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The product isn’t sold until your partner sells it

The product isn’t sold until your partner sells it

by | Jun 29, 2026

The product isn’t sold until your partner sells it

Linus Bohlin has bought brands, sold a brand, and is now building one. From all three seats, the same lesson keeps surfacing: the brands that resellers sell hardest are the ones that make their product data and content easiest to use.

Most people in this industry spend a career in one chair. Linus Bohlin has sat in three. He bought brands as a category manager at Nordic Nest, sold one as a Nordic country sales manager & Global e-commerce partnership lead at Tom Dixon, and is now building Duni Lighting Solutions, launching this September.

From every seat he kept arriving at the same conclusion. Whether a brand got sold hard by its partners or left on the shelf came down, more than to anything else, to how easily its product data and content could be put to work.

Linus Bohlin

What the buyer rewards

At Nordic Nest, Linus ran around seventy lighting brands and ranked them in tiers. The ranking was never only about money.

“My top five suppliers were not the top five in turnover. They were the combination of what I believed in as a brand and how easy it was to work with them.”

Being easy to work with could earn a brand a place above bigger names. The opposite cost it one. The design-led brands often looked wonderful and worked terribly: a cool story, a nice product, and underneath it no structure and bad data.

“They don’t work for us. They work for themselves.”

His product coordinators uploaded two hundred new articles a week. At that pace, searching an image library by article number instead of guessing a product name is minutes per item, and minutes decide whether the week’s target gets hit. A brand that made that easy got onboarded faster and featured more often. A brand that sent a messy folder, or said the data was already online in the PDF, slipped down. We asked him directly whether how easy a brand made its content changed how hard he pushed it: Yes, it did.

 

When the content changed, the orders changed

The clearest proof came from the selling side. At Tom Dixon, Linus took on some of the brand’s biggest third-party e-commerce accounts, including one major account that was presenting the brand badly, with the wrong pictures, the wrong information, and no campaigns. His team rebuilt the product content, mapped the right assets to the right articles, and handed it over ready to use.

That partner then ordered more in the first quarter than they had in the entire year before.

Nobody changed the product. They changed what the partner, and the partner’s customers, could actually see. It is the whole argument in a single account. Give a reseller better content and the orders follow.

 

Duni Lighting Solution

 

What “easy” actually looks like

Strip away the strategy and it comes down to a person in a car. After a meeting, Linus would open his laptop and build a Selection: the catalog link, the price list link, and separately a SoMe content package. One click, and the customer downloads it all ready to drop straight into their own platform.

The alternative is what most teams still live with. Into a shared drive, the folder inside the folder inside the folder, a heavy set of high-resolution files, the download time eating the afternoon, reorganize it, then send it on so the next person downloads it all again. Even now, before his new setup is fully live, his team runs on hundreds of WeTransfers with no record of what went where.

It matters because the people doing this are not systems people. Sales guys are simple, as he puts it, and they do not like complex. They will not click through four folders to find one file, and they will not hand their customers a worse experience than that either. Asked what he would miss most if that structure disappeared, he answered in one word:

“The structure.”

 

The routine that turns access into sales

Access only pays off when resellers actually use it, and that is a habit you build. VOCAST recommends running a short routine before every reseller visit. Does this client have a login? Are they downloading? If not, get out our iPad and teach them, then watch the downloads climb. Across hundreds of wholesale partners that single discipline carries thousands of downloads a month, and increased sales is the logical consequence.

“That is exactly what we want to build here. At Duni the scale is larger, over a hundred salespeople across Europe, each making several customer visits a day, plus larger wholesale partnerships with their own hundreds of account managers can carry the brand into rooms his team will never reach. For any of that volume to convert, the content has to sit one click from the person doing the selling.”

There is a sharper reason to invest in it too. When a brand cannot win on price, content is how it wins instead.

“Open four near-identical listings for the same kind of product, and the one with richer images, lifestyle shots a shopper can picture at home, and data they trust is the one that earns the click. A brand with no picture of its own table cannot expect the internet to sell it.”

Linus saw it from the buyer’s side: the brands he wanted to grow were the ones he poured content behind, with extra photo shoots and inspirational articles, precisely because good content was what made them sell.

 

The point

None of it is complicated. If you sell through partners, you cannot just take the order and leave. You have to make sure the product can leave their shelf too, and that means putting your best content and data one click from the people doing the selling. Give them that, make it easy, then look at who is actually using it. The product isn’t sold until your partner sells it.

 

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Streetwear Now: The Style, Shift, & Substance

Streetwear Now: The Style, Shift, & Substance

by | Aug 12, 2025

Streetwear Now: The Style, Shift, & Substance

Streetwear has always been about more than just clothes. Unlike traditional fashion categories, it wasn’t created by brands for consumers, but by people and communities carving out a space for identity, expression, and rebellion. It’s fashion shaped from the ground up.

When we first explored streetwear years ago, we spoke with industry figures in London, Paris, and Milan to understand where the movement was headed. Their insights captured a cultural shift already underway. Now, we’re revisiting that conversation through today’s lens. In the years since, the world, and fashion, has changed. Post-pandemic, hype culture has cooled. Youth consumers, despite being weighed down by economic pressure, are focused on sustainability, quality, and personal style. Streetwear has moved beyond exclusivity and into something more democratic, more intentional. 

Unintentional Fashion Pioneers 

What is Streetwear?

Hypebeast defines streetwear as “fashionable, casual clothes”, but explains that this definition undermines the multi-billion dollar industry that streetwear has become. Streetwear as we know it today originated in the ’90s, in the hip-hop scenes of New York, the surf-skate and graffiti culture of Los Angeles, and within the nightlife of Japan. James Jebbia has said that his influence as a designer “was definitely the young skaters in New York. Also traveling to Japan and seeing their great style. Traveling to London. It was a combination of that.” Designers like Jebbia and Shawn Stussy pioneered streetwear in the US with their brands Supreme and Stüssy, and designers such as Nigo and Hiroshi Fujiwara aka “the godfather of Harajuku”, led the movement across the Pacific.

It is important to view streetwear as a movement, not as a trend because it is a cultural phenomenon. Graphic tees, loose-fitting jeans, and statement sneakers were created purposefully as an expression by their consumer: the rapper, the skater, and the rebel. It is the symbol of the youth and counterculture. In the ’80s and ’90s, many traditional brands would not dress some musicians or sports stars, so the community had no choice but to make their own clothing and define what fashion meant to them. Virgil Abloh expressed this community shift in a 2019 interview: “I grew up in the 80s and 90s and in that generation we had our own idea of what a fashion designer is, and we had our own idea of what a musician was”. Streetwear has since evolved, branching off into athleisure, luxury, modern, techwear, grunge, and so many more sub-styles. Despite streetwear’s constant evolution, what remains at its core principles are culture, community, and self-expression. 

Changes Post-Pandemic

Streetwear in the mid-2010s

Most trends originate from a small community, gaining attention and traction from neighboring communities, subsequently emerging into the mainstream. The streetwear explosion of the mid-2010s was no different, and it was ignited by consumers wanting to be “in” on the exclusivity of streetwear. Luxury brands cashed in on the movement (we all remember the 2017 Supreme x Louis Vuitton collection), reinforcing the exclusivity element. Capsule collections, limited editions, and artistic collaborations were the defining signatures of streetwear. Brands like Off-White, Nike, Balenciaga, and Palace blurred the lines between streetwear and high fashion, pushing traditional luxury houses to follow suit. Streetwear had shifted from being a symbol of counterculture to one of luxury and status.

It seemed that consumers of the new streetwear were more concerned with owning pieces than personal style. This is what the exclusivity of streetwear had done to the style. The desire to be involved superseded everything else, and what emerged was vapid. Style that looked the part but lacked meaning, individuality and only a faint connection to the culture that created it.

But as the hype faded, so did the illusion. In its place, the youth began to reimagine what streetwear could be, less about flexing and more about expressing. Today’s wearers care less about limited drops and more about lasting impact. There was a desire to return to streetwear’s roots: community, craft, and clothing that actually means something beyond the label attached to it.

What do consumers value now?

In today’s post-pandemic world, the youth are faced with economic pressure like they’d never experienced before. Still, they turn to streetwear for self-expression through fashion. Changing attitudes amongst the youth towards sustainability practices, ethical consumption, individuality, all paired with an unfavorable economic environment, has contributed to a new climate in streetwear fashion compared to pre-pandemic.

With individualism becoming more valued, youth consumers are concerned with tailoring their closets to their personal style. This means re-wearable, durable, high-quality clothing. There is a phenomenon called “The Lipstick Effect” wherein during times of economic hardship, consumers often cut back on big-ticket items but still indulge in smaller, more affordable luxuries. Essentially, consumers are still willing to spend money, they are just more selective of what they spend it on. Despite economic pressure, consumers see more value in durable, sustainable goods that would cost more than low-quality, fast-fashion produced in response to short-lived trends that will eventually end up in landfills or taking up space on the racks of second-hand shops, never to be touched again.

A while back, we spoke with industry figures from the fashion capitals of London, Paris, and Milan to gain some insight into the streetwear trend. Their words, sentiments, and ideas still ring true today almost 6 years later, with some accurate predictions made of what was and is to come in the future of streetwear.

Revisiting Insight from the Fashion Capitals: London, Paris, and Milan

 

LONDON: 

 

Simone Beyene is a stylist and visual artist working with photography and film. She currently works as Olivia Dean and Mabel’s stylist, and is represented by Arch the Agency.

 

 

Being around the music scene has been exciting as it does have a big influence on streetwear, especially in London because it’s a very lively and fun city. I think streetwear, in general, has a very heavy base in skate culture, it’s a big part of what we would call streetwear today. In London, there are brands like Palace and Places+Faces that started as young guys printing t-shirts. The core of streetwear for me is a printed t-shirt that’s been washed a million times. Rock culture and band t-shirts are a big part of streetwear, but bold colors and prints that are a bit crazy or quite funny show there is a humor to it as well.

Streetwear in London is also based off of early hip-hop in New York, and how rappers used to dress in the ’80s and ’90s. Many musicians that loved skating, like Pharrell, were known to brands as friends so these brands could just give out clothes. We all want to look like our celebrity idols or people who we love and I think that’s how streetwear became big and exploded. Especially because music travels all over the world.

I think what’s very interesting as well is that, for me, streetwear is more of a unisex look. It’s quite fun to take oversized things and make it more girly by playing with the proportions, cropping baggy clothes, and creating feminine shapes. “Matchy-matchy” tracksuits and crop tops with gold body jewelry is a big part of female streetwear too, and we saw it a lot in the late ’90s with celebrity hip-hop brands.

Now, luxury brands are taking on streetwear and are making clothes that they specifically did not use to make. You can see that luxury brands, like Louis Vuitton, Dior, and Gucci, are using a lot of monogram and it sells well because streetwear is very popular and people want to be a part of the culture: streetwear is a youth culture, it’s the way that the youth dress and these kids never wanted to look like anything except their version of what was cool. Now for the first time in a long time, brands are employing more people from the culture and giving references to where their collections come from. It’s important to remember the kids that created this style that brands are now profiting off of.

 

 

PARIS:

 

Selma Kaci Sebbagh is a content creator and influencer. She is known for her edgy, maximalist style and her ability to put together outfits that have caught the eye of several high profile publications.

 

 

Streetwear is hard to define right now in 2020, I would say that 10 years ago it was easier to actually define. Streetwear is something that can be mixed, it can be worn by women and by men as well, which means it’s something that can be shared. I used to think that the term streetwear could be negative somehow because maybe it was an easy way for people to say something’s stylish. Streetwear is wearing the brands behind the clothes, not just a huge logo with no meaning behind it. Often, I have asked brands about where their clothes come from and how they are made because it’s important to think about the impact on the planet.

In the French market, especially for the young generation, there is an awareness about sustainability and people want to make a change. I do honestly believe that the new trends in streetwear will be focused on being more sustainable. When it comes to Parisian streetwear there is not an exact style; social media gives us a sense of not having any borders which enables us to look around beyond one style.

Something that is changing the definition of streetwear is that there are more and more women’s brands growing, especially through social media. Seeing girls and women being allowed to actually change the way that they want to dress every day allows us to have a different vision of style and streetwear. It stops brands from being closed-minded so that they do more for us, which I think is great.

 

MILAN: 

 

Amanda Margiaria is a former editor for i-D Italy, one of Italy’s most prominent publications focusing on streetwear fashion and culture. 

 

 

There is no single definition for Milanese streetwear because this style encompasses many different social layers and subcultures. The Milanese skaters wear streetwear, the Milanese hype-kids wear streetwear, the Milanese influencers wear streetwear, but their clothes have little to do with each other. The fil rouge, though, can be found in the attitude of all these people. They wear what they wear because they’re making a clear statement. Their clothes say:

“We don’t want to homologate to the Italian style, something you’d associate to tailor-made suits, eccentric hats, and the Pitti Peacocks. We are unique, we are outcasts and we wear streetwear because we want to be underdressed in every social situation.”

Streetwear is all about the message you want to convey. If you wear streetwear, you refuse to meet the expectations of society. Streetwear was born out of rejection for social norms, and this rebellion will always be the key element of streetwear. From a style point of view, though, I think streetwear is going towards more unique and sustainable clothes and accessories, because what’s better than an Off-White sweater? A custom-made sweater, made of recycled Off-White textiles. Streetwear can survive only if the customers’ expectations are met; so it will still be something exclusive and at the same time very democratic because… if this style wants to stay relevant, a political and social commitment is of foremost importance.

Moving Forward

The perspectives from London, Paris, and Milan captured the undercurrents that would go on to shape streetwear’s evolution. London reflected on its roots in youth-driven counterculture, DIY spirit, and unisex appeal, while noting how luxury brands co-opted the style in the mid-2010s. Paris pointed to a growing shift towards sustainability, gender inclusivity, and the influence of women in streetwear. Milan stressed individuality and sustainability, warning that streetwear would only survive if it balanced exclusivity with accessibility and stayed politically and socially engaged.

Today, these observations have proven prescient. Streetwear has moved away from hype-driven status pieces toward durability, personal style, and values-led consumption. Economic pressures have made buyers more selective, but the core remains unchanged: streetwear is still fueled by youth culture and its ability to reflect the times. For brands and designers, the challenge is the same as ever. Stay connected to the community that built it, or risk becoming irrelevant.

 

References: Image: Copenhagen Fashion Week Image Bank. Hypebeast: Streetwear History & Definition. GQ: The Supreme Leader: The Extended James Jebbia Interview. Dazed: Virgil Abloh: Streetwear?. GQ: Supreme x Louis Vuitton: See Every Piece from the Game-changing Collaboration. Investopedia: Lipstick Effect: Definition, Theory, and Value As Economic Indicator

Alexandra Brøndum is the U.S. Media Researcher at VOCAST. She has a bachelor’s degree in Communication from UC San Diego and a master’s degree in Cognition and Communication from Københavns Universitet. Outside of work, she is a singer and songwriter.

 

This article is an interpretation of an older article, written by former UK and US Researcher Georgina Juel and Italian Market Coordinator Olivia Mariani.

This article was published on the 13th of August 2025 and the original article was published on the 18th of August 2020.

Want to learn more about these curated lists? Feel free to contact us.

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The Clean Beauty Movement: How to Tap Into the Rise of Conscious Consumerism

The Clean Beauty Movement: How to Tap Into the Rise of Conscious Consumerism

by | May 7, 2025

The Clean Beauty Movement: How to Tap Into the Rise of Conscious Consumerism

Dewy skin, minimal makeup, and soft, shiny hair are trademarks of the ever-rising “clean girl aesthetic.” Since the early 2020s, the trend has taken over social media platforms like TikTok and Instagram, and experts say it’s here to stay. Alongside the growing consumer demand for a minimalistic skincare, makeup, and hair routine, more and more brands are catering to customers’ needs for conscious beauty products — ranging from toxin-free ingredients and sustainable packaging to sleek designs. It is clear that we have entered an era where consumers value not only a product’s effectiveness but also its impact, quality, and craftsmanship — values reminiscent of the Scandinavian ethos. But what are the implications of the clean beauty movement within this context, and how can brands harness the rise of conscious consumerism, extending its relevance beyond the beauty industry? 

In a conversation with three visionary Danish clean beauty brands, VOCAST explored the rise of the clean beauty movement and its impact on brands in an ever-evolving market. Speaking with the brands’ founders, we asked them how they define clean beauty, how it shapes their brand identity and marketing, as well as where they see the movement heading. As consumers continue to prioritize purity and transparency, the clean beauty movement is not only making a mark in the beauty industry but also in the broader landscape of conscious living. 

Meet Jette Nørgaard Haulrig

Jette Nørgaard Haulrig is the co-founder of Yrolí, an award-winning Danish clean beauty brand born from a deep motivation to make a difference. Together with her long-time friend and co-founder Trine-Lise Buestad-Kjeldsmark, Jette is driven by a shared commitment to conscious consumption and responsible living.

 

Meet Heydi Vásquez

Heydi Vásquez is the founder of Copenhagen-based Ara’kai Beauty, a clean beauty brand and space born from her passion for mindful self-care, aesthetics, and sustainability. In addition to their own product line, Ara’kai offers a curated collection of the finest beauty products from around the world, alongside a range of high-quality treatments.



Meet Carina Muriel Conradsen

Carina is the CEO and founder of Elou, a Danish brand that offers 100% plastic-free beauty products, from the ingredients to the packaging. Based in Copenhagen, Elou is on a mission to redefine hair and skincare by prioritizing sustainability and quality. The brand focuses on creating products with the lowest possible environmental impact, without compromising on effectiveness.  

 

 

Clean beauty and the Scandinavian ethos of craftsmanship & design

When clean beauty first entered the market a few years ago, it was primarily defined by what it lacked—toxins, parabens, sulfates, and other harmful ingredients. Reflecting a rising consumer awareness, it tapped into a growing consciousness about what people were putting in and on their bodies. Clean beauty promised safer, simpler alternatives. But as the movement has evolved, so has its definition. Today, “clean” is no longer just about avoiding the bad—it’s about embracing the good. From ethically sourced ingredients to sustainable packaging and transparent production, clean beauty now embodies a broader, more holistic approach to wellness and responsibility.

“Clean beauty demands more. It requires a 360-degree perspective; how a product is formulated, produced, used — and what happens when it disappears down the drain.”

– Jette / Yrolí

In today’s market, clean beauty is furthermore defined by trust and transparency. Consumers are more aware than ever of what’s in their products and how those choices align with their values. Clean beauty brands are committed to offering clarity through honest communication about ingredients, sourcing, and production. This ensures that products are safe and aligned with sustainability and ethical responsibility, empowering consumers to make informed choices that support both their health and environmental priorities. 

“At Ara’kai, we approach clean beauty as a promise to prioritize care and integrity, from how we source materials to how we communicate with our customers.”

– Heydi / Ara´kai

While many associate clean beauty with fixed standards, some brands, like Elou, embrace a more fluid interpretation of the term. For Carina from Elou, it’s essential not to let the word “clean” stand alone without context. Instead, brands should clearly communicate what they stand for—whether it’s plastic-free packaging, nature-derived ingredients, or a commitment to avoiding harmful substances. Carina emphasizes the importance of intention: vague or ambiguous language can easily mislead consumers. The takeaway? Be clear about what exactly makes your brand “clean.”

“We choose to use ‘clean’ with great care and consideration, not leaving the term to stand on its own without substance behind.“

– Carina / Elou

As with all things Scandinavian, clean beauty brands from the region embrace the movement’s core principles of purity and transparency, while also aligning their actions with the Scandinavian ethos of craftsmanship, simplicity, and elegance. Much like in Scandinavian interior design and fashion, nature plays a central role—both as a source of ingredients and as inspiration for the products themselves. These brands focus not only on what goes into their formulations, but on the entire experience, offering no-fuss products with minimalist, beautifully designed packaging. In this context, clean beauty becomes more than just a routine—it becomes a lifestyle, defined by both purpose and aesthetics. As Heydi, founder of Ara’kai, puts it: “It’s a natural connection.”

“To us, clean beauty and Scandinavian craftsmanship go hand in hand; purposeful, precise, and built to last.”

– Jette / Yrolí

With a strong emphasis on quality, simplicity, and integrity, Scandinavian clean beauty brands integrate these values into every aspect of their products—from formulation to packaging.

Image credit: Yrolí

 

The role of design and visual appeal

Consumers today seek more than just functionality: they want products that make a statement, seamlessly blending practicality with aesthetic appeal. For clean beauty brands, maintaining a strong, intentional design is crucial in connecting with the conscious consumer and building trust. All three brands we interviewed use design as an extension of their brand identity, aiming to create a seamless connection between their products and the conscious lifestyle they reflect. From creating calming spaces to aligning every visual element with their purpose, storytelling is at the heart of their marketing strategies. Building a strong relationship with your audience starts with clear, intentional communication — from product descriptions to advertising and brand messaging. 

“Design and storytelling are everything! They’re how you communicate who you are before anyone even opens the bottle.” 

      – Heydi / Ara´kai

 

“Through our imagery, we want to provide our customers with a glimpse into a universe where they can easily see how our products align with a conscious, mindful way of living.” 

– Carina / Elou

But aesthetics aren’t everything. While visual storytelling can reinforce branding and give consumers a clear sense of what to expect, it’s crucial to stand out in a world of greenwashing and performative activism disguised as sustainability. To build genuine trust, clean beauty brands like Yrolí rely on certifications such as the B Corp and Nordic Swan label to validate their standards and values. In Jette’s words: “Clean beauty is not a vibe — it’s a verified standard.” It’s clear that in today’s market, transparency isn’t just appreciated; it’s expected.

“With so much noise in the industry, consumers need honest signals.” 

– Jette / Yrolí 

Similarly, the design itself should reflect the conscious choices consumers make when buying clean beauty products. Brands like Elou are continuously improving their design to align with their values and mission, always striving to minimize their carbon footprint. A key example is their packaging, which is not only plastic-free but made from grass paper—one of the most sustainable options available.

“Our packaging design reflects and supports the very essence of the clean beauty philosophy. The outside should represent the inside, which is why we value the outer packaging just as highly as the contents, the ingredients  themselves. ” 

– Carina / Elou

In a market increasingly focused on authenticity and transparency, clean beauty brands must ensure their design not only resonates with consumer values but also reflects the genuine integrity behind their products.

Image credit: Elou

 

Future trends & lessons learned

So, what’s next for clean beauty? We’ve gained expert insights into what defines clean beauty, how the Scandinavian ethos plays a role, and how communication and marketing practices can be leveraged. Now, the question turns to the future: what trends can we expect, and what lessons can brands carry forward as they navigate the demands of conscious consumerism?

To meet the growing demand for minimalist and authentic products, brands must focus on what truly matters. It’s about narrowing the focus to simplify routines while making a meaningful, positive impact. 

“I see a move toward products that simplify, not complicate – fewer products that do more, with less waste. ”

– Heydi / Ara´kai

Clean beauty is no longer just about what’s inside the bottle; it extends far beyond the ingredient list, encompassing how products are made, the values behind them, and the impact they leave behind. Brands need to ensure their visual appeal aligns with their actual products. Carina from Elou highlights the importance of considering the entire product cycle, as consumers are demanding more than just quality content. In this context, transparent communication and credible certifications are essential in earning consumer trust, as Jette from Yrolí points out. 

“Today, it’s more important than ever to consider the entire product, not just the content.”

– Carina / Elou

 

“True clean beauty has to be clean in every direction — not just in the ingredient list, but in intent, action, and outcome.”

– Jette / Yrolí

As we look to the future, it’s clear that conscious consumerism isn’t confined to the clean beauty realm—it’s a movement that spans across industries, from fashion to interior design and beyond. Consumers today are increasingly prioritizing transparency, sustainability, and authenticity in all areas of their lives, and brands across sectors need to respond. By embracing these principles, brands can create products and experiences that truly resonate with the growing demand for ethical choices. 

“People are asking harder questions, not just about ingredients but about sustainability, supply chains, and ethics.”

– Heydi / Ara´kai

The clean beauty movement is just one part of a larger shift toward conscious consumerism, where transparency, sustainability, and quality take center stage. Brands that stay true to these values and communicate them clearly will be best positioned to thrive in a world where mindful choices define the future.

Image credit: Ara´kai

Your go-to list of the most relevant clean beauty influencers across markets:

Our research team has handpicked the top clean beauty influencers from each market. Explore them below:  

Denmark

Bea Fagerholt is a passionate clean beauty advocate and the founder of the brand Honey and its accompanying platform To The Moon. As a proud mother, she blends her interest in pregnancy, motherhood, and clean beauty into one. 

@beafagerholt

Sweden

Sophie Nordenhed is a Swedish wellness influencer based in Amsterdam, blending holistic health, mindful living, and movement. As a holistic health coach and consultant, she also leads the Sunday Run Club, a weekly gathering in central Amsterdam that brings people together through wellness and community.

@sophnordenhed

Norway

Mikela Beck is a Norwegian beauty influencer and skincare enthusiast. On Instagram and TikTok, she shares her expertise by testing and recommending a variety of products. She is also the founder of Sincere — a skincare-focused brand where she curates and sells the best within the industry, with a special emphasis on clean and Korean skincare.

@mikela.beck

Finland

Olivia Vidael is a Finnish beauty entrepreneur who shares mindset tips and beauty inspiration. The former model recently founded Nordic Beauty Bank, a digital content agency specializing in the beauty industry.



@oliviavidael

Germany

Hanna Schumi is an Austrian content creator based between Hamburg, Vienna, and Athens, with a passion for clean beauty and natural skincare. An advocate for sun protection and holistic routines, she also shares lifestyle and fashion inspiration, and hosts the beauty podcast Gepflegte Gespräche. 

@hanna.schumi

Belgium & The Netherlands

@elisehoogerdijk

Italy

Sonia Rosso is a skincare and beauty influencer with a background as a beautician and assistant in aesthetic medicine. She focuses on clean, effective products and currently works at a medical clinic. Dedicated to growth, she frequently attends trainings and masterclasses in skincare and aesthetics.

@sonyaskins

The US

Yuri London is a licensed esthetician with a passion for skincare and clean beauty. With her deep understanding of ingredients and formulations, she guides her followers on the journey to healthy, glowing skin. Yuri makes clean beauty easy to navigate, offering simple, natural solutions that actually work. Her expertise has earned her features in top publications like InStyleand Byrdie. 

@thedewiest

References: Mintel: Conscious cosmetics: The rise of clean beauty, Mysa: What is Clean Beauty and Why Does It Matter?, Vogue: Why the clean girl aesthetic refuses to die.

Image credit: Yrolí, Ara´kai, Elou 

 

Kim-Mara is the Dutch Media Researcher at VOCAST. She is a Communication Science student at the University of Amsterdam, currently completing the rest of her bachelor’s degree in Copenhagen. Outside of our office, she is passionate about fashion and content creation. 



 

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Mastering Sustainable Branding in Interior Design

Mastering Sustainable Branding in Interior Design

by | Jan 14, 2025

Mastering Sustainable Branding in Interior Design

In recent years, the appeal of trendy marble coffee tables, plush sofas, and finely designed lamps has captivated us all. While the interior design industry often embodies craftsmanship, it also has a less glamorous side: its environmental impact. This reality has pushed terms like circularity, recyclability, and sustainability to the forefront of the interior design industry. At the same time, the industry’s emphasis on aesthetic appeal, which is deeply inherent in its marketing and branding, raises the challenge of seamlessly integrating sustainability values without compromising its visual allure. So, what does it truly mean for a brand to embrace sustainability in interior design? And how can companies strike a balance between captivating aesthetics and embedding circularity and recyclability as foundational elements of their brands?

To explore these questions, VOCAST has spoken to Mater, a Copenhagen-native interior brand founded in 2006, pioneering green-tech interior design with sustainability and circularity at its core.

Meet Trine Mark Egeberg

Trine Mark Egeberg joined Mater in 2021 as Head of Marketing, PR, and Sustainability. With a background in brand building, marketing activation, and product management, Trine shared unique insights into how Mater successfully integrates sustainability into its aesthetic-driven branding and communication strategies.

 

From Trends to Necessities: Circularity and Recyclability in Interiors

Circularity and recyclability have become hot topics in the interior design industry, as conservation and saving the environment from further damage have become pressing issues. At the same time, consumers continue to seek out designs that enhance their living spaces and well-being, following ever-changing trends. This high demand has forced the industry to rethink its production processes, driving innovation that prioritizes sustainability while maintaining impeccable style and appeal. For Mater, sustainability has always been at the core of its philosophy. Trine explains:

“When we started working with sustainability in 2006, most people actually thought sustainability was a passing trend—it wasn’t, and today it’s more important than ever.”

Trine emphasizes that Mater’s commitment to sustainability has been part of the brand’s DNA since 2006, evolving with each collection to the point where the brand now exclusively launches new products made from recycled materials or designed with other sustainable practices. According to Trine, the “simplicity” and “tangibility” of Mater’s sustainable messaging— is a crucial factor in countering rising issues of greenwashing in the industry.

“Our learning has definitely been to keep the sustainable messaging very simple. Sometimes you forget that we’re working with it every day, but for others, it can be quite complex.”

Trine further advises brands to focus their sustainability messaging on actions with significant impact, as this increases credibility and resonance with consumers:

“Don’t focus on things that have a small impact. A truly sustainable message should focus on the significant aspects that create real impact, rather than getting lost in smaller details like packaging or minor components of the product.”

When Aesthetics Speak Sustainability

As sustainability becomes an essential component of interior design branding, Trine indicates the importance of maintaining aesthetic integrity. For Mater, sustainability is central, but it must never compromise the brand’s visual appeal:

“You should never compromise on aesthetics. A product will never be sustainable if the design, quality, and aesthetics aren’t on point.”

Just like the fashion industry, interior design is strongly dependent on its aesthetic appeal. Trine argues that sustainability should complement, not overshadow, a brand’s visual identity:

“This industry is all about aesthetics, and you will never be able to compete if what you offer isn’t visually compelling.”

The Potential of Imagery

Mater’s digital showroom plays an essential role in their sustainable branding efforts. By offering a detailed view of each product’s features, the showroom goes beyond aesthetics, showcasing the production journey and materials behind every design. This approach ensures that the visual appeal of a product is not the sole focus but is complemented by its sustainability story.

What sets Mater apart is their ability to let imagery communicate profoundly, as the brand’s digital showroom and curated images effectively communicate sustainability without relying on explicitly written messaging. This demonstrates the brand’s expertise in leveraging content to convey values in a refined, yet impactful manner. Mater also takes an innovative approach to blending sustainability with aesthetics.

The fact that their products are crafted from waste is seamlessly integrated into their branding through compelling imagery, consistently featured across their digital showroom, website, social media platforms, and sustainability reports. This approach reinforces the brand’s sustainability messaging while maintaining its refined aesthetic identity.

Striking the Balance: Aligning Innovation with Aesthetics

When asked for advice on balancing sustainability with brand aesthetics, Trine acknowledges the growing number of brands positioning themselves as sustainable. However, she stresses that sustainability should only be central to branding if it is genuinely impactful.

Trine’s guiding principle is to keep sustainability messaging simple, clear, and relevant to the consumer:

“When you make an effort, you naturally want to communicate it. But you should always ask if it’s truly relevant to the consumer, and most importantly, make it simple and clear.”

Meet the Green Interior Influencers across markets

Our research team has gathered some of the most inspiring contacts from each market. Take a look below:

Denmark

Fie is a content creator and photographer, deeply passionate about DIY projects and the charm of rustic interiors. Her beautifully curated feed offers a glimpse into her idyllic countryside lifestyle, capturing the essence of each season with warmth and authenticity.

@fiefroeling

Sweden

Malin Persson is an inspiring creator who shares content focused on styling, sustainable living, interiors, and the art of “feel-good” living. As a beloved personality on the Swedish garden show Trädgårdstider, she has cultivated a dedicated following. Malin’s content beautifully demonstrates that chic decor and fashion can go hand in hand with sustainability.

 

@themalinpersson

Norway

Anette and Susanne Bastviken are sisters and the duo behind the sustainably focused Instagram account and concept Radical Broccoli. Their aim is to share eco-friendly tips and products with the world through vivid storytelling. Together, hey have written a best-selling book – Jordnært (“close to earth”) and co-founded a conscious flip-flops brand named Sleepers.

@radicalbroccoli

Finland

Mia, the creator of Villa Lehikko, shares insights on Scandinavian minimalism, sustainability, and gardening. She collaborates with brands like Anno Collection and Woodio, reflecting her content’s focus on quality, ecology, and nature-inspired designs.

 

@mialehikoinen

Germany

Marián is an architect and designer based in Berlin. Her passion for interior design radiates through her Instagram and TikTok accounts, where she shares her flea market finds and DIY projects, bringing her creativity to the digital space. Additionally, she has launched a secondary account, @studiosnormaal, dedicated to interior design, sourcing, and styling.

@___mrdna

The Netherlands

@anandavandoorn

Belgium

Anne-Catherine is a content creator, entrepreneur, and passionate home interior designer. She runs CloClo, a blog where she shares expert tips and creative ideas for styling beautiful living spaces. In addition, she owns a furniture store featuring curated pieces that blend timeless design with modern trends, helping customers create homes that are both stylish and welcoming.

@annecatherine_cloclo

France

Hélène is an interior designer and content creator with a nature-inspired style. She blends earthy tones, natural elements, and rustic furniture to create warm, serene spaces that reflect her passion for organic and timeless design.

@helene.gombert

Italy

Marinella, is an accomplished Italian architect and interior designer based in Rome, channels her passion for art, design, and sustainable fashion into captivating content creation. She is the visionary founder and director of I Love Green Inspiration, a magazine dedicated to celebrating creativity and eco-conscious living.

@ilovegreeninspiration

The UK

What started as a small YouTube channel, has now grown into a go-to source for all things vegan, cottage core, and sustainable lifestyle. Madeleine Olivia created the platform to inspire others to live a more sustainable, ethical, and waste-conscious life with the message of loving themselves while loving the planet.

@madeleineolivia

The US

Julia is the writer and photographer behind Simply Living Well, a book and blog dedicated to creating a natural, low-waste home. With a background in biology and conservation, she brings a thoughtful, intentional approach to sustainable living. She lives with her family in a restored farmhouse on Chicago’s North Shore, where she shares with her audience her home interior, cooking, gardening, and crafting her way to a simpler, more sustainable life.

@simply.living.well

Image Credit: Mater

Ema is the Media & Market Researcher at VOCAST. She grew up in Brussels and previously worked with fashion PR. She has a Master’s degree in International Development and Business and has a strong interest in sustainable and ethical practices within the fashion industry.

 

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A Closer Look at Copenhagen Fashion Week 2024: Insider’s Insight

A Closer Look at Copenhagen Fashion Week 2024: Insider’s Insight

by | Oct 22, 2024

A Closer Look at Copenhagen Fashion Week 2024: Insider’s Insight

Copenhagen Fashion Week is for many the culminating gathering of Scandinavian creatives. During the two weeks per year, one Spring/Summer edition and one Autumn/Winter edition, a global swarm of creatives flock around the Danish capital to get the details on the latest Scandinavian fashion. Traditionally, fashion weeks have provided an opportunity for the people on the commercial side of fashion, such as retailers, buyers, etc, as well as exclusive A-list celebrities, to scope out the latest trends seen strutting down the runways. However, with the boom of social media, the audience is changing. Who, then, can one expect to see at a Copenhagen Fashion Week fashion show in 2024?

Through market research and some invaluable insight from seasoned professionals, we have dissected the crowd at this year’s autumn/winter edition of Copenhagen Fashion Week, to help brands understand to whom they can direct their marketing and communications. According to the Fashion Editor for both Café Magazine and King Magazine, Daniel Lindström (@daniellindstrom), things have changed a lot since the golden days of fashion weeks.

“When I started going to shows, that was in ’99, before social media, it was just buyers and journalists. The buyers sat on one side of the catwalk, the journalists on the other. No celebrities at all. There was something called Fashion TV, a low-cost channel that aired all the shows. Looking at that video now from Prada’s Fall/Winter ’99, it looks surreal, because there were almost no people there. There were only 200-300 seats, and you see maybe a few retired industry people, maybe some New Yorker who owns a clothing store. Not a single celebrity, not a single spectacle.”

Meet the Insider: Daniel Lindström

Daniel Lindström has been in the game for a long time. Working with the two iconic Swedish men’s magazines King and Café since the 90s, he has become synonymous with fashion in Sweden. As Fashion Editor for the two magazines, Daniel has traveled the world on behalf of Swedish fashion, seen everything, done everything and knows everyone.

 

 

Copenhagen as a Hub for Creativity

“Young, eclectic, positive”.

These are the three words that come to mind for Daniel Lindström when he thinks back on this year’s rendition of Copenhagen Fashion Week. And while he means that influencers have a tendency of turning the camera on themselves instead of reporting from the shows, he ponders on what Copenhagen Fashion Week would be without influencers:

“It [CPHFW] wouldn’t have been where it is today at all, they still spread this great image of Copenhagen as a fantastically creative city with young, new fashion designers, and a great environment for fashion. They have an important role in spreading the brand of CPHFW.”

 

Lindström paints a picture of Copenhagen as a hub for street style and a more democratic environment of fashion. Before Vogue Runway and influencers, fashion photographers would flock to Copenhagen to capture the outfits of both attendees and regular folk on the streets of the city. It became the foundation on which the street-style photography phenomenon grew. Since then, the crowd at CPHFW has turned out crazier, more eye-catching looks year after year, simply because of that strong tradition of great style that Danes seem to have. Both British, American, and (of course) Scandinavian Vogue reported attentively on the street style looks of this year’s Copenhagen Fashion Week, of which most portrayed the outfits of influencers.

“If you go to Copenhagen as an influencer today, there is so much content being created. It’s much more palpable in Copenhagen than at other fashion weeks”

Influencers being photographed in the streets act as direct, free content for the brands they work with. These days you will see many creators arriving at shows in fully borrowed looks, straight from the showrooms of the brands, most often in clothes from current collections. This is an effective way of reaching their audience without feeling pushy or unnatural, it is simply a case of capturing a stylish person on the street. It therefore goes to show the important role content creators play as stakeholders during Copenhagen Fashion Week. They can be a useful tool in creating a narrative around one’s brand using multiple platforms, instead of the more direct-to-consumer approach that a traditional campaign would do.

Noorunisa, Copenhagen Fashion Week Street Style SS25

The SOT – Social Media of Things

Since the meteoric boom of social media in the past 10 or so years, the criteria for attending a fashion show have changed with the environment around it. Nowadays it’s not uncertain that you’ll see the likes of TikTok’s “Tube Girl” attending, or even walking fashion shows in London or Paris. Or “fashion influencers” taking rolls of content of themselves at the runway venue. This phenomenon has not been lost on the Scandinavian fashion weeks either. This year’s edition of Copenhagen Fashion Week featured, yet again, a few selected “Official TikTok Ambassadors”, both local as well as international. These ambassadors not only get the chance to attend multiple shows and maybe even sit in the front row, but they are all responsible for “guest-hosting” Copenhagen Fashion Week’s social channels. CPHFW states that the purpose of these ambassadors is to share content from “street style, backstage, live from the front row, events, and everything in between.” 

The desired effect from this campaign might be twofold. First, it’s a way to gain attention from a new audience: the TikTok audience, which attracts not only younger but also more diverse crowds. Secondly, it becomes an act of democratizing the fashion week, breaking down some of the exclusive, high-barrier entry policies that have historically surrounded these weeks. Not only does inviting influencers to document contribute to this inclusivity phenomenon, but during this year’s edition of CPHFW, we also saw a multitude of brands deciding to show their collection in public spaces.

Tonya Matyu, Copenhagen Fashion Week Creator Hub SS25

Democratizing fashion

Brands such as Opera Sport, Marimekko, and Alectra Rothschild/Masculina all presented their new lines in outdoor locations around Copenhagen, open for anyone to enjoy. This is another good example of where fashion in Copenhagen is blended into the broader scene of the community. People on the street can easily participate, without disturbing the already decided-on aesthetic of the shows.

An extreme contrast to these shows is the “quiet luxury” brand The Row, bred by the infamously minimalistic Olsen sisters. During their autumn/winter 24′ show, attendees were asked to refrain from taking any photos or videos from the show and were instead given notepads to scribble down their ideas. Here, exclusivity becomes the pillar on which the fashion show itself stands. However, you may ask yourself if this is in an attempt to retain the illusiveness of fashion or find a way back to it. When thinking back on fashion weeks in the early 2000s though, Daniel Lindström expresses how a form of democratisation was starting to take shape already:

“The democratisation started already when brands began broadcasting their shows on the internet. Before that, we, the ones who were actually there, were the only ones who knew what had happened. Then, with Fashion TV, you could suddenly sit in front of your own screen and follow along. Those of us who were there felt that the exclusivity disappeared. But of course ultimately in a positive way.”

Noorunisa, Copenhagen Fashion Week Street Style SS25

Industry figures and their role at CPHFW

So what is the role of individuals, like Lindström with around 24,000 followers on Instagram, who exist in the influencing gray zone, hovering the line between influencer and editor – the industry people? Daniel explains how his role at Copenhagen Fashion Week is to gather as much information as possible by attending shows, looking at new collections and showrooms, and spreading that information to the readers of King and Café Magazine. He expresses how important it is for him to be able to simultaneously do quick reporting while keeping an eye on the horizon, something you might not need to consider as an influencer:

“Despite everything that happens around influencers and the search for the new, I feel that experience is rewarded and appreciated. […] The magazines are still important, Scandinavian Vogue for example, because a complement to this fast and digital landscape is needed. In addition to the TikTok voice, we need something more long-lasting. But then again I have to keep being curious, all the time.”

Industry figures are as influential as seasoned professionals, the heavy journalists, and as innovative and relevant as the novel social media influencers. At Copenhagen Fashion Week they represented the likes of stylists, authors, musicians, and much more. When we asked Lindström to reflect on what makes the crowd at Copenhagen Fashion Week so unique, he confirmed this notion:

“In Copenhagen, you can have a voice without a big following. You can be a chef, an artist, or a musician who doesn’t feed into “having followers.” They have a talent for inviting creators. That’s what’s so inspiring about Copenhagen.”

Noorunisa, Copenhagen Fashion Week Street Style SS25

Key Takeaways

While we keep seeing an increase in the presence of influencers at fashion weeks, brands have to keep their cool and find a balance between quantity and quality. If you are looking for quantity in content, focus can surely be put on inviting influencers to events, shows, and presentations. By tapping into the international appeal of street style and a more organic, rather than artificial brand campaign, brands can reach out to new and broader audiences.

If, on the other hand, quality is the objective, don’t leave the industry figures in the dark during fashion weeks. These seasoned professionals help bring a certain unmatched credibility that only comes from years of experience in the many realms of the fashion world.  Having broader knowledge of the industry helps make smart references and create sustainable buzz, not only through content but also word-of-mouth. Industry people can act as a patron, rather than an ambassador for your brand.

At Copenhagen Fashion Week you might run into:

Our international research team has gathered some of the most influential industry figures from each market. Take a look below:

Denmark

Frederik Lentz Andersen is a Photographer and the Creative Director of the agency Holidays, which he founded together with Kasper Smith and Agnes Buch. Prior to his current role, he was the Senior Fashion Director at Eurowoman and Euroman for more than 10 years. He began his fashion career as a piccolo at ALT for Damerne. Frederik has since worked many years as a model, and became the Fashion Director at Euroman in 2008 and a few years later at Eurowoman as well.

 

@frederik_la

Sweden

Daniel Lindström is the fashion director of Café Magazine and King Magazine and an icon amongst the Swedish Fashion crowds.

@daniellindstrom

Norway

Elise By Olsen is the Director of the Fashion Research Library based in Oslo. She has also been the Editor-in-Chief of Wallet Magazine, and the talent launched her first magazine, Recens Paper, at the age of 13, and by that entered the Guinness World Records as the youngest Editor-in-Chief in history.
 

@elisebyolsen

Finland

Anna Komonen is a Finnish fashion stylist, editor and buyer based in Helsinki, Finland and Stockholm, Sweden. Her styling work includes ad campaigns, brand images, magazines, as well as tv commercials and fashion shows.

@annakomonen

Germany

Christiane Graf is a German stylist and creative consultant based in Hamburg and Paris. Her work aesthetic is androgynus, creative and modern and perfectly balances the sharp German with the chique French styles.

@christiane_graf

Austria

Raffael is an Austrian content creator and stylist for men’s fashion. He is also part of the social media agency “unleashed studios”. His fashion style is neutral and monochrome showing a sleek and minimalistic way of styling men’s everyday fashion.
 

@raffaelpayr

Switzerland

Leandra Nef is the Deputy Editor-in-Chief at annabelle magazine. She writes about the newest fashion trends and lifestyle topics.
 
 

@leandranef

The Netherlands

@stephaniebroek

Belgium

Cyrielle Christiaens is a Belgian entrepreneur with a passion for fashion. She is the founder of the concept store Kure, which sells a broad range of Scandinavian fashion brands.

@cyrielleforkure

France

Laura is a French fashion industry figure, based in Paris and London. Laura started her career as a buyer and merchaniser for luxury brands such as Ralph Lauren and Net-A-Porter. Currently, Laura works as a freelance fashion consultant, and is present at the world’s leading fashion weeks.

@lauravidrequin

The US

Aoki is the daughter of Kimora Lee Simmons and Russel Simmons. She is an American socialite, with a degree in classics and government from Harvard alongside a successful modeling career.
@ aokileesimmons

Image credit: Copenhagen Fashion Week/Noorunisa/Tonya Matyu – SS25. References: Vogue: Is the Row’s No Social Media Policy the Ultimate Act of Quite Luxury? Forbes: How Influencers Are Giving Fashion Week A Whole New Look. Vogue Business: Tube Girl at Balmain? Internet personalities are invading Fashion Week

 
Matilda Tjäder is the Swedish Media Researcher at VOCAST. She holds a Bachelor’s degree in Business Administration and Service Management for Arts and Culture and has previously worked both with contemporary art as well as lifestyle PR. Her interests include contemporary art and overspending on fancy snacks.
 
 

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