Building on the homecoming theme of last season, Holzweiler once again skipped the catwalk and kept to Norway. There the lookbook was photographed on a craggy, snow-blanketed mountain in a way, noted Maria Skappel Holzweiler on a call, that showcased “the beautiful crisp light and all the beauty of our country.” There were no ski lifts in sight, but the powder looked inviting, and those who were born to schuss (the creative director joked that Norwegians come into the world “with skis on their legs”) will be happy to know that the closing looks come from the brand’s just-launched ski capsule; the goggles and helmets a result of a “home team” collaboration with Trysil-based Sweet Protection.
The curved tracks that skiers make as they work their way down a mountain inspired the pattern on a sweater, which, against the white and brown landscape, almost became a kind of camouflage. (Ditto a landscape printed mesh.) The more brightly patterned knits, featuring geometric patterns inspired by ’70s hammocks, were the result of yet another synergistic pairing, this time with Skappel, a company founded by the creative director’s family—and yet another way that this collection keeps close to home—not to mention cozy.The opening duvet coat looked as enveloping and soft as a cloud. (And by the way, kits will be sold for home-knitters who want to make their own versions of those bright knits.)
Holzweiler’s entry into fashion was via scarves; cold weather toppers and accessories (many in faux fur this season) have been a core strength since 2014, when ready-to-wear was launched. They do denim and gorp core-adjacent looks, like cargos that can withstand the Nordic chill and look cool in a club believably. Dressier were this season’s leather pants and reversible shearling jacket. In addition to the many “sibling” looks this season, Holzweiler explained that she and the team are continually “trying to add feminine elements into wholesaler that feel authentic to the brand.”
This collection offered two visions of a winter wonderland. The first, realized as active gear and sportswear, had a direct connection to sports and the outdoors, and the location. In addition, the team dreamed up “a fairytale version of how a Norwegian would dress using these elements of drape, silky fabrics, and things that are a bit unexpected in nature,” Holzweiler explained. So there was a fluffy-cozy maxi skirt shown with a teddy-like zip front, a sky-blue slip dress and coordinating argyle pullover, and the piece de resistance, a dramatic and flowy black evening dress. All of these looks were perfectly lovely, but in addition to appearing “unexpected” in nature, they were dissonant. One wondered why the models are so dressed up on the slopes. This collection might have succeeded in its mission to “bring a bit more of a fashion vibe to the outdoors,” but something felt lost in translation. The beauty of the country is more fantastic than any made-up tale could ever be. Also the connotation here was that a fairy tale is by default feminine.
Mother Nature feels very close in the Nordics where, as the creative director noted, “you never know what to expect [in terms of the weather].” That adds an element of drama to everyday life and a need for preparedness. One also wants to be well dressed for events, of course, but maybe don’t go telling it on a mountain. The ski-inspired and après ski looks in this collection went down best.
