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A typical Swedish look? The Local Firm A/W 2011

“You’re not from around here, are you?” he asked.

“Uh, what do you mean?” I countered.

“Well, you’re wearing some pretty wild trainers.” He paused. “And too many colours.”

“Oh.”

We had only just moved to Stockholm and were out on a Saturday night getting acquainted with our new hometown, meeting new people, the whole lot. I thought that being Canadian-born, of Korean ancestry and going out with a boisterous Brit would give me away as a ‘foreigner’, but no. Apparently, it was a pair of Eley Kishimoto trainers and bright pink jacket over a printed dress that did it.

Fast forward four years and those beloved trainers sit at the back of the closet. What’s changed? Besides the inevitable – growing older, being sucked into certain trends – I’m only now realising that Sweden has actually had a profound effect on my personal style.

It is, of course, quite common to be influenced by the culture of the country you live in. Hence the crazy patterned trainers and slightly eclectic dress sense – I had lived in the UK for six years prior to the move. But in reality, my “London look” was not particularly different from my “New York look” or “Toronto look”, just revved up.

A T-shirt from my so-called London days.

Sweden, however, has changed me. Sure, the land of skinny jeans and the sea of head-to-toe black (or grey) at first made me: 1) get even skinnier jeans (Hello, Cheap Monday!); and 2) become self-conscious about my tendency towards prints and colour. But it’s the emphasis on wearability amongst the majority of Swedish labels that has affected the contents of my closet and, perhaps most importantly, my general attitude towards fashion.

I only want pieces that will work with the rest of my wardrobe. I want to be able to wear them on a daily basis. I’m tired of “occasion-dressing” and items that scream a certain season. I want timeless. I want season-less. I want good basics. Comfort is key. But I don’t want boring. I like clever design twists on classics. I love playing with proportions. “Effortless” is my byword.

Unsurprisingly, more established Swedish labels such as Acne, Whyred and Filippa K fit the bill perfectly. They’ve been advancing notions of wearability without forsaking style for years. And as they continue to expand across the globe, more and more people are cottoning on to this Swedish sensibility.

Alas, I never really abandoned my love of bright colours or prints. I’ve merely worked around it the past few years. So imagine my delight upon attending the S/S 2012 shows during Mercedes-Benz Fashion Week in Stockholm a few weeks ago. Colour galore, and print upon glorious print. Particular standouts include Minimarket (yellow, head-to-toe florals and leopard print), Ida Sjöstedt (florals again and a delicious red) and Josefin Strid (ombre, turquoise and orange).

But if I had to pick one piece to wear straight off the runway, it was an oversized, bright pink knit hooded jumper at Carin Wester. Unlike the bright pink jacket I donned that fateful night four years ago, however, this jumper ticks all the boxes of my new “Swedified” personal style code.

Carin Wester S/S 2012 (Photo: Kristian Löveborg, courtesy of ASFB)

 

Not so much blue, not so much yellow

A look from Ida Sjöstedt S/S 2011.

My colleague has just bought a new bag. It is neon pink and she says people are staring at her strangely here in Stockholm. This reminds me of when I was wearing a rain cape with a kaleidoscopic pattern. It felt like a provocation, an affront to everything that Swedish fashion stands for.

Black is of course the internationally approved fashion colour, and Swedish minimalist leanings make people opt for the colours that don’t stand out when choosing what to wear.

In a way it is strange, because the Scandinavian design tradition is full of colourful patterns and our textile and graphic design are bold, brash and boisterous. Just look at Svenskt Tenn and the patterns by Josef Frank or 10-gruppen and you will find that colour is very much a legacy of Swedish design.

In fashion and clothes, the preferred colour combinations range from black, white and beige, to navy blue and grey. It is muted rather than loud and it makes for a cool and refined style. Patterns are avoided.

But there are designers who break with the reigning mood. Take Ida Sjöstedt for example. She launched her label in 2001 and has shown on schedule in Stockholm ever since. Sjöstedt describes her design philosophy as “tasteful kitsch”, the latter word not often being part of the Swedish fashion vocabulary.

Sometimes it amazes me that she has continued designing, enduring the minimalist cool of Sweden and even prospering. These days the Ida Sjöstedt line is doing better than ever, having launched a made-to-measure line and becoming somewhat of a fashion blog favourite with her latest gilded and laced spring collection. She might be a rare bird, but people like her makes the Swedish fashion scene richer.

That colour is not anathema any longer in Swedish fashion was also evident during the last fashion week, when both Rodebjer and Whyred showed strong and bright colours. Maybe my colleague’s neon pink bag won’t turn that many heads come autumn.

Being Swedish

Detail, Altewai.Samoe AW 2011

I was reading Johan Wirfält’s excellent article on Acne in the latest issue of Rodeo and smiled slightly when Style.com’s critic Tim Blanks says that Acne doesn’t seem that Swedish to him. Johan points out that to Swedish ears that might sound like the most Swedish thing you can be. Creative people in this country have always been outward-looking and “un-Swedish” is a compliment rather than an insult.

At the same time, there is something strange in talking about nationality when it comes to fashion. After all, fashion goes to faraway places and picks up patterns or techniques all the time, and merges them together, creating interesting clashes.

I think we’ve been obsessed by a Swedish design identity in fashion during the last decade. Maybe there has been a need to create a space, a raison d’être for Swedish fashion, a motivation if you will, for the necessity of it on the international scene.

But a few years ago, a friend of mine pointed out that although Belgian design is often viewed as avant-garde, dark, gothic, the original Antwerp Six (the group of designers who put Belgium on the map) were very diverse in style.

I started to think that what Sweden needs is just this diversity. We need the kitsch of Ida Sjöstedt and the darkness of Nakkna, we need the clean lines of Filippa K and the futuristic knitting of Sandra Backlund. All of these different voices add to the scene and makes Swedish fashion stronger.

There are however certain areas which are not covered. Swedish designers rarely make sexy, they rarely make pretty and they rarely make ultra-feminine. Maybe this is due to the twin forces of feminism and Nordic weather…

Detail, Altewai.Samoe AW 2011

In any case. I was pleased to see that a new brand showed during fashion week and brought something new to the table. I couldn’t see the presentation so I went to the showroom instead to see the clothes. Altewai.Samoe is the brainchild of Natalia Altewai and Randa Samoe and upon seeing the clothes it was obvious they had a background in working for luxury companies in Italy. These were clothes which lacked the ubiquitous practicality of much of Swedish clothes and in a way it was liberating.

I’m glad young designers are moving away from a stale idea of what Swedish design is, in the end the strength of Swedish fashion doesn’t come from doing something Swedish, but rather from making clothes that people want to buy.