Can you talk us through this collection and the experiences that shaped it?

Yeah, of course. This collection is inspired by my experience growing up in Scandinavia, Bergen in particular. There’s a certain mindset in Norway, and Scandinavia in general, that suggests you’re not supposed to be special. You’re just one of many. This idea of conformity really interests me, and it’s reflected in what people wear. In London, people dress in all kinds of ways to express themselves and stand out. But where I grew up, it’s quite different. There’s more of a desire to blend in.

What draws you to functionality as a recurring theme in your work?

It’s something I find interesting. I’m always interested in mindsets—how society works, and how clothes reflect that. In Norway, there’s something called the Law of Jante. The entire social structure is built around it, and it’s reflected in how people dress. I find it interesting to observe people, to think about why they wear what they wear. It’s not about judging whether something is bad or stupid—it’s more about pointing it out and observing it.

So in many ways, your work becomes a form of documentation?

Yeah. Yeah, documenting it.

Where do you imagine your work being seen and worn?

I don’t have a particular aesthetic or group of people I’m trying to dress. I can’t say it’s for a 25-year-old from a big city. It’s more about the people who relate to it. I’d like to see all kinds of people wearing it, because it’s about people on the street. It’s very natural. We’re not trying to get these clothes onto rich women in their forties in New York. Who wears the clothes is also about pricing and how we market. It’s a natural development. I know who buys it, but I don’t necessarily design with that person in mind.

You presented a showroom in Paris last October and are now stocked internationally—can you tell us more about that stage of growth?

Yeah, we have some buyers’ stores in Korea, one in Japan, one in Taiwan, and some in China. I don’t have all of them at the top of my mind. Some are wholesale, some are consignment. We also recently got one in Australia, but we haven’t shipped yet.

Congratulations, that's exciting!

Yeah, definitely. We’re still trying to explore and not be static, always developing and evolving with each collection. This one is quite different from the one I did last year, and I think the next one will be quite different too. It’s probably not very smart for making money, but I think it’s necessary if I want to get to the place I want to be.

Thinking back to your first show at Sarabande, how has your practice evolved for this collection?

For the first show at Sarabande, I hadn’t done a proper collection before. It was a good starting point, very conceptual, with big pieces. We turned accessories into products, but not really the clothes. This time, we tried to make more realistic wardrobe proposals, actual clothes, as well as shoes and hats, which were strong products from the Sarabande show. We kept our strengths but explored new territory. It’s more difficult to make clothes that sit closer to the body, but it’s also more exciting to see them worn by real people, not just as an image.

Are there aspects of the fashion industry you consciously choose not to participate in or reject?

Yeah. I mean, there’s nothing I completely reject. Obviously, I don’t stand for fast fashion, but I don’t fully agree with the other extreme either. Both ends of the spectrum maximise profit and sacrifice creativity. It’s necessary in this system, but I can’t say I’m against it—I’m just not participating in it.

How has Sarabande supported your development as a designer?

Yeah. I mean it’s been really helpful. I couldn’t do this without Sarabande. Lending me the space, for example—we cast all the models in the main space in September. My first show ever was at Sarabande during my first year. You helped with the lighting and organisation. It’s every part of the process. The financial support gives me time to focus and not have to work another job or be too anxious about it. That’s really important in being able to do what I do today.

Looking ahead, what does 2026 hold for you and the brand?

I mean for this year, I need to work in the internships and stuff like that. For me, it's about learning and trying to look at things. We’re not planning another show. I want to look at the practice and the brand as something that keeps evolving, not something static. Ideally, we’ll have an audience that understands that we’re always changing—an audience that grows with us. That’s the main takeaway: not being static, and continuing to evolve.