• photography Arda Sarper Eken / Le Management
    fashion Frederikke Raun Cantor  / Le Management
    hair and makeup Louise Bruun
    fashion assistant Sofie Kofoed-Sørensen

    dress SEA New York

    Interview With Actor, Activist, Writer, Director, and Mother Sandra

    Written by Josie McNeill by Josie McNeill

    Sandra Yi Sencindiver has a lot on her plate, but she always appears to have room for more. The actor, activist, writer, director, and mother, started in show business in 2000, but her role playing Miss Saigon at the age of 20 was the first to indicate to her that shecould be paid to pursue a hobby that she loved.  Now, she’s Enjoiner Rue, the political savvy advisor to Queen Sarenth in the sci-fi television series ‘Foundation,’ and has upcoming roles in the shows ‘Oxen,’ a thriller, and ‘Geek Girl,’ a heart-warming coming-of-age tale. She’s leading political movements with her Et Større Billede campaign and writing and directing theatre and film projects on the side. Sencindiver said she doesn't really have an “everyday life,” but with all the projects she has going on, she sure does seem to live an extraordinary one.

    Is there something your viewers should take away from the new season of ‘Foundation’?
    Oh, there’s probably a lot of things to take away from the series. It’s such a very ambitious, very intellectual show with so many big themes–faith, belief, love, free will, time and power. How can you keep power? How can you renew power? How can you take power? This season is also told with quite a lot of humor. So I think everybody will be able to take something away from this series. If you're not latched onto one plot, there are several other plots going on.

    Politics plays an important role in your life as well, especially with your Et Større Billede project, can you talk about your work in this sphere?
    I do a lot of political work for the art and culture scene here at home. I'm very active with the Danish Arts Council and the theatre scene, but Et Større Billede, “a bigger picture,” is one of the political campaigns I've been doing for the arts that dropped February 1. It came to be because I’m a part of a network of women of color in the arts, which we started back in 2020 during lockdown, during Black Lives Matter, and we just came together in a community.  We're here to support each other. We call the little network Sisters in Show Business–all actresses of color–and we have this little mantra. We're here to support each other. We will not be each other's competition. We will share info, we’ll advise each other, we'll celebrate each other when we get chances, and we will support each other when somebody experiences discrimination, sexism, and racism. If anybody needs advice to get an agent or how to handle a toxic workplace. If they’re asking, is this role racist? How can I go about making this a human being/ You know, all kinds of issues that you meet when you're a woman of color in this business.
    At the end of November, three rather large Danish productions were coming out. They were these major productions with huge casts that would be shown on huge broadcast channels. 42 actors and nobody of color. If you look at all the posters with their large casts, there’s no people of color. It's crazy. That is just so far from reality. We were like, “hey, how can this be going on in 2023?” And then we thought “oh, wouldn't it be funny if we recast all these posters with people of color?” We started to brainstorm. We decided to do it intersectionality, so we should also address class and sexuality and family forms and normalize bodies and people with disabilities. So, me and four other actresses made this workgroup and, you know, started to put it into production and hire photographers and coordinated 42 actors to come be a part of the posters. We thought we might all be blacklisted, but we can't be quiet anymore. And then, on the first of February, we dropped the campaign. To our surprise, it went completely viral. We didn't think it would have such a huge impact, but it has. Slowly, we have acknowledged we have a problem, and slowly we're trying to figure out how to make policy, how to change in our business to be more inclusive, and not just for people of color, but people with disabilities–how can we expand the very very shallow and narrow norm of what is Danish?

    Did your work on that project influence how you approached your character in the series?
    Well, not directly one to one but David Goyer has said that Foundation is basically the fall of an Imperium. They're like very head straight, white, privileged men trying to hold on to their power and all the planets and all the different people and entities are trying to take them down. Even though this is science fiction, it still feels very much present in our time. Also, just discussions of how do you rework a fantastic work as Foundation that is just so iconic, but which is clearly also written by a man of his time. And how do you make that more imaginative? How do you expand that universe? We're talking about the galaxy, why would everybody be white and male?

    Is there any specific way you think the Danish industry can improve in terms of representation?
    These discussions are of course the first things going on but they have to realize that their view on what people want to see on screen is so narrow. It needs to do a lot of reckoning and also recognizing, for example, that racism exists. I think Denmark has always thought of itself as a very progressive country. It was the first country to free the slaves, but then I'm like, you also have to recognize that you had slaves to begin with. It’s baby steps. There’s a lot of reflective work going on now, and that, of course, is like a very important step towards change. But we also need to see action embedded in policy and law. So it doesn't just become a trend in 2023, but actually a part of change in the long run. So I really hope that we try to find policies and ways to integrate greater representation of the whole society, so it becomes more democratic and it's not just the trendy phase.

    In addition to acting, you also work in theater and as a director for various projects. How does your work in these departments differ from your acting roles? Do you gravitate towards directing or stage acting in the same types of TV series?
    It's all about storytelling. So in that sense, I think it's very much the same thing. And I also find strength in taking on different perspectives and different roles. I feel that because I'm an actor, I can help my actress navigate through the story. And because I am my director, I can also see how, as an actress, I can help the director achieve whatever he/she/they want to achieve with their story. With the theater scene, it's just I've always been very interested in finding other perspectives. I love to work with women. I love to work with minority women and give them space to evolve their art and space to show their art to a diverse audience. I find that very important. The last play I just did was a hilarious romcom model of cold rebound about Imani. I grew up with rom coms, and I always felt that because it's it's it's a genre that especially women like it's always talked down and seen as low culture. But I'm like, no, we're gonna own this. I love this genre. But we're also going to renew it so we can be more inclusive and not just be about a ditzy white blonde girl. So it's like it's going to be cool and funny and sex positive.

    All your projects sound so fun!
    Well, a lot of them have been very serious as well but like this in the last couple of years, I've chosen something that can give me great joy. I'm a real grown up now, so I don't have to feel like I need to find a project that people will respect me for. I want to do something that I find cool and entertaining that I want to work on for four months at a time. And I'm not gonna care what other people think is fancy art. But I've been producing and directing plays for many years now. Also, this year, I just finished my first short, which I wrote and directed. Right now that's playing at festivals. And I’m almost finished writing the script for my next one.

    Can you talk a little bit about your upcoming short film too?
    The first short I did is called Watch, which is kind of a it's not a direct translation of the title but the title in Danish means to both to watch over somebody but also kind of surveilled somebody. It's about this female protagonist, Halina, who goes to see her long lost friend, whom she hasn't seen for many, many years since they were children, because her friend's father just died. And then you have these flashbacks to their childhood. It unfolds a complicated relationship and things going on behind the scenes that adults don't always see. It’s a very vulnerable story that has threads back to my own childhood. So I kind of reworked some childhood memories into that short. The reason I bring it up is because my second film, which is more experimental, is also based on some childhood memories. I had an adopted mother who's Korean. I'm also Korean, ethically 100% Korean, adopted with my twin sister from Korea to the United States by a Korean woman and an American man. I don't have any connection with my adoptive mother anymore because my father and her got divorced when I was eight, and I only saw her one time after that. But she still occupies my mind and has been occupying my mind, especially in the last five years, and I've been trying to deal with those reflections of her and our complicated relationship to art, which a lot of artists do. I should probably also go to therapy. I do have that on my bucket list, but for now, I'm reworking some of these things in this short. So this short is like a nightmarish memory where you follow this old lady who received a letter from a long lost daughter and then suddenly two twins show up in her apartment and she's confronted with memories from her past. So it’s a little bit spooky and emotional and more experimental than my first movie.

    top Christopher Esber
    top & skirt SEA New York
    silk poppies Jonna Stenstrup
    blazer Christopher Esber
    shirt Jil Sander
    panties Sandra’s Own
  • Charlotte Tilbury Presents her Holiday Campaign “Step Into Beauty Magic”

    Written by Jahwanna Berglund by Filippa Finn

    Charlotte Tilbury's vision collided with cosmic creativity when she crossed paths with music legend Elton John at Vicarage Road. Their meeting sparked “Step Into Beauty Magic” – a holiday campaign merging beauty and music with stars like Kate Moss and Elton.
    Elton's 70s glam-rock spirit infused the campaign, celebrating 'Step into Christmas' 50th anniversary, coinciding with Charlotte Tilbury Beauty's 10-year milestone.
    The Beautyverse Palette stole the spotlight, featuring Cyber Silver and Digital Lilac, setting new trends for festive glamour.
    Beyond glamour, the campaign partnered with the Rocket Fund by Elton John AIDS Foundation, reflecting Charlotte's commitment to empower and spread joy.
    This holiday, it's not just makeup; it's about confidence, purpose, and the magic of beauty – a vision Charlotte Tilbury crafted through iconic collaborations and a spirit of giving.

    What inspired you to create this “out-of-this-world” holiday campaign with such an incredible lineup of celebrities and models?
    Darlings, to create the most show-stopping holiday campaign ever, I've collaborated with a true global icon – Elton John! Does it get any more iconic than Elton? Together, we dreamt up a global, star-studded lineup with some of our talented friends that Elton and I both love working with, like my beauty muses Kate Moss, Jourdan Dunn, and Michaela Jaé Rodriguez, as well as amazing artists that Elton has championed, like Rina Sawayama. We also had my gorgeous nieces, Bella and Sofia Tilbury! Having everyone together on set really brought my vision of 'Club Magic' to life – it invites everyone to step into the beauty magic and celebrate the spirit of the holidays!
    This campaign also has purpose at its heart. I am so honoured that as a brand, we are the official founding beauty partner of the Rocket Fund – powered by the Elton John AIDS Foundation. We want to shine a light on those most at risk from HIV and inspire everyone, everywhere to live a life filled with confidence, happiness, and joy!

    Could you share some insights into the creative process behind the campaign and how it all came together?
    This partnership all started when I watched Elton perform with our gorgeous friend Kate Moss at Vicarage Road last year. I was so mesmerised backstage on that magical night, and that's when it became crystal clear that we had to join forces and spread the magic! Elton has this magnetic energy that I just adore! We channelled his 70s glam-rock style into every look and every moment throughout this campaign. I always say that music, just like makeup, has this transformative power to morph your mood and change your frequency. It can bring so much joy into our lives! That's why I knew it wouldn't be a party without Elton's iconic anthem 'Step into Christmas,' which is celebrating its 50th anniversary this year! And darlings, everyone who knows me knows I am obsessed with number synergies! Not only does this year mark 50 years of 'Step into Christmas,' but it's also Charlotte Tilbury Beauty's 10-year anniversary! This was a partnership written in the stars!

    Elton John is an iconic figure in the music industry. How did his involvement in the campaign influence the overall message and theme?
    Elton is an icon! He's a creative, a Renaissance man, and a true musical genius loved by generations! We have so many magical memories together, from Vogue covers to Oscar parties to Glastonbury – the list goes on. That's why this is the most magical collaboration I could have ever dreamed of! He shares my love of the holiday season and is always at the top of my list when I'm gifting my legendary holiday stockings! He even has his own “Magic Elton” engraved pot of my award-winning Magic Cream! Elton has been such an inspiration to me throughout my life and career, so I wanted to pay homage to his global influence on style, music, and more with a star-studded rock star clutch in my limited edition Rocket Collection!
    It is such an honour and a privilege to be the first-ever beauty partner of the Rocket Fund, powered by the Elton John AIDS Foundation. His involvement in this campaign has allowed us to use our global media platforms to speak to those impacted and to be part of their mission to end AIDS forever.

    Kate Moss is a recurrent face in your campaigns. How did her style and personality contribute to this holiday campaign's aesthetic?
    Kate has been my friend and beauty muse since we both started out in the 90's, and a part of the Charlotte Tilbury Beauty journey since the beginning! She is even the godmother to my son! There is only one Kate Moss!
    I'm so proud to have Kate star in so many of my campaigns, from my Beautiful Skin Foundation to my Pillow Talk Party and my new showstopping holiday campaign! Our night at Vicarage Road, where Elton sang 'Tiny Dancer' to Kate, was the inspiration for my new limited edition lipstick - Rocket Girl! I bottled her beauty DNA to innovate the most flattering, cool-girl, nudey-pink tone! Everyone who loves my original 'Nude Kate' lipstick needs this in their life!

    You've also involved your nieces, Sofia Schwarzkopf-Tilbury and Bella Broekman-Tilbury. What was it like working with family on such a campaign?
    For me, the holidays are all about spending time with family and loved ones, so it was amazing to work on this holiday campaign with my gorgeous, talented nieces, Bella and Sofia! I'm so lucky to be able to work so closely with my family – we've shared countless magical moments together over the years!
    Using Kate's 2009 Met Gala gilded glamour look as a reference, Sofia used my new Beautyverse Palette to create Kate's hypnotising look for the holiday campaign! She pressed the Crystal Glow and Party Topper shades Cyber Silver and Beautyverse onto the lids for the ultimate glam rock glow!

    Can you give us a glimpse into the key elements and products featured in the campaign? What should consumers be excited about this holiday season?
    Darlings, I'm known as a magic gifting fairy by all my friends and family! I love spreading joy, light, and magic with my perfectly packaged gifts! My magic gifting universe is a treasure trove full of the most unicorn, viral, sell-out sensation trinkets, treats, and treasures! There is something for everyone - it’s gifting made easy and guaranteed gifting happiness!
    I could never choose just one product – that would be like choosing a favourite child! But one gift that everyone is completely obsessed with is my new holiday innovation – the Beautyverse Palette. This is a palette of trends, featuring everything from Latte Eyes to Strawberry Girl to Glitter Girl, and the ones I’m predicting as the next big things – Cyber Silver and Digital Lilac! The rich, multi-dimensional pixel pigment formula is so buttery and as smooth as silk! It’s creaseless, self-priming, self-blending, and self-gripping so it never goes blotchy, patchy, or dry! Everyone was obsessed with my Cyber Silver shade at my ‘Club Magic’ party in Paris! It plays with the light to give that cool-girl chrome effect, as well as giving everyone bigger, brighter eyes! They’re so easy to apply, just swipe, glide, and press to pop!

    In the beauty and fashion industry, holiday campaigns often carry a deeper message. What message or feeling do you hope to convey with this campaign?
    Purpose really is at the heart of this campaign and this holiday season; it is my mission to give the magic of confidence to everyone, everywhere. I've always thought that life is all about confidence – when you feel confident, it unlocks your full potential, creates opportunity, and changes your life. That’s why I am so proud and honoured that as a brand, we are the official founding beauty partner of the Rocket Fund – powered by the Elton John AIDS Foundation. I truly believe in the virtuous circle of life - giving back and doing something wonderful that changes the world!! Through this campaign, we want to shine a spotlight on those who are most at risk from HIV and inspire and empower everyone, everywhere to live a life filled with confidence, happiness, and joy!

    How do you see the role of makeup and beauty in the holiday season, and how does this campaign reflect that vision?
    Darlings, I think every holiday look should be gorgeous, glamorous, and glowing – and I have the perfect holiday hack! My new Hollywood Blush & Glow Glide Palette captures that iconic Barbiecore pink trend and bottles old Hollywood light tricks to flatter and illuminate the face. Jourdan Dunn was obsessed with this when she wore it on set! Anyone who loves my iconic Cheek to Chic Blusher and my Hollywood Glow Glide Face Architect Highlighter will adore this - it’s the secret to dreamy, love-blushed, glowing cheeks!

    Could you share any memorable moments or stories from the behind-the-scenes of this project?
    We had such an unforgettable day on set filming this campaign, filled with laughter, music, and dancing. We really bottled the euphoric energy of the holidays – from the star-studded lineup to the Club Magic set, the dancers, and the styling! While we were getting ready backstage, everyone was picking out all the trinkets and treats they wanted to gift to their loved ones this year! Kate fell in love with my new Superstar Glow Kit! It’s two of my viral, sell-out sensation Beauty Light Wands! There’s a reason these went viral on TikTok – they’re infused with my one-of-a-kind glow gel technology for a high-gloss highlight that stays dewy and plays with the light beautifully! As I always say, 'One dot for day, two dots for disco!'

  • photography Sandra Myhrberg

    hair & makeup Alicia Hurst & Filippa Finn

    all scarves The Silk Vault

    foundation Lumene 16 hour longwear foundation 0.5
    concealer glossier stretch concealer g11
    blush Lumene skin tone perfector 4 berry blush
    eyeshadow makeup store microshadow white
    lips MAC paintstick Black Black

    “The Silk Vault” Unveiled: Anna Möller's Artistic Odyssey in Crafting Timeless Silk Scarves and Embracing Ethical Fashion

    Written by Alicia Hurst by Filippa Finn

    Anna Möller, the creative force behind The Silk Vault, graciously provides insights into the enchanting world of her unique scarf designs. With a background in fashion design, garment pattern making, and a wealth of cultural experiences from London, New York, and now Stockholm, Anna's journey shapes the brand's identity and design language. The Silk Vault's commitment to sustainability and ethical practices stands out in an industry dominated by fast fashion, emphasising the creation of timeless, limited-edition pieces. In this interview, Anna delves into her creative process, inspirations drawn from architecture, arts, travel, music, and subcultures, and the brand's philosophy of exclusivity. Join us on a captivating exploration of the artistic journey that culminates in each meticulously crafted silk accessory, embodying a fusion of Anna's diverse influences and a fervent dedication to enduring beauty in fashion.

    Can you share more about the creative process behind your unique scarf designs, and how you draw inspiration from architecture, arts, travel, music, and subcultures?
    Each of my scarf patterns start from an initial idea of inspiration. That idea is then researched and sketched up – by hand or digitally. Once the motif is sketched up, I add colour and play around with it, exploring the best and strongest layout.
    Incorporating a beautiful border design is an important part of the overall impression. I love designing the scarves with different patterns or colours in each corner. The idea is that the bearer can vary the expression of the scarf, depending on how it is knotted and draped on the body. I consider each and every detail of the design and aim to make each scarf a sustainable and lovable accessory to wear often and for years to come.
    I draw inspiration from everywhere and anywhere, high and low. A vast source for new ideas comes from visiting new places; exploring architecture, local craft, and nature.
    During a weekend trip to Florence, Italy, I visited the cathedral and noticed an unusual clock on the wall that took my breath away. I instantly realised it had to be turned into a scarf motif and got on my knees on the cathedral floor to photograph the marble tiles, which had stunning green and salmon pink tints. The tiles turned into patterns around the clock motif of the scarf, which got the name Firenze.
    I’ve had the opportunity to travel in Japan a couple of times, and their art and design is an endless source of inspiration to me. The Silk Vault signature silk tunics are inspired by the simplicity of the kimono cut, then decorated with prints. My scarf designs often have a nod to Japanese design too.
    The hand-painted scarf Orchid came about after stumbling across an international orchid exhibition in Okinawa, Japan.
    Whilst on a factory work trip to Hangzhou, China, I managed to sneak away for a few hours to visit the local silk market, where I spotted beautifully hand-painted silk pieces with the specific style of the region. I fell in love with the technique and decided to explore it for The Silk Vault’s collection. During the same afternoon I got on a dragon boat and watched the sunset over The West Lake and the surrounding mountains. I had a few magical hours that afternoon that led to multiple design ideas. The dragon boat can be spotted on the new scarf Jubilee, from the latest collection.
    A person in my life that has meant the most to me creatively is my aunt, the late artist Ingegerd Möller. She taught me about composition, colours and how the eyes should travel in an artwork. She gave me lots of art books which was the start of my art book collection. I frequently refer to my favourite artbooks, and one of them is about Diaghilev and his Ballet Russes.
    I love listening to music when I work. A great way for me exploring new music is through the BBC 6 Music app. Independent dj’s have their regular shows, without restricted, commercial playlists. Two of my favourite dj’s there are Iggy Pop and Huey Morgan who both play eclectic music mixes where I have discovered lots of great new and old music.
    I met my fiancée through music. He is a dj and is part of a music movement, Funk Freaks, a dj collective based out of Santa Ana. The Street Funk movement is originally part of the Orange County Chicanx culture, but it has spread worldwide and they have a following in Europe and Asia too. I met so many inspirational people through music, and I think fashion and music really go hand in hand. My favourite (Modern) Funk artist and singer, Moniquea, has become one of my muses when I design.

    The Silk Vault's emphasis on limited editions and exclusivity is intriguing. Could you explain the reasoning behind this approach and how it aligns with your brand's philosophy?
    Ten years ago, I was working in London as a design director for a company designing and producing collections for retailers in the UK and France. We focused mainly on nightwear and lingerie with a crafted handwriting and beautiful encrusted lace placements. When I first joined the company we used beautiful silk fabrics, prints and French laces, but over the years and following the world economy, the products became more simplified. Silk got replaced with polyester, French laces with cheaper copies, and chasing low prices and high volumes became the focus.
    I fell out of love with my work in fashion, which had started from a love of arts, beautiful textiles and craftsmanship. I had never chosen to work with fast fashion, but this is what my job turned into. I felt frustrated and wanted to leave the fashion industry but was realistic enough to realise I couldn’t afford to leave work as it is very expensive living in London.
    I felt a huge urge to get my creative outlet into designing something that was not commercially led by price or the predicted colour of the season. I wanted to create something beautiful that would be allowed time to develop, would last and be desirable enough to keep. The opposite to fast fashion.
    I always loved working with silk, and as I had visited many silk factories and mills in the Far East silk districts on my work trips, I was familiar with the printing and manufacturing process.
    As a teenager I inherited a chest of scarves from a well-travelled neighbour, which was the start of my scarf collecting. When I started travelling in the Far East with work, I was often away for two weeks at a time. In the evenings there was time to kill, purchasing silk scarves from markets and hotel shops became a hobby. Thanks to the scarf collecting, I started analysing coloration and thinking of design improvements of the scarves I had bought. The border could always be slightly more interesting, or there should have been a different shade in that corner, and so on.
    I decided to start my own silk scarf brand on the side of my employment, and in complete secrecy, just in case it wouldn’t be popular with my bosses. I choose the name The Silk Vault, as you store your most precious belongings in a vault. This was my own precious project.
    All scarves are made in exclusive, limited-edition pieces, because it is more special buying a scarf that was only made in say, ten or twenty pieces, rather than mass-produced. My customers love the fact that they buy something that is unique and can’t be seen everywhere. For me, selling thousands of scarves is not important.

    Anna Möller's personal connection to silk scarves is fascinating. How has her background in fashion design and garment pattern making influenced the brand's aesthetic and design choices?
    Ever since being a child I have enjoyed drawing, sewing and creating. I studied textiles and tailoring in high-school, pattern-making at Tillskärarakademien in Stockholm and have a BA Fashion Design degree from University of Westminster, London.
    I have worked in various disciplines within the fashion industry; as a designer, sample seamstress, production and pattern making. I love all parts of the creative process and love how a collection comes together when everything works together.
    For me print design, fashion design, pattern making and proportions all go hand in hand. Apart from The Silk Vault, I work as a pattern maker & technical designer for a Swedish brand. I love my work there, for me all work is connected and generates ideas.
    When I design prints for The Silk Vault I create a story in my mind where I see the motifs as part of a story. I envision the styling, the models and the music they listen to, the venue and the styling.
    When shooting a collection, it is important to me to communicate an overall feeling. It’s not just about the scarf prints. I love styling and spend a lot of time making styling garments to get exactly the look and fit I want. Sometimes I print fabric up just to make styling garments. Then I create the patterns and sew the garments myself. It is a lot of work, but it's so satisfying when you manage visualising and communicating your idea.
    I have been lucky enough working with an amazing photographer all these years, London- based Johanna Nyholm. She has a fantastic way of capturing the models, and it is through her lens my designs come to life.

    With your founder's experiences in London, New York, and now Stockholm, how have these diverse cultural influences shaped The Silk Vault's identity and design language?
    I lived in London for eighteen years, which has influenced my life vastly. London is a cultural mishmash and a strangely functioning and beautiful chaos. Living there you meet so many wonderful people, you get exposed to weird situations and experience life in highs and lows. It is a melting pot of hard-working people and there is so much happening on the cultural scene. In East London where I lived the last few years, there were new shops, galleries and restaurants opening every week.
    I was located in New York for a few months for a job, which was a wonderful experience too. As in London, I love the contrasts of highbrow and lowbrow within the culture scene, different neighbourhoods, bars and shops. What I also love about New York is the high energy and buzz.
    When working abroad, I always felt quite connected with my Swedish roots and heritage in terms of my creative hand-writing. However, since moving back to Sweden this has changed and I don’t see The Silk Vault as a typical Swedish brand. The style is a combination of all my experiences and influences, and some kind of minimal maximalism and luxury meets street.

    Sustainability and ethical practices are important topics in the fashion industry today. How does The Silk Vault approach sustainability in the production of its silk accessories?
    All The Silk Vault’s products are designed in Stockholm and carefully developed together with specialist printers and manufacturers. Each design is attentively considered and is only released when it is perfect.
    The Silk Vault’s aim is to design original products that are durable and beautiful enough to wear your whole life and then be handed down to a relative or friend. Each piece should stand the test of time. The products are always made in exclusive, limited-edition quantities.
    The Silk Vault’s products are kept in the web-shop as long as they are available in stock, and we think the design is relevant and beautiful. They do not get taken down from the shop just because they are from the last season. A good design is timeless.
    No products are ever thrown away. Any left-over products are either gifted or used as fabric to re-make new garments or for example used as linings. We only use the highest quality fabrics and materials that look and feel special. This adds to a long life span of the product.
    We want our products to have the highest possible quality. Therefore, we only work with leading experts with niche skills and experience in silk manufacturing and printing.
    The Silk Vault’s main products are made in Lake Como, Italy and in the traditional silk districts of Suzhou, Hangzhou and Guangzhou, China. Other products, such as t-shirts and truckers are printed and embroidered locally in Sweden, whenever possible.
    We believe in collaborating with partners with fairness and in a respectful manner. All collections are made in small-scale production, and we work with manufacturers compliant with BCSI and SEDEX certificates.
    We avoid using plastic and use recycled or recyclable paper packaging wherever possible. Scarves are delivered wrapped in tissue paper inside a hand-made cardboard box, created from recycled and compostable paper in Cornwall, England.
    Silk is one of the strongest natural fibres, and if you care for your silk pieces they will last for many years to come and over generations.
    We encourage our customers to air their scarves or clothing instead of washing them too often. On our website we have a page for how to look after silk scarves in the best way.

    Can you tell us about any upcoming collections or collaborations that The Silk Vault is currently working on or planning for the future?
    Right now, we are planning a pop-up event at Mosebacke, Stockholm, at the beginning of December. As we currently only sell online, it's nice to showcase the collection in real life to show the beautiful materials. It's how the collections really should be seen.
    We have been invited to exhibit at a design show in Malmö 2024, which should be really exciting.
    We have just started talking about doing a digital collaboration together with a tv-collector and digital creator, which would be something new and fun.
    We are also starting to design a new upcoming collection of scarves and accessories.

    In a world where fast fashion dominates, what message or values do you hope customers take away from The Silk Vault's commitment to creating timeless, limited-edition pieces?
    My wish is that people stop overconsumption of fashion and buy less items with higher quality that will last longer. Think about what you feel good wearing and build your own unique style around that, rather than buying into seasonal trends and throw-aways. Accessorising with silk scarves is a fun and great way of adding colour and luxe to even a basic wardrobe. And you can share them with your partner, flatmate and family for variation.

    foundation Lumene 16 hour longwear foundation 0.5
    concealer glossier stretch concealer g11
    blush glossier generation G Jam
    eyes Beauty Act Multi-Skilled liner Smokey Azure &
    Linda Hallberg spectral palette
    Abstract &
    LH cosmetics Sparkl
    foundation Lumene 16 hour longwear foundation 0.5
    concealer glossier stretch concealer g11
    blush glossier generation G Jam
    lips Natasha Denona Baby gold palette Oro

    foundation Lumene 16 hour longwear foundation 0.5
    concealer glossier stretch concealer g11
    blush MAC paintstick Process Magenta
    eyeshadow MAC connect in colour rose lens

    Strong Connection Pink.Net &

    LH cosmetics shimmer saga Passion

    lips glossier generation G Jam

    photography Sandra Myhrberg

    hair & makeup Alicia Hurst & Filippa Finn

    model Mia / MIKAs

    all scarves The Silk Vault