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A digital atelier where inspirational
women in fashion share their ideas


Co-founder and editor-in-chief of Space Matters.

HOPE Trousers by Space Matters

Columbine, Nike and I teamed up with our friends at HOPE for a series of self portraits at our office. We dressed in our favorite trousers from their spring collection, I choose two pairs of suit trousers that I look forward to dressing down with tees and loose shirts when spring finally arrives.
Check out my sisters’ Columbine and Nike’s picks here. And thanks HOPE for the opportunity, keep doing good things in the name of diversity, creativity and self expression <3.
Find your favorite pairs by paying HOPE a visit, at home or on Instagram.

I’m wearing Box Tee with Forty Trouser and Elma Shirt with Wide Trouser.


In collaboration with HOPE.

Trinity with Rihanna

I went to Liljewalchs Spring Salon the other week, and the only piece I really fell for was this tribute to friendship and fanship; a trinity of the artist herself, Liv Melin (four times portrayed), Rihanna (three times portrayed) and the artist’s friend Nellie (three times portrayed). Ten figures. And on that note I just want to say, happy birthday Rihanna, with you love is always on the brain <3


Charles Frederick Tunnicliffe, Sitting Hare. Found here.
Vincent Van Gogh, Wheat Field with Cypresses. Found here.
Sara-Vide Ericson, The Grave. Found here.
Benjamin Vnuk, personal work, Adela Portaits. Found here.
Carl Fredrik Hill, Grustag med hjulspar. Found here.
Sara-Vide Ericson, Raft. Found here.
Henri Matisse, The Goldfish. Found here.

Precision, then not

I had a lovely weekend that included a birthday note from John Hodany, an artist whose work I really admire. He’s a mathematical mastermind who in his works, like a surgeon, mutates modules and moves cut-outs around with meticulous precision yet still creates something that feels organic, colorful, biological, fun. Here are two of my favorite paintings. Thanks life for being soft right now.


Top image: John Hodany, Big Shot, 2014.
Below: John Hodany, Switching Swans, Praying Beaver, 2009.

Dream dress

What excites me style wise these days is finding pieces from old collections that I haven’t stopped thinking about. I’ve often been preoccupied with Miuccia Prada’s thoughts and things from about a decade ago. And then, I was so struck by Nicolas Ghesquière’s debut collection for Louis Vuitton. I know every look like I know every word of an old Whitney Houston song.
When I find these looks in consignment stores my heart stops. If I buy, I like to think of it less like random shopping (which makes me feel so bad) and more like a hobby. Like I’m a collector. It’s nonsense, of course; it’s more like a drug. This is my lastest rush: look 18 from that collection.

Carlota Guerrero

Solange’s art direction has been so rich lately, no? It introduced me, and the rest of the world I guess, to Carlota Guerrero, a photographer and art director from Barcelona. Her work is amazing and filled to the brim with art references. Above is one of her latest projects, a Bon Magazine story with another brilliant Barcelona mind, Alejandra Smits. I had to dig into the archives to discover more of Carlota’s work.


A reinterpretation of Matisse’s La Danse, watch it in video here.


Work for Metal Magazine, watch it here.


Dance ritual for Uber den Wolken, watch it here.


Art direction for Solange’s Don’t touch my hair. Watch it here.


Art direction for Solange’s Cranes in the sky. Watch it here and more of Carlota’s A seat at the table imagery here.


Rreinterpretation of Parangolés by Hélio Oiticica (watch it here) with Solange.


Carlota did the imagery and art direction for Solange’s 112-page conceptual digital book, celebrating blackness and creativity.


Interactive titled Seventy States 2017 for Tate. Amazing, please watch it here.


Back cover of Solange’s A seat at the table.


If you haven’t seen An ode to, Solange’s performance piece at the Guggenheim in New York, please do.


Probably inspired by the late Trisha Brown (watch for example Figure 8 here).


Solange asked the audience to wear white, perhaps not only a way of visually coordinating the piece.