What part of yourself shows up most clearly in your work?

I think the part of me that shows the most is how detail-driven I am. I’m an extremely detailed person, and that definitely comes through in my work. I believe those small touches transform a garment and make it truly special.

Do you also see that in your personal life?
It’s mostly a work thing, but of course I’m also quite organized in my personal life.
If you would ask my friends, they would probably say they recognize that same precision. They sometimes know me better than I know myself. And I think it makes sense, if you are meticulous at work, you tend to be structured in life too. I definitely am. At the same time, I’m trying to be a bit freer.

How has living in Stockholm influenced your creative rhythm or sensitivity?
A lot. I’ve learned so much working at Acne Studios, and naturally I’m influenced by the aesthetic there, especially the denim culture. 
In this collection, I was directly influenced by the city. Many pieces and characters are based on the people around me in Stockholm. The minimalism you find here also resonates with my own aesthetic, so it blended naturally into the collection.

Do you still use the same creative rhythm at Acne Studios, or is it very different from making your own collection?

I worked at Acne while developing my own collection, so they overlapped. They are different contexts, but both are part of me as a designer. My collection is very personal, while at Acne I work with as part of a team, though the way I approach design feels the same.

Is your way of working the same, or does it differ a lot?
I’ve learned so much at Acne, especially from working with different designers. It helped me grow. For example, I get inspiration from vintage garments, which we also explore at Acne. Ultimately, everything influences everything. I try to stay open to new methods that push me further.

In your first collection you used Photoshop and distortion. Did technology shape this collection as well?

Yes, but differently. The previous collection was very software-based. For this one, I didn’t want the software to limit me, so I approached it in a more analogue way; more sketching, more hands-on experimenting. Still, the final looks ended up having a digital feeling, which was intentional. Photoshop is one tool to redefine garments, this time, I wanted to explore more directions.

Does your creative process always start from a different angle?
This collection is still a continuation of the previous one, not analogue, but designed more analogically. I’m open to change. Fashion is about constant change anyway.

How did your experience at Hyères this year differ from last year’s win? Did you feel the pressure of presenting something new?

Of course it was stressful, but it also gave me extra motivation. Hyères is an incredible platform and I wanted to show my best work at this moment in time. I’m happy with what I presented. Sure, there are things I would improve, but that’s always the case.

Did materials like leather, elastic and metal influence your design decisions?

Those elements already exist in garments, that’s why I use them. A buckle belongs on a belt; I wanted to reinterpret that. That’s why I collaborated with Vania and Labels&Things, to create my own versions. For me, these details need to be special, because they shape the movement of the garment. If a piece needs elastic, I want to rethink what that elastic could be. Same with the denim patch on jeans, it’s familiar, but that’s exactly why it needs to be distinctive.

What role does denim play in shaping the narrative of your collection?
Denim is probably my favorite material, it surrounds both collections. I’m a denim guy. It’s what I wear, what I see, a key part of my life.

For a collection based on casual wear, denim is essential. It’s familiar, universal. And because it’s so familiar, it creates room for disruption. A small shift can restructure everything.

Do you always start your collections from a fabric?
Not really. It usually starts from an archetype, a character. For example, I wanted a biker look, so I tried to study that way of dressing. Or an American denim dude. That’s the starting point.

Do you always have people in your head while designing, or does it just flow?

The previous collection was more of a fantasy about certain characters. The latest one is more grounded in real people. Some pieces are directly influenced by people in my life. It made the collection more personal.

What did you learn while working with Labels&Things?
It was my first time developing something like this. I learned a lot about materials, trims, and hardware. With the buckle, for example, the challenge was figuring out how the bridge should fall. I didn’t construct it myself, but I learned a lot about buckle construction and how to rebuild one in a completely new way.

If you could summarize the collaboration in one word or emotion, what would it be?
Innovative and inspiring.

If the future were a fabric, what would it feel like?

Indigo-dyed denim, soft, worn-in, torn and mended, showing the passage of time.

What do you want to be when you grow up?

A creator.