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FASHION

Clothier Odd Molly gives Stockholm a colourful new store

The days might be getting longer, but the chilly Swedish springtime still calls for something warm and wooly from time to time. And a new shop in Stockholm might just have the answer for those looking to stave off the goose bumps, The Local’s Charlotte West discovers.

Clothier Odd Molly gives Stockholm a colourful new store

Last month, Swedish womenswear brand Odd Molly opened its first concept store in Stockholm, just around the corner from Östermalmstorget. The new shop provides the label with a way to demonstrate what the brand is all about, which creative director Per Holknekt says can be summed up in their core values: love, courage and integrity.

“Courage is about being daring. We don’t want to buy into the rules of the fashion world,” he says. Rather, their goal is to create wearable outfits that women will wear as much on their days off as when they are in the office.

Indeed, Odd Molly’s bold, ethno- and boho-inspired patterns and prints break out of the mould of the sleek, black pieces that come out of many Swedish fashion studios, such as Filippa K and Camilla Norrback.

Holknekt says Odd Molly is slightly allergic to black, particularly when it comes to their clothes.

“Black is easy,” he explains, adding that they haven’t yet designed a black piece, although he admits a few of their garments are “almost black.”

This out-of-the-ordinary design approach is also translated into the carefully considered interior of the new store on Humlegårdsgatan. The interior features gigantic hand-crocheted steel fences, old lacquered walls for wallpaper and an über plush round pink couch.

Other touches, which Holknekt calls “feel-good details,” include a small floral shop and a complimentary loaf of bread with every purchase. The company’s emphasis on the handmade and craftsmanship also breathe throughout the space.

On this point, they are arguably among the ranks of high-end Swedish knitwear designers such as Dagmar and Sandra Backlund. Holknekt says that some of their sweaters can take up to 60 hours to create.

“We like handmade. Handmade is imperfect and adds lots of character,” he says, adding that many of their designs cannot be done by machine.

Odd Molly produces its garments in China, India, Portugal, Turkey, Morocco and Italy. Their philosophy extends from design to production. According to product manager Kristin Roos, who is responsible for CSR, “we are very careful when we select our suppliers to make sure that they live up to our Code of Conduct, which all of them have to sign. Up until now, we do inspections at the factories ourselves, but our goal is to start third-party-revisions this year.”

She adds that while they don’t promote any specific part of their collection as fair trade or ecological, they strive to incorporate such values at every level of the organization.

Since its inception in 2002, the brand has grown rapidly both at home and abroad. Like many other Swedish fashion companies, Odd Molly does most of its business overseas, with 1500 retailers in 38 countries.

Besides its home base of Sweden, the company’s largest markets are Norway, Germany, Denmark, the United States, Italy and the UK. According to Holknekt, 80 percent of Odd Molly’s sales are abroad.

Other recent initiatives at Odd Molly include the launch of a skincare line with Danish fashion model Helena Christiansen. They are also working on a range of eyewear to be released in 2010.

Holknekt says the company will evaluate the outcome of the new Stockholm store before deciding whether or not to open up any concept shops elsewhere, although he mentions their ideal goal is to have one store in every market where they operate in the next three to four years.

For the time being, however, “our concept store is an opportunity to speak our own truth,” he says.

FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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