• photography Ellinor Sjöberg       
    fashion Ulrika Lindqvist       
    all clothes Samsoe Samsoe FW23       

    Samsøe Samsøe AW23 Collection: Futuristic flair reign supreme

    Written by Linnéa Ruiz Mutikainen by Ulrika Lindqvist

    For autumn, Danish label Samsøe Samsøe pens an ode to the future, while celebrating its 30th anniversary.

    Sartorially Scandinavian, reimagined. We are all familiar with the sleek silhouettes, trademark neutral hues and monochrome stylings. This season, Samsøe Samsøe takes the plunge into its own archives, a fashion legacy spanning three decades. Classics are reinvented, further hybridized with bolder aesthetics, hinting at a bustling vibe shift. Odalisque’s Linnéa Ruiz Mutikainen talks to Meme Marta Fagiuoli, Head of Womenswear at Samsøe Samsøe.

    LINNÉA RUIZ MUTIKAINEN: Describe the AW23 collection in three words.
    MEME MARTA FAGIUOLI:
    It is Scandinavian, modern, and with a slight edge.

    LRM: There seems to be a merge between the past and the future. What inspired this collection?
    MMF:
    We are in the middle of a process where we look deep into our styles. Revisit our classics, identify what we are good at. Fits and silhouettes have been two constants, we always strive to update them. To elevate the collection, we searched for the items we were missing. It’s a stimulating exercise finding a balance between being proud of our heritage and developing new styles. Hopefully, they will blossom into core pieces for the brand. The key is to have the modern woman and customer in mind when designing.

    LRM: Any personal favorites in terms of looks?
    MMF:
    So many. But I particularly love the Shelby leather jacket with white and orange inserts. The pinstripe tailored Luzy suit is another favorite, also the oversize Solene knit hoodie. I have lived in it this past winter.

    LRM: What lies ahead for Samsøe Samsøe?
    MMF:
    We have found a good structure for all collections. The team is solid, we have all worked together for a few seasons. Now we can really focus on details, fits, and general improvement of products. We have just been through a significant process to pinpoint the brand’s position and persona. To have words and visuals clear for the creative teams will only make us stronger and help deliver great collections. We are so excited about the future.

    photography Ellinor Sjöberg 
    fashion Ulrika Lindqvist 
    hair and makeup Filippa Smedhagen 
    model Oceane / MIKA
    fashion assistant Filippa Berglind Finn 
    retouch Emely Majrell 
    all clothes Samsoe Samsoe FW23
  • CHANEL - N°5 Collection

    Written by Fashion Tales

    The CHANEL Fine Jewelry Creation Studio has paired BEIGE GOLD or white gold with diamonds to trace the contours of a 5, Gabrielle Chanel’s favorite number, in an exceptional Fine Jewelry collection. All the audacity and spirit of the House, in a lucky number.


    5, more than a number: iconic, graphic, symbolic.
    5 like the 5th sign of the zodiac, Mademoiselle's astrological symbol. 5 like her favorite day to present her couture collections.
    5 like the number of the eternal fragrance.

    #N5Collection #CHANELFineJewelry  

    Cpyright CHANEL  

  • Linnéa Ruiz Mutikainen

    Live Performance, Narratives, and Self-Reflection: Queens of the Stone Age

    Written by Linnéa Ruiz Mutikainen by Ulrika Lindqvist

    When one attends an audio-visual performance, a concert for instance, the premise seems universally simple and applicable to each member of the audience. Performers perform, receivers receive. But while the reason for physical attendance may appear abstract, the performance could also trigger passageways to deeper reflection, based on authentic discourse between artist and audience.

    The artist is the central narrator whose narrative generally reflects themselves. There is a continuous intrinsic presence of first-person experience; recurrent incentives sparked creative revolt, later resulting in lyricism and melodic composition. As the creation reaches its audience, the incentives have been compressed into a stylized thematic retrospective. Oftentimes, the foundation of this discourse is a deconstruction of the self, merging past with present time, while posing the question of futurity. Audience can partake in the congruence between context and emotion, building a perplexing platform of possible self-reflection.

    In June 2023, American alternative rock band Queens of the Stone Age (hereinafter referred to as “Queens”) performed at Roskilde, a Danish festival with closer to 130,000 spectators each year. Roskilde thinks in parallel spheres, merging music with activism and conceptual arts, a possible bridge between strict entertainment and contemplative awareness. Queens’ performance doubled as an audio-visual manifesto of living life without fear, following the 2023 release of album In Times New Roman… which narrates frontman Josh Homme’s long standing intersection of personal traumas, in plural – seemingly a de- and reconstruction of the self, as in his self. As Queens entered the stage, Peggy Lee’s poignant song Smile played in the background, neatly touching beauty in chaos: “Smile though your heart is aching / Smile even though it’s breaking / When there are clouds in the sky / You’ll get by”. Queens’ latest album is profoundly vulnerable, it radiates sincerity and excels in vulnerability. In live installment, an indescribable kind of rawness is generated, stoically pairing their signature darker sound with intimate storytelling. Queens succeed in authentic discourse, and to encourage the audience to challenge their own self.

    In 1938, French existentialist philosopher Jean-Paul Sartre released Nausea, a diary format novel sharply reflecting on consciousness. The writer Antoine Roquentin is the novel’s troubled protagonist, preoccupied with questioning the idea of existentialism and its alienated perception while horrified by his own existence. Here, Sartre’s own ideas are dissolved through impressionistic, fictional narration, rather than autobiographical word-by-word recollection. The reader is provided with a wider framework containing spaces to fill, perhaps with fragments from one’s own self, life, and its intersections. Juxtaposing literal and figurative concepts could perhaps be approached as entering a narrational gray zone, where the reader is encouraged to reflect further – and reach for the unreadable. In this sense, when partakers indulge in these fixed narratives, they consciously surrender to possible triggers of (induced) self-reflection.

    In a larger sense, we may simply be compelled by the unknown, the undefinable, and the indeterminate – what could have been, what it turned out to be, what it might turn into. Fascination of the beauty in chaos, the beauty in our chaos. In conversation with Derek Attridge in 1989, later published in Acts of Literature (1991), philosopher Jacques Derrida shed light on this gray zone, as he dwells on the connection between autobiographical narrative and its oftentimes raw, cataclysmic character. “As soon as things become a little sedimented, the fact of not giving anything up, not even the things one deprives oneself of, through an interminable “internal” polylogue (supposing that a polylogue can still be “internal”) is also not giving up the “culture” which carries these voices,” he said. “At which point the encyclopedic temptation becomes inseparable from the autobiographical.” In this sense, no matter the narrative, we have a habitual tendency and desire to embrace chaos, to then divide and dissolve it.

    When Queens audio-visualized mournful lyricism on stage, the audience was invited to embark on a transformational quest of their own. One was not forced to explore or even react to this discursive command; one was skillfully given the opportunity. It is a glimpse into a cathartic floodgate within reach, a pensive sphere stretching beyond the abstract premise of live performance.

    Linnéa Ruiz Mutikainen
    Linnéa Ruiz Mutikainen

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