Could you introduce yourself and tell us a bit about your creative journey?
I work in the field of costume, in the space between garment, movement, and artistic expression.
My journey began in theatre costume and gradually moved towards fashion, that was my viewpoint for a long time. But I never left the act of making. The craft has always remained central; it is both my foundation and my way of thinking. Today, I feel that these fields have merged, costume, fashion, and craft exist together as one integrated practice.

I work as the head of the ateliers at the Royal Swedish Ballet School, where I create costumes for both classical ballet and contemporary dance. Alongside this, I collaborate with choreographers as a freelance costume designer.

In parallel, I maintain my own artistic practice, where I develop garments as independent works, existing somewhere between clothing, costume, and object. These pieces are created through an intuitive, hands-on process, where material, body, and movement are in constant dialogue. Across all parts of my work, I am interested in distilling form and presence, allowing something essential to emerge through making.

Where did your creative journey begin, and how has your background influenced your work?
I grew up in a deeply creative environment. Both of my parents are designers, my mother a fashion designer and my father a jewellery designer and goldsmith, and my grandmother had a fabric shop. Materials, making, and form were part of everyday life. It was a natural world for me, and also how I learned to express ideas and understand things. That background has shaped me profoundly.

Craft was never something separate, it was simply a way of thinking and being. Over time, I’ve come to realise that my own practice leans more towards an artistic approach than my parents’. That understanding didn’t come immediately, it has taken time to articulate and fully step into. But it has allowed me to see my work not only as design or costume, but as something that moves more freely between disciplines.

Could you describe your current creative projects or initiatives? What are you most passionate about in your creative work?
My current work is centred around making garments, especially for movement. I am interested in how clothing can carry narrative, and how garments can become a way of telling stories or channeling culture as a form of communication.

A lot of my practice is about creating pieces that are meant to be worn and activated by the body, where movement becomes part of the work itself. What I am most passionate about is the emotional and sensory aspect of clothing. I want to create something that can be felt, something that holds memory while also opening up a sense of presence and excitement in the now. I am interested in transforming my skills, knowledge, care, and energy into garments that carry meaning beyond function.

What do you consider your creative expertise?
At the core of my work is holding history within form and making it present, translating memory, culture, and movement into garments.

Creative work often involves revealing hidden layers of oneself. Could you share a personal or professional experience where you had to "take off the mask" to create something authentic?
Authenticity is a prerequisite in my work. I more relate to situations where, in the past, I might have had to put on a “mask” in order to navigate certain environments or expectations.
That is not really an option for me anymore, it was a long time ago.

Today, my work is about stripping that away rather than performing it, and staying close to something honest in the making process.

Who or what inspires your creative process, and how do you incorporate those inspirations into your work?
I have a few go-to sources that always spark something in me and set my process in motion. Scent is essential, as is a serene environment. Beyond that, I need materials, the material is what truly sets me off. It is often where everything begins for me, how ideas emerge and take shape through touch and presence.

For me, it is important to have a space where I feel safe and free, as that directly shapes how I can work and create. From that state, inspiration is not something separate, it becomes part of the making itself.

Do you have any unique rituals or habits that help you tap into your creative flow or overcome creative blocks?
I have daily routines that support my creative flow. When it comes to overcoming creative blocks, I try not to stop for too long. For me, continuity is important. I also try not to let things become too serious, because in essence, it is a form of play.

How important is collaboration in your creative process?
Collaboration is important when it is necessary, when it expands the work rather than defines it. Some of my most shaping experiences have been working with choreographers and dancers, where the garment is tested directly through movement. In those processes, the work is not fixed, it is discovered together, through the body.

What has been your biggest creative challenge to date, and how did you overcome it?
Time and money. I wouldn’t say I have overcome it, it is an ongoing struggle that is still present in my practice.

How has your creative style or approach evolved since you first started? What prompted these changes?
I think I am someone who has not changed in a fundamental way. I am quite persistent, and in many ways my work is about returning to the same core questions and doing them over and over again. What changes is the context around me, and the influences I am exposed to. For example, starting at the Royal Swedish Ballet School was a major shift, it introduced me to thinking through movement, both in cut and material. That way of working pushed my practice to another level and opened something almost revolutionary in how I approach garments.

How do you balance commercial demands with artistic integrity inyour work?
I have a half-time employment, that creates my balance. It provides stability, and allows me to protect the integrity of my own practice.

How do you envision your audience interacting with your work? Ha audience feedback ever changed your creative direction?
In my work for the stage, I want the audience to be moved. I want to be part of
creating something strong that touches people, while also supporting the dancers in their work, enhancing movement and presence. When it comes to the garments I create, my approach is different. I don’t make work to meet a customer’s expectations anymore. If someone connects with a piece, they can choose to live with it, but the work itself is not driven by demand. I don’t think in terms of products, but in pieces, each one part of a larger artistic practice.

How do you hope your creative work contributes to broader cultural or social conversations?
I hope my work can help reconnect the craft of garment making with a deeper cultural and artistic understanding of clothing. Bridging the knowledge between fashion and making as an artistic practice is important to me, I think we need to reconnect.

In an increasingly digital world, how do you navigate between digital and physical expressions of creativity?
My work is fundamentally physical. It begins with material, touch, and the body. The digital world is mostly a tool for communication and documentation for me, it does not replace the making itself. The core of my process is always in the physical encounter with fabric, shape, and movement.

For aspiring creatives, what advice would you give them as they embark on their own creative journeys?
Be true to your work. Stay curious about what you are making and why you are making it. Let that curiosity guide you more than expectation or direction from outside.