THE RETURN AND FUTURE OF STOCKHOLM FASHION WEEK

editor MAREK BARTEK

After a six-year hiatus, the Stockholm Fashion Week has finally reappeared on the fashion calendar! However, with a flashy title like this, there also come important questions revolving around the themes of its purpose and viability. Especially in the current European fashion landscape, where many growing brands opt to go to Paris or Milan, making even other fashion capitals like London reconsider the hosting of fashion weeks.

left to right:
DEADWOOD photographed by Mathias Nordgren , PAST TENSE photographed by Mathias Nordgren and STUDIO CONSTANCE courtesy of the brand

When it comes to re-entering the game, Stockholm Fashion Week has one big advantage, and it is its location. Unlike other smaller fashion weeks attempting to catch the attention of the constantly changing industry and become prospering hotspots for editors, buyers but also brands, Sweden already has the reputation of the design hub. From H&M Group, Acne Studios and Our Legacy to latest LVMH winner Hodakova, or even IKEA or designer Bruno Mathsson – there is a clear abundance of creativity across industries. 

This time around, much like the Northern Lights, we have witnessed an interesting phenomenon of fashion veterans starting their own brands. Former Neil Barrett and Axel Arigato designer, Victor Lindh partnered with a seasoned ex-LVMH and -Kering fashion executive Adrien Forray and two years ago, they founded Past Tense. Stefan Söderberg of Adnym Atelier is a former Acne Studios’ denim designer, and Studio Constance’s Rebecca Dovenryd Almberg has previously worked for Proenza Schouler, Acne Studios, Jonathan Simkhai, and other major fashion houses. The list goes on, but despite these still being relatively new brands, the former experience shows – not only in the way they build their businesses but also in the execution and design approach of their collections.

And, of course, all this is safeguarded by Sweden’s unwavering efforts to create in a sustainable and innovative way. Based on the conversations had, most of the designers work either with recycled materials or are rather selective when it comes to sourcing new fabrics. A special mention needs to go to Swedish Stockings. Though they didn’t have a runway or presentation per se, many other brands have included their products during the shows. Swedish Stockings instead organised a lunch for the attending press and buyers. Seated at tables and admiring the artworks of Sienna Martz, we came to find out that both the artworks and the tables have been made out of old tights. Based on a rather bold initiative, it is possible to send old stockings, socks and tights from anywhere in the world to Swedish Stockings, and they will be reused either as a material for furniture design or to create art. As shared by the founder of Swedish Stockings, Linn Frisinger, there isn’t a way to be able to turn scraps of old tights into the new ones yet, but with tests being currently conducted to make this a reality, they hope to make this a truly circular moment in the future.  

The above mentioned provide Stockholm with a great leap ahead to attract more and more popularity over the coming editions. And we aren’t the only ones seeing it. The Swedish government has been a big reason for enabling an event like this, by recognising the fashion industry not just as a commercial sector, but as a key cultural and creative industry with strategic importance, and providing funding for Stockholm Fashion Week to happen. 

left:
ACNE STUDIOS photographed by Sharna Osborne via instagram @acnestudios

right:
HODAKOVA photographed by Johnny Dufort via instagram @hoda_kova

While coming back after half a decade is a bold move, it came with its challenges, leaving many attendees wondering how the next editions tackle them. First and foremost, we saw the lack of established Swedish designers, which didn’t mix really well with new brands that may have had their runway debuts a little too soon. Simply put, people usually show up for the brands they know will do great, and while they’re at it, they peek into some upcoming ones. However, if there are none of those ‘guarantees’, the interest might go rapidly down. Of course, brands like Acne Studios or Hodakova, that already made names for themselves in Paris, won’t be doing runway shows in Stockholm just for the sake of national pride, but it was a missed opportunity to not include them at all. The spotlight went to brands that simply weren’t ready for a runway show, causing a rather big qualitative gap between them and the brands of those with previous fashion backgrounds. Instead, they could’ve opted for a presentation, which would allow them to focus more on the collection and building those vital first connections. 

And it wouldn’t be a fashion world if there was not some sort of tension. Essentially, Sweden has two big organisations — The Association of Swedish Fashion Brands and Swedish Fashion Council — both trying to rule the fashion scene. Despite attempts to organize a fashion week together, monetary constraints among others resulted in failing to do so and so, the community continues to be divided. With Stockholm Fashion Week being organised solely by ASFB, a lot of gossip centred around the egos of these two groups and their failure to come together, which directly reflected on the event. When asked about the situation, John-Jamal Gille, the director of Stockholm Fashion Week, commented: “When I joined the ASFB in 2022, I came in without prior loyalties or history in Swedish fashion. Since then, I’ve worked to re-establish Stockholm Fashion Week as a platform that serves the entire industry. Throughout this process, I’ve made several attempts to initiate collaboration with the Swedish Fashion Council and other,and that door remains open, even if those efforts have gone unanswered. We’re here to build bridges, not protect silos. The work that the SFC has done in terms of putting some of the most forward-thinking Swedish talents on a global stage is undeniable, and a collaboration with STHLMFW would make Stockholm an desirable destination in the global calendar.” Looking to hear the other side of the story, I reached out to Swedish Fashion Council, however, they left no comment. 

Last but most definitely not least, there is the question of the future of government funding. Despite many speeches of government officials sharing how seriously they take the fashion industry as the key economic driver, Gille shared two rather crucial points: ASFB hasn’t secured the funding needed for the next edition yet, as well as that the government hasn’t covered all the expenses of this fashion week and many people agreed to lower rate in the spirit of bringing the Stockholm Fashion Week back. 

all images IMASKOPI photographed by Mathias Nordgren

But the question of money, if the Swedish government is truly serious about this, needs to extend way beyond one week. Many brands have come to the week to showcase what they can create, but most of them lack the financial means to make this a viable business. A perfect example is the brand Imaskopi. While this knitwear brand shows a promise, when speaking with the designer we came to find out everything was handmade by her and her mum. A true heartfelt moment, however, without a proper production and distribution, the growth of the brand will always be limited by the knitting speed of the two-person team. In this case, the financial input of the government could help the brand enter the market, allowing it to grow sustainably, and, if the designer chooses to stand true to her hand-made approach, create a true slow fashion pioneer that could create new jobs to revive this dying craftsmanship.

But despite everything, there is hope! Any hiccups, received a well-deserved benefit of the doubt, because Stockholm has the potential to attract an increasing number of fashion professionals and new businesses. The future of Stockholm Fashion Week, however, lies in the community itself, with a crucial move of coming together instead of driving the divide. As Gille pointed out: “I believe the collaboration is not only possible but necessary.” The potential joint effort could not only bring qualitative growth but also prove that fashion is, in fact, a key cultural and creative industry worth investing in.