• Yayoi Kusama - IN INFINITY

    Written by Michaela Widergren

    Finally one of the most celebrated and talked about artist has come to the Museum of Modern Art in Stockholm. In Infinity is the largest exhibition of Kusama's work ever presented in Sweden and is the first retrospective to include and highlight her work with fashion and design.

    Since the 1950s Kusama has worked within painting, sculpture, and installations, always exploring and moving with the contemporary art scene and climate. With her famous dots, shapes and circles she gives new life to both objects and entire rooms. The exhibition shown at the Modern Museum includes some of her most know work, such as Infinity Mirror Room – Phalli's Field, Louis Vuitton shop window display with Tentacles and recently produced (2015) Infinity Mirrored Room – Hymn of Life. The exhibition continues at ArkDes showing us Narcissus Garden, originally produced for the Venice Biennale in 1966. Back then she turned her work in to a happening and started offering the Venice Biennale by passers to purchase pieces of Narcissus Garden - “Art, only two dollars each”. She wanted art to be including not excluding, which at the time it was and I think many would say it still is today. Or at least it can be. After you've seen the glimmering garden the exhibition continues outside I the green. If the weather allows, take a walk in the garden and enjoy.

    In Infinity will be to the public from the 11th of June until the 11th of September. 

    photographer NINJA HANNA
    stylist NICOLE WALKER
    hair  JOE-YVES 
    make up ELVA ALHBIN
    models MIA / Le Management & ANAB / Elite Stockholm 
    art director LINDA HALLSTAN


    Written by Josephine Bergqvist by Michaela Widergren

    Sexism as I have experienced it in Sweden is the starting point for this collection. Our everyday lives are permeated with sexism, in many ways this is what constitutes society, for women. It has shaped me and is so deeply ingrained in me, that I can’t distinguish what is me than from what is sexism. Where does it come from, and how deeply rooted is it in the Swedish welfare state? How did the stereotypical image of “Swedish Girls” come about, and how has it impacted on us?

    With “Swedish sin” and 1970s soft core porn - in Swedish called “happy porn” - as my point of departure, this collection reveals the ambiguity of being sexually liberated and sexualised. For this editorial we were inspired by Lars Tunbjörk’s photography and wanted to play with his themes. We also wanted to explore this complex of problems in a contemporary context. 

  • art by Ludmila Christeseva


    Written by Anne van Beers by Anne van Beers

    “Looking at an old photograph of one's self, a common reaction is you just marvel at the ridiculous clothes that people wore.”

    With this sentence professor Elizabeth Wilson opened her lecture on Fashion and Memory, which was hosted by the Armémuseum in Stockholm.
    Wilson is a Visiting Professor of Cultural Studies at the London College of Fashion and author of books, such as “Adorned in Dreams: Fashion and Modernity”.

    Why do we laugh at ourselves for the fashions we chose, instead of remembering how it made us feel at the time? And why it is always the clothes and not something else in the image that we tend to focus on?
    According to Wilson, one answer is obvious: when looking at these photographs, we realize that changing fashions in a way are pretty random.

    Another answer, she stated, would be that we are purposely shifting our attention.
    “We can only disavow the passage of time by dismissing through laughter, one aspect of it which is the styles. But really, it's not the styles that are ridiculous, it is us. It is our former selves.”
    By shifting our attention from our changed bodies to the clothes that cover them, we try to protect ourselves from negative feelings we might experience when seeing our own younger versions.

    Wilson then made the connection between photography and fashion, as photography is a form of mass reproducibility of the image. Fashion, nowadays, is just as well. Quoting Susan Sontag: “What renders a photograph surreal is its irrefutable pathos as a message from time past.”
    In her own words, Wilson added: “In this way fashion and photography are central to a presentation of the past and of transience. It is essentially their fashionable dress, or dress of its time, that now underlines the transience of these lives.”

    Wilson noted that norm core dressing has recently become more and more popular due to the globalization of fashion, changing the relationship consumers have with their clothes.
    In a similar way, fast fashion, which provides more options than one can grasp, is influencing the mentality consumers have when it comes to buying and using clothes.
    The way we dress has become more or less standardized.

    “How would that affect the way in which we consume memory?” Wilson asks.

    The work of Ludmila Christeseva's exhibition “Kriget har inget kvinnligt ansikte” addresses the issues Elizabeth Wilson mentioned in the beginning;
    “Clothes, when regarded as precious and valuable, rare, when cherished in other words, acquire a patina of meaning and memory.”
    Christeseva was inspired by Svetlana Alexievich's book “War's Unwomanly Face”.

    The exhibition revolved around a memory of her mother, of a dress in wartime, which became a story to the artist.
    She recognized her own emotions attached to this memory in toiles, prototypes of ready–to-wear garments and used both to make a statement about women's bodily experiences of war.

    Both Wilson and Christeseva express the importance of preserving and communicating our past in order to truly be able to move forward.

    Wilson concluded her lecture by expressing she hoped that we are not depriving ourselves of the ability to remember through clothes.

    “I think remembering through clothes and the intimacy of clothes is precious. And I hope it will remain an essential part of those intimate forms of mental imperial which is our memories.”

    The Armémuseum in Stockholm hosted this lecture on May 9th as an extension of the exhibition “Kriget har inget kvinnligt ansikte” with works by Ludmila Christeseva. The exhibition took place from May 9th until May 18th.


    Written by RL Pearsall by pari

    On the eve of its opening, “EVERYTHING YOU CAN IMAGINE IS REAL,” I was humbly afforded the opportunity to speak with a few of the creative minds behind DANSMUSEET’s newest exhibition.

    Upon descending into the lower level of Dansmuseet, it was immediately clear that I was in for an eye-opening experience. I expected to once-again be amazed by the multi-dimensional work in BEA SZENFELD’s “Haute Papier” collection. But I had no insight into the measured and impactful multi-media art built around it.

    Walking farther into the museum halls, which could double as the shrouded offstage for a great opera - replete with enchanting characters, costumes and images that seemed to dance off the wall, my backstage pass soon proved worth its weight in gold.

    I was guided through the exhibition by its Creative Director, POMPE HEDENGREN. Like a great maestro, Pompe masterfully conducted a seamless and engaging experience for the eyes and ears in his storytelling and in the works selected to display at Dansmuseet.

    Pompe also works as Creative Director at STOCKHOLM GRAPHICS. Pompe was engaged by THE ROYAL SWEDISH OPERA four years ago to change their visual style and graphic profile. With his own artful hand and collaborations playing on the strengths of fashion designer and stylist BEA SZENFELD, illustrator STINA WIRSÉN, as well as photographers KAROLINA HENKE and CARL THORBORG, Pompe has gone beyond simply changing The Opera’s picture policy to “showcasing the international nature of The Opera and its diversity.”

    Pompe has been very hands-on, in the truest sense, in rebranding The Opera.

    He admits spending weeks arranging instruments and props for pictures that a casual onlooker would assume were Photoshopped - due to their precision and larger-than-life scale. (He allowed the musicians and dancers to place themselves.)

    Yet, like recounting his tearful first encounter with Bea’s work, Pompe always acknowledges the genius of The Opera’s dancers, singers, musicians and staff, as well as his collaborators. Two collaborators were on-hand to add more context to our exhibition tour:

    KAROLINA HENKE, celebrated photographer and collaborator responsible for the first room of wall-to-wall, life-size images on display, has been working with Pompe at The Opera since 2013. In one of her first pieces for The Opera, Karolina explains the symbolism of her work. (The displayed photograph depicts a heavily-ornamented gold masquerade mask.) It’s a mask covered in charms “representing the shows from that season.” It represented “a new start.”

    Notable illustrator STINA WIRSÉN admitted to being a fan of Bea long before many abroad saw her creations on the recent Eurovision Song Contest catwalk. (Stina’s illustrations are found in a second room of the exhibition.) Stina’s intensely red-painted illustrations of Bea’s work are meant to capture “the sensuality” of artists’ intensely controlled and trained bodies at The Opera. The illustrations are also meant to show the craft of the hand, the same as that found in the craftsmanship of Bea's work.

    Note: This is the first time that so many pieces of Bea's work have been shown in one place in Stockholm, and the first time The Opera has extended this backstage invitation to the public.

    Through invitation and invocation, Pompe and his creative team have succeeded in their mission to make The Opera feel “modern, imaginative and welcoming.” And, while Karolina admitted her surprise, it was no shock to me that the collaborations on display have been critically-acclaimed and garnered international attention for The Royal Swedish Opera. The Opera has won the Swedish Design Awards, Publishing Awards and the Creativity International Awards.

    The exhibition title correctly eludes, “EVERYTHING YOU CAN IMAGINE IS REAL.” From enchanting ballerinas to a very special monkey, this is a must-see summer exhibition for fashionistas, art and opera lovers alike.

    This exhibition will move you. So move fast to see it!

    Curtains fall on August 21st.

    All photos by Karolina Henke.

    ©Dansmuseet Stockholm

    Images are slightly cropped.

  • A golden collaboration: NikeLab x Olivier Rousteing

    Written by Claudia Fried

    French fashiondesigner Olivier Rousteing is known for his tailored and fitted silhouettes. Thus it’s the love for soccer that is the core of NikeLab x Olivier Rousteing; Football Nouveau collection. It’s the second collaboration in the NikeLabs Summer of Sports series that mixes Nike innovation and sportmanship with Oliviers creative visions.

  • House of Dagmar Exhibits Sustainable Fashion at Copenhagen Fashion Summit 2016

    Written by Anna Gorki

    House of Dagmar’s understanding of sustainability refers to design, ethics and longevity, meaning a clear focus on quality and style for the company that’s known for their graphic details and timeless pieces. Which is why it comes to no surprise that House of Dagmar will participate in Copenhagen Fashion Summit 2016 on may 12th. The prestigious design challenge aims to promote sustainable wardrobes using two outfits from the participating brands own back catalogues.

    Items chosen from House of Dagmar include a parka from their SS16 collection made from recycled polyester fiber manufactured from used PET bottles that are free of petrochemicals. The material is 100% recyclable, and contains no toxic chemicals while being long lasting, mothproof and waterproof.

    In addition to this House of Dagmar are also presenting The Lou Tote Bag produced by Swedish based Tärnsjö Tannery through a vegetable tanning process, using local hide materials to make the hand-made ecological leather.

    Also presenting their Sara fur jacket, displaying how House of Dagmar use fur garments without killing animals. The fur is produced using a special shaving technique, which allows the mohair to be weaved into the fabric base. The garment is made from ecological wool that has been produced, without chemicals or other artificial treatments. Showcasing a variety of fashion essentials that are ethically conscious and luxurious.