• photography Josefin Osis
    fashion Ulrika Lindqvist
    hair and makeup Sandy Alfares
    all clothes Viktoria Chan
    all shoes Flattered

    An Interview With Viktoria Chan

    Written by Ulrika Lindqvist

    Structured elegance, subtle strength, and timeless design. Viktoria Chan’s fashion philosophy is as thoughtful as it is empowering. Since launching her eponymous brand in 2013, the Swedish-Chinese designer has redefined minimalism with a distinctly modern edge, creating pieces that elevate rather than overshadow the wearer. In this interview, Viktoria speaks with Odalisque about architectural inspiration, the art of balance in fashion, and how clothes can quietly yet powerfully boost confidence in the women who wear them.

    Ulrika Lindqvist: Your brand embodies structured simplicity and modern sophistication,aiming to empower the urban career woman. How do you translate these concepts into your designs?
    Viktoria Chan:     Simplicity is long lasting and classic, but it can sometimes also be soulless. So our motto in doing design is to always think beyond that, to bring personality in both the pieces and the wearer. As such we have a golden rule, to make something complicated simple, and to make something simple memorable. A very plain T-shirt is a go to in the wardrobe, but it is just a white T-shirt. However if we play with just one seem, it becomes something unique. This doesn’t mean that we just add details just because we have to, but every detail has to make sense!

    UL: Your philosophy emphasizes that it’s not the clothes that should be noticed, but the woman wearing them. How do you design pieces that enhance the wearers presence without overshadowing her?
    VC:     That is also aligns with the fact that we want to do minimalistic yet unique as it wont take over but only add flavor, to spice it up a bit with the same purpose make-up has. In Sweden we call “lagom”, it’s just the right amount of simplicity and complexity and that’s how we aim to enhance and bring personality to the wearer.

    UL. Architecture and natural movement inspire your signature silhouettes. Can you share how these elements influence your design process?
    VC:     In architecture, human body, art and in clothing there are a lot of similarities. The golden ratio is one of them where lines are drawn in the most visually balanced perspective. As such we can most often draw inspiration from both art and architecture as lines can all be applied in the same way. It can be constructed lines, folded pleats, bold swirls etc. The nature is also an important source where the nature has and creates a lot of beautiful elements such as stones, crystals, plants, and much more. For example the movement of the wind can be captured and implemented in our design by draping and choice of fabric.

    UL: Versatility is a key aspect of your collections, allowing for seamless transitions from day to night. How do you approach creating such adaptable pieces?
    VC:     There are different aspects that make it more or less dressed up. The choice of fabric, the design or the styling. Shiny fabrics are visually more dressed up, but styled with something casual, it has a perfect daily look. I personally love wearing nice satin trousers with an oversized top that can easily be transitioned from day to evening look. Some silhouettes are more dressed up already, which we intend to dress down by choosing for example linen or cotton.

    UL: Your designs feature neat tailoring, sleek colors, feminine lines, and minimalist details. How do you balance these elements to maintain your brands essence?
    VC:     I believe by having all these features merged together, that’s how we can maintain the brands essence. Of course, in our collection we have pieces that are more feminine, cooler, or cuter, but they are all representing VC but on different occasions.

    UL. Your collections showcase timeless design elements like knots and curves, infused with a unique, neutral sensibility. What inspires these recurring motifs in your work?
    VC:     As I mentioned before, I really like to express my creativity and design by playing with construction and deconstruction, how to manipulate lines, curves and knots that is shaped . But the details should not be excessive nor too much, they should look like they were meant to be there, just a subtle detail that gives the extra touch.

    UL: You launched your brand in late 2013 and have since expanded internationally. What challenges and milestones have you encountered during this journey?
    VC:     In every stage we face different types of challenges and then there are some challenges that is ongoing, so I guess it will always be like that. I studied business in school so apart from loving fashion, I had no experience nor knowledge about the fashion business. Adding to that, I had no network in fashion either on the Chinese or the Western market. In the beginning I faced challenges to find suppliers, photographers and then of course challenges related to marketing and sales. Apart from these, there are even more everyday micro-challenges to face, such as delivery time, counterfeit products, delays, market demands, and more. At the same time, every milestone is a success. Seeing every editorial, everyone buying and wearing VC, every new store and existing stores are all fractions of the journey that keeps us ongoing.

    UL. Your brand caters to the independent woman who empowers herself through personal style. How do you envision your designs supporting and enhancing this empowerment?
    VC:     I think it would be the answer to previous questions. I believe it’s important to dress for yourself and feel empowered from the inside. I try to boost this in my design, where details, patterns and material can make them feel confident about themselves. We have customers who come to us after a date and say they felt so beautiful that their confidence was noticed. We have customers who buy our pieces for work occasions and will also wear VC on important meetings and conferences because they feel more empowered in the clothing. And they wear it over and over again, it’s like their go to uniform when they’re about to make something important. In the end, we don’t do magic, but through small unique details, we can boost inner beauty, not take over only enhance the wearer.

    UL: Can you describe a typical day in your life as a designer? How do you balance the creative and business aspects of your role?
    VC:     In different periods I do different things. But on a normal day I would come to the office at 10 am starting with checking my emails, then do fabric purchasing, manage delayed stocks and placing more stocks, for lunch I do a quick take-out , followed by more admin tasks. In the afternoon I will start doing some creative design work. During my design period which usually lasts for 2 months in a row before every launch, I will be fully invested in design and fabric sourcing until late evenings. In those periods I normally go home at 8pm and continue working at home. I think the creative part is most difficult when there’s lack of inspiration but we have a deadline coming up.

    UL: Looking ahead, what are your aspirations for the future of your brand? Are there any upcoming projects or goals you’re particularly excited about?
    VC:     I hope to expand internationally, to gain a bigger follower and fan base, to get more retailers to carry us and to do runway shows. In China, if all goes as we want to, we hope to open a flagship store in a mall. The market is pretty unstable so we are very careful with big decisions now. And I also hope to expand our bridal line to different countries worldwide!

    bag Cos

    photography Josefin Osis
    fashion Ulrika Lindqvist
    hair and makeup Sandy Alfares
    model Stina / The Wonders

  • photography Campbell Addy
    image courtesy Jaguar

    The Movement Director Injecting Fashion with Dynamism, An Interview with Yagamoto

    Written by Maya Avram by Saffie

    If you are a fashion aficionado like me, few things excite you more than experiencing that fandom in new, imaginative ways. The rise of movement directors (or choreographers, for the uninitiated) over the past few years has reignited the industry’s appreciation for the kind of theatricality that made runway moments from the ‘90s and early ‘00s so iconic. From Shalom Harlow getting spray-painted by robots at Alexander McQueen’s 1999 presentation to Leon Dame’s angry stomp for Maison Margiela on the 2020 catwalk, it appears that the pendulum has swung back to fashion as performance — and we’re all better for it.

    One creative spearheading this shift is Abdourahman Njie, also known as Yagamoto. His emotive, cinematic campaigns — shaped by a background in performance art, modelling and his Senegalese-Gambian heritage — have brought a fresh sensibility to his collaborations with Pharrell Williams x Adidas, Louis Vuitton, Off-White and British Vogue, among others.
    Here, the multidisciplinary artist shares insights into his creative process, sources of inspiration and ambitions for the future.

    Maya Avram: You’re part of a growing cohort of choreographers who help design fashion’s narrative. How did you start your movement director journey?
    Yagamoto:     My journey in movement started early on, when I was studying performance art in high school. That initial spark led me to explore the medium further in college, where I also experimented with method acting, physical theatre and improvisation. Eventually, I pivoted away from academia as I realised its structure didn’t align with my creative rhythm. Fortunately, soon after that I was scouted and signed by a modelling agency, which was a real turning point and reaffirmed my path in the creative industries.

    MA: Movement directors have become indispensable in fashion storytelling, transcending mediums. How do you adapt your work to different channels, from music videos to print editorials?
    Y:     To answer that, I need to give context around how my methodology was formed.
    Early in my career I made a conscious decision to distance myself from the wider movement community, including my peers. This intentional isolation wasn’t out of disregard, but out of deep respect for the craft and a desire to develop a unique voice. I became highly selective about what I consumed, choosing not to follow others or compare paths so I could focus inward and develop my own methodology. Freeing up that space allowed me to root my perspective in intuition rather than external influence.
    The method that emerged is called MOTO, and it encourages artists to engage fully with every creative component on set — from the textures and materials of clothes to the nuances of hair and makeup to the atmosphere shaped by set design. It draws on character embodiment and incorporates elements of method acting to deepen presence and connection.
    And so, when creating ‘Impermanence’ with Campbell Addy for Miami Artweek, every element became a tool that shaped the character and constructed the narrative. It’s a holistic, intuitive approach to movement direction that transforms the set into a living, breathing extension of the performance.

    MA: Having worked both in front and behind the camera, which is your favourite?
    Y:     Whether I’m directing or modelling, I’m happiest on set when there’s a real sense of creative harmony flowing through the production. It’s magical when every element — direction, client vision, lighting, hair and makeup, styling — aligns effortlessly.
    ‘Impermanence’ is the perfect example of that. It was created by a team of close friends and collaborators, each bringing their best and making the process feel organic and fluid. That dynamic fostered a lively atmosphere where art could thrive and the work truly came alive.

    MA: How do you prepare for a project? What does the creation process look like?
    Y:     Research and response are the pillars of my process. Once I receive a creative brief, I study the vision. If needed, I dive deep into research, collecting visual references, exploring themes and movement languages that can help enrich the creative direction.
    When creating ‘Impermanence’, Campbell Addy and I were inspired by Jaguar’s transition into a new era, so we drew a lot of inspiration from reincarnation and rebirth. My goal is always to offer a thoughtful, informed response that not only aligns with the original concept, but also evolves it.

    MA: When working with talent, what do you look to get out of their performances? How do you create a common language with your team?
    Y:     When meeting talent, my priority is to establish a warm, professional dynamic rooted in mutual respect and openness. From the outset, I make it clear that when working with me, they are stepping into a psychologically and creatively safe space. I am fully open to collaboration and committed to bringing out the best in them.
    That introduction helps trust form naturally, laying a solid foundation for confidence to grow. I emphasise that vulnerability is not just accepted, but encouraged, and there is no such thing as doing something “incorrectly.” Every choice, every movement is part of the process, and it’s in that freedom that authentic expression can truly emerge.

    MA: You have worked with some of the biggest names and brands in the business, from Naomi Campbell to Dior. What is your next dream project?
    Y:     I’m a big believer in the magic of manifestation. Every job, every moment that’s found its way to me started as a quiet dream whispered to the universe, and, piece by piece, those dreams have become my reality. There’s an endless stream of visions still unfolding, but I like to keep them secret until they’re ready to bloom. The universe is always listening, and trust me — there’s an infinite wave of beauty, success and aligned purpose on the way. Stay tuned, the magic’s only just getting started.

  • photography Ninja Hanna
    text Natalia Muntean
    fashion Ulrika Lindqvist

    dress Søren Le Schmidt
    stockings Calzedonia
    boots Flattered

    White Cliffs of Dover, an Interview with Søren Le Schmidts

    Written by Natalia Muntean by Zohra Vanlerberghe

    “I see clothing as structures for the body,” says Søren Le Schmidt, the Danish designer whose sharp, minimalist designs have graced red carpets, royal events, and even Tivoli’s candy-wrapper-clad mannequins. Known for his ability to blend old-school tailoring with futuristic flair, Schmidt is as much a storyteller as he is a designer. “I love breaking apart tradition and giving it a modern edge,” he admits, and it’s this fearless approach that has made him a standout in the fashion world. From dressing Queen Mary of Denmark to championing sustainability through upcycling and on-demand production, Schmidt’s work is a masterclass in balancing innovation with responsibility. In this interview, he reveals the inspiration behind his latest collection, his dream of designing for the Met Gala, and why, despite his glamorous career, he’s happiest at home with his family, sketching new ideas.

    Natalia Muntean: What was the inspiration behind your latest collection, and how does it reflect your evolution as a designer? Are there any specific pieces or themes you’re particularly proud of?
    Søren Le Schmidt: My latest collection is inspired by architecture and the structured design language I always work with. This time, I focused even more on contrasts: between tailoring and organic shapes, between the classic and the futuristic. I’m particularly proud of the new silhouettes, where I play with sharp lines while creating more movement in the garments.

    NM: Your designs blend old-school tailoring with subcultural references and an edgy touch, while also drawing inspiration from architecture. How do you balance tradition, innovation, and architectural influences in your collections?
    SLS: I’m trained as a tailor, so craftsmanship is my foundation. But I love challenging it and breaking it apart - that’s where my fascination with architecture comes in. I see clothing as structures for the body, and I work a lot with sharp, graphic lines. Innovation comes from taking the traditional and giving it a modern edge, like mixing classic suits with asymmetric cuts or unconventional materials.

    NM: Your work emphasises gender fluidity and cultural diversity. How do you ensure your collections resonate with a wide audience while staying true to your vision?
    SLS: For me, it’s not about designing for a specific gender but about creating clothing that makes people feel strong and allows them to express their identity. I focus on androgynous cuts and universal shapes that don’t dictate who should wear them. It’s important that my designs can be worn by anyone, regardless of gender, age, or background.

    NM: Sustainability is a core focus for your brand. Can you share some challenges you’ve faced in sourcing 100% sustainable fabrics, and how does on-demand manufacturing help reduce waste? What advice would you give to emerging designers who want to prioritise sustainability?
    SLS: Finding 100% sustainable materials that still have the quality and structure I want is a huge challenge. Many sustainable fabrics aren’t yet on the same level as traditional materials, but the industry is moving in the right direction. On-demand production means I only produce what is sold, eliminating overproduction. My advice to new designers: is to start by thinking about how to create less waste - smaller collections, fewer but better materials, and designs that stand the test of time.

    NM: You’ve worked on projects like the Røde Kors “kaffebordsbog” to promote upcycling. How do you see the role of upcycling in the future of fashion, and how can it inspire broader industry change?
    SLS: Upcycling is one of the most important solutions to fashion’s waste problem. I love taking old materials and giving them new life—it’s a way to create something unique while being responsible. If more brands start seeing leftover materials as a resource instead of waste, it could change how we produce fashion entirely.

    NM: How do you decide which projects or collaborations to take on, and what makes a partnership successful for you?
    SLS: For me, the most important thing is that a collaboration makes sense both aesthetically and value-wise. I only say yes to projects where I feel I can contribute something unique while also learning something new. A good partner shares my values of quality and sustainability but also gives me creative freedom.

    NM: You’ve designed for royalty and red-carpet events. How do you approach creating pieces for such high-profile occasions while maintaining your signature style? What’s the most memorable design you’ve created, and what made it special?
    SLS: When designing for royalty or red-carpet events, it’s all about finding the balance between elegance and edge. My most memorable design has to be the dress for Queen Mary. It was such an honour to dress such an iconic figure. I wanted to stay true to my minimalist design language while creating something timeless and majestic.

    NM: How do you balance your roles as a designer, TV personality, and commentator? Do these roles influence each other, and how has your TV experience impacted your work in fashion?
    SLS: TV has given me a platform to talk about fashion in a more accessible way. I like combining the creative and the communicative, so I don’t see my roles as separate but as part of a bigger storytelling about design and aesthetics.

    NM: What was the transition from working for other brands to launching your own label in 2018?
    SLS: It was incredibly exciting but also really tough. Running your own business means you have to think about everything—from design to production to finances. But it also gave me the freedom to create exactly the universe I wanted.

    NM: If you weren’t a fashion designer, what career path do you think you would have pursued?
    SLS: Definitely something creative—maybe architecture or graphic design. I’ve always been fascinated by shaping forms, whether it’s in clothing or buildings.

    NM: What’s one thing people might be surprised to learn about you?
    SLS: I’m actually quite introverted, even though I appear very outgoing in my work. I love being social, but I recharge when I’m alone with my wife and kids and can fully immerse myself in design.

    NM: If you could design for any event or person in the world, what would it be and why?
    SLS: The Met Gala would be a dream - it’s one of the few places where fashion is truly seen as art. I’d love to create something sculptural and futuristic, playing with proportions.

    NM: What’s next for Søren Le Schmidt? Are there any new projects or collections you’re particularly excited about?
    SLS: I’m working on a new show where I’m diving even deeper into craftsmanship. I also have some exciting collaborations coming up, but you’ll have to wait a little longer to hear more!

    dress Søren Le Schmidt
    Marcus
    jacket Søren Le Schmidt
    stockings Calzedonia

    Sara
    jacket and skirt Søren Le Schmidt
    stockings Swedish Stockings
    Marcus
    jacket and trousers Søren Le Schmidt
    shoes Myrqvist

    Sara
    dress Søren Le Schmidt
    shoes STAND STUDIO
    dress Søren Le Schmidt
    total look Søren Le Schmidt
    shoes Myrqvist
    dress Søren Le Schmidt
    dress Søren Le Schmidt
    dress Søren Le Schmidt
    shoes STAND STUDIO
    Sara
    jacket and skirt Søren Le Schmidt
    stockings Swedish Stockings
    shoes G.H.Bass

    Marcus
    jacket Søren Le Schmidt
    stockings Calzedonia
    shoes Myrqvist
    trousers Søren Le Schmidt
    socks CDLP
    shoes Myrqvist
    total look Søren Le Schmidt
    dress Søren Le Schmidt
    text Natalia Muntean
    photography Ninja Hanna
    fashion Ulrika Lindqvist
    makeup Johanna Larsson
    hair Tony Lundström /MIKAs LOOKs using Oribe and GHD
    models Sara S. /MIKAs and Marcus T. /Nisch Management
    photography assistant Vera Jörgensen
    fashion assistant Beatrice Kaiser
    special thanks to Sturehovs Slott

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