• images courtsy of Chanel

    BEAUTY BACKSTAGE SPRING-SUMMER 2024 HAUTE COUTURE COLLECTION

    Written by Chanel by Emelie Bodén

    MAKE-UP STEP BY STEP
    COMPLEXION
    Apply LES BEIGES WATER-FRESH COMPLEXION TOUCH with the brush 2-IN-1 FOUNDATION BRUSH FLUID AND POWDER N°101.
    Correct the imperfections of the face using LE CORRECTEUR DE CHANEL with RETRACTABLE DUAL-TIP CONCEALER BRUSH N°105 where needed.
    According to your skin tone, apply BAUME ESSENTIEL LILAS or LES BEIGES HEALTHY WINTER GLOW PRIMER in Frosty White on the apples of the cheeks using the RETRACTABLE HIGHLIGHTER BRUSH N°111, then higher on the temples.
    Sweep loose powder POUDRE UNIVERSELLE LIBRE onto t-zone with the POWDER BRUSH N°106.
     
     
    EYEBROW
    Brush the brows with DUAL-ENDED BROW BRUSH N°207.
    Fill in with the STYLO SOURCILS WATERPROOF.
    Apply LE GEL SOURCILS in TRANSPARENT to add depth to hairs for a strong result.
     
    EYES
    Apply the taupe beige shade, on the bottom left of LES 4 OMBRES 388 ÉCLAT DE NUIT in the crease. Blend it with the RETRACTABLE DUAL-ENDED EYESHADOW BRUSH N°200 for a natural result.
    Apply mascara LE VOLUME RÉVOLUTION DE CHANEL 10 NOIR lightly in the middle of the top eyelashes.


     
    LIPS
    Apply ROUGE COCO BAUME 938 KEEP COOL all over the lips, using the DUAL-ENDED LIP BRUSH N° 300.
     
     
    NAILS
    Prepare the nails with a coat of LA BASE CAMÉLIA.
    Set up with LE VERNIS 175 SKIEUSE.
    Fix and add shine with LE GEL COAT.
    Moisturize the hands with LA CRÈME MAIN.

  • Viggo wears

    shirt We two
    trousers Dickies
    dress Baum und Pferdgarten
    shoes Dr. Martens
    rings Sif Jacobs

    Rebecca wears

    shirt Urban outfitters
    skirts Baum und Pferdgarten
    stockings Swedish Stockings
    shoes Dr. Martens
    earrings Clara Fina
    ring Sägen
    photography Sandra Myhrberg
    fashion, hair & makeup Filippa Finn & Emelie Bodén

    Suite Simone: An Electronic Celebration of Nostalgia

    Written by Emil Björnius by Filippa Finn

    One is pretty much a pioneer with over 15 years in the industry. The other one has had a meteoric rise to fame and could be seen playing at Boiler Room in Stockholm two years ago. In their new joint project, Suite Simone, Rebecca Scheja and Viggo Dyst let melancholy take a vital part in their genre-crossing music.

    Suite Simone is probably one of the most exciting things to happen to Swedish electronic music since DJ Seinfeld, and it is easy to understand why. Rebecca and Viggo share a love for vibrant, ambient and emotional melodies, which they successfully combine with merciless breakbeats. They do this with a mature yet playful sound. Rebecca has a lot of experience in the industry. Viggo describes himself as a true nerd who – in his younger years – preferred to produce beats while his friends played computer games.

    We meet digitally, and Rebecca and Viggo are about to start the day in their music studio. With different backgrounds, they complete each other. Rebecca’s career began in 2008 when female DJs were a rare phenomenon on the Swedish club scene. Rebecca & Fiona has been a powerhouse on the Swedish music scene for nearly a decade. On the other hand, Viggo released his first material on Spotify ten years later and has since studied music theory, lived in Berlin and worked with prominent Swedish producer La Fleur.

    How did the two of you meet?

    Rebecca: We met at a writing camp hosted by Vivrant Records. I was there as a producer, lyricist, and songwriter, and meeting Viggo was like love at first sight.

    Viggo: I joined the camp unexpectedly due to a cancellation during the COVID-19 pandemic. Rebecca and I connected instantly, especially while creating “Lost in Love.” We decided to form a band after that session.

    You come from different backgrounds but share an equal love for electronic music. Tell me about Suite Simone:

    Rebecca: We share a lot of nostalgic love for the Basshunter era. Viggo comes more from techno, and I am from the house genre. In the project, we strive for a melancholic melodic language but also want to up the tempo. Suite Simone can be a little dark and sad at times.

    Viggo: “Lost in Love” is an excellent example of the spread of genres in a single song. You can find both UK breakbeat and some Italo vibes. I've never really landed on what I wanted to do, so the common thread has never been a genre but a language conveyed through all the songs. The first songs were a bit more 90s, then we've come up in years, so the latter has leaned more towards how Deadmau5 sounded in 2008. We've simply landed in a combination of EDM, trance and techno. don't want to be put in a specific compartment.

    Tell me a little bit about the dynamics in your duo.

    Rebecca: I don’t think we have ever argued about anything. We have chemistry around the melody and in how we do things. It has been very effortless.

    Viggo: I've never been angry with you. We have a very mutual understanding. We are also responsive to each other. The work we do together must be completely open, “if you do this, then I will take responsibility for that.” It has been a satisfactory relationship. I sit at the computer and tweak things, but we try to have an equal relationship. Rebecca is with me when I mix, and I am there when Rebecca writes lyrics.

    Rebecca: I have learned incredibly much when it comes to mixing. I had Viggo's role a lot while working with Fiona, so it has been nice to switch things up. Viggo is incredibly educational.

    When are you going on tour?

    Rebecca: We will aim to run hard this spring. Everything needs to be nailed down. Our album will come out this spring, at the beginning of March, then we’ll probably tour a lot.

    Viggo: You are so invited to our release party.

    If you had to choose, who would be the dream collaboration, and why?

    Rebecca: The only producer that would have been epic to work with is Timbaland.

    Viggo: So many good producers do similar things to us, but we can do that ourselves. Timbaland is a little something else. Regarding artists, it would be someone from a completely different world, like Enya, Björk or Rozalia, maybe?

    Listen to Suite Simone's new singel Ajuna!

    coat Remake

    necklace Caroline Svedbom

    Viggo wears
    shirt Sofia Corneskog
    trousers Lee
    shoes Stylist’s own
    bracelet Sif Jacobs

    Rebecca wears
    shirt Hosbjerg
    trousers Baum und Pferdgarten
    shoes Tamaris
    earrings Stylist’s own
    necklace Sif Jacobs

    Viggo wears
    coat Remake
    shoes Dr. Martens

    necklace Caroline Svedbom

    Rebecca wears
    dress Samsoe Samsoe
    coat STHLM MISC

    stockings Swedish Stockings

    shoes Stylist’s own
    earrings Sägen

    Rebecca wears
    veil Sofia Corneskog
    shirt Sofia Corneskog
    stockings Swedish Stockings
    shoes Talent’s own
    rings Sägen

    Viggo wears
    leather jacket Brixtol Textiles
    shirt Ahlvar Gallery
    trousers Stylist’s own
    shoes Stylist’s own
    rings Sägen

    Viggo wears

    leather jacket Replay
    sunglasses Guess
    necklace Sif Jacobs

    Rebecca wears
    coat PelloBello
    sunglasses MaxMara
    necklace Sif Jacobs
    earrings Sägen
    shirt LEVI’S
    earrings Stylist’s own
    photography Sandra Myhrberg
    fashion, hair & makeup Filippa Finn & Emelie Bodén
    photography assistant Rebecka Barlach
    fashion, hair & makeup assistant Vanessa Eriksson Tonelli
  • photography Daniela Spiroska

    fashion Ulrika Lindqvist

    Top Filippa K
    Stockings Swedish Stockings
    Skirt Filippa K

    Crafting timelessness: the essence of Sara Robertsson Jewellery

    Written by Natalia Muntean by Natalia Muntean

    In the field of contemporary jewellery design, Swedish jewellery designer Sara Robertsson stands out for her approach, weaving together organic minimalism and sustainable aesthetics.

    Established in 2015, Sara Robertsson Jewellery is deeply grounded in genuine craftsmanship, with each piece meticulously produced either in Sweden or Portugal, and Scandinavian minimalism. Sara's designs are the result of a thorough design process where intuition and patience are combined. This delicate balance ensures that each piece takes the time it needs to develop without rushing.

    Discover more about the core identity, creative process, and future vision of the Sara Robertsson Jewellery brand.

    Natalia Muntean: How would you define the core identity and values of the Sara Robertsson Jewellery brand? And what sets it apart from others in the industry?
    Sara Robertsson:
    I’m a designer first, and this shines through in everything my brand is about. Every decision in the company comes from my deep passion for creating beautiful, sustainable pieces that speak a universal language. I think this is what makes the range I offer a unique mix of organic universal shapes and minimalism, both with pieces you will want to wear every day and also bold statements that can be seen as wearable sculptures.

    NM: How did your background in womenswear design influence your transition to becoming a jewellery designer, particularly in terms of inspiration and techniques?
    SR:
    From the moment I created my first piece in silver, I felt an immediate connection and meaning that I felt was lacking for me working with fashion womenswear. Working with jewellery also matched my longing to work with a more sustainable approach and to move away from fast fashion and set production quotas and seasons. I would say that being a womenswear designer first is definitely a very big part of my expression as a jewellery designer. For my collection Silk, I am inspired directly by fabric and draping, and I wanted to create lightweight pieces in larger sizes reminiscent of the flow of fabric. Being trained in working with such a different material first has given me a different approach to silver and what that material can do. I think it has made me freer as a jewellery designer.

    NM: Could you elaborate on the concept of “organic minimalism” that serves as the core ideology for your jewellery collections, and how it is reflected in your designs?
    SR:
    I’m very inspired by the shapes in nature and evolution, but I always strive to find the core of the shape and simplify it as much as possible to make it feel universal, timeless and elegant. It’s not minimalism in the sense of straight lines and geometric shapes, it’s soft and organic but very stripped down and simplified.

    NM: What sources of inspiration, whether from art, nature, or culture, consistently inform your designs? How do you stay creatively inspired and avoid design stagnation?
    SR:
    Like probably all creatives, I have my good and bad periods creatively, that is inevitable. But having worked as a designer for so long, I have now come to learn what helps me when I’ve lost inspiration. The most important thing is to not try to push it since that almost always leads to bad decisions that you will regret later. Have patience and trust that these periods are also important. When I start the design process, I always try to work intuitively and not overthink. It can be sketching, painting simple shapes with watercolour, or working with clay, paper or thin metal sheets. The important thing is to let the hands work and find the connection between the hands and the mind. That’s where the magic happens. I find most of my inspiration in the shapes in nature, but I can also look to art, sculpture, clothing, ceramics, interior design or other creative fields. Sometimes just a glimpse of something sparks the mind and starts the process.

    NM: Given your emphasis on a balance between intuition and patience in the design process, could you walk us through how you typically approach the creation of a new piece of jewellery from concept to completion?
    SR:
    This is very much related to the question above. Trust is the key, I think. Trust in the process, that ideas will come and you need to let them evolve in their own time, and not rush it. Typically, I start with one of the above creative processes, where I use my hands and work intuitively without overthinking. When I find a shape or silhouette I like, I explore it further in more sketches or other 3-D techniques like clay or paper. I always try to simplify and stylize as much as possible. Once the shape is set, the technical part starts: how is it worn, do I need a lock, an ear pin etc. And then I create either a prototype in my studio or a digital technical drawing. Then it’s ready to send to the workshop to create the first samples, and these are then revised until everything is perfect. I never work with set production timelines, a piece is finished when it is finished and it will take as long as it takes. That is the beauty of working in your own company, you can decide this yourself. I think there are so many bad products released on the market just because companies want to fill their production quotas and always release news instead of focusing on only the actual good products.

    NM: Your designs are meant to be worn and cherished for many years. How do you ensure both durability and timelessness in your creations?
    SR:
    I always put a lot of consideration into the designs, making sure they are as simple and genuine as possible - focusing on the core expression and removing any unnecessary elements. By simplifying, you automatically move towards more timeless shapes and minimise the risk of it just being a trend. I also only work with very experienced goldsmiths with excellent expertise and craftsmanship and each piece is thoroughly quality checked. Silver is in itself also a durable material and pieces can almost always be fixed if damaged by, for example, re-polishing or soldering.

    NM: As a designer who values the environment by using recycled materials, could you discuss your perspective on sustainability within the jewellery industry and how it aligns with your brand’s philosophy?                                                                                     
    SR:
    This is so important, but as a small brand can be very hard since you’re not as prioritised in production or sourcing of materials and don’t have as much influence as bigger brands have. However, you can always choose who not to collaborate with. But working with jewellery in fine materials is in itself much more sustainable than working with cheaper material options. It lasts longer and it can be re-polished if scratched and mended if broken. So that is a good start. Most silver used in jewellery production today is recycled, which is great and if a piece should be damaged beyond repair, you can still recycle the material. I would love to see more sustainably and ethically sourced precious and especially semi-precious stones in the industry. It is very difficult to find distributors for this and also the main reason I’ve decided not to work with these gems currently. I work with pearls, which I love, and almost all my pearls are traceable down to the actual pearl farm. I know my distributor has a dialogue directly with the pearl farm, guiding and encouraging them on their path to sustainability, too.

    NM: Your designs are described as having a “poetic expression.” Do you consider any symbolic or narrative elements in your designs? If so, could you share an example of a piece with a particularly meaningful story?                                                                                                                                  
    SR:
    I created the collection Spirit almost in a daze after I had a miscarriage at week 12 following a long period of fertility treatments. It is a reflection of life and death and what it means to be human that is very personal to me and many of the pieces carry poetic, symbolic and universal meaning. I’m just about to release the latest addition to this collection, called a Mother’s Heart. This is a piece celebrating my own parenthood, as I eventually became a mother after further treatments. It feels very special to add this piece to the collection.

    NM: What is your vision for the future of Sara Robertsson Jewellery, and how do you see it evolving in the coming years?           
    SR:
    I love the path I’m currently on and want to follow this path growing in an authentic, sustainable and consistent way, always putting the designs first.

    jewellery by Sara Robertsson Jewellery

    Candle holder Kosta Boda

    Dress Calvin Klein
    Pumps Filippa K

    All jewellery by Sara Robertsson Jewellery

    Soap L:a Bruket

    Soap Gahns
    Dress Viktoria Chan
    Dress Harris Wharf London
    Stockings Swedish Stockings
    Pumps Filippa K

    photography Daniela Spiroska

    fashion Ulrika Lindqvist

    makeup & hair Ellinor Fahl

    model Alma C / MIKA

    photography assistant Rebecka Barlach

    All jewellery by Sara Robertsson Jewellery

    Soap Molton Brown

    Candle holder Kosta Boda
    Incense holder Massproductions

Pages