• Carolinne B. - jewellery with a roar

    Written by Natalia Muntean

    Alligators, koi fish, and wolves are all animals that inhabit Caroline Barholm's creative universe. Since founding her eponymous jewellery brand, Carolinne B, in 2014, she has transformed wild inspiration into rings, bangles, and pendants, each piece a tribute to what nature has to offer.

    I love design, and I love nature. Jewellery became the bridge between the two,” says Carolinne. “When I saw how deeply people connected with my pieces, I knew there was something special here.”

    Blending bold aesthetics with lasting craftsmanship, her work resists fast fashion, instead embracing sustainability and storytelling. Through its wearable art with teeth, wings, and claws, Carolinne B. proves that elegance need not play it safe.

    NM: I'm curious if there was a specific moment or experience that influenced your designs and your decision to go into that niche.
    Carolinne B:
    I like animals and nature. You can always find inspiration in nature, whether it’s a butterfly wing or patterns in the environment. It started with one animal, then another, developing a theme around nature or branches.

    NM: What was the first animal you created?
    Carolinne B:
    It was a lioness, a bangle. I still have that one. After the lioness, I created alligators.

    NM: I noticed that the names of your collections are so interesting, like Love Bites and Up North. How do you come up with them?
    Carolinne B:
    I want them to be a bit witty and fun. The names represent little icons of nature, like ants, bees, and butterflies. They capture the essence of those creatures.

    NM: I read that you mentioned jewellery doesn't need to play it safe to be timeless. How do you balance the boldness of your jewellery with ensuring it remains elegant and timeless?
    Carolinne B:
    I'm not chasing fast fashion or seasonal drops; I focus on thoughtful growth. I stick to an animal theme, which resonates with people. I create jewellery that’s meaningful and symbolic. Material choice is central for me; I use timeless materials like silver and aim to work more with solid gold. If a piece lasts, it becomes timeless. I also focus on using long-lasting materials like diamonds and gemstones.

    NM: Now that we've shifted a little bit into the materials, I know sustainability is a core value for your brand. What challenges have you faced in trying to source recycled materials and maintain an eco-conscious production cycle? With the fast trends in the world today, I assume this is a challenge.
    Carolinne B:
    It's a big challenge. I've not been working with gemstones or diamonds because I can't relate to that world; I know how dirty it is with diamonds and mining and all of those gemstones. I found upcycled diamonds and gemstones that I buy from auctions and pre-owned pieces, from which I can take the gemstones and diamonds. It became another thing for me because now I can use them. I think it's okay now because I don't mind, and I'm not part of that world that I can't stand for. It's crucial for me because I work with an animal theme and a nature theme, and I can't go against it, even though I love gemstones and diamonds. It’s a crucial and big part. Ensuring quality can be challenging. When I buy from auctions, sometimes I can’t trace the origin. They have people who check and assess the quality, so I often get good quality, but tracing the provenance can be an issue. However, instead of extracting new materials, I prefer to use pieces that are already cherished or worn. Diamonds are forever.

    NM: That's also in a poetic way. You give them a different or new story, and that's something beautiful about it. From what I understand, each piece is handmade in Stockholm. Is it you who does it, or do you have a team? Can you walk me through the journey of creating a piece?
    Carolinne B:
    It starts with me. I begin with sketches. I'm not great at drawing, but I can sketch what I want to do. From there, I work with someone who helps me with CAD printing. When we're done, I go to a place in Stockholm that moulds it together with me. After that, we create a prototype, also in Stockholm, and we cast it here. I don't do the casting anymore because it's too much time-wise. Everything is done here in Stockholm.

    NM: I saw that your jewellery has been worn by Alba August, Tove Lo, and Princess Sophia. That's really cool! Have you noticed what kind of audience it attracts?
    Carolinne B:
    I think my typical customer is a woman between 25 and 45, but I try to make pieces that appeal to anyone who likes nature, animals, or handmade and locally made items. I hope to reach a wide range, from teenagers to grandmothers, especially those who appreciate storytelling and craftsmanship.

    NM: And have you noticed if there is a piece or collection that is more popular?
    Carolinne B:
    The little nature icons, like the bees and butterflies, are particularly popular. Otherwise, I can't really see a trend in which pieces are preferred. I don't have seasonal drops, so the things I made in 2014 are still in my shop.

    NM: How has your brand evolved since 2014?
    Carolinne B:
    It’s been evolving very slowly, but it's the way that I wanted to evolve. I try to put a lot of emotions in every collection I drop, and that's how I want it. I want to work towards more quality and more high-end pieces with solid gold and gemstones.

    NM: And if you could design a fantasy collection with no limits, what would it be, and what would it look like?
    Carolinne B:
    It could be a lot of different gemstones and diamonds. I love working with green gemstones, and hopefully, I will have a collection with frogs, for example, in the future, where I think emeralds would be a perfect fit. So, more diamonds and emeralds. 

    NM: That sounds lovely. Do you have any rituals when you go into the studio?
    Carolinne B:
    I know I'm a very hectic person, so I tend to work better when I'm stressed. Although it's not the healthiest approach, having a lot of tasks to complete often sparks new ideas for me. So, in that sense, it's beneficial for my creativity. However, I don't have any specific rituals. When I have a lot on my plate, new ideas just come to me.

    NM: You've been doing this for 11 years now. What advice would you give yourself, looking back or to someone starting a brand in this field?
    Carolinne B:
    Well, I think it would be not to think about other people’s opinions so much. Just go with it and do your thing and trust your gut and believe in yourself. Don't listen to people. Listen to yourself.
     
    NM: Where do you see the brand going in the next five years?
    Carolinne B:
    I see us moving towards more high-end pieces. I would love to expand into wedding and wedding jewellery, particularly with designs inspired by nature and animals. Hopefully, we will have more high-end pieces.

  • total look Tanja Vidic and
    Abbe Mandegar Collaboration

    shoes Jimmy Choo

    King, an Interview With Winona Oak

    Written by Natalia Muntean by Zohra Vanlerberghe

    Winona Oak’s journey is touched by alchemy. The 30-year-old artist has taken grief, loss, self-doubt, and the pain of her childhood and transformed them into music. Through some kind of alchemy, she has turned her darkest moments into something luminous - songs that resonate with raw emotion and unflinching honesty. “Maybe water,” she says when I ask which one of the four elements would describe her career. “Because I feel like it’s just like the waves. It’s been such a journey: big waves, all the different styles I’ve been exploring. My career has been a lot like waves, too. Up and down, up and down. It’s like life itself. It takes time to grow, to find your path, and to be true to yourself.”

    From the Island of the Sun to the world
    Winona’s story begins on Sollerön, a small island in the Nordic forests of Sweden known as the “Island of the Sun.” Growing up surrounded by forests, animals, and the echoes of her grandmother’s unfulfilled dreams, Winona found solace in the simplicity of rural life. “Being around animals was my safe space,” she recalls. “We had five horses, lots of dogs, and even a rescued crow that would sit on my shoulder. I didn’t have to think about how I looked or what anyone thought of me. The horse would love me either way, even if I looked like a troll.”

    Her grandmother, a gifted singer who performed in the Swedish Royal Opera, became a source of inspiration. “She had this big personality, this joy for life,” Winona says. “She encouraged me to sing, to write, to dream.” From the age of five, Winona was crafting songs, mostly about animals, and finding her voice in the stillness of the countryside. By nine, she was playing the violin and piano. “It was a wonderful childhood,” she reflects. “It taught me to appreciate the quiet moments, to find beauty in the small things.”

    But Winona’s dreams stretched far beyond the island. After moving to Stockholm to pursue her passion for music, she took a leap of faith in 2017, attending Neon Gold Records’ writing retreat in the Nicaraguan jungle. It was there she connected with Australian electronic maestro What So Not, co-writing his next two singles, Better and Stuck In Orbit. By 2018, she stepped into the spotlight as both the writer and featured artist on his single Beautiful. That same year, her career reached a pivotal moment when she co-wrote and featured on The Chainsmokers’ hit single Hope. The track became a global success, catapulting her into the spotlight and introducing her voice to millions. “It was surreal,” she recalls. “I went from being a relatively unknown artist to performing in front of massive crowds almost overnight. But it also taught me that success isn’t linear - it’s a journey with ups and downs, and you have to keep growing.”

    Music as a lifeline
    In 2022, Winona experienced the most profound loss - the death of her mother. It was a loss that shattered her world and reshaped her as both a person and an artist. “She was my person, my best friend, my source of love and guidance,” she says, her voice softening. “I always turned to her for reassurance. Losing her felt like losing a part of myself. There’s me before, and then there’s this different version after.”

    Writing about her loss became a way to process the pain. “Music saved me in ways I didn’t know it could. It became the only thing I truly wanted to do. I wrote With or Without You after she passed away, and when I performed it live, people who had lost loved ones came up to me,” she says. “They related to it so deeply. It felt like we were sharing the pain. That’s the beauty of music - it connects us.”

    The experience transformed her perspective on life and art. “It made me realise how fragile everything is,” she says. “You can lose your world in a second, but it also made me braver. I take more risks now because I only have this one life. I'm less focused on rules and more willing to be vulnerable. The worst has already happened, and grief forces you to evolve.”

    The many faces of an artist
    Winona Oak. Oaks. Johanna. They are all her, yet each serves a different purpose. Winona’s artistry is constantly evolving. While her work as Winona Oak is introspective and intimate, her new project, Oaks, explores the world of dance music, it’s her new electronic alter ego. “It’s a way to take all the pain and dilute it, like putting milk in coffee,” she explains. “You can cry, but you also want to dance.”

    This duality reflects her own complexity. “Winona is fragile, introspective,” she says. “Oaks is darker, more avant-garde. It’s like this club version of me.” For Winona, the separation is essential. “I didn’t want to confuse people or mess with the music algorithms,” she says with a laugh. “But really, it’s about giving myself the freedom to explore both sides of who I am.”

    I’m never satisfied,” she admits. “I always want to develop myself, and my sound, and try new things, new genres, and mix things. I never feel like it’s enough. I’m always on to the next thing.”

    Winona’s relationship with her fans is deeply meaningful to her, and she often receives messages from people who connect with her music on a profound level. “I’ve had people tell me my music saved their life,” she says. “That’s overwhelming, but it’s also beautiful. It’s why I do this - to make people feel seen. When I perform live and someone knows the lyrics, when they sing along, that’s when I know I’ve touched someone.”

    “I write to survive. If I didn’t do it, I’d go insane.”

    Her latest EP, Salt, was released in February, and with it, Winona Oak is stepping into a new chapter - one defined by growth, resilience, and a deeper understanding of herself. “This album is a culmination of everything I’ve been through,” she says. “It’s heavy, it’s raw, but it’s also empowering. I hope it helps people feel less alone.”

    Through her lyrics, she transforms pain into power, offering a lifeline to those who find solace in her words. “I write to survive,” she says. “If I didn’t do it, I’d go insane.” Winona’s approach to writing music is deeply personal and collaborative. She often spends time talking with producers and songwriters before diving into a session, creating a space for emotional honesty and connection. “It’s like therapy sessions. A lot of the people I write with are close friends, or they become close friends. Writing music is one of the most intimate things you can share with someone. Music takes you to places you can’t get elsewhere. It’s like your souls are intertwined, and you have to travel there together,” she says.

    I Broke Me First is one of Winona Oak’s most personal and empowering tracks. Written with a mix of vulnerability and defiance, the song explores the idea of reclaiming power after heartbreak. “It’s about saying, ‘Oh, you think you can hurt me? I’ve already hurt myself worse,’” she explains. “I’ve been through so much, breaking myself down to the point where no one else can hurt me as badly. It’s about taking control of that experience.” The track’s raw honesty and bittersweet energy resonate deeply with listeners, offering a cathartic release for anyone who has ever felt broken. “You can cry, but you also want to dance,” she says, reflecting on the song’s emotional duality.

    Looking ahead, Winona is focused on balance - between her music and her mental health, between her introspective ballads and her dance-floor anthems. “I want to do more live shows, release more music, and keep growing,” she says. “But I also want to take care of myself. I’m learning to set boundaries, to say no, to prioritize what I need.”

    For Winona, the future is about embracing the unpredictable. “I used to always be ten steps ahead, but now I’m trying to live in the moment,” she reflects. “I’m not as fragile anymore. I’ve been through hard stuff, and I know I can handle whatever comes next.” With her Oaks project on the horizon and a newfound sense of bravery, Winona Oak is ready to take on the world. One song at a time.

    Music is my big love,” she says. “It’s what I live for.”

    dress Abbe Mandegar
    bra Stylist’s Own
    necklace Fredrik Nielsen
    earring and necklaces Pearl Octopuss.y
    suit and shoes Hugo RED
    underwear Stylist's Own
    earrings and ring All Blues
    accessories Abbe Mandegar

    art rugs Petrus Bergstrand Nordenskiöld
    hat Piers Atkinson
    dress Abbe Mandegar
    and Tanja Vidic Collaboration
    shoes Jimmy Choo
    ring All Blues

    art rugs Petrus Bergstrand Nordenskiöld
    blazer Pearl Octopuss.y
    pants and boots Abbe Mandegar
    and Tanja Vidic Collaboration

    jewellery All Blues and Pearl Octopuss.y
    top and skirt Sofie Demitz-Helin
    stockings Stylist's Own
    jewellery All Blues

    art rug Petrus Bergstrand Nordenskiöld
    top and skirt Sofie Demitz-Helin
    stockings Stylist's Own
    jewellery All Blues

    art rug Petrus Bergstrand Nordenskiöld
    hat Piers Atkinson
    dress Abbe Mandegar and
    Tanja Vidic Collaboration

    hat Piers Atkinson
    shoes Jimmy Choo
    jewellery All Blues

    text Natalia Muntean
    photography Sandra Myhrberg
    fashion Louise Dyhrfort
    hair and makeup Sanna Riley
    nails Cecilia Lund / Nailce
  • image courtesy of KÔYÉ

    Woven Stories: An Interview with KÔYÉ

    Written by Sandra Myhrberg by Zohra Vanlerberghe

    KÔYÉ is more than a fashion label. It’s a story woven through textiles, heritage, and emotion. Shaped by a Parisian childhood, a multicultural background, and a passion for meaningful design, its founder brings together timeless elegance and bold global influences. From the tactile memories of childhood fabrics to encounters across the world, she creates pieces that carry stories, confidence, and sustainability at their core. In this interview, she shares the inspirations, philosophies, and personal moments that define her creative journey.

    Sandra Myhrberg: How would you describe your childhood growing up in Paris? Do you think it influenced your career path? Did you always know from a young age that you wanted to become a fashion designer?
    Alicia Issaka: I grew up in a lively and multicultural Parisian neighborhood, surrounded by strong, elegant women,my mother, especially, was a huge influence. She used to take me to fabric stores, letting me touch the silks, the lace, the kinds of cotton. I didn’t know then that I would become a designer, but I knew how clothes could make someone feel powerful and beautiful. That early emotional connection to fabric definitely shaped everything I do today.

    SM: How did your upbringing in Paris and your multicultural background shape your creative vision and the designs you create for KÔYÉ?
    AI: Paris gave me a deep respect for timeless style, for cuts that flatter without shouting. But my multicultural background taught me to embrace contrasts,colors, textures, stories. At KÔYÉ, you’ll see that blend: silhouettes with classic elegance, combined with bold prints, unexpected details, and textiles that reflect stories from around the world. It’s this balance between heritage and modernity that defines our creative DNA.

    SM: You describe KÔYÉ as more than just a brand,it's a story told through textiles. Can you share the moment you knew you wanted to create this kind of fashion experience?
    AI: It happened during a trip to Ephèse in Turkey. I came across a woman wearing a traditional outfit made from the softest handwoven fabric. She told me the story behind how her mother had gifted it to her when she got married. That conversation stayed with me. I realized I didn’t want to design just for aesthetics, I wanted to create pieces that hold emotion, memories, and meaning. That’s how KÔYÉ was born.

    SM: You grew up in Paris but now live in Barcelona. What would you say is the biggest difference between fashion in Paris and fashion in Barcelona?
    AI: Parisian fashion is all about refinement and discretion. In Barcelona, there's a lighter, more relaxed energy in how people dress, it's confident but less rigid. Living between the two has helped me develop pieces that combine both: structured elegance with a sense of ease and sensuality.

    SM: Can you tell us about a specific experience or encounter during your travels that deeply influenced your design philosophy?
    AI:
    In Panama, I watched a group of women wearing vibrant fabrics with complete confidence. The prints were bold, the shapes were fluid, and there was something deeply unapologetic about it all. That trip reminded me that clothes should empower. That fashion isn’t just about looking good, it’s about owning your presence.

    SM: KÔYÉ blends Parisian elegance with sustainability, two concepts that can sometimes feel at odds. How do you strike a balance between the two?
    AI:
    For me, elegance is about intention, not excess. True luxury is a well-made piece you can wear for years, not just a season. We produce in small quantities, using high-quality, responsibly sourced fabrics. It's not always easy, but it’s essential. I’d rather create fewer pieces that matter than chase trends that disappear.

    SM: How do you choose your fabrics, and what role does sustainability play in that process?
    AI:
    The fabric is where everything begins. I touch it, test how it falls, how it moves. I source everything locally from Spain, working with suppliers who align with our values. We avoid synthetic blends as much as possible, favoring natural or low-impact textiles that age gracefully. Sustainability isn't a trend for us, it’s a design principle.

    SM: The Samarcande velvet dress and the Hérat top are stunning examples of duality in design. What’s the story behind these signature pieces?
    AI:
    Samarcande was the first dress I ever imagined, it’s our essence: elegant but powerful, structured yet fluid. The velvet gives it a rich, wintery presence, but the cut makes it surprisingly versatile. Hérat was designed with transformation in mind: a removable collar, jewel-like buttons… it’s a top you can wear to a meeting and still feel fabulous at dinner. Both are about adaptability, the wardrobe of a woman in motion.

    SM: La Muse pays tribute to women who inspire you. Can you tell us about a muse who had a profound impact on this collection?
    AI:
    One of my earliest muses is Audrey Hepburn, who worked in cinema and always dressed like a movie star. She taught me that elegance and ambition were not opposites. She would pair sharp tailoring with the softest fabrics, always in color. That mix of strength and softness, that’s what I tried to capture in La Muse.

    SM: If you could see KÔYÉ worn by any woman in the world, living or deceased, who would it be and why?
    AI:
    Honestly, Grace Kelly. She embodies everything KÔYÉ stands for: intelligence, strength, presence, and grace. She knows how to make fashion feel both meaningful and effortless. Seeing her in one of our pieces would be the ultimate affirmation of what we’re building.

    image courtesy of Jan Luego, Mei Larrosan and Eluska Leibar
    image courtesy of Slava Communication
    images courtesy of Slava Communication
    image courtesy of KÔYÉ
    images courtesy of Slava Communication
    images courtesy of Slava Communication

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