editor MAREK BARTEK

PAST TENSE

Founded in 2023, by a Swedish native Victor Lindh and French expert Adrien Forray, Past Tense was without a doubt one of the highlights of the Stockholm Fashion week. Though Victor’s previous experience at Neil Barrett peeks through, there is a certain je ne sais quoi to Past Tense. The menswear brand presented us with a well-thought-out array of summer moods. As described by Victor, the collection was inspired by “the duality and mixed feelings about summer, dreaming about the next time the sun will come.” He then continued, “when it (the sun) does come, we live like there just haven’t been 10 months of grey, thinking it would last forever.”

Reflecting on the realities of Swedish weather, the collection evolved from a rather structured tailored pieces in greys, whites and blacks to a more resort-y aesthetics with pops of red, beige and brown, also offering a more relaxed pieces like V-neck vests or layered cardigans before it went back to a more tailored closing looks. No matter whether it was gloomy or sunny, the entire collection gave us a cohesive story full of fluid fabrics that moved in an effortless manner as models walked. This effect was achieved by a very smart choice of fabric — exotic wool blends and TENCEL™.

This collection officially marked the beginning of Past Tense’s footwear, presenting a modest selection, which was, however, brilliantly made. Personal highlight was the leather slippers with studs, essentially made only out of two pieces of leather. And though it wasn’t their first collection featuring bags, this time around they brought out the big guns in the form of bucket bags in various colours and sizes.

all images PAST TENSE, photographed by Mathias Nordgren

STUDIO CONSTANCE

Studio Constance’s debut at Stockholm Fashion Week marked a new chapter for the brand. Founded by Rebecca Dovenryd Almberg, Studio Constance began its journey in Los Angeles but recently relocated to Scandinavia, returning to roots for its founder and a better match for the brand’s ethos. “We’re not trying to be another minimalist Scandi brand,” Almberg said. “It’s about building something lasting with structure, strength, and identity.”

The collection itself took a layered, tactile approach. Reverse construction, exposed seams, raw hems and upcycled leather came together to create the feel of intentional imperfection. Knitwear came slouchy yet technical, jackets cut from deadstock leather offered structure, and leather accessories, introduced as a new category, were made entirely from production scraps. The palette was neutral but never flat, playing with light, texture and silhouette in a way that felt both elevated and human.

The show also revealed new partnerships with brands like Swedish Stockings, and leaned into Almberg’s signature idea of "emotional armor” with garments made to make the wearer feel powerful. “You wear this when you want to feel strong and empowered,” she said. The entire collection was produced between Italy and Turkey, balancing sustainability with the kind of craftsmanship expected from high fashion. Studio Constance may be new to this runway, but it’s already walking in its own direction.

all images STUDIO CONSTANCE, provided by the brand

ADNYM ATELIER

With its SS26 presentation, ADNYM Atelier reaffirmed its position as Stockholm’s authority of tailoring elite. The brand, founded in 2016 by Stefan Söderberg, Frippe Persson and Johni Tadi, once again proved that minimalism doesn’t have to mean boring.

The collection leaned into ease: wide-legged trousers with a subtle bell-bottom silhouette were paired with loosely structured shirts and jackets. One of the most defining details was the use of elongated ties, some styled traditionally, others simply draped over the neck, resembling soft summer shawls. It felt like a gentle rejection of formality, and looking forward to the summer period. The palette was grounded in dark chocolate brown, muted red, off-white and soft grey, with a pop of blue appearing through a crisp shirt and a pair of jeans, an unexpected but harmonious addition that stood out against the more neutral looks.

True to the brand’s ethos, the collection blended Middle Eastern tailoring influences with Nordic sensibilities, offering unisex appeal and everyday adaptability with subtle raw hems and soft tailoring lending it a worn-in, lived feel. Focusing clearly on silhouette and construction, ADNYM isn’t interested in gimmicks, but it is interested in the little tweaks that move things forward. This season was one of their most wearable, and arguably one of their most confident, offerings to date.

all images ADNYM ATELIER, provided by the brand

SEAMS

It was hard to know what to expect from Seams. But a jewellery brand helmed by Dustin Glickman, a 21-year-old creative director, carved out a bold niche at Stockholm Fashion Week with their SS26 collection. Already known for his silver jewellery, Glickman brought a similarly tactile, personal energy to his ready-to-wear debut. “It’s not about perfection, it’s about energy,” he said backstage. The SS26 collection leaned heavily into deconstruction, archive references, and early-2000s nostalgia—but with a grounded, considered approach that felt more intimate than costume.

Cut-outs and layered textures ran through the collection, with distressed denim and sharp tailoring in what Glickman described as “controlled chaos.” The palette shifted between greys, burnt reds and washed blacks, occasionally punctuated with silver and satin for texture. “The three keywords this season were studs, layering and distressing,” Glickman explained. One of the most talked-about moments was seeing models holding cigarettes as they walked the runway, styled not for shock, but for character.

While the styling leaned rebellious, the execution was tight: silhouettes were intentional, the collection was fully gender-neutral, and the casting reflected the designer’s own creative community. “I want this to feel like a Swedish brand, but a new kind of Swedish,” he said. With only one show under its belt, Seams is already proving itself as a fresh and confident voice in the Stockholm fashion landscape.

all images SEAMS, photographed by Mathias Nordgren

LEONÍ

Leoní’s sophomore collection felt like a quiet ceremony, taking place at the Bukowski Hotel. Two sides of the same coin, the co-founders, entrepreneur Nathalie Schuterman and designer Filippa Fuxe, took inspiration from Kyoto—not just in form, but in feeling. “The act of dressing can be the most beautiful part of the day,” said Fuxe. “It’s about preparation, presence, patience.”

This mindset translated into a slow, intentional collection of 10 soft, sculptural looks, clearly designed with versatility in mind. A standout piece was a strapless dress with a voluminous, almost wave-like shirt hovering over the hips, it was structured yet steady in its flow. The leather jacket with a matching skirt was cut with a precision of modern minimalism, and silky trousers offered fluid movement, while soft knits brought warmth and a cosy feel to the collection. One of the looks layered a light green knitted skirt with a darker green short-sleeved knit shirt, styled over a beige tee. Though the collection was brand new, everything felt lived-in, personal, and adaptable. The colour story mostly in black, white, and beige, and the absence of belts or flashy fastenings, allowed texture and form to come forward. “It’s about presence and preparation,” said Fuxe after the show. “Not just getting dressed, but feeling something in the process.”

What sets Leoní apart is its ability to blend functionality with soul. Everything is built to last but also to mean something. With a Paris showroom scheduled, Leoní is quietly carving out a niche at the intersection of Scandinavian clarity and feminine grace.

all images LEONÍ, provided by the brand

DEADWOOD

Probably the most anticipated show of the entire week, Deadwood’s fashion show took place in the parking lot on top of the ‘Nordiska Kompaniet’ department store. Out of all brands showing this, this one is probably the one with the longest history. Deadwood was founded in 2012 by friends Carl Ollson and Felix von Bahder, who met while working in a jeans shop. The duo opened a concept store emphasising vintage and emerging brands before launching their own upcycled leather line.

In this Pre-Spring collection they collaborated with Salvatore Vignola, an Italian designer, nominated by the Italian Institute of Culture as part of the programme that builds cultural bridges between Rome and Stockholm.

As Felix described this collection as “the First chapter of a story about technology”. He, then, continued: “Like everybody else, I’ve been thinking a lot about AI and the really fast rate of change when it comes to technology. I almost got lost in it and that reminded me of the feeling of arriving in a big city for the first time and feeling lost but at the same time feeling like there's endless possibilities. You feel small but eventually, you find your tribe.”

The collection itself compacts but speaks volumes. Grounded in a dark palette, it had some pops of orange, beige and baby blue. True to the brand's heritage, we witnessed rather leather-heavy looks — not that it’s a bad thing — going from short and long dresses to trousers, coats and jackets. The harshness of the leather was often softened by other elements like fur, sheer fabrics or the overall feel of the styling incorporating some of the soft-boy elements. The standout piece was, without a doubt, a leather skirt made out of leather jacket. When asked about it, Felix responded: “We had this idea for a long time but we knew we had to have a good concept for it to make sense. It was a crazy project, and at one point, we thought we had to scratch it. It's super heavy, obviously, because it's fourteen leather jackets or so. We had to make suspenders for the model to be able to wear it, and only finished two hours before the show. But it was totally worth it, and the model wore it in almost a Victorian kind of way.”

The second chapter of this story will be the Spring/Summer 2026 collection unveiled during Copenhagen Fashion Week.

all images DEADWOOD, photographed by Mathias Nordgren

KRISTIAN EDDÉ

If you have never heard of salmon leather, you’re not alone. Daniel Kristian Edde Ankarstrand, the founder of Kristian Eddé made an impressive debut at the Stockholm Fashion Week offering an extremely unexpected, yet kind of ‘how haven’t we thought about this earlier’ moment. Kristian Eddé is a luxury accessories brand offering sculptural bags and other small leather accessories made out of a byproduct of the Nordic fishing industry: the fish skin (or as he prefers to call it — leather).

Launched in 2016, Ankarstrand’s mission was to fuse craftsmanship, sustainability and emotional storytelling. Sourced in Nordic countries, tanned in Iceland and crafted in his Stockholm atelier, he stays true to the local production making this a truly unique project. “I wanted to create something beautiful from what others throw away,” says Ankarstrand. “Salmon leather has a unique texture and strength, and using it allows us to honour nature while rethinking what luxury can be.”

Though extremely thin, we were given a rather fascinating demonstration of just how durable the fish leather is. Its ability to stretch in different directions without any damage gives it an incredible advantage compared to other, more conventional leathers.

The debut collection featured structured clutches, modular totes, and crossbody bags going all the way from deep indigo to sun-bleached coral. Every single piece has been hand-stitched using traditional techniques, reflecting the brand’s commitment to slow fashion and artisanal detail, underlining Ankarstrand’s advocacy for a better future first as a social worker and now as a fashion designer. “My background taught me the importance of empathy and connection,” he explains. “I want our bags to carry stories, not just belongings.”