• photography Mathias Nordgren

    An interview with Rasmus Georgiadis - winner of the NK Young Talent Award by Beckmans

    Written by Ulrika Lindqvist

    With botanical elegance, sculptural precision, and an unwavering vision of beauty, the winner of this year’s NK Young Talent Award is turning heads and turning fashion into art. Fresh from receiving the prestigious honor, Rasmus Georgiadis speaks with us about the journey from childhood sketchbooks to intricate, nature-inspired couture, the challenges behind the celebrated collection A Flourishing Confluence, and a creative process rooted in emotion, detail, and transformation.

    Ulrika Lindqvist: Congratulations on winning the NK Young Talent award. What are your initial feelings?

    Rasmus Georgiadis: Thank you so much. I’m incredibly grateful, and it feels truly rewarding to have my work
    acknowledged in this way. This kind of recognition makes all the hard work feel worthwhile.

    UL: Tell us a bit about your backstory. What did you study or work with before getting accepted to Beckmans?

    RG: Fashion has been a focus of mine for quite a while — both creatively and through academic research. In high school, I studied a fashion program with an emphasis on sustainability, which taught me a lot about materials, production processes, and their environmental impacts. From early on, I became aware of not just how I design, but why I choose certain materials over others.

    I began experimenting with draping during this time, since we mostly worked from pre-made base patterns. But I wanted to build garments from scratch, so after graduating, I took a year to study patternmaking in Malmö. Alongside drafting skills, I also learned Photoshop and Illustrator — tools that have since become essential in my work at Beckmans and beyond. In 2020 I moved to Stockholm and began studying Fashionology — and honestly, had I not gotten into Beckmans the following year, I likely would have pursued a full degree in that field.

    UL: What initially drew you to the fashion industry?

    RG: I think it started with art. As a child, I was always drawing — filling sketchbooks with characters, especially princesses and fairies. What fascinated me most was designing their dresses. That creative impulse never really faded. Over time, those fantasy figures turned into models, and the designs became more diverse and expressive. If you’d asked me what I wanted to be as a kid, the answer was always “a fashion designer.” There have been moments of doubt, of course — where I wondered what I’d do if fashion wasn’t an option. But I’ve never found a real alternative, which tells me this is the only path forward.

    UL: What is your inspiration behind your designs — and this collection in particular?

    RG: Nature has always been a big source of inspiration for me — especially botanical textures and organic forms. In this collection, that connection is very present. But the core idea was to explore how a garment and the wearer could appear to grow together — to feel like one unified form, or like an extension of each other. To give structure to that concept, I turned to one of my favorite childhood art styles: Art Nouveau. Its romantic, flowing aesthetics — seen in everything from illustration to interior design — became a guiding reference. I used this collection as a showcase of my techniques and creative growth.

    For example, I looked at how Art Nouveau book covers used symmetrical, botanical patterns, and translated that into laser-cut designs in gold silk, placed on mesh to give a two-dimensional “glued-on” effect. I also drew inspiration from ornamental metalwork, which I interpreted using 3D modeling and printing. It was a long process — from sketch to CAD model to physical piece — including patination to mimic aged metal. These components were meant to feel alive, as if the model was wearing, or becoming part of, an art installation. I try to create some kind of layered thinking for each piece — I enjoy working in small details
    that tell a bigger story.

    UL: Can you share some insights into your creative process?
     

    RG: For me, creativity is driven by emotion. I want my work to evoke a feeling in others — and forthat to happen, I believe I have to feel it twice as strongly myself. That can come from setting a mood with certain music, or from hours of draping until I land on a detail that truly excites me. If I, as my own toughest critic, feel something powerful about what I’ve made, it’s usually a good sign.

    I also rely heavily on drawing. I don’t use erasable tools when I sketch — I prefer the permanence of ink. It forces me to trust my hand, to commit to the line. The embroidery patterns in this collection were created by freehand sketching — letting intuition lead the way, thentranslating those lines directly into stitchwork.

    UL: What are your core values as a designer?

    RG: At the heart of my work is a commitment to creating my own version of beauty. I believe beauty is incredibly powerful — not necessarily in how others perceive it, but in how it can transform how someone sees themselves. To help someone feel strong, confident, and like the best version of themselves — that’s
    something I find deeply meaningful. Fashion can be a powerful tool for empowerment, and that sense of emotional transformation is what I strive for in every piece I create.

    UL: What was the biggest challenge in creating this collection?

    RG: The biggest challenge in “A Flourishing Confluence” was managing the weight and structure of the heavier pieces. I wanted the garments to feel light and effortless — almost like gravity wasn’t an issue — but, of course, gravity had plenty to say. For instance, the Ginkgo leaf piece is covered in thousands of rhinestones and weighs several kilos. I had to find hidden structural solutions — like reinforced stitching and built-in wire — tomake it appear weightless. Similarly, the angelic white dress worn by Carola was made from a material too heavy to hold its own shape. I ended up integrating metal wiring to support andsculpt it, and it took multiple prototypes to reach the final result. At one point, I nearly scrappedthe design because it felt impossible to realize. But pushing through those challenges made it all the more rewarding in the end.

    UL: What can we expect from you in the near future?

    RG: I have a few projects in the works, and I’m also opening up for private commissions. My vision isto bring beauty not just to the runway or red carpet, but to individuals — creating pieces in close collaboration with the people who will wear them. My goal is to design garments that don’t just clothe the body, but uplift the spirit — pieces that help people feel beautiful, magical, and unstoppable.

  • HUGO BLUE x Uniform Display: A New Chapter in Personal Style

    Written by Fashion Tales

    HUGO’s denim-forward line, HUGO BLUE, has joined forces with fashion platform Uniform Display to launch a new print magazine dedicated to self-expression and personal style. Known for its streetwise edge and cultural fluency, Uniform Display brings its unique voice to the collaboration, spotlighting Hugo Blue’s latest collections through immersive storytelling and editorial content.

    The project features style-savvy creatives from London, Paris, and Berlin, each city represented by local talents from Uniform Display’s network. Through personal city guides and authentic visuals, the magazine captures the real-world vibe of Hugi Blue’s street culture-inspired designs.

    The collaboration officially launched in London on May 22 with a celebratory dinner and afterparty at STEREO in Covent Garden. Guests explored editorial installations, a HUGO BLUE x Uniform Display claw machine, and a custom magazine stall, all bathed in the brand’s signature electric blue.

    With distribution across key London locations and select EMEA partners, the magazine cements HUGO BLUE’s position as a voice of the new generation, one that dresses with attitude, individuality, and cultural awareness.

     

  • images courtesy of Joakim Züger / BARSK Projects

    SPECTRUM an Interview with Julie Quottrup Silbermann

    Written by Natalia Muntean by Sandra Myhrberg

    CHART, the Nordic art fair, has become a cornerstone of the area’s contemporary art scene since its beginnings in 2013. What began as a collaborative e!ort among five galleries to showcase Nordic art has evolved into a dynamic, multi-faceted event that transcends the traditional art fair model. Today, CHART not only highlights leading and emerging galleries from the Nordic region but also integrates a rich public programme of performances, talks, and exhibitions, all aimed at making contemporary art accessible to a wider audience.

    In 2023, CHART welcomed an impressive 22,000 visitors, reflecting its growing influence and appeal. As Julie Quottrup Silbermann, Director of CHART Art Fair, explains, “We aim to be more than just an art fair. The fair itself features 28 to 40 galleries, but around it, we’ve expanded into a larger public programme that includes performances, music, and talks - all free of charge.”

    CHART is dedicated to fostering collaboration among galleries, rethinking public spaces, and prioritizing sustainability, all while creating an inclusive platform for Nordic art. As Silbermann says, “We’re not just building an art fair; we’re building a community.”

    Natalia Muntean: How has Chart evolved since it started in 2013?
    Julie Quottrup Silbermann: Chart is an annual art event that began in 2013, created by five galleries to showcase the Nordic art scene. Initially focused on collaboration among Nordic galleries, the format evolved three years ago to include a broader program and a partnership with Tivoli Gardens for outdoor exhibitions. Today, Chart invites Nordic galleries to participate, emphasising that it is more than just an art fair. The event features performances, emerging musicians, and a talks program with discussions relevant to contemporary art, all free to the public. Additionally, collaborations with other institutions allow visitors to explore new exhibitions and attend previews during the event.

    NM: The Nordic region is often seen as progressive and forward-looking - how does Chart reflect or challenge these ideas?
    JQS: We aim to present a broad view of Nordic art by inviting both established and emerging galleries from the region and beyond. There’s a growing trend of galleries balancing art and design, with artists creating functional sculptures, particularly in small, artist-run spaces like Coulisse Gallery and Public Service Gallery in Stockholm. This reflects an increasing interest in unique artworks for personal collections. While emerging galleries are thriving, mid-tier ones face challenges, while established galleries have a steady audience. Since Chart’s inception, both invited and self-nominating galleries have participated. I visit Nordic capitals annually to discover new spaces and gather recommendations from established galleries, ensuring we showcase the most exciting new Nordic talent at Chart.

    NM: What do you think is the role of CHART in shaping the Nordic art market?
    JQS: For the participating galleries, it’s an important part of their year to take part in a fair that specialises in the Nordics. We create a community around it, and it’s not just about the fair itself. Throughout the year, participating galleries present their exhibitions, and we collaborate on art calendars. We also reach out to art professionals, organising online curator meetings five times during the spring to introduce galleries to them. I feel the galleries are part of this community, and they’re introduced to art professionals in a meaningful way. I hope and I feel we’re giving a lot back to the galleries by fostering collaboration and mutual support. This is reflected in the fair’s design. When you enter, you don’t see long aisles or booths. Instead, you step into rooms that might feature three galleries at once, creating a cohesive exhibition experience. This setup allows art professionals, collectors, or firsttime visitors to engage openly with the galleries. You’re essentially walking in and out of different gallery spaces seamlessly, without the barriers of traditional booths.

    NM: This is the last year for Chart Architecture why did you decide this would be the last year?
    JQS: CHART Architecture has been running for ten years. Over this time, we’ve invited young architects to create pavilions in the courtyard, and it’s been very inspiring to see their creative, innovative designs. But after ten years, we felt it was time to try something new. This year, we’re introducing CHART Public and it’s essentially an open call. We’re asking architects, designers, and artists to submit proposals on how to create a more inclusive, creative, and aesthetically engaging public space in front of Charlottenborg.
    The goal is to rethink how public spaces can be more than just places we pass through - how they can become areas where people want to gather, sit, talk, and connect. We’re also exploring how this space can serve as a way finder, guiding visitors from the Kingsway in front of Charlottenborg through the courtyard and into the art fair.

    NM: And what about the outside exhibition at Tivoli?
    JQS: This is also going to be the last time for CHART at Tivoli. It’s been such an exciting project and so much fun for the artists to put up sculptures or installations. For instance, last year, we had a sculpture standing in one of the fountains, an artist created a project for the roller coaster, and we showed art films on big screens next to the huge stage where they have concerts. This year, we’ve also started inviting galleries to participate, so I have absolutely no idea what to expect. There are so many places around the gardens that we can use, and I’m really trying to encourage all the galleries and their artists to come up with art pieces that will be placed throughout the garden. When you walk around, it’s a 180-year-old amusement park with flower beds, fountains, roller coasters, and restaurants, and then, suddenly, you come across a contemporary art installation placed in one of the classic settings. The openness of an institution like Tivoli to collaborate in this way has made it a very fun project. For the audience, it’s unexpected because they go to Tivoli expecting roller coasters and then see a contemporary art installation next to it. It’s something they might never have thought about.

    NM: Speaking of this year, are there any particular trends or themes you’re noticing?
    JQS:     I’m excited to see how the open call for the courtyard evolves and what ideas will come in. I’m also looking forward to our “Start Collecting” exhibition with CHART. This initiative started two years ago, invites galleries to submit artworks priced at a maximum of 3,000 euros. In a space called The Chapel, we present affordable artworks from both emerging and established artists, aiming to spark conversations about art collecting. Many are interested in collecting but think it requires a fortune. We want to show that unique art can be accessible at lower price points. Attending an art fair is a great way to explore various galleries and styles. It helps you discover your own preferences, whether you’re drawn to paintings, photographs, or conceptual art. At an art fair, you’ll encounter works that surprise you and others that you can’t resist.

    NM: What advice would you give to someone attending CHART for the first time?
    JQS:     Be very open to everything you see and be curious. Don’t hold back in asking questions to the galleries, they want to talk about the artworks they’re presenting. They’re there with a concept and a submission from the artist, and they want to share the artist’s stories and the concepts behind the works. You’re being introduced to so many different galleries, so take advantage of that.

    NM: Sustainability is an important focus for art fairs globally. How is CHART addressing this issue?
    JQS:     Having a sustainable strategy is essential for institutions and industries today. Last year, we joined the Gallery Climate Coalition (GCC) to actively report our carbon footprint and outline our sustainability plans. We take action by reducing printing, boosting social media visibility, and collaborating only with local food and drink partners. Instead of building new structures, we utilise existing ones. At the fair, we use glasses instead of plastic and have partnered with a transport company for shared transportation. We’re also organising meetings with the GCC to help our galleries adopt sustainability initiatives and focus on the Nordic region rather than flying in international galleries or artists. It’s important for CHART to be aware of its local footprint and support the Nordic community. We encourage collectors to plan purchases sustainably instead of opting for overnight shipping.

    NM: What is the biggest challenge in organising Chart?
    JQS:     The biggest challenge is that it takes a year to build up the fair. As a non-profit organisation, we really depend on funding, sponsorships, and partnerships. Without them, we can’t exist. Of course, our most important clients are the galleries. Without them, we wouldn’t exist either. Keeping the galleries as our priority is essential. One of the biggest challenges is being a non-profit organisation while growing and securing partners and sponsors every year.

    NM: We’ve talked about CHART in the context of the Nordics. What do you see as CHART’s role in the broader contemporary art ecosystem?
    JQS:     I see the Nordic art scene as very international. Artists represented by the galleries often go abroad, whether to study, participate in gallery shows, or exhibit in museums. I feel we have a very international art scene, and the galleries need to go beyond the Nordics to present their artists. I see a growing interest in the Nordic art scene, and it’s developing well, especially for emerging artists. However, it’s also a tough time due to the current economic situation.

    NM: Looking ahead, what are CHART’s ambitions to further sustainability and diversity within the programme and the Nordic art scene?
    JQS:     Of course, we want to be more visible in the Nordics. Right now, we’re focusing a lot on art professionals, combining them with the galleries and creating a network where curators, museum people, and others can come to the fair, meet the galleries, and connect with artists. For us, it’s about creating a platform where people in the industry can network. Another part of it is to remain as open and inclusive as possible for a broader audience.

    images courtesy of Joakim Züger / BARSK Projects

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