Jeramiah Irwin, @jerairwin
The Jersey City–based designer attended Afropunk for the first time last year, and the festival’s accepting ethos made him come back again this year. “I love festivals in general, but this one to me is so different. Everyone is so friendly. There’s no judgment,” he says. “It’s really true what they say—the no sexism, no homophobia here.” And given the opportunity to fully express himself, Jeremiah chose a denim corset and ripped jeans that were inspired by the pop-country music he’s been listening to. Says Irwin, “I was going to wear a cowboy hat, but I’m saving that for later.”
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RIKKE JUNG LARSEN
Stylist & Creative Consultant
Larsen, originally born in Korea, was adopted and raised in Denmark. Her career in fashion began as an ambitious 20-year-old interning at the Danish fashion magazine ALT for Damerne,. Since then, Rikke’s experience has spanned across both PR and marketing before returning hometo the print industry and working as a Style Director for brands like Euroman. Currently, Rikke is a Freelance Stylist and Creative Consultant.
Contributor: Adam Katz Sinding
Published October 2024
Pursuing an editorial path in fashion must have been quite exciting. What sparked that journey for you?
A real cliché: I have loved fashion and being creative for as long as I can remember. My mom told me that as a child I gave my dolls braids that my girlfriends [then] asked their mothers to do on their own hair. I have read fashion magazines from an age where I looked more at the images than reading the words. I dreamed of becoming an editor at a fashion magazine, but to be fair, I didn’t even know what it meant to be at a magazine until I got an internship at ALT for Damerne (the largest Danish weekly women’s magazine) The internship was also my start in fashion.
Did you pursue a degree in journalism or fashion during your higher education?
No, I’m of the belief that you can’t study to become a good stylist. I have had a lot of assistants with a fashion or communication education who became assistants because they couldn’t get a job.
Some things certainly can’t be taught and must be learned in action. Were there any individuals at that internship that you would say shaped your career through action?
The Fashion Director at ALT for Damerne , Louise Amstrup, taught me endless things but she also worked and lived following the phrase “One day the bottle boy can be your boss, therefore be nice to everyone no matter their title.” I have always had that in mind, and luckily, she is still in my life.
Q&A
I love that. It’s very true. I think judging a book by its cover, although quite “normal” is a very dangerous way to live.
I couldn’t agree more. I also enjoy having friends who do not do the same thing as me. For me that would be boring. My best friends are mostly also my oldest friends, and we are quite different when it comes to education.
What opportunities or challenges do you encounter in your field?
I think the biggest challenge for the fashion industry is the climate and the economy. As one of the most polluting industries, we must change many things. It requires the brands to take responsibility, but it requires the customers to be willing to pay for it too. Of course, it would be better if clothes weren’t bad for the environment, or if the economy was stronger, but now, as we have these kinds of problems, I think it will be interesting to see how the industry will solve them. For my point of view, it pushes the brands to be more original, to stand out, and to be purchase-worthy, which is valuable. For many years, anyone could start a brand without a specific identity or purpose. They just wanted to live off trends, but that is not the way, in my opinion.
Yes, I think that selling trends is the biggest weakness of the industry, if we expect to be successful in any sort of sustainability approach. As a stylist, can your job still exist in a world where fashion moves more slowly, and trends are not as important?
Unfortunately, making clothes will never be sustainable, but I think that brands can be much more responsible by buying deadstock, having fewer or smaller collections, being aware of materials and production, and not overproducing. Besides that, I think that brands can sell timeless pieces and still be successful.
The Danish brand Skall Studio is doing great. They manage to sell out of a lot of styles despite their prices, and I think it is because their brand is strong, and I hope people want to support timeless, environmentally-friendly pieces of clothes. As a stylist, I think it will just require more creativity. For me it has always been clear that it is easy to make a good outfit if you can buy whatever you want. It becomes harder if you need to reuse items, or have a smaller selection. I think it will push us to slow down and think more.
What projects are you currently working on?
Now, I’m on maternity leave. I gave birth to my son in February and since then, my focus has been on him. In Denmark, we are so lucky to have paid maternity leave, but because I’m self-employed I need to think a bit ahead. Therefore, I’m starting to work with some clients beginning this September. Even though I want to be with my son all the time, I can’t wait to start to work a bit again.
Q&A
Connect with RIKKE JUNG LARSEN on Instagram
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SS25 WOMENS CONTEMPORARY BUYER'S GUIDE Discover key contemporary concepts, trends, products, and brands to shop at PROJECT Las Vegas in our exclusive Buyer's Guide.
SPOLIGHT SERIES: nick wooster
Style editor and fashion consultant Nick Wooster reflects on his 35-year journey through fashion and his extensive collection of cashmere sweaters.
LOGO HERE
Having previously founded menswear brand L’HOMME ROUGE, John is a Woolmark Prize winner, and was named the future face of global menswear by Interview Magazine. After a health scare 10 years ago, he took up running to relieve anxiety and cope with stress. He has since founded the holistic running brand UNNA, which means "treat yourself" in Swedish. He now serves as the creative director.
Contributor: Adam Katz Sinding
Founder & Creative Director
JOHN-RUBEN HOLTBACK
What changes have you seen influencing fashion culture?
I used to discover brands and designers by going to stores, feeling the fabrics, and trying on products. Twenty years ago, buying denim meant going downtown and touching it, you know? We had to invest time to really experience it. Now, you can just go on social media, do a quick browse of a brand, and get an idea. However, this doesn't tell you much about the actual product, its quality, or the depth of detail.
We've shifted a lot from focusing on product quality, to product presentation and branding. I see an opportunity in finding new ways to showcase products and be an influential source. Today, brands are more defined by their vibe than by the people wearing them. Customers lean into that vibe, so try to own it.
Do you think brick-and-mortar can have a resurgence in this environment?
Yeah, I miss the personal relationships you could build with the well-respected and passionate sales staff; these people educated me. It's just so hard to get that online. I'm not the type to post questions on Reddit; I prefer face-to-face interactions. Therefore, I believe physical retail has a role to play in the future, focusing more on the local community and bringing like-minded people together.
Staple wardrobe item?
I've been wearing my silver necklace from my friend Jonatan's brand, Kultur 5, a lot. I love it, and soon I think I need to get the bracelet too.
Do you think accessories are important, or is it just that piece that you’re drawn to?
Nowadays, I’m quite inspired by styling in general. Since entering the sports space, I’ve enjoyed merging and contrasting sports and technical clothing with wider tailored silhouettes, wool knits, jewelry, and similar items. Running with a necklace that has zero function and might even slow you down is a playful nod to all the performance-focused people out there—I don’t care.
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Connect with JOHN-RUBEN on Instagram
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Multidisciplinary Creative Nicolas-Barosi explores his desire to grow his brand and the nuanced connection between sociology and fashion as he sits down with Adam Katz Sinding.
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Pursuing an editorial path in fashion must have been quite exciting. What sparked that journey for you?
Essentially, it started because I wanted a cashmere sweater, and my mom said, “I am happy to buy you a sweater, but it’s not going to be cashmere. If that’s what you want, I suggest you get a job and buy it yourself.” So, I went to the nicest clothing store in town, Joseph P. Roth and Sons, and asked them if they needed any help after school or on weekends, and they said, “YES.” I have been working ever since. I was 16 when I started working.
So, the question is…how many cashmere sweaters do you own now?
I recently counted 47…I feel like there could be more…somewhere.
Looking back at your 35 year career can you pinoint any individuals or experinces that you feel helped to shape your journey?
I honestly think that Peter Rizzo, who was my boss at Barneys New York (1987–89), taught me everything I know today. He taught me how to look at brands, the way a collection is designed, how to choose fabric, and how to refine my taste and point of view. He really was a master.
Were you a buyer at this time? How did you take his advice and make it your own?
Yes. I was first an assistant buyer, then got promoted to buyer. In stores, buyers are called merchants. I really believe it was the best training I could ever have. It’s analytical, it’s creative, and it’s how I developed taste and a point of view. I just listened and soaked up everything, or as much as I could. It’s as if I knew this would last only a couple of years, so I truly made the most of it.