When was the last time you played? How long ago did you find yourself enjoying without caring about time? How often do you try something new? How often do you laugh? When was the last time you ran on the street just for the euphoric feeling?
Finding Rave RVW backstage invites us to become children again with their new collection, Child Play. Unveiled at the Swedish Embassy in Copenhagen, a residence built in the 18th century and filled with Swedish design and material history.
Inside, it was like being in a dollhouse; everything was gloriously random. The living room doubled as the make-up centre, and the bathroom became a holding room where models awaited to be summoned from the kitchen. At its door, a mood board displayed every look; some of them were doodled by the team members, but they reminded us of children’s drawings because of the eyes and broad smiles. Two girls cross-checked each outfit and called the models in, while garments dangled from hangers and a team member quietly dictated who would go next—only two could squeeze into the fitting room at a time. The needles and pincushion lay on a shelf. On the kitchen table, a lineup of Puma sneakers stood displaced, effortlessly chic.
Fantastic people came out. Huge buttons, long sleeves, and a length that could be adjusted to any size by changing the buttons or adjusting the belts, which resembled curtain cords. A-line silhouettes and curtains hanging from dresses or skirts gave the impression of being lamps. The brand actually works with furniture fabrics, integral to its DNA, through the reuse of deadstock, vintage textiles, or discarded blankets. One model carried her little dog hanging from her arm. It was so still that at times I thought it was a stuffed animal.
Here and there, uneven or large collars. The inside and outside blurred together, like when you’re a kid, and you still put your clothes backwards. Back then, everything was a game, and the rules about clothes weren’t the norm we had internalised, but something we had to remember. We forgot the rules because they weren’t natural. For us, the priority was to enjoy what we were doing, to show off the colours, or to admire the patterns. It was never about the hem or the label, the brand name or the price of the item. It was spiritual; all we did was meaningful and appreciated. We were eager to wear this or that because of how it made us feel.
Livia Schück and Josephine Bergqvist, the brand’s founders, made me wonder with all this nonsense: why not go back to that perspective? Precisely what they showcased, as the inspiration draws from Beauty and the Beast‘s living furniture. You appreciate it in the odd details from the house’s pieces, seeming they’ve been moved. Blocked layers seem separate but are fused into one.
I used the tiny elevator in the centre of the building and went down to the base floor. The lift was encased in glass on all sides, but you could not see that from the wooden inside. Strolling along the walkway, I remembered that the place was actually quite formal and dignified. «Home is a place of care, but also of seriousness and moderation,» they state in the press release. Suddenly, I switched from fun and exploration to adult contemplation. It was so beautiful, and the windows exuded sophistication, full of solemn yet joyful individuals.
A speech by the ambassador preceded the fashion show, unfolding with music from AK Cinder and a live violinist. A week ago, I never imagined I would be sitting at the Swedish embassy in snow-covered Copenhagen. This fashion week is extremely creative and diverse; its venues really transport you to the universe of each designer.
Words and photography by Ionela Bona for VEIN MAGAZINE
