• Helle Hestehave and Rikke Baumgarten of Baum Und Pferdgarten on their SS19 Collection

    Written by Meghan Scott

    What a refreshing moment this Copenhagen Fashion Week, to step into the stunning and intimate location for Baum Und Pferdgarten, an auction house based in the heart of Copenhagen. Gargantuan antique crystal chandeliers hung from the moulded ceiling, on the walls were a perfect mix of 18th century and contemporary paintings, and tapestries from a time we can only read about adorned the walls. The city had cooled down by the time the doors were opened and the guests could finally take a break from fanning themselves incessantly and relax with a cool aquavit cocktail in hand while anticipating what the duo, Helle Hestehave and Rikke Baumgarten’s had in store for SS19.  

    Florals in pastel tones, yellow being key, floated through the venue alongside perfect clashes of gingham 60’s beach attire with subtle monogramming. The duo pleased the crowd once again with their impeccable jacquard pieces that flickered in the light, silky dresses, transparent fabrics and trouser-sets with exaggerated collars. Perfect sophistication with hints of street for today’s fashion set. Juxtaposed with an air of sport, this collection hit the nail on the head for Baum Und Pferdgarten once again. We had the chance to ask  Helle Hestehave and Rikke Baumgarten a few questions about the collection.  

    Odalisque Magazine: Having almost two decades together as a design duo, what is the story behind your “poetic friendship”, how did you two come to form Baum Und Pferdgarten? How does your friendship together influence your work?

    Helle Hestehave and Rikke Baumgarten: We met at design school in Copenhagen and formed Baum und Pferdgarten January 1st, 1999. We worked on the first collection sitting in a tiny apartment sewing everything by hand. And we have been together ever since. Our friendship is unique as it is not only a friendship but also a partnership, a family, two decades of history and growth. We have become mothers together, business women and much more.

    In our eyes that is truly the essence of a poetic friendship.

    We are together every day and make decisions together. Our friendship has a great influence on our work, and everything we do is colored by our differences and our relationship. It is what makes Baum und Pferdgarten what it is.

    OD.M: What key strategies have you applied to keep the DNA of your brand so strong throughout the years?

    H&R: It is about staying true to your vision and embracing what makes us unique. And that is the mix of the two of us, our playful universe and our love of dressing women.

    OD.M:  Could you tell us a little about this collections key looks?

    H&R We have worked a lot with transparent fabrics, gold flickering details, light, and flowy silks all in pale and pastel tones combined with rustic, heavy fabrics and oversized outerwear. We wanted to create a dreamy and contrasted collection.

    OD.M: Do you imagine where Baum Und Pferdgarten will be in two more decades? With the ever-changing fashion and garment industry, can you project which kind of system that your brand may go in, in terms of production and retail?

    H&R: The Baum und Pferdgarten brand is moving forward, and we are at the moment experiencing an amazing journey. We are expanding in terms of design processes, our team, our ambition and much more. So it is almost impossible to say, where we will be in two decades, but it is very exciting to think about!
    One thing is for sure, we will still be the two of us.

    Check out the all looks here.

  • photography by Hugo Comte

    model Chiara Scelsi


    Written by Ksenia Rundin

    The jeans as we know them today were launched in 1873 by Jacob Davis and Levi Strauss in the small gold rush town of Saint Francisco. Later, the robust product with its copper rivets for the tough outdoor world of the Far West, has ended up in the limelight of fashion, becoming a multifaceted symbol. Nevertheless, under a long time the production of jeans has had a harmful impact on the nature due to the resource-demanding and therefore environmentally harmful production process. The situation seems to be changing now and sustainability becomes an obvious aspect of the jeans fashion. In June, M.i.h Jeans, which was founded in 1969 and has always been standing for quality and responsibility for its own impact on the industry, introduced the Paradise capsule collection made of a new responsible denim – the only denim mill in the world certified with the EU Ecolabel and Nordic Swan Ecolabel. The material was specially developed in partnership with ISKO.

    The Paradise capsule constitutes a statement of the brand’s future intent to lead the way in denim sustainability. Being a member of the Alliance for Responsible Denim, an international cross-industry alliance, M.i.h Jeans aims also to challenge and disrupt the industry to drive a sustainable change. The collection consists of five denim styles with a functional, playful and harmonic aesthetics built by a juxtaposition of the 1970s and Japonism placed in a futuristic mood of our times. Odalisque Magazine has interviewed M.i.h Jeans and learned more about the idea behind their design, sustainability and the role of jeans in the post-postmodern society.

    “How did the idea of collaboration between M.i.h. Jeans and ISKO come up?
    We’ve worked with Isko as one of our main denim partners since the brand started, and we were one of the first brands with whom they shared their sustainability plans and denims.  It was probably 12 months ago that we began to develop the denim for the Paradise capsule together.

    Could you please tell us about the idea/-s behind the design of the garments for this collection?
    Creating the capsule of Paradise pieces was one of the easiest things we've done.  We knew what we wanted to say with the pieces, and how we wanted the denim to look.  We wanted to put together pieces that were simple and sophisticated, with an underlying sense of the M.i.h Jeans energy. We did this in large and small ways; with shapes that echo iconic 70s styles in silhouette with white stitching that was used in that decade, but with simplified details and a beautiful cut that feels relevant.  Using a classic rinse wash echoes back to the unwashed denim of the 70s and forward to the lowest impact wash possible.  The idea was authenticity, elevation, simplicity and energy.

    The garments viewed together look like a very well-planned capsule collection, where you can combine those in a few different ways. Do you think that by offering a variety of styles within the same clothes collection companies together with their consumers can co-create a sustainable approach to the clothing consumption?
    I love the idea of a complete wardrobe in denim that you can mix and match, but I think the key to sustainability for the customer is to offer a consistent and evolving style across each new collection so that the customer can dress from the brand and mix old pieces together with new pieces in a way that keeps you in love with everything in your wardrobe. Brands can certainly help customers build a wardrobe that they continue to wear and love by designing for their customer and how she wants to dress, rather than for instantaneous fashion trends.

    Do you think the companies should educate their customers on sustainability in order to give them the right tools to base their choice on or the companies should bear the main responsibility for delivering sustainable products to the market?
    It’s the responsibility of brands to make the right choices and show leadership, but it absolutely needs to be a partnership with the customer, it can’t be done in a vacuum.  How long a customer keeps a garment, how they wash and care for a garment and of course who they choose to buy from are in their control.  M.i.h Jeans always asks our customers to join us in learning about the sustainable options, we aim to be transparent, and we also aim to show the customer how they can help us, whether it’s by recycling their jeans with us, or simply asking us questions.

    From being a working class garment, a sub-cultural garment and a wardrobe essential, the jeans have made an incredible way to the front row of fashion, where the history of fashion could easily be studied from the jeans perspective. How would you describe the role the garment today plays in our wardrobe?
    Denim absolutely tells one of the key stories in fashion from the 20th century, and will continue to do so in the 21st. Our wardrobes today are unthinkable without jeans, they’re a foundational piece of clothing. Though as a big environmental offender it is about marrying heritage and technology to improve the environmental impact of fashion.

    Do you think or you probably know if the jeans ever could be made of any alternative material than cotton?
    It depends on what you think of as denim.  Jeans are already made from lyocell, which is a manmade natural fibre (made from wood pulp). I love jeans made of cotton, which is why M.i.h is passionate about exploring the possibilities of recycled cotton.

    What is the ideal/universal jeans wardrobe concerning styles, cuts and number of pieces?
    There is no ideal, but for me I have about 10 jeans in rotation at any one time.  Two to three straight legs in dark to light washes, a high rise jean, a slouchy jean, two to three flares (cropped), and one real hero pair to wear when you want to impress with your denim.

    Do you have artificial intelligence integrated into your production process?
    We work with machinery and computer programs from Jeanologia that incorporate technology to maximise the impact reduction of every pair of jeans.”


    Written by Ksenia Rundin

    Do you remember the enchanting plot and exuberant intrigues of the American television soap opera ‘The Bold and the Beautiful’, taking place around the Forrester family and their fashion business? At the beginning of the 1990s, when I just became a teenager, I could not help but admire the geometric elegance of the opulent suits and accessories, exquisitely worn by treacherous Stephanie Douglas and diligent Brooke Logan. The chic boldness of meticulously organised scenography interior designs that bestowed the intimate feeling of glamour, created a true moment of experience with each new scene. Nevertheless, my avid curiosity about those peculiar details, which practically held the dramatic and cultural frame of the whole story, had never been satisfied.

    Today, twenty years later, Tagflix comes with a revolutionary solution, enabling people to find things they desire in any video through a simple touch of the digital screen. Being sincere visionaries of their time, the Tagflix team, - similar to da Vinci, once carefully sketching out his flying machine, modelled after the anatomy of birds and bats, - by following the spiritual anatomy of the human desire and curiosity, bring people and knowledge together in a video format. While, in an unobtrusive way, serving a consumer with the information on details presented in a video, the company simultaneously creates a vitally important analytical data for the brands engaged. Thus Tagflix conceives a bilateral communication tool with immediate intellectual effect. Providing the consumer with knowledge and thus enabling one to keep the freedom of choice in place, Tagflix’s invention helps different brands to uphold the democracy of consumption and to discover new markets. The company makes the future happen today by bringing the past ahead, visualizing the knowledge and marrying the latter to the moment of creative experience.

    Discovering new potential of the video as a source of information and communication, the Californian team create a totally new ecosystem, which brings the consumer onto the intellectual arena of the marketing communication and turns her into an equal player. It is a silent way to market the goods and services, where the consumer bases the decision on an intellectual experience. Hence, leading our discussion back to the cult series of the early 1990s, we would today be able to learn about screenwriting, fashion and design, art and film history by simply putting our index finger towards the item we are curious about on the screen. Furthermore, the discovered knowledge can also be shared with friends through social media channels, what also opens up for new interactions such as communities, where consumers can exchange their interests and passions, learning from each other and creating new discourses.

    This summer, Odalisque Magazine met one of the co-founders of Tagflix, Marcus Ehrenblad in Stockholm and talked with him about the company, sustainability, luxury and their plans for the future. Seemingly, the time for creating a new type of consumer, who makes own decisions and takes responsibility for those, has come.

    The concept of Tagflix derives from the avid consumers of online video, who created a certain consumer-for-consumer product. Could you describe the main stages of your establishing process from the moment you first came up with the idea of creating Tagflix till the day you could present a complete product for the market?
    My co-founder Tim and I initially started another company that did crowd equity funding that we did not pursue due to very restrictive US license laws. That same week Tim and I were having a drink and watching TV at my place trying to work out what to do next. It was then, when I saw a really cool shirt on TV and pointed this out to Tim and he picked up the remote, pointed it at the screen and said as a joke, ‘I just bought it for you!’ That is how it all started. As two tech nerds, we asked ourselves, ‘How could you actually make that work?’ We thought it was going to be simple, but it was not, yet five years on we are now sitting here with you having this exact discussion.

    We realised that we had to put the video content and audience first by making the experience unobtrusive and remove annoying ads or gamification that seemed to be happening in the industry.  Therefore we had to take a completely new approach that would enable a better, more natural user experience that focused on discovering the things people loved in video, and also give brands and publishers the deep insights they needed to be successful and improve their content.

    How will you accomplish to stay unique with your invention and protect yourself against IP-infringement?
    We are fortunate to have some of the most passionate designers and engineers I've ever worked with on our team. Aside from being very easy to work with, their drive to exceed expectations pushes us to solve problems in unique ways. Pairing that with a reputable Intellectual Property Rights firm, we were able to patent our flagship user experience as well as the Video Graph backend technology.

    Behind the scenes is where it gets really interesting. We connect all many stakeholders in the value chain and combine the data (from viewers, publishers, advertisers, agencies, brands, product placement companies and ecommerce providers and content creators). This not only creates never before available insights to brands, it also allows us to form a complete ecosystem. We want others to build on top of our core technology, so that we become the industry standard. We believe this will provide a good barrier to entry and build a very interesting business.

    What impact do you think the Tagflix program will have on the brand equity of the luxury segment companies within the fashion industry?
    That is a great question and the answer is twofold. Firstly, we have created the ability to measure the impact of products and brands in video content, so that it can then be managed and improved over time. Secondly, we see a future where normal TV ads are disappearing as well as pre-rolls and mid-roll ads (interstitials) in favour of more Netflix style viewing. In essence, obtrusive video ads will decline overtime as a percentage of views. This means brands need to expose themselves elsewhere and through Tagflix they can do this while also being able to measure such exposure more accurately than ever before. With access to such data, brands are able to make better content decisions at creation stage. For fashion, it means we can better tailor clothing for the content being produced. No pun intended.

    We also believe it has a positive impact as larger brands have all told us that mono branded content as well as conventional advertising mediums are really struggling to reach their target audience. We provide deep consumer insights that tell brands which demographics are actively engaged in terms of brand uplift as well as social shares and whom are selling their products in which categories of videos.  The net effect is that brands can now measure the competitor landscape including share of voice inside videos.

    Do you think that by offering Tagflix – an omni-channel marketing strategy tool for your customers, you might create a challenge for such intermediators as influencers/bloggers by making their services redundant?
    On the contrary, Tagflix provides an additional revenue stream for influencers and bloggers. I would like to believe we are adding to their toolset and already see some vloggers as early adopters. Through Tagflix insights, they can demonstrate to brands the value they bring. The platform tools and metrics also help them optimise their campaign performance - all delivering more value to their brand clients, and differentiating from the competition. The Tagflix toolset only compliments bloggers and influencers as they publish smart videos across social platforms consumed by a more targeted audience.

    Influencers are also under huge pressure to prove their value is authentic, as brands become increasingly sophisticated and aware of ‘fake followers’. Given Tagflix measures all video interactions, it makes this much more difficult to fake, similar to how a capture code requires interaction by a real human user to proceed. The platform can detect patterns of usage which are more robotic verses those that are more authentic, and only the authentic interactions are considered.

    Does Tagflix contribute to the circular economy and the field of sustainability?
    Sustainability is actually one of our core values at Tagflix. We are in this for the long term as indicated by our persistence over the last five years. For a marketing industry worth $550B, there are inefficiencies we have identified and working on optimising as part of our strategy.

    How do you store all the data collected on customer behaviour and audience interactions? Who is responsible for that data?
    At a high level and like most tech start-ups these days we leverage the full benefits of the cloud. We take a best of breed approach favouring the right tools for the right job, so our data does not necessarily sit in the same place all the time. All our partners are GDPR certified and we take extra precautions to pseudo anonymise our data and have strict controls for reporting. We ensure our reporting data can never be tied back to specific users.

    Are you considering to enter new markets, for instance the art field or the educational field?
    Yes, eventually. Our value proposition is to allow users to discover anything within video whether it's a commercial product in a music video or information about something they have seen like a piece of art or an animal in a documentary. This however needs to be rolled out in stages and managed very carefully. If we claim to be able to document everything in every video on day one, then it is very difficult to keep that promise to our users. Given we are a big data company, data drives our strategy and we intend to do the same when considering new markets, partners and audiences as they become available. The ultimate goal is to become the de facto standard for video metadata, and so far we are on the right track. We happen to be focused on fashion, music and the arts at the moment.

    Are you engaged into any charity projects?
    Not yet but are very excited about any prospects of getting engaged with such projects. Another core value we embody is persistent problem solving and are definitely keen to work out other ways our technology and data can help, be it charitable or major world problems.

    We can also add our clients desired charities to Smart Video to help drive audience engagement and donations. This will really help charities raise their profile, and build stronger associations with the brand and business partners. This is a great way for business to build loyalty with their audiences.

    Could you name any interesting projects you are engaged into within fashion field?
    Real-time product tracking of livecast catwalks is something we are exploring and considering as an exciting prospect. The introduction of the Smart Video dashboards, and the audience insights that accompany them, will have a massive impact on how fashion brands understand what products work within video and with who. Allowing them over time to make video content better, and even help them understand what designs their audiences are interested in - this may even impact what makes it to shelves. 

    Artificial intelligence (AI) and the digital field as such are constantly evolving and changing areas. Do you practice foresight and trend spotting in your company in order to stay relevant on the market? For example future- and customer-oriented prioritisation of innovative ideas, product innovations or process innovations?
    In general, we are highly customer focused. AI is a fantastic tool to give our customers a better experience, and when something better comes along, you can bet our team is exploring it. As it turns out, when you aim to best serve your customer, the side effect is that you remain relevant. Looking outwards at the competition and trend spotting has its merits, however coming back to sustainability discussed earlier, we know there will always be times we are ahead of the competition and at other times they will be ahead of us. That is the game every business plays with each other everyday. What is in our control, is our team's ability to hire the right talent that share our value of exceeding expectations and delivering the best outcomes for our customers.

    How in such a case do you engage in foresight on the managerial level?
    In this very new space we have created, it is very difficult to predict what will happen or be needed in the future. We rely on our data to give us hints as to what market shifts are taking place and explore options as a management team from there. For example, the insights we provide about what products and designs are resonating most with viewers of fashion shows may have a significant influence on what designs make it off the catwalks and onto high street shelves, but until we try it, no one can predict the impact. The good news is, our platform is designed just for measuring such cases and has the ability to tie every engagement back to the original investment.

    Do you have any managerial strategy for it?
    This is part of our DNA as a data driven tech company and see this process as part of a continuous feedback loop from users, clients and our people within the company.

    How do you communicate results?
    We provide real time dashboards to our clients and they are able to see the performance and insights from a video nearly immediately.

    How do you evaluate efforts?
    It highly depends on the situation and what it is we are evaluating. For a product, we typically we use a/b testing approaches whereby some of our customers chosen at random will see one design and the remaining another. If feedback for the second design is more positive, we go with the second implementation. Sometimes you get a mix of good and bad from both datasets, and then we take the best bits and trial a third revised option. We also like Simon Sinek’s method of always starting with the Why, then How and lastly What. In our customer centric model, we typically pursue a project or task if the why makes sense first.