Rave Review Took Over Stockholm's Central City Square

Josephine Bergqvist and Livia Schück, the duo behind the Swedish fashion label Rave Review, were among the 15 talents asked to take part in the digital festivities this week. Their 2-minute film "Jord, Luft, Eld Vatten" premiered yesterday, which sees a cast of models taking over Stockholm's central city square to show off the brand's loud statement coats and colorful patchwork pieces.

Since its inception three years ago, Rave Review has been remaking leftover materials and discarded fabrics into stylish, covetable garments with the goal of changing the conversation around sustainability. Their latest collection presented here is a testament to their ongoing process, which is heightened by the contrasts of the bleak cityscape with the graphic nature of their clothes.

 caught up with co-founder Josephine Bergqvist to discuss their GucciFest debut, the process behind this collection and what lies ahead next.

What was it like to be able to show this collection as part of GucciFest?

First of all we think this project is a genius initiative from Gucci's side, the way they present their collection in a completely new way and while lifting young designers like us. They are very forward-thinking in that sense and we believe this project could lead the way to change our industry in terms of how fashion is communicated. For us it means a lot to be in this context — the most progressive side of the high fashion scene.

What was the concept and idea behind the "JORD, LUFT, ELD, VATTEN" video?

JORD, LUFT, ELD, VATTEN [Swedish for the four elements: fire, air, soil, water] is an urban tribute to nature and its sacrality. We wanted to embrace sustainability without coming across as too obvious or "in your face." To manifest how sustainability and circularity is the core of the brand, the garments and models in Rave Review reunite with mother earth, in all the elements of nature. In the film the Rave Review characters stand out and contrast the masses in different environments of a stylized urban life. They make a statement by symbolizing a different way of thinking, acting and they defy the rules of reality.

What was it like to shoot somewhere so dead and quiet when it's usually very busy?

Each look in the collection is unique and aesthetically presented to create a contrast to the silence of Stockholm's central city square "Sergels Torg," or "Plattan" as it is fondly called by locals. It's usually lively and shaped by the buzz of the city, the square has quieted down in between seasons and as a result of COVID. Nevertheless, it was the squares long-standing history as cultural melting plot and scenery of activism, its significance for freedom of speech. Now used by us to trough the collection and film send a message for change.

How has the pandemic affected your design process this season?

Sweden stands out as one of the countries with no lockdown. We have been working as usual since it all started. Our creative process hasn't got affected more than usual, we just get even more time to spend in the studio, which we don't mind really.

How has your approach to upcycling evolved since you first launched the brand?

Our approach towards upcycling still remains the same as we had in the start as we still mainly work with vintage and second hand home textiles. For us it has been important to stay true to our core even when we are growing as a company. The remake production is challenging in many ways, specially when it comes to scaling up, but we're determined to make it work.

Josephine Bergqvist and Livia Schück

Rave Review

Interview with Jeppe Ugelvig, Editor-in-Chief of Viscose Journal.

In an industry as wide, fluid and impactful as the fashion industry, we must always remember to be critical. The industry should always strive to reinvent itself - something which must imply a reflection upon itself, our many societies and its inhabitants, art, and culture. Our goal should always be to transform and take into consideration the social and environmental impact it has upon us and the world. We had a chat with the founding editor-in-chief of Viscose Journal Jeppe Ugelvig. Viscose - A new journal for fashion criticism was launched between Copenhagen and New York in 2021. The periodical publishes critical writing and research projects by a wide range of authors from the worlds of art, fashion, literature, and academia. Through specially edited thematic issues conceived in partnerships with institutions and museums, Viscose gives space to projects that challenge and expand the possibilities of research, practice, and critique of fashion.

How did Viscose come to be, and why the name viscose?

Viscose was born from our own frustration regarding the lack of platforms for fashion criticism. We were interested in cultivating a space that could discuss fashion beyond its crazed industry, drawing on a pool of contributors from a variety of disciplines. Viscose, a synthetic textile made of wood pulp, felt like an emblematic name for such an endeavour. It's an in-between textile with an ultra-modern modern history.

Why is fashion criticism so important today?

In a globalized consumer capitalist society, fashion surrounds all of us; all industries are, in a way, fashion industries, because they adopt fashion's logic of perpetual newness. We find fashion to be an urgent topic that must be intellectualized by a larger group of people. And we think these people already exist and are looking for things to read.

How can we create more spaces for critical fashion reflection in the industry?

Corporate fashion giants and national/regional talent prizes should dare to think "fashion" beyond cash support for name-sake brands. Instead, they should acknowledge their responsibility in supporting a much more diverse and expanded definition of fashion production—including publishing.

Editor-in-Chief of Viscose Journal

Jeppe Ugelvig

 is a season-less concept store for fashion, jewellery and accessories. LUNCH is focused on promoting slow and sustainable style, hosting a number of new independent designers from across the world who offer made-to-order or small batch production pieces.

How did Lunch Concept (as an idea and reality), come to be?

We'd spoken a lot about creating something together and had never really nailed the idea down until the first lockdown. We used the time to really assess the market, did our research and thought hard about what kind of values we wanted to put in place, then LUNCH was born. Transferring from idea to reality was a very long-winded process, we experienced a lot of delays and issues due to COVID-19, but we are both very grateful we were given that time because things developed and improved - we went from just a regular concept store to something wholly more considered. I think that came from the amount of reflection and reading we were able to do, given everyone was so digitally oriented whilst in lockdown. We only work with independent designers that offer either made to order or small batch production pieces, and our focus is on curating a selection of investment wear that promotes slow fashion.

What role do art and curation play for LunchConcept?

Art and curation is the most integral role in who we are and what we offer. We both come from very visual backgrounds, Bethany through her design studio and SYN Magazine and Tamara through her styling work, and these visual backgrounds fed into the coreconceptofLUNCH. We wanted to create a platform that was symbiotic, commerce and photography wrapped in one, whilst it nurtured and promoted independent designers. Art and curation are also integral to our journal, which we release weekly.

What is LunchConcept Store looking for in new designers?

Accessibility is of strong importance to us, so designers that offer a good range of sizing and have a branding rooted in diversity and inclusivity are immediately attractive to us. Outwiththiswearealwayslooking for designers that push the boundaries of occasion wear. We like bold statements, but wearable ones and fabrics are also something we really appreciate (especially when they're recycled, upcycled or of ethical origin).

What are your thoughts on the future of traditional retail?

Creating LUNCH CONCEPT stemmed from us determining that traditional retail needs a big change. Our research indicated that people were tired of the lack of representation on online commerce platforms, which was one thing we wanted to focus on - casting has been really important to us, and is something we continue to strive to be better at. Wealsofoundthatpeoplewantsomething different now than what has been previously offered by traditional retail, we like to think that LAUNCH is a good intermediary for these customers. There's a greater interest now from consumers about the source of their clothing, which is why we're proud to host such a variety of small and ethical designers.

Bethany Grace and Tamara Turnbull

LUNCH CONCEPT

APOC Store offers one-off pieces, repurposed designs, and exclusive styles.

An online marketplace for fashion, design, and art, celebrating a new generation of creatives. They are devoted to curating and sourcing progressive and consciously-created pieces from artists and designers across the globe.

How does APOC Store challenge current industry standards? 

We work with all of our designers on a case-by-case, allowing them to sell what they want when they want. We have no deadlines, don't follow seasons and don't offer any seasonal discounts, ever.

We hope to continue supporting a wide range of global designers & artists, allowing them to grow sustainably and within their means.

What is APOC Store looking for in new designers? 

More than anything, we look for something new that they bring to the industry. It is not about having a commercial product or adhering to traditional aesthetic standards, but instead more about challenging current norms.

What is the most important thing for emerging designers to consider in order to be relevant today? 

For us, we look at designers who are working towards a better industry and society. Additionally (and it is a cliche), we look for designers who stay true to themselves and don't change to fit the norm and industry standards.

What are your thoughts on the future of traditional retail? 

We think and hope to see many more retail models challenge the traditional standard. Specifically, the wholesale model, as it only works well for brands who have already a certain infrastructure, whilst there are so many horror stories of emerging designers being run over by wholesalers.

APOC Store has a new vision for emerging designers

APOC Store

Designer of MMRMS STUDIO, the London based label, inspired by Jamaican dancehall culture.

What does the London scene offer for young designers today?

The London scene is full of so much art and multiculturalism which is unique in so many ways. You Have access to different sub-cultures and massive art/education institutions. As competitive as it is for young designers today there are great elements of community and collaboration that happen here which has helped me so much on my journey.

How has the LGBTQ+ community and queer nightlife inspired your work as a designer?

It’s happened quite naturally. Being born in Jamaica, growing up in a Jamaican household there were always parties, birthdays, christenings (I have a huge family lol) etc. So I grew up loving Sound systems. More specifically into my adulthood I was introduced to amazing Queer POC spaces that celebrated black and brown bodies. The confidence and unapologetic energy from the people and their looks are really what started to shape my aesthetic and make me think more retrospectively about my culture and what I want to say to the world.

What have been the difficulties with launching MMRMS STUDIOS?

After interning in fashion/retail for most of my time in education, I knew that I wanted to explore my own ideas and create an outlet for them. Just with any start-up, the biggest difficulty is financing and making sure that you’re careful with your spending. Which generally looks like freelancing doing 50 different jobs which are quite chaotic, but it really is that chaos that feeds my energy and influences my ideas.

What do you consider a brand’s most important core values to be?

Anyone who is creating currently, along with their personal taste, should be discussing or tackling current issues. Of course, I want you to feel incredible wearing my clothes but I’m constantly thinking as a brand, how can I help to push thoughts/culture forward?

What does your brand stand for, and how is this reflected in your work?

Taking up space being unapologetically yourself, and if the space is not there, make your own! Although my use of black models isn’t political, it was definitely born from a lack of representation in the fashion world. It's important for black and POC people to see themselves in these fashion and art spaces.

Thomas Harvey

Thomas Harvey

INTERVIEW WITH DESIGNER THOMAS HARVEY

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