Student work often offers a window into current events, but for the most part the Swedish School of Textiles’ class of 2025 avoided politics. There were some exceptions: Jonas Gustavsson crafted clothing for a “third gender,” Susanna Suojanen worked with post-consumer materials, and, in this era of “heterofatalism,” Matilda Olofsson suggested novel bridal silhouettes.
Countering the drama of Zuzana Vrabelova’s outsized knitted “beasts” was the functionality of Wictor Ljundggren’s functional and gorpcore-ish designs. Anaïs Dahl Perret kept modularity and transformability in mind while designing her collection, while materiality and construction were the preoccupations of Andrea Rehbein, Yuting Xia, Frida Elise Henriksen, and Margot Leverrier. Patterns interested Siri Bratt (paisley) and Pawel Robuta (stains).
While Gabriela Arias Egaña’s collection focused on a personal narrative relating to heritage, Josephine Järlheim dreamed up a tale of romance, and Charlie Lamsten built a story around life on a Finnish cruise ship.
Most sophisticated were Lan Krebs’s remarkable seamless jersey dresses. Each started as a tube; the designer used pleating and print and other methods to make them distinct.
