“My aesthetics have shifted towards the very girly and pink”, Ida Klamborn explains. She is wearing black leather pants and one of her T-shirts. Her studio is painted white and is very clean, one of the walls are covered with inspirational pictures. Photographs and a drawing of a Disney Princess.

“Before, it has been a bit tougher and sportier but now I have immersed myself in femininity. Previously, I didn’t allow myself to go into it altogether. It is an aesthetic that can be a little difficult. I loved it when I was a kid but was taught that it wasn’t “good taste” and nothing to take seriously. But I still had it in me and was very curious about it. ”

Ida places great emphasis each and every one of her garments, each stitch is important. The SS19 collection was based on a thought about princess complex and ended up being a very summery, undressed and sexy collection. But not stereotypically sexy.

“I wanted to apply the complexity of being a woman. She can be raw and sweet, sexy, smart and stupid sometimes too. There needs to be some kind of contrast and complexity there”

Just like the relationship to femininity, Ida’s relationship to the fashion industry is complex. She loves clothes as an expression but has a hard time the super commercial. Over-consumption and mass production is a huge problem.

“I know that if you are going to work with fashion, you cannot be too artistic because it is still a commercial industry. And I still want people to wear my clothes. It feels like we have forgotten that there is a reasonable way to relate to clothes. You don’t have to buy new clothes all the time.”

And many of Ida’s garments stray from the super commercial. They require something from their owner. They’re not anonymous clothes that you can hide in yourself.

“I talked to a customer who said ‘I love your clothes but they express so much and if it’s just a regular rainy Monday, I have a hard time wearing them.’ That made me think. The relationship between garments and the wearer is so important. A garment is nothing until someone wears it but I think it is important to feel comfortable in their clothes. “

Are thinking about how you want to dress yourself when you’re designing your collections?

“Yes very much. I think that’s why this summer collection is so naked, because last summer, when I started working with it, it was so hot. And I have a dialogue and a close collaboration with the stylist Tereza Ortiz, she is a huge inspiration for me. ”

For Ida, the relationship with other women is important and the separatist room is an important place. Her experience is that it is easier to speak and be heard in a room with only women.

What is it that happens in separatist rooms?

“People see each other in a different way, and invite each other to join in in conversations. You don’t have to fight to be heard which can be a nice break. It’s fun with other contexts too, but I need the separatist room as a kind of energy source. ”

A separatist room that is created spontaneously is when Ida has pop up shops in her studio, which happens twice a year.

“It creates a lovely and fun atmosphere. I have no changing and people start to try on clothes all over the place. One girl will start commenting on what someone else is trying on, people complement each other saying things like ‘You get really nice butt in those pants!’ To see my garments on different women intensively for five is very amazing. It reminds me of how much I enjoy making clothes and dressing women. To see a woman try on a garment I’ve made and see how her whole attitude changes. That’s the best part of my job”