Beckmans Fashion Collaboration Showcases Stockholm’s Strongest Student Designers


Beckmans Fashion Collaboration Showcases Stockholm’s Strongest Student Designers


On the final day of Stockholm Fashion Week, 14 third-year fashion students from Beckmans College of Design each presented three-piece collections in collaboration with locally established brands, like Hope, Filippa K and House of Dagmar. Like with most student work, these match-ups resulted in imaginative displays that allowed young ideas to run wild without the financial or commercial limitations most feel pressured by after graduation.

From the full lineup, we’ve pulled out our top three favorite student presentations this year, from Amanda Blom’s strong exploration of utilitarian dress to Isabelle L. Knobel’s tattooed “Jesus is watching” chaps and Victor Lind’s somber, deconstructed escape. Introducing the future of Swedish fashion—these are the freshest names to watch:

“Convergent” by Amanda Blom (in collaboration with Hope)

08_AmandaBlom_Hope_140_Final_LEVLookbook (Nina Holma)

Designed with an overt masculine edge, Amanda Blom’s collection elevated workwear and infused elements of hard-edged futurism into the display. Models wore middle parts, bone straight hair and ’90s eye-glasses, providing the perfect complement to Blom’s boxy, oversized separates.

A tan jumpsuit with wide pockets and even wider pant legs, a fantastic cinched khaki shirt, a cherry red leather jacket with elongated sleeves a la Vetements and jet black cropped trousers all made for a memorable opening array.

“In my work, I wanted to capture the essence of Hope and work with the brand’s utility reference,” Blom said in a press release. “I wanted to focus on details, both in the aspect of function and non-function to create a loose fitting and strong silhouette. My work has been about finding a new take on the brand’s uniformity.”

Unknown-3Runway (Mathias Nordgren)

“Customize Your Skin” by Isabelle L. Knobel (in collaboration with Filippa K)

13_IsabelleLarssonKnobel_FilippaK_055_Final_LEV(Nina Holma)

Seemingly piecing together a number of disparate references, Isabelle L. Knobel’s presentation had underlying elements of club culture, southwestern-style camp and sexual subversion. Her models all wore haphazardly clipped in red extensions (love) and stormed the runway with a nonchalant coolness that was noticeably absent from Stockholm Fashion Week this season.

Her leather pieces were tattooed by collaborators Isak De Jong, Tarnsjo Graver and David Wiksten, decorating a tailored nude jacket, cowboy hat, bra and panty, and (our personal favorite) flared, lace-up chaps. These star pieces were balanced with casual, monochromatic sets: a collared, off-the-shoulder shirt and a matching baggy bermuda short.

“My starting point for this project was Filippa K’s focus on minimizing the throwaway mentality,” Knobel said in a press release. “My goal was to create garments that become skin—a way of creating your own identity and expressing your personality through your clothes by tattooing them. It’s a way of renewing your wardrobe without needing to consume.”

Unknown-1(Mathias Nordgren)

“Liberosis” by Victor Lind (in collaboration with House of Dagmar)

11_VictorLindh_Dagmar_039_Final_LEV(Nina Holma)

Aesthetically, an international cousin to NYC brands Vejas, Eckhaus Latta or Vaquera, Victor Lind’s presentation aligned with much of what we’ve seen pervading American fashion in recent seasons. Styled with eerie red-lined eyes and bare feet, there was an overwhelming melancholic feeling embedded in this display, weaving in earthy, organic elements, as well.

Arguably our favorite outfit from Stockholm’s entire fashion week, one of Lind’s looks featured a dramatically layered coat with raw edges and matching trousers. A balance of traditional tailoring with incredible, deconstructed finishing, the number was romantic and poetic—a spot-on effort that Lind should definitely build upon in the future.

“In trying to understand the House of Dagmar, I wanted to pick it apart trying to see how they could still, without bold colors and powerful prints, set themselves apart from the rest of the Swedish brands,” Lind said in a press release. “I wanted to create a sober, minimalist collection with a raw and rough feeling, yet with the soft and feminine shapes and sensuality that I think symbolize the House of Dagmar.”

Unknown(Mathias Nordgren)