Can you share the main inspiration behind the Spring/Summer 2025 collection?

This season, it has first and foremost, been of great importance, to work with the key aspects of the re-newed brand identity.

We have strived to focus on the core dualities of the brand direction.
Such as, playing with the idea of feminity vs. masculinity, the raw vs. refined, occasional wear vs. everyday attire.

With that in mind, we wanted to give our take on a contemporary workwear uniform, showcasing the blurred lines between work and private life and questioning the demands of a contemporary work-life balance.

The approach to work and conformity was further explored by the work and thoughts of artist Eva Hesse. Here we drew inspiration from Hesse’s use of tactility, color scheme, and everyday objects, combined with traditional workwear garments and office attires.


How does this new collection reflect the ethos and core values of Lovechild 1979?

Aa a natural progression, Lovechild 1979 has undergone a sort of “coming of age” transition without losing its roots.

The early brand philosophy embodies a straightforward approach to design.
Even though the evolvment of the brand aesthetic, might be moving in a more mature direction, the idea of an accessability in design appeal, still remains.


How do you balance maintaining the brand's tradition with introducing new elements in your designs? After the shift towards Scandi-minimalist aesthetics, how have you continued to evolve the brand's style?

In the past, prints have, more os less, had an influence in the overall brand signature and tradition.

It somehow, felt natural to infuse new vitality into the way prints, previously, were being adressed; and redefine in which manner it should be incorporated in a scandi-minimalistic context going forward.

For SS25, the print is being reinterpreted by using a fabric-dye technique that gives the impression of a subtle print in light green muted shades.


What does it mean for Lovechild 1979 to be a part of Copenhagen Fashion Week?

CPHFW is a brilliant platform to be able to bind connections with the international markets that has an interest in Scandinavian fashion, whether it is press, buyers or other types of stakeholders. For us it also holds a window to the international B2C receivers too, which is significant for us to reach out to, in our strive to grow. So, we see it as a well invested effort to be present and take active part in the week, and are glad to be able to conveniently re-see both familiar faces and new ones when we present our new collection.


Who do you envision wearing the Spring/Summer 2025 collection? Is there a particular type of woman or lifestyle you had in mind while creating the collection?

Our SS25 show model cast is good representation of the idea and diversity in who we envision wearing Lovechild 1979, even though it is in a constructed context.
But, it is an attempt, to show the purpose of versatility through the individual itself.

There should not be guidelines provided or any restrictions in how we see Lovechild 1979 is being worn.


How does your personal style influence your design choices for Lovechild 1979? Do you have any personal favorites from the new collection that you’re particularly excited about?

First and formost, functionality has to be present in every piece of design.
I tend to rather focus on the richness and tactility of the fabric rather than decoration in the design, which also reflects my own personal style.
Details must always serve a purpose in the garments and all styles need to have a certain versitility when being included into the wardrobe.

One of my favourite pieces is a workwear-inspired jacket made in a raw denim. I like the idea of embracing the impermanence of a garment. That it has had a life of it’s own and that it is not supposed to stay in the same condition as when bought.


Are there any upcoming projects or collaborations that you can share with us?

Actually, we are introducing swim wear after the request from our buyers. It’s a category we had before and faced out – but after some wishes out there, we decided to bring it back. We look much forward to reintroducing the line for the Pre Fall 2025 collection.


How is Lovechild 1979 addressing sustainability in fashion?

For the SS25 collection, it was interesting how sustainability could be addresed in the design language as well. Just like Eva Hesse’s sculptures that would change expression through deterioration. And the question arose, how to approach it.
The design should, in a subtle way, somehow question the perception of garments consumerism.

Like a cropped striped blazer in a slub cotton quality, that looks like it has been cut short.
It plays around the longivity of a garment, and is commenting on the perception of something that cannot be altered or changed completely.
Instead, it should aim to be propose the possibility for it to serve a new purpose, instead of being disposed.