• images courtesy of Fotografiska 

    Exclusive Sit Down with Elin Frendberg the Executive Director of Fotografiska Stockholm

    Written by Yasmine Mubarak

    Odalisque Magazine presents an exclusive sit down with Elin Frendberg the Executive Director of Fotografiska Stockholm - the definitive site for photography. Having studied art history in both Lund, Sweden and in Florence, Italy – Elin Frendberg has always had a strong interest for art. During her studies she took photography classes dreaming of having her own gallery. Consequently, when the opportunity to become the Executive Director  at Fotografiska in Stockholm, the choice was easy

    …photography is the biggest, most inclusive and democratic art form in modern society and as a unique position to inspire people of different backgrounds” She replies after being asked about the future for photography as an art form “…I strongly believe in the importance of increasing accessibility to art. There are no thresholds to experiencing photographic art and it fosters a unique opportunity to create both individual growth and societal change.” 

    Having taken over as the Executive Director right during the Covid pandemic they had to close in her first week on the job, and the creativity had to begin quickly “…the time right after (we had to close Fotografiska) was incredibly creative. The team created a 3D version of the museum, digital guided tours, pop-up photo exhibitions in bus stops all over Stockholm, opened a temporary “bicycle bakery” and sold lunchboxes from the restaurant ’'at the local supermarket…” she explaines 


    Fotografiska was founded in Stockholm in 2012, and has quickly become a success for their unique way of creating and exploring the concept of showcasing photography in a mixture of gallery and museum. “The beauty with art is that it has the ability to hold and induce all the emotional values.” Elin says describing the importance of photography and art  “The best exhibitions can embrace both fear, joy, sadness and hope in the same time. Experiencing art should be like going to an emotional gym.” She continues “We (Stockholm) were the first Fotografiska museum in the world, “the mothership” and over the years, our brand has become one of the most beloved cultural brands in Sweden. We are a decade before our siblings and they are now innovators and disruptors in their markets, just like we were when we opened 15 years ago.  It is incredibly inspiring to collaborate with our siblings in Berlin, Shanghai, Tallinn and soon Oslo as they pioneer in their respective markets.”


    Overseeing an institution such as Fotografiska, one has the power to focus on the future. Speculative about the next generation of photographers Elin express “My hope is that the next gen keeps pushing boundaries, creates new forms of expression, and uses their voices to create change. That they will find a way to navigate the major challenges and opportunities of AI to convey new imaginative stories – and that we will find a way to keep documentary photography free from AI and fabricated realities, to preserve democracy and truth.”

    When not having to come up with solutions at work, she tells me she gets her energy from the guests “I get massive energy and inspiration from my work, creating unique experiences for our guests at Fotografiska is incredibly valuable to me. I have the favour of working with creative geniuses across the organization from curators and artists to chefs – all with the mindset to push the needle for a more conscious world.”

    Photography has become increasingly accessible during the tech revolution, where everyone has a camera in their pocket. The development of photography as an art form have therefore been one to discuss fascinatingly. Asking Elin about how she feels about the development of photography especially with social media she answers
    “There are 5,3 billion photos taken every day and each image tells a story. The fact that people are increasing their interest in and skills for photography and video expands both the supply and demand for the art form as a whole and helps to nuance artistic expression in new dimensions. I welcome the democratization of the art form and that people are becoming creative in their own narratives and voices. It also opens up accessibility to documentary photography, which is crucial in the world we live in today.”

    Being asked what they are looking for choosing their instalments she replies “We seek inspiration continuously and look for cutting edge artistic relevance in expression, and craft. We also look for relevant themes and inventive outlooks that will add new perspectives in our society. We always strive for a mix of perspectives, backgrounds and expressions from all over the world and we combine 4-5 exhibitions simultaneously to over maxed out moments. We have a fast pace so that every visit holds a whole new experience each time you visit.”


    However, Fotografiska has had its controversies, not only in Sweden, but Norway and other parts of the world. Being asked why she believes Fotografiska sometimes can raise discussions “We have been a disruptor from the beginning and want to change the norms in the industry by creating an elevated museum experience for the modern world. A place where world class, cutting edge contemporary art meet vanguard cuisine and diverse cultural expressions at a fast pace. An inclusive space with no white walls or quiet guests. That is our obsession, we are here for our guests and members, and we don’t focus on potential opponents.”


    The question on if art and Fotografiska is failing the discussion of ’’elitism’’ in art. We ask what an institution and popular destination such as themselves can do for inclusivity.“At Fotografiska, we truly believe that art should never feel excluding.” She says  “It’s not about having a certain level of knowledge or and art degree – it’s about feeling something, being curious, and discovering new perspectives.” She continues “We get that not everyone has the time or money for culture right now. But we also know people are looking for real, meaningful experiences, something that sticks with you. That’s what we over. For us, accessibility isn’t just about discounted tickets (though we over those too – for kids, asylum seekers, students, and senior citizens). It’s about lowering the emotional threshold and making everyone feel welcome, curious, and included.”


    One of their many initiatives started two years ago, when Fotografiska launched Fotografiska Stockholm’s Emerging Artists series, an initiative highlighting young, promising photographers based in Sweden. Asking about it Elin desribes that “The purpose with the program is to highlight rising artists and new voices to support and inspire our local art scene.’’ She continues “We want to keep developing and using our platform to promote narratives in photography, both for established and emerging.”

    In 2025, Fotografiska is celebrating 15 years, for her hopes for the celebration and what she is looking forward too she answers  
    “I hope that all guests that has ever been here would come back to experience our anniversary and celebrate the artists that we have showcased throughout the years. That people come to relive their favorite moments and discover new emerging artists and perspectives and that they will create new art memories with their loved ones. We are celebrating 15 years, not 150, so we want this whole year to rather create a lively house party than a somber anniversary banquet, and everyone is invited!” she also invites us all for the Anton Corbijn exhibition “We are planning the Anton Corbijn exhibition for the summer and the massive 15 year Anniversary exhibition that will open in October – our biggest group exhibition to date with 100 exhibiting artists. It will be a milestone and a banger! In parallel with our Anniversary exhibition, we will also show the first ever group exhibition with our Emerging Artists initiative, so it will be a marvelous mix.”


    As a conclusion we had too ask what her hopes for the next 15 years of Fotografiska will be 
    “I hope that art will become an essential part of people’s lives. That experiencing live art moments alone or with loved ones will grow as an important obverse to streaming and scrolling. The need for emotional depth and new ideas and interpretations of our society has never been more important than today. I hope that we will continue pushing the needle in our field and inspire new perspectives for a more conscious world and that we will live for at least another 100 years to come.”

    Image courtesy of Fotografiska

    .

    Want to Visit? Here is What's On Now and in Autumn

    April 11 – August 31, 2025: Marco Brambilla – Double Feature
    June 13 – October 12: Anton Corbijn – Corbijn, Anton
    On exhibit now through March 2, 2025: Space – A Visual Journey
    On exhibit now through April 6, 2025: Bruce Gilden – Why These?
    On exhibit now through April 6, 2025: Josèfa Ntjam – Futuristic Ancestry: Warping Matter and Space-time(s)

    September 5, 2025 – November 30, 2025: Viviane Sassen – Phosphor: Art & Fashion 1990–2023
    October 17, 2025 – February 8, 2026: Group exhibition: Fotografiska 15 years
    October 17, 2025 – March 15, 2026: Group exhibition: Emerging Artists

    Nick Cave, London 1996 © Anton Corbijn

    Image courtesy of Fotografiska 

     

  • text & photography Sandra Myhrberg

    copy Dante Grossfeld

    Back in Town

    Written by Sandra Myhrberg by Janae Mcintosh

    WHY THIS BOLD MOVE?” THIS QUESTION HAS BEEN ON
    EVERYONE'S MIND.
    The redesign and rebranding of the Type 00 Jaguar come at a time of massive transformation in the automotive industry. Consumers are no longer just looking for performance and luxury; they are demanding sustainability, advanced technology, and a deeper connection with the brands they support.


    Is Jaguar signalling its commitment to staying relevant in an increasingly competitive and rapidly evolving market?
    Odalisque visited Paris to see the car first-hand and discovered that Jaguar is ready to redefine what it means to be a luxury automaker in the 21st century by moving towards electric mobility and adopting modern design aesthetics, guided by the slogan “copy nothing”. Not only does it appeal to the environmentally conscious consumer, but it also signals Jaguar's willingness to innovate and challenge established conventions. Jaguar's legacy goes beyond technological advancement and sustainability because it has long been associated with exemplary performance, style, and craftsmanship. While adapting to changing consumer expectations and values, the bold redesign of the Type 00 Jaguar risks disrupting that established identity. The question arises: Can a brand so steeped in tradition succeed in pivoting without losing the essence that made it a symbol of luxury and performance.

    Odalisque Magazine: Jaguar’s new direction is a bold departure from its past. What was the driving force behind this transformation, and how does it redefine what a Jaguar is?
    When we set out to reimagine the Jaguar brand, we knew we had to become desirable and aspirational for current and future generations. This required us to understand what the brand stands for and to define what we were doing when we were successful and at our best. For most of our history, we were known for producing beautiful, aspirational cars that connected with our clients and fans on an emotional level. We also didn’t play in the volume sector and that was when we achieved most success. So, looking forward, we want to return Jaguar to its natural habitat. We need to ensure we attract a new client base and produce appealing cars that are relevant for future generations. That does not however mean we will forget our current clients. We want to take them on the journey and for them to understand why we need to change

    OM: “Copy nothing” is a powerful statement. How does this philosophy guide the creative process, and how do you resist the repetition in the automotive industry?
    Our founder, Sir William Lyons said that Jaguar was at its best when it copied nothing. This mantra was adopted at the outset of our reinvention and will apply to everything we do – the design and engineering of ourvehicles, our brand identity, our brand stores and beyond. The Creative team were given a brief to design a brand ecosystem and products – namely our vehicles, that are a ‘copy of nothing’ - brave, bold and fearless. When you look at Type 00, we have delivered that brief. Rather than look at the expected design archetypes in the electric vehicle arena, we sought to craft our own aesthetic and break convention. Staying true to our ‘copy nothing’ origins has resulted in us presenting something quite unexpected to the world.

    OM: The term “exuberant modernism” has been used to describe Jaguar’s new aesthetic language. Can you explain what it means inpractical design terms?
    Exuberant Modernism is founded on three fundamental characteristics, expressed in every part of the brand. Firstly, what we mean by exuberant is that we must be bold, dramatic and vibrant - this applies to our whole brand and all touchpoints, from our vehicles to our upcoming boutiques, digital touchpoints and one-off events. It will be part of the full customer journey. In terms of our vehicles, exuberant speaks to the dramatic proportions, the use of elevated materials and our impeccable detailing. Secondly, “modernist” is a nod to our future-facing vision and innovation. Inspired by modernism, Type 00 and our future vehicles feature sculpted surfaces that are reductive, with clean and bold lines. For us, this aesthetic language will allow Jaguar to be engaging and connect on an emotional level with our audience and customers.

    OM: Jaguar’s rebranding, from the new logo to the fashion-inspired monogram, feels like a shift beyond automotive design. How does this visual identity align with the brand’s future ambitions?
    We set out to create a new identity with powerful symbols of change that highlight our brand transformation, all inspired by our provenance. Being brand-led means that we take a holistic approach that goes beyond how these symbols manifest physically on our cars. As a brand, we know that people will likely experience the new Jaguar world for the first time digitally. Taking this into account, alongside the need for Jaguar boutiques and other spaces, we know that our brand symbols will need to be used in many different guises. With this in mind, they have been carefully reinvented and meticulously crafted to ensure they resonate in every interaction with our clients. For example, the new ‘device mark’ is created in a modernist form that spells out the distinguished Jaguar name. It is a celebration of modernity, with a geometric form, symmetry and simplicity.

    OM: The Jaguar Leaper is one of the most iconic emblems in the automotive world. What was the intention behind redesigning it, and how does it reflect this new chapter?The Leaper is a precious mark of provenance, now always leaping forward – it is a signpost of our forward-facing outlook and a symbol of excellence. It is also layered with our new ‘Strikethrough’ and will be used sparingly and crafted in precious materials and with consideration. It will be discovered in different contexts but remains an important hallmark for our brand. As it has been since the beginning.

    OM: Step inside the Type 00, and you’re not just in a car, you’re in a curated space. What emotions, textures, and experiences guided the interior design?
    We have set out to create a space that is bold and has a striking presence whether you are looking in through the window or experiencing it from within. We continued the theme of longitudinal proportions, reflecting the exterior design. The architecture volumes are built in length, accentuated by the signature graphic of three brass lines. This graphic runs through the whole length of the cabin. From the base of the windscreen, along the door tops, into the rear corners of the load area on the sides and through the middle of the interior along the centre spine. This theme creates a strong sense of symmetry and splits the front volumes into two dashboards. The strikethrough pattern on these dashboards then extends onto the bonnet, once again accentuating the longitudinal nature of the design. And showcasing how our brand symbols take shape physically on Type 00. Art was a main inspiration when it came to the Materiality of the interior. We wanted to celebrate the human hand that crafted the beautiful and artistic signature pieces of brass running from the front to rear of the cabin and are intended to patina during the lifetime of Type 00. Monumental architecture like the Colosseum, made from Travertine stone, inspired the to create our tonal and layered interior palette. Finally, luxurious interiors and hotels inspired our textile application, which displays exquisite detailing and brings a welcoming warmth to the cabin.

    OM: The automotive industry has leaned toward safe, evolutionary design. Why did Jaguar choose such a radical approach, and how do you anticipate the market will react?
    Rawdon Glover, Managing Director: During the last two decades, Jaguar has been operating in the highly competitive premium volume car segment,
    and this has not proved commercially viable. The brand was successful when we operated in segments with lower volumes and elevated price points. Our vehicles were aspirational and desirable with bold and fearless designs. Therefore, we want to take the brand back to its natural habitat or when Jaguar was at its best. This is why we must take a big bold step and reinvent Jaguar with this radical approach. The reaction we have received to our design vision concept, Type 00 has been generally positive. We do
    acknowledge however, that Type 00 does not conform to the automotive electrified norm and that means it may shock, surprise and polarise. In the
    words of our Chief Creative Officer, Gerry McGovern – “Some may love it now, some may love it later and some may never like it. That is OK, that is what fearless creativity does”.

    OM: The modern luxury landscape is evolving beyond performance and status. How does the Type 00 integrate cutting-edge technology while maintaining a strong emotional connection with its driver?
    RG: Technologies will play a significant part in all aspects of future vehicles; from the way we have delivered the exterior design integrity to the curated interiors our clients will experience. Our focus in terms of interiors, is to make future Jaguar vehicles an amazing place to be. It is not about presenting our clients with lots of technology e.g. screens. The technology must enhance the modern luxury experience and be there when you need it but not be the dominating feature. Every element of the client experience has been carefully thought through from the ambient lighting and the unique soundscape to the bespoke scents. Type 00 has a material ideology that embraces authentic, unexpected materials and captivating colours. Three key materials – brass, travertine stone and textiles are used in an artistic way to create a unique atmosphere and emotional connection with the client. These elements will inspire future Jaguar vehicles.

  • photography Martin Kiessling

    fashion Azra Osmancevic

    dress Zamina Scillasdotte

    “Human Touch is Essential, Not Just in Leadership but in Life” - Azra Osmancevic

    Written by Natalia Muntean

    Her journey took her from Bosnia to Sweden, across the Atlantic Ocean to New York and then back to Sweden. Azra Osmancevic is a woman of many layers, heavily shaped by metamorphoses between cultures, cities and identities. “I think my journey has been a tapestry of contrasts, with each place adding a unique thread to my identity. It also deepened my belief that culture isn’t just inherited - it’s created and shared through the stories we tell and the connections we build. These transitions have been crucial for me culturally and identity-wise,” says Azra.

    Azra’s multifaceted career reflects her belief in the power of reinvention and the importance of staying open to opportunities. “I don’t set rigid goals,” she says. “For me, success is a feeling - making a positive impact, staying true to my values, and waking up proud of what I’m building.” Whether through mentorship programs like Femtorship, her work in AI and media, or her passion for fashion and design, Azra’s life is a testament to the strength of resilience, community, and the human touch.

    Natalia Muntean: You were named Female Leader of the Future in 2023 and mentioned that all leadership starts with strong self-leadership. Can you elaborate on that?
    Azra Osmancevic:
    Leadership isn’t about titles or hierarchies, it’s about accountability, purpose, and integrity. For me, it starts with strong self-leadership: knowing who you are, and what you stand for, and using that to navigate life’s challenges. It’s about facing challenges with grace, resilience, and decency. It requires self-awareness, emotional intelligence, and the courage to take responsibility for your choices. Only when we lead ourselves effectively can we inspire and empower others to do the same.

    NM: What advice would you give to someone stepping into a managerial or leadership role for the first time?
    AO:
    I’d say it’s crucial not to lose your human touch. From my experience, it’s easy to lose that connection. You face so many difficult challenges, like redundancies. The first time is hard, but by the tenth time, it’s easy to become less emotionally involved in those decisions. But the best leaders I’ve seen never lose their human touch. They always see the people behind the numbers. So my advice is: be yourself, but never lose that human connection. Human touch is essential, not just in leadership but in life.

    NM: Speaking of guidance, can you tell me a bit about Femtorship?
    AO:
    Femtorship is a one-year mentorship program where we pair mentees with mentors. It’s designed for women aged 18 to 23. I started the program during my first maternity leave in 2019. It’s based in Sweden, though I dream of expanding it globally. However, it takes a lot of time and effort to ensure the program maintains quality. It can’t just be something superficial where a year passes and nothing happens. We have something called Femtalks, where we share interviews with various women with all the participants, like a monthly magazine. We also have FemWorks, which are seminars with companies around Sweden where mentors and mentees do activities together.
    The program was born out of my desire to create a space where young women can see their potential reflected at them. It’s a place where they can build strong self-esteem by challenging their self-awareness, which is the foundation of strong self-leadership. As someone who’s navigated both challenges and opportunities, I wanted to bridge the gap for others, especially those who might feel overlooked. That’s what Femtorship is all about.

    NM: That’s a really good initiative. Has there been a particularly memorable moment? And how long have you been running it?
    AO:
    There have been many memorable moments since I launched the program in 2019. The most memorable moments are when mentees show how their confidence has grown or achieve something they didn’t think was possible. One mentee told me she landed her dream role because of the belief and guidance she found through the program. That kind of impact is what fuels me.

    NM: What words of encouragement would you give to a young woman trying to create her path, especially someone from an immigrant background?
    AO:
    I would say your unique story is your strength. Don’t let anyone diminish the value of your perspective and experiences. Challenges are opportunities in disguise, each one can teach you something about yourself or others. It’s important to find your tribe, not just in Sweden but in life generally. It doesn’t have to be big, mine isn’t, but it’s about finding people who uplift and inspire you. Stay curious, be bold, and dream bigger than what seems possible. Success, for me, isn’t about fitting in, it’s about standing out for all the right reasons.

    NM: Now, if we switch a bit to your interest in fashion, has that been a passion since childhood, or how did it develop? I know you also created your dress for the Elle Gala.
    AO:
    Fashion and interior design are powerful ways to communicate without words. My mother is a singer and a seamstress, so creativity and craftsmanship have always been part of my life. The Elle Gala dress is one product of our mother-daughter love. I drew the vision, we sourced the fabric together here in Stockholm, and my mother sewed it. It was such a wonderful moment to share that dress with the world, knowing my mother made it for me. Creating the Elle Gala dress wasn’t about style, it was about showing how beauty can be deeply personal and celebrating craftsmanship.

    NM: Do you have a piece in your wardrobe that you care for more than others?
    AO:
    Yes, but it’s not something I created; it’s something I inherited. It’s a silk shirt in a radiant yellow, like sun rays, from my grandmother. It’s my favourite piece. It’s always stylish, goes with almost anything, and holds so much meaning for me.

    NM: When you’re getting dressed, how do you manage to express yourself?
    AO:
    I don’t have a particular style. I think my style is mashing up styles. Nothing is off-limits for me; I go with the mood I’m in. I always try to mix something classy with something that breaks the perfection. I also love finding vintage or second-hand pieces. About 95% of my wardrobe is thrifted, including my children’s clothes.

    NM: Can you tell me a little bit about interior design? How do you approach it?
    AO:
    I see interior design very much the same way I see fashion. I think of spaces as extensions of our inner world - places where we feel at home, inspired, and aligned with our values. I love finding old furniture and giving it new life by changing the fabric, for example. I believe the world doesn’t need new products, whether in fashion or interior design. We have enough for decades to come. So, I challenge myself to find things I truly care about. My husband and I bought our new house a year ago, it’s from the 1970s, and we’ve been very mindful about refurbishing it to ensure it fits the original style. We’ve kept a lot of the furniture that the first owner had, and I’ve taken pieces to a textile workshop where they reupholster and polish them. We’re trying to respect the soul of the house, and that’s how I see both fashion and interior design.

    NM: You’re involved in so many different things. How do you find motivation, balance, time, and energy?
    AO:
    I stay motivated by connecting my work to a larger purpose. Whether it’s my day-to-day job, board work, friendships, or building my own company, I want everything to align with my values and the impact I want to have. Balance, for me, comes from setting boundaries and recognising that rest is equally important. But balance isn’t a natural byproduct when you love doing a lot of things, you have to be extremely mindful of it and schedule it intentionally. That’s the hardest part for me - the juggle. When you’re passionate about many things, balance doesn’t just happen; you have to make it happen.

    NM: What does success mean to you, and has that definition evolved over the years?
    AO:
    It’s definitely evolved. Success used to feel like a destination—an achievement or a certain recognition. But now I see it as a journey. For me, success is a feeling. I always say the greatest gift you can give yourself is coming closer to your truth with every passing year. That’s success for me: making a positive impact, staying true to my values, and waking up feeling proud of what I’m building and grateful for the people and experiences around me. So, success is a feeling now, whereas it used to be about achievements. Maybe I wouldn’t feel this way if I hadn’t achieved what I set out to achieve earlier in life. It’s all part of the journey.

    NM: Do you feel like you’ve “made it”?
    AO:
    Oh, yes. I’m super proud. I didn’t come from money or connections. Everything I’ve built, I’ve built with my mother’s hand on my back, pushing me forward and saying, “I’m here. You go.” I don’t want anything else in terms of materialistic things - clothes, cars, homes. I’m super happy with what I have now. Now it’s just about making sure I spend my time wisely.

    NM: In a previous interview, you mentioned that you don’t set rigid goals and try to stay open to opportunities. Are there any opportunities or dreams you’re currently nurturing?
    AO:
    I’d love to expand mentorship opportunities so more young women can access the support they need. I also dream about committing fully to my own company, Justic, that I co-founded and which is currently a side gig alongside my CEO role at CoStudio, a content group that includes several TV, film and podcast companies. Above all, for me, it’s about growing, learning, and finding new ways to contribute meaningfully, whether on an individual or societal level. Both are equally important to me.

    NM: Can you tell me more about Justic?
    AO:
    Justic is AI-based and started with the aim to democratise law by addressing overlooked issues. For example, we created Juridikdoulan, an AI bot that helps women claim compensation for injuries sustained during labour. We try to identify niche problems and create AI tools to help people reclaim money or address specific issues. It’s about making the law accessible for overlooked problems and communities. However, we are now making a pivot, taking a different path and incorporating Justic into something completely new that will launch later this summer.

    NM: A lot of your initiatives focus on women or address women’s issues. You’ve also mentioned your mom in this interview. Do you think she inspired this focus, or is it also because of your journey?
    AO:
    My mom inspires me in many ways. She’s a strong woman who taught me the importance of community. She came to Sweden alone with me, and I saw how other women helped her during my upbringing and how she, in turn, gave back to me. This sense of female community is very important to me. I’ve received so much from my mom and the women around her, and I want to give back. I also feel that women often compete with each other in ways men don’t; this is sadly my personal experience so far, but maybe it will be different in the future. Men tend to bring their friends along to the top, while women sometimes think only one person can stand at the top. I want to change that. In Femtorship, we talk a lot about how there’s enough room for everyone. Just because one person is successful doesn’t mean you can’t be too, whatever success means to you. So, yes, a lot of my initiatives are rooted in strengthening female communities. However, for real change to happen, the people with capital need to act differently and seize the opportunities they’re missing out on by putting their money where their mouth is.

    NM: Every step counts. Where do you see yourself focusing your energy going forward?
    AO
    : The next chapter for me is about deepening impact, whether through leadership, mentorship, entrepreneurship or creative pursuits. I also look forward to seeing my two daughters, who are three and five, grow into everything they already are. For me, motherhood is the most beautiful journey, and where most of my energy flows. I’m actually expecting our third child, and if all goes well, a baby brother will join our family this fall. But as I said, I don’t make rigid plans. It’s about staying true to my path while remaining open to where it leads.

    dress Zamina Scillasdotte
    dress Kristine Boström​

    dress Kristine Boström 

    shoes Kristine Boström

    dress Kristine Boström
    dress Zamina Scillasdotte
    dress Zamina Scillasdotte
    dress Kristine Boström
    shoes Kristine Boström
    dress Zamina Scillasdotter
    dress Kristine Boström
    shoes Alaïa

    photography Martin Kiessling
    fashion Azra Osmancevic
    post production  Jennifer Nyman

    photography assistant Elin Frodin

    special thanks to Artipelag

Pages