erja feels that since nature is visible everywhere, that’s why it’s the biggest inspiration of all, always.

I’m told a quote from founder Armi:

“There is no reason to mess up a print with a color unless there is a reason.”

I think I understand what she meant and I decide to agree.

KLAPI, autumn 2012
JURMO, autumn 2012
SONJA, winter 2012

SONJA, winter 2012

MELOONI, winter 2012
KULTAKERO, winter 2012
Ellen Rogers interview https://www.odalisquemagazine.com/articles/2012/05/03/ellen-rogers-interview

Ellen Rogers interview

WrittenDavid BarrieSandra Myhrberg

Ellen Rogers is a fashion photographer who creates and inhabits a highly distinct universe. Full of temptresses, dark landscapes, ancient scratched, almost mythic surfaces, her work has been published in the pages of Dazed & Confused, i-D, Tank and Vice magazines and she has worked for many fashion clients, including Charlotte Olympia and Piers Atkinson.

Via email, on a computer somewhere in a darkened house, rain-soaked landscape or photographic shoot – who knows? – Ellen agreed to be interviewed by David Barrie, a documentary producer and director who’s made films on art, design and fashion.

D: What’s the first word or idea that first comes in to your head when you hear the following words: Theatre. Tree. Sleep. Erotic. Simon Cowell?

E: Theatre: Red velvet. Tree: Black branches. Sleep: White curtains. Erotic: Cream. Simon Cowell: Some sort of putrid Yellow-Green

D: What do you think of mobile phone apps that allow people to generate stylised, square format digital images of everyday life?

E: Hehe. I don’t actually have one, but I think they are harmless fun. They certainly look better than the normal photos the iPhone takes.

D: You’ve just published a book called ‘Aberrant Necropolis’. Burial grounds are usually places of reverence and convention. When was the last time that you visited a cemetery and what did you notice?

E: That is an interesting question because I was last in a cemetery in Norwich. I was there contemplating with my family whether or not to give my mother a place there. I said to my mother that I always wanted her with me, always at home. My family however like to know there is a place to visit and talk to her as it can be hard to talk to a box in someone’s house.
I feel selfish in my constant decline but I can’t help think that having her outside in the cold with thousands of other dead souls is not what I want for her. Regardless of how attracted to them I am aesthetically.

D: You’ve said in the past that you’re “obsessed” with ‘the supernatural’ and ‘the occult’. How do you know that you’re “obsessed”?

E: The Occult means ‘secret’ and this is the drive behind my every move and integrity. I am infatuated by the idea of dissecting fear, beauty, love and abject disgust to see how they work, what their mechanics are, how I can use them to my advantage, my art.
The ‘supernatural’ and the ‘occult’ hold intrigue, deep routed mystery and a constant question. This is too what I strive for. Maybe I want a very real separation from answers, an untouchable and reverential secret. Few things mean more in my house than a drive for mysticism.

D: Do you think that we live in a time when we want to be immersed in something that’s not real?

E: It’s a horrific time. Banks are a very real danger and are taking over or lives. We are all seeming to fall into debt and it isn’t likely to get better soon. Yet in the midst of this black fog over the world’s nations, comedy sales on DVD are at an all time high. Computer games are bigger than ever and we all want escape. This is natural. But as the majority of us close our eyes and dream-of-never-land, the wolves outside our homes are howling. They are here.

D: Often you work with a model called Hana. Who is Hana and what is it about her that makes you return to her as a subject?

E: Hana is a twenty year old student from Norfolk. I love her dearly and she is my muse. I find her to be all the things that I am not. She is the antithesis of my being and I am so attracted to that. She has also seen so much in her life. She is intelligent yet in lifestyle we are polar opposites - and great friends. Every time I wish I could explain something about myself, I will use Hana. She is the vessel through which I tell my personal story.

D: What are some of the particular feelings, experiences, spaces or objects that you find yourself returning to in the notes and journals that you keep?

E: I have for a time been writing together many characters. I am not sure how often I have spoken this aloud but all the men and women in my photographs belong to my ongoing world, and play a part in the larger story. Sometimes I will do the odd shoot to fill in the blanks of my story and most often I will cross reference my story with my journals. I am now working on a new set of images where I battle political slights and I will try and address many points that disgruntle me. The first in this series was ‘The leaf room’ - where I explain about the dangers of testing on humans.

D: Is there a particular aspect of fashion or the work of designers that you’d describe as art?

E: Most certainly. Their artistic practice is much the same as mine, or any other persons who call themselves an artist. They are in essence writing a concept and staying faithful to an execution. Many designers of fashion are, to me, true artists: and I would never discredit an artist on account of their medium.



PhotographyLinda Marina Portman

blouse PAUL & JOE

stockings TOP SHOP

earrings MAVI
top & skirt EMILIO DE LA MORENA 
blouse PAUL & JOE 


stockings TOP SHOP



stockings TOP SHOP


stockings TOP SHOP 


blouse & skirt BEYOND RETRO

Ulrika Lundgren, RIKAhttps://www.odalisquemagazine.com/articles/2012/05/06/RIKA-interview-by-marie-brunnberg

Ulrika Lundgren, RIKA

WrittenMarie Brunnberg

“I love biker jackets, that’s my thing.”

Ulrika Lundgren is a Swedish born fashion designer, stylist and business woman - she’s the woman behind the international fashion brand Rika.

When I got in touch with her for this interview she told me she only had 30 minutes to spare. One hour later I felt a smile spreading over my face when the thought hit me; “She likes talking to me”.

Listening to this truly enthusiastic woman describing the start of her project is pure enjoyment. It is also clear that the trademark Rika and the person Ulrika Lundgren are synonymous in spirit.

Looking at Rika’s collections it is no surprise that biker jackets and classic French style female chic are personal obsessions of Ulrika.

From interior stylist into fashion designer
After graduating from her interior design studies in Amsterdam she began to work as an interior stylist for magazines like Elle Decoration and Casa Vogue and travelled globally. Slowly as more people appeared in her photo shoots the clothing became more important and her interest in fashion grew from there.

“In Spain I made a leather bag with stars, mostly for fun, about 100 bags for close friends… and I invested all the money I earned from my photo sessions in my brand Rika, which I started in 2005” she says.

The star-bag was a hit. It has been carried by many famous fashionistas all over the world. Alexa Chung, Scarlett Johansson and Kate Moss to name a few.

Rika Maison guesthouse, Amsterdam
Today Ulrika resides in Amsterdam. The city has a nice touch of small village and the child friendly environment makes it an ideal place to live in. Also the geography is right.
“I work a lot in Paris and London. Amsterdam is in the middle”, she says.

Her Rika boutique, in Oude Spiegelstraat 12 in Amsterdam, has grown into a Rika Maison guesthouse. She designed the rooms herself.

“It´s decorated like my home.”
“And, your home. What does it look like? “ I ask.
“We live in an old school house rebuilt by a Dutch architect. It has black floors with white walls, ceramic vases, velvet pillows. Simple. Just like Rika Maison.

“So where do you see Rika in the future? For example do you want to design a line for men or create a children collection?” I ask.

“I did try to develop a children collection once but in the end it turned out too expensive.
I will keep focusing on the Rika collection, the Maison guesthouse and my Rika magazine and developing that. “

Swedish or a Dutch?
I tell her that the Swedish department store NK in Stockholm, Sweden is promoting her as a Scandinavian designer but when I read about her in Elle, they present Rika as a Dutch label.
Does nationality matter?
“I feel like a Swede. But my brand feels neither Swedish nor Dutch. For me it is of great importance that my mission is connected to my brand identity and not a place on earth. But I am inspired by girls in cities like Malmö and Copenhagen. I like the Scandinavian style. Not too dressed up - just good looking.”

The spirit of Rika
It is not only money she invests in her company. Ulrika Lundgren is personally involved in the styling of every collection. Her creative capital is the essence of Rika. I tell her that I think the pictures in the look book are lovely.
“Yes, that is where I leave my hallmark and there is where the collection is presented.”

It’s easy to imagine that she has given full attention to every little detail concerning Rika.
Speaking to Ulrika I must admit I sometimes get a glimpse of a perfectionist or even a control freak. Have you ever found yourself dressed all wrong in a situation when it wasn’t really appropriate?

“No, I am cautious. I analyze things. I Save my thoughts in my mind a while. Then I make a decision. But I like challenges. At one time, five or six years ago, I made bags decorated with bugs and spiders. Most of the people thought it was weird. Today when the jewelry designers uses such motives all the time it would probably be a success.”

What is the most rewarding thing with being a fashion designer?
“To see young women wear my creations… and that they are satisfied and want to buy my clothes. Appreciation.”

Can you name a Dutch designer and a Swedish designer you like?
“Well. I do wear Acne sometimes. But I don’t wear any Dutch designers. My favorite brand is Céline. I love it - classic French Parisian girl style.
When I dress I always wear something timeless. I am 40 years old - not 20. Black is classic”
“I always spend a little extra money on shoes, bags, jackets and trousers. Today I carry a blue bag, a Marc Jacobs cardigan and a couple of Acne trousers. I like it simple.”

She tells me she’s going to attend a Vogue event soon and doesn´t yet know what to wear; maybe jeans, a shirt and a biker jacket. To her it is crucial to feel comfortable. Girls are most beautiful that way, she thinks.

The conversation is interrupted. She calls me up in a few minutes.
“Are we finished?” she asks.
Just one more question I say.
Do you have a male styling icon?
The smile returns to my face. That I had figured out.

photography by LENA MODIGH

stylist MEGHAN SCOTT / Magnolia Agency

hair & make up ELIN TORDENLIND / Magnolia Agency

model LINNEA / Stockholmsgruppen

                    / www.rikaint.com

A Saucerful of Secretshttps://www.odalisquemagazine.com/articles/2012/05/10/saucerful-secrets-photography-by-aela-labbe
Leaping Forward into the Pasthttps://www.odalisquemagazine.com/articles/2012/05/13/leaping-forward-the-past

Leaping Forward into the Past

WrittenBuyun ChenMichaela Widergren

When I moved from New York to Beijing at the end of August 2009, I packed nearly every shoe, jacket, and dress I owned. For weeks I had meticulously evaluated each item in my wardrobe and determined that it was absolutely necessary to take everything, only sparing a couple pairs of old jeans. (This, of course, resulted in a hefty overweight luggage fee.) My irrational packing was driven by the belief that Beijing had nothing sartorially inspired to offer me.

In my mind, the ever-changing metropolis was littered with fast-fashion empires and luxury retailers disseminated across sprawling malls and outdoor shopping pavilions. This image, perpetuated by articles with titles like “China’s taste for high-end fashion and luxury brands reaches new heights” (published in The Guardian in April 2011) portrays the shopping scene as a playground for the foreign luxury market. One of the oft-cited statistics claims that Chinese consumers will buy over 40% of the world’s luxury goods by 2020. Yes, wealthy urbanites are shopping – but what are their young, financially constrained counterparts buying? As a recent transplant to Beijing, I was particularly invested in learning where the clothing-obsessed twenty-somethings – like myself – find the good stuff.

After about a month in Beijing, I was desperate to shop – or at least, browse. I had heard that the Gulou (“Drum and Bell Tower”) district located in the east part of the inner-city, home to trendy but tourist-filled hutongs (narrow lanes), was a good place to start. On my search, I passed countless shops selling socialist propaganda T-shirts, floral patterned totes, and embroidered silk shawls – each trying to capitalize on the tourist’s imagination of an authentic Chinese past. Tucked between the traditional yogurt vendors and scattered in the side alleys, however, were small, unassuming boutiques that catered to a different consumer. Carefully curated, these shops offered modern silhouettes done in limited palettes with quality fabrics by local designers. My curiosity was piqued.

While the figures of luxury consumption are striking, they eclipse the emerging local fashion design and retail scene. Many of the young designers have studied at elite fashion design schools in Europe and then, return to Beijing or Shanghai to launch their own lines. They belong to an exclusive group of tastemakers who are working to carve out a space of their own in the domestic and international fashion markets. But their shops and the independent boutiques that sell their collections remain sparsely populated. The pricing of these designed wares was far beyond the reach of my pockets and I suspected that the same must be true for my fellow Beijing shoppers.

Several failed shopping trips later, I chanced upon a closed vintage shop in the Gulou district late one night. I peaked through the windows and discovered racks and racks of liberty print skirts, stonewashed denim, and flannel. Pressing my nose against the metal shutters, I spied leather satchels and tasseled brogues, enough to send me into a state of euphoria. I quickly took note of the name: Mega Mega Vintage.
Located on East Gulou Street, the store holds odd hours. Only after a few unsuccessful attempts did I realize that the store was unlikely to open before the early evening. When I finally gained admission, I was surprised to find that all of the goods were imported from America, Europe, and Japan. The slightly claustrophobic space was decorated with old British and American paraphernalia, complete with a red telephone box in place of a fitting room. Owned by Liu Ke, M&M Vintage was one of the first vintage shops to open in Beijing. In interviews, Liu has described vintage (or guzhuo) as a culture that not only values the history of fashion, but also ascribes new meaning to the remnants of things past. For Liu and his customers, arming oneself in vintage is to confront the homogenizing force of fashion trends.

Over the past few years, Gulou has transformed into the destination for vintage shopping. In addition to M&M, Tiger Vintage, Old News, DDR, and a handful of other stores offer vintage clothing, accessories, and home goods to a growing population of young urbanites seeking to articulate a unique identity in the age of disposable fashion. Like Beijing’s elite designers, these vintage sellers have studied abroad, traveled, and returned to China to start their businesses. The vintage phenomenon is an outcome of the mobility, both physical and cultural, afforded to a generation of affluent youths who came of age during the China boom. By wearing vintage, these identity-conscious shoppers can boast authenticity and distinction. By buying and selling vintage, shop owners lay claim to a culture that pre-dates mass production, fast fashion, and most importantly, the “Made in China” trademark. They stock their stores with European and American vintage, avoid most merchandise produced after the 1980s and instead, opt for trends from the 50s through 70s – when the market had yet to be saturated with products manufactured in China. Whereas goods made in China represent the regime of readymade appearances, vintage goods are viewed as containing intrinsic worth by virtue of its limited production, workmanship, and novelty.

Their affinity for vintage, perhaps, bespeaks the backlash against waste and obsolescence that is gaining traction across major cities. Some critics might dismiss the proclivity for vintage as an instance of random cultural borrowing premised on an imagined past – yet another manifestation of the global fashion system. Or they may just be accidental bricoleurs playing in the storehouse of nostalgia, working to humanize forms of wear.

Before I left Beijing, I went to a vintage and secondhand flea market hosted on the roof of Triple-Major, a concept store that carries obscure labels from across the world. The event was as much of an opportunity to purchase imported vintage leather pumps as it was to get acquainted with a community of locals and foreigners invested in the fight against the ephemeral. In a city so intent on erasing the vestiges of history, wearing vintage has become a battle cry that calls attention to their appreciation of the past.

Earthly Delightshttps://www.odalisquemagazine.com/articles/2012/05/16/earthly-delights-artwork-by-maren-esdar
Luminous Leafshttps://www.odalisquemagazine.com/articles/2012/05/22/luminous-leafs-photography-by-sandra-myhrberg

Luminous Leafs

PhotographySandra Myhrberg

asymmetrical felt and crinolin detail HORISAKI

jersey top with fringe detail MUNTHE PLUS SIMONSEN

silk & jersey shorts WON HUNDRED

high heel pumps HOPE

asymmetrical felt and crinolin detail HORISAKI

jersey top with fringe detail MUNTHE PLUS SIMONSEN 

faux fur jacket RODEBJER

crochet maxi dress RALPH LAUREN

necklace worn as headpeice EFVA ATTLING

bowler hat HORISAKI



tunic worn as top DAGMAR

silver mink necklace REBECCA BONAPARTE

anchor charm worn on turban THOMAS SABO

snakeskin pattern scarf worn as turban BY MALENE BIRGER

sheer tee shirt WON HUNDRED

feather print skirt STINE GOYA 

silver drop headpiece MALINDA DAMGAARD

high heel sandals WHYRED 

ring with jewel REBECCA BONAPARTE

ring with rivets MARIA NILSDOTTER 

earpiece BEDAZZLED

zebra bow headpiece MALINDA DAMGAARD

silk blazer DAGMAR

tooth necklace CORNELIUS 

hair & make up MICHAELA MYHRBERG

model ASTRID B /Mikas

photographer’s assistant ANNA GRANBERG


necklace with gold skull beads CORNELIUS 

brass claw necklace MARIA NILSDOTTER

skull headpiece STYLIST’S OWN



PhotographyPaula Parrish Michaela Widergren
black neglige BETSEY JOHNSON

green bikini BASTA SURF

white top JEZEBEL
The May Queenhttps://www.odalisquemagazine.com/articles/2012/05/29/the-may-queen-written-by-david-barrie

The May Queen

WrittenDavid BarrieLinda Marina Portman

The May Queen
“You must wake and call me early, call me early, mother dear; To-morrow ‘ill be the happiest time of all the glad New-year; Of all the glad New-year, mother, the maddest merriest day; For I’m the Queen o’ the May, mother, I’m to be Queen o’ the May.”

Beautiful and excited, the girl at the center of the Victorian poem The May Queen is the glorious expression of a woman emerging in to a new season.

But don’t get carried away by all of the romance, joy and blooming valleys of Tennyson’s writing, at a time when visual culture is awash with the floral prints of Mary Katrantzou and cities full of blossoming trees.

The May Queen may be lit by the optimism of a new season but she is cold, calculating, a narcissist and crazy daisy kook.

Lord Alfred Tennyson wrote The May Queen in 1833. The defining poet of Victorian England, he is best known for his poem The Charge of the Light Brigade.

The verse centers on a girl, taken to wearing white and at times mistaken for a ghost, who urges her mother to wake her up early in the day to celebrate Spring.

The May Queen is a blend of the real and the literary and almost a dream song, full of lush green, knots of flowers and wild, golden plants that shine like fire in swamps and hollows gray.

As ever with Tennyson, the poem shares a meaningful contrast. It revels in trite, bright, almost silly, optimism but also hints at a world that is polluted by the vain, the selfish and the cruel.

The girl in The May Queen sees a young man who loves her, on a bridge near to where she lives, and simply runs past him saying nothing: They call me cruel-hearted, but I care not what they say.

The girl is utterly indifferent to the his feelings and just can’t wait to flirt with farm workers on the village green: They say his heart is breaking, mother – what is that to me?

Tennyson was a writer finely tuned to the spiritual and symbolic. He was also a troubled man. The son of a violent, alcoholic priest, he wrote The May Queen in the same year as his best male friend, often thought to be his lover, fell ill and died.

The May Queen may appear to be full of the joys of Spring but she is superficial and manipulative and by dismissing the young man, she denies the union of souls in love and this is a symbol of human relations with God. 

 vintage jewel adorned dress BLUMARINE

 flower piece STYLIST’S OWN

vintage dress PRADA

blue chiffon dress BEYOND RETRO



necklace MODEL’S OWN 

vintage chiffon dress ANNA MOLINARI

Soul Park Boyhttps://www.odalisquemagazine.com/articles/2012/06/02/soul-park-boy-photography-by-jorgen-axelvall-japan-a.p.c

Soul Park Boy

PhotographyJörgen Axelvall


tie A.P.C

         tanktop DRESSCAMP jeans FACTOTAM shoes STYLIST’S OWN
shirt FACTOTAM jeans A.P.C
The Ability To Tellhttps://www.odalisquemagazine.com/articles/2012/06/05/the-ability-tell-photography-by-yudi-ela-echevarria

The Ability To Tell

PhotographyYudi Ela EchevarriaAnna Granberg
vintage dresses MARNI

red jacket KENSIE


skirt ZARA



left wears 

dress + belt KENSIE
right wears

red jacket KENSIE


skirt ZARA

<link>https://www.odalisquemagazine.com/articles/2012/06/06/papillons-chrysalides-photography-by-olivier-ramonteu</link><content><![CDATA[<div class="ds-2col-stacked node node-article node-promoted view-mode-fb_instant_article view-mode-fb_instant_article clearfix"> <div class="group-header"> <h2>Papillons & Chrysalides</h2><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography</a><a href="/people/olivier-ramonteu">Olivier Ramonteu</a><a href="/people/sandra-myhrberg" title="View user profile." class="username" xml:lang="" about="/people/sandra-myhrberg" typeof="schema:Person sioc:UserAccount" property="schema:name" datatype="">Sandra Myhrberg</a><div id="file-1934" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu2.jpg?itok=kT6uUzPZ" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu2jpg" class="rdf-meta element-hidden"></span> </div> </div> <div id="file-1935" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu3.jpg?itok=Er5DmKpX" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu3jpg" class="rdf-meta element-hidden"></span> </div> </div> <div id="file-1937" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu4.jpg?itok=-r-t0H8V" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu4jpg" class="rdf-meta element-hidden"></span> </div> </div> <div id="file-1938" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu5.jpg?itok=IFm224Xo" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu5jpg" class="rdf-meta element-hidden"></span> </div> </div> <div id="file-1939" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu6.jpg?itok=4nEzH1w2" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu6jpg" class="rdf-meta element-hidden"></span> </div> </div> <div id="file-1940" class="file file-image file-image-jpeg"> <div class="content"> <img typeof="foaf:Image" src="/sites/default/files/styles/980x653/public/04062012olivierramonteu7a.jpg?itok=8zihrWBX" width="980" height="653" alt=""/><span rel="schema:url" resource="/file/04062012olivierramonteu7ajpg" class="rdf-meta element-hidden"></span> </div> </div> </div> <div class="group-left">   </div> <div class="group-right">   </div> <div class="group-footer">   </div> </div> ]]></content><pubDate>2012-06-06T20:03:12+00:00</pubDate></item><item><title>Strokeshttps://www.odalisquemagazine.com/articles/2012/06/11/strokes-photography-by-ellinor-stigle-make-up-forever


PhotographyEllinor Stigle

jewelry K/LLER


jewelry K/LLER


jewelry K/LLER


jewelry K/LLER


Giovanni's Roomhttps://www.odalisquemagazine.com/articles/2012/06/14/giovannis-room-written-by-philip-warkander

Giovanni's Room

WrittenPhilip WarkanderMichaela Widergren

In his classic 1956 novel Giovanni’s Room, author James Baldwin at one point describes the relationship between time and the individual. One of the main characters of the novel, the unfortunate Giovanni, tells the narrator of how he experiences the temporal context of human existence, in which all thoughts, deeds and actions are carried out:

Time is just common, it’s like water for a fish. Everybody’s in this water, nobody gets out of it, or if he does the same thing happens to him that happens to the fish, he dies. And you know what happens in this water, time? The big fish eat the little fish. That’s all. The big fish eat the little fish and the ocean doesn’t care.

For some reason I haven’t been able to stop thinking about this brief passage. In a few sentences, Baldwin has captured the sense of anxiety and powerlessness a person experiences when faced with the seemingly indifference of time; we live, we die, but in a larger perspective, none of it really seems to matter. Our existential traumas, struggles and difficulties which for us are a matter of life or death, is of no relevance to the universe.
Depressing as this may sound, I couldn’t stop thinking about Baldwin’s work, but now focusing on the whole novel, and my reading of it. Originally published in 1956, I read it for the first time in 2012. When I read this text, I see it for the first time, and for me, the text is alive. This way, Baldwin has counteracted the supposed linearity of time and escaped from the demarcations of the indifferent ocean. Through a creative process he has suspended the laws of time, and in a way overcome his own mortality.

A few weeks after I finish reading Baldwin’s short novel concerning events of Paris of the 1950’s, I am in the middle of a new project; Marcel Proust’s In Search for Lost Time. Based (among other places) in the same city as Baldwin’s, Proust’s work spans over several decades, through winding passageways and surprising twists and turns through time, as elaborated by Proust himself. The taste of Madeleine cookies and scent of hawthorn bushes awaken his memory, making him reminisce over times past. Through a deeply personal perspective, he controls the narrative, filling it with detailed descriptions of sexual escapades, romantic infatuations and social ambitions. Long forgotten incidents and people now dead are brought to life, woven into the fabric of Proust’s imagination. Similar to Baldwin, Proust also takes control over time, questioning its linearity and instead molding it into the shape of his own desire.

I read In Search of Lost Time while in Marrakech, Morocco. One morning, I visit Jardin Majorelle, former home of Pierre Bergé and Yves Saint Laurent. The two were deeply fascinated with Proust, and have even named the guest rooms in one of their other homes (Chateau Gabriel, near Deauville, France) after characters in the book.
To an almost extreme extent, YSL was inspired by references from his own life in his fashion design. His passion for art and weakness for Arabic aesthetics (which he discovered through his long stays in Marrakech) were articulated in his collections. This way, his private experiences and personal preferences were materialized in commercial products, to be sold and worn all over the world, by people who had no connection to French art of traditional Moroccan style, thus blind to the references in the garment they wear.
Here, the artistic legacies of Proust and YSL become interlaced. While I read Proust in the former hometown of YSL, I note distinctive similarities in how they operate artistically; using ideas that emanate from subjective and secretive existences, they employ memories and reflections to create a world of their own. This world is open for visits by others, albeit only temporary ones. For Proust, this is carried out through words, while YSL does it literally; designing garments for people to dress up in, wrapping themselves in the worlds of his creation.
This tactic takes us back at the starting point; the relation between individuals and time, and the possibilities of overcoming the contextual demarcations of our existence. Interestingly, both Proust and YSL were physically weak and neurotic, placing them in the category of the smaller fish in Baldwin’s ocean, easy prey for bigger and stronger forces. However, using the power of imagination, they create their own worlds, inventing personal rules and value systems, thus overturning the logic of the mainstream and the ordinary outside of their sphere. Visibly weak but with imaginations stretching outside of the limits of their place in the ocean, they subvert the order of things and, in this way, cheat the logic of time and death.
When I visit Jardin Majorelle YSL has been dead for some time, and his memorial is situated in the garden where I spend my morning, now accessible for the public. But, carrying the Proust-volume in my bag, I have a sense of being able, as Proust did once himself, to edge myself back through time, to when YSL and Bergé were sitting in the garden, engulfed in the stories of Paris past. YSL may be buried here, but his notion of upsetting and tricking time is encoded in the structure of contemporary fashion, thus continually living on through the works of others.

A Margothttps://www.odalisquemagazine.com/articles/2012/06/17/margot-photography-by-marie-fleur-charlesworth

A Margot

PhotographyMarie-Fleur CharlesworthMichaela Widergren
dress & shoes from BEYOND RETRO  blouse TO BE ADORED socks TABIO
coat TOP SHOP knee socks TABIO shoes from BEYOND RETRO

jacket & shorts ORLA KIELY blouse TO BE ADORED


dress & shoes BEYOND RETRO top TO BE ADORED socks TABIO 

bathing suit BEYOND RETRO 

fur stole & knickers STYLIST’S OWN

Fairy Taleshttps://www.odalisquemagazine.com/articles/2012/06/21/fairy-tales-photography-by-laura-makabresku
Mark Demsteaderhttps://www.odalisquemagazine.com/articles/2012/06/25/mark-demsteader-artwork-by-mark-demsteader
Forest Dreamhttps://www.odalisquemagazine.com/articles/2012/06/29/forest-dream-photography-by-sandra-myhrberg-beyond-retro

Forest Dream

PhotographySandra Myhrberg

gold dress BEYOND RETRO


racoon tail STYLIST’S OWN


lace dress BEYOND RETRO

fringe vest & belt 118 SECOND LÄDER

sheer dress SHEO


necklace BJØRG

mask NAY



necklace BJØRG



backless dress HERNANDEZ CORNET


flask holder, mask & socks STYLIST’S OWN

shoes WHYRED


flask holder & mask STYLIST’S OWN

shoes WHYRED

silk kimono VINTAGE

lace bustier BEYOND RETRO





lace dress BEYOND RETRO

fringe vest 118 SECOND LÄDER


shawl ESPRIT


Interview with Ann-Sofie Backhttps://www.odalisquemagazine.com/articles/2012/07/03/interview-ann-sofie-back-written-by-marie-brunnberg-photography-fumi-nagasaka

Interview with Ann-Sofie Back

WrittenMarie Brunnberg

In front of the grey main door I stand searching for a doorbell. I can’t find any so instead, I carefully knock at the door. Nobody notices, I think. I am about to try again when the door opens.

A blonde woman lets me in. Behind the doors, down the stairs, Ann-Sofie Back stands looking up at me as I enter. Her little dog runs forward to welcome me.

“I noticed I just wrote “interview” in my calendar so I was a little bit unsure about whom I was going to meet”, she says.

I smile and introduce myself to Ann-Sofie. Then I turn to Beverly, her dog.

In her tiny office there are just a table and a couple of chairs. While she is out getting a cup of coffee I curiously look at the sketches on the wall.

She enters the room, sits down, arms crossed.

It is obvious that this woman has integrity, but I am not so sure that this is a trait that will make this interview an easy ride. This can go either way.

I ask her how much of her time I have.

“How much do you want?”, she asks. She’s smiling.

Ann-Sofie Back was born in Farsta and raised in Stenhamra, both suburbs of Stockholm. She tells me that her parents’ lack of interest in clothing, culture and art was a major reason why she is a designer today.

“It was a sort of revolt against the ugliness that I felt at home”, she says. “I think of it as a typical middle-class designer thing to do. To break free from all of that”.

OM: How was studying at Central Saint Martins (London) in comparison with Beckmans College of Design (Sweden)?

AB: Beckmans was very different then from what it is now. Now, it is very much better, more interesting and more theoretical than when I went there. Beckman was, strange enough, not so into fashion. At that time the common opinion in Sweden was that fashion was a bit superficial and silly. Central Saint Martins was very different culturally. Suddenly, I found myself admiring my teachers and really felt that they had a lot of knowledge.

After Ann-Sofie got her MA in Fashion Women’s Wear, she started her own label Ann-Sofie Back. At the same time she was freelancing for ACNE. She also worked for the British designer Joe Casely Hayford.

OM: What was it like, working for ACNE?

AB: It was so very long ago. I had great fun with Johnny. He really is an eccentric and special person. He chooses the people he likes and you get a lot of freedom. He has great confidence in his employees. That’s how I felt it at least when I was there.

In 2005 Ann-Sofie Back split her clothing line in two. The result is Ann-Sofie Back Atelje and Back. Back is a diffusion line.

The craftsmanship is of great importance in Ann-Sofie Back Atelje and the clothing is therefore much more expensive.

OM: Who do you have in mind when you create your clothes? If we take Back for example?

AB: I have to say the same as other brands are saying. A strong woman between 25-50. Or maybe 55. In reality our average costumer is a little bit older than we thought in the beginning. She is intelligent, knows what she wants, dresses for herself and all those things they say.

But unlike other brands that describe their customer in a similar way, the Back-woman really dresses for her own sake or for her female colleagues. She is not someone who dresses for a man. This is true also for the Atelje line. I think you must have some self distance, and it might sound silly, but I think you could not take your so-called femininity and sexiness too seriously to estimate the Back collections.

OM: Is there any artist who inspires you?

AB: No, I have not been at any art exhibitions lately. I feel quite distanced from that world. When I started as a designer it was trendy to mix art and fashion. But I think that fashion is so much more interesting as a way of expression compared to art and much more challenging to work with.

OM: So, how do you find inspiration?

AB: It is usually from things that bother me. It could be a social phenomena that I really can’t deal with or I don’t like.

One example is my collection autumn/winter 2008 who was inspired by celebrity obsession. It was a very clear phenomenon, especially in England when I lived there. They are terrible, these gossip magazines and how they hunt celebrities, and this whole misogyny. It is a very scary and weird mentality.

So I made a collection that was inspired by this. At that time the most wanted women were Amy Winehouse, Kate Moss, Lindsay Lohan and Paris Hilton. But it’s not that I think I solve any problems through my clothes. It is more like I get inspired.

OM: That brings me to another question. Are you a feminist?

AB: Yes! This whole discussion is so remarkable. Those who say that they are not feminists, do they not want to have equal pay? That’s what it is all about, if you ask me. I get completely angry with men and women who say they are not feminists.

OM: What is the best thing about Sweden?

AB: To go out with my dog ​​without being afraid that she will get bitten to death by a pit bull terrier. It could be a really big problem in London. I did not think about it until I got a dog. In the area where I lived, it was quite dangerous. Crack house dogs everywhere who really had been trained for aggression. I was terrified every time when I was out.

OM: Do you think there is some interesting designers in Sweden today?

AB: Yes, several. There are many who are talented in different ways. I cannot pronounce their names but it is a duo that is new, Altewai anything. (Altewai.Saome) … I think they have some kind of international level on what they do.

Sandra Backlund is a fantastic craftsman, a technician that must be admired.

ACNE, it is impossible not to be impressed by the journey they have done from jeans to high-end fashion. There is no other designer who has ever done it ever before. It is an entirely new phenomenon.

OM: Is the craftsmanship just as important as the concept for you?

AB: I was not interested in that for many many years. I was very interested in the opposite. I worked with fabrics I felt lied. It looked good from afar, but when you came closer you could tell that it was knick-knacks. I wanted to reverse the luxury phenomenon.

Now when we are doing this Atelje line, of course the quality is very very important. I think it is a matter of balancing - to be smart and choose between the intellectual or aesthetic judgements.

It is probably why I admire such designers as Sandra Backlund. She is a perfectionist to the core.

When I think of the next question, I suddenly hear a snoring sound. I really can’t focus. I bend my head down to looking for the source. It is Ann-Sofies sweetheart Beverly who is sleeping on the floor.

OM: You are using linen fabric in your latest summer collection. Is it not a rather unusual or untrendy material to use today. Is this another way for you to break standards?

AB: I have used linen several times and it is just because it has such a questionable reputation. You see a certain type of women in front of you. Maybe a kind of older arty woman or librarian. That’s why I think it’s interesting, of course - to do something that I might wear in such a material.

OM: Is there anything exciting happening right now in the fashion industry?

AB: As I am also working 50% for Cheap Monday, there’s one funny thing. The jeans are back, from in fact being a bit boring for a few seasons.

Then, purely personally, it has gone amazingly well last season. I have a business partner, a great designer, and someone who take care of the economy. They all make my life so much easier compared with when I worked in London. Then, I always had the last word.

OM: Which materials do you think are coming in the future?

AB: Self-washing materials. I think it would be nice if we did not have to wash our clothes. It would also solve some environmental problems in case they found such a material. I am also very curious about what will happen with 3D printers.

I mean, will we buy clothes in stores or will we download programs and print out clothes at home? The stores will they be gone?

The power in fashion have already been taken away from the old elite and put into the hands of consumers. The bloggers caused a bit of that tradition. Maybe it is another step in some kind of democratic process. I do not know.

OM: Self-cleaning material. How does it work?

AB: I have no idea. But I’m sure it will come within a few years. I am a future freak. I think of course, that those who are under 50 today will live for several thousand years.

OM: That reminds me of Lars von Trier’s film Melancholia.

AB: I have not seen it. Is it a disaster?

OM: The end of the world.

AB: I do not believe in the end of the world at all. Everything is getting better and better all the time.

stylist MEGHAN SCOTT / Magnolia

make up PARI DAMANI / Agent Bauer

hair SHERIN FORSGREN / Link Details

model ANNIE / Nisch Management

photographer’s assistant HANNA RICHTER

jewellery BJØRG