Fashionable green! A Katja of Sweden dress by Katja Geiger.
Sometimes we need a change. If the change can’t get too radikal, it’s easier to just make a change in your home.
This was my way of decorating my livingroom in a different way. If the Katja of Sweden dress doesn’t fit, use it in another way. My crazy collection of Katja of Sweden dresses!
How should shoes look like? When Katja of Sweden, see picture above, presented her first shoe collection for the sales team they looked surprised. This was in the 1950th and her thoughts of shoes being comfortable, beautiful and fashionable at the samt time may not seem like a revolution today but was at the time not a common view. Katja asked the sales team kindly to try to sell them for a year or two. They did, with lot of hesitation, but of course it worked.
A multi-tasking woman would naturally enjoy buying shoes that suited the dress, were comfortable, stylish and sometimes even edgy. Who would say no to that?
Sources: Vecko-Journalen no 4, 1958, photo of Katja of Sweden by Georg Oddner
Malmö Museer and Photo by Sara Thorsson
Katja of Sweden made beautifully, timeless cloths with brave and colourful prints and pattern. Above you see prints by textile artists Hans Krondahl to the left and Sven Fristedt to the right. It is hard to understand today what a pioneer she was in the Swedish fashion industry. She made great impact in the 50th, 60th and the 70th with her comfortable cloths and shoes, which in many ways has been forgotten about.
Her belief in the vision of making comfortable cloths for the modern woman made her successful in America. Hence she became one of Sweden’s most successful designer abroad and it is therefore hard to find exclusive dresses by her in Sweden today. The swedes woke up later in 1966 when she had her show in Paris. The coat and dresses below are from the Paris collection inspired by Russian cossack and Swedish curbits.
The cloths above can be seen at the Malmö Museer and Malmö Konstmuseum. Katja of Sweden had her production in the MMT industry in Malmö from 1954 to 1975.
The fashion industry changes rapidly and perhaps not to the best. Today there is a ‘need’ for up to six collections per year and less time for analysis and creativity to develop slowly. This is Raf Simon’s opinion after leaving the Dior. The professional staff made it work but the pressure is hard, he said.
It was stressful when Katja of Sweden made her collections in the 50th, 60th and the 70th but in a more natural way. Today there are pre-fall and pre-summer collections, who needs them really I wonder? Not good for the sustainability. On top of this a couture collection is needed for those brands that produce those.
What the world need is less consumption of cheap cloths that only get thrown away when season is over, read Primark for instance. Vintage and high quality brand like Camilla Thulin and Lars Wallin would be better.
The industry struggles not only with sustainable issues but also consumers’ demand. Instagram consumers want to buy instantly but cloths tend to feel old once they reach the shops. Burberry have changed sales strategy and more will follow. Rodebjer is one. Stay tuned…
Photos by Sara Thorsson. The first are a Camilla Thulin vintage dress and the second is a modern Lars Wallin dress. The third is the kurbits pattern by Katja of Sweden, vintage.
I’m sorry to say that Sonia Rykiel passed away yesterday in Paris , 86 years of age. My thoughts go to all her colourful cloths, handbags and knitting that Sonia Rykiel designed. I have a nice handbag designed by her and there have been many women asking where they could get hold of one. Her design is provocative and brave with lots of colours. Sonia Rykiel was one designer that Katja of Sweden kept an eye on, both were true creative artists.
A Summer dress by Katja of Sweden
Design of Katja of Sweden may look simple, but making the dress easy to wear wasn’t simple when Katja started her career. In fact, what Katja saw and what made her bright achievement to fly was her foresight in how women wants to dress. She spotted a gap in the market and took the opportunity to prosper. What she saw when she first got her idea in 1940th was that the fashion did not develop in the same direction as the new modern Scandinavian furniture designs made by for example Bruno Mathsson. These designs were getting popular in New York but women in strict fashion from Paris could not even use those beautiful chairs. Katja wanted in this way liberate women with her more comfortable ready-to-wear cloths.