Reykjavik Street Style

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reykjavik

Street Style Laura Hensley

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curating reykjavik An exploration of the Icelandic city, street and style Reykjavik, the capital of Iceland, is home to approximately 120,000 of the country’s total population of 310,000. As the nation’s cultural hub, Reykjavik is a vibrant and energetic city teeming with creativity and imagination. Aside from its cozy independent eateries and a spirited live music scene, Reykjavik is also an emerging centre of the inimitable Nordic fashion scene. Typified by decorative colourful knits and vintage fur-trimmed hats, you won’t find any H&M outlets on this mystical and scenic island. To Icelanders, dress is an essential means of personal expression, and a channel through which individuals can communicate a sense of identity. Reykjavik Street Style investigates the distinctive factors that set the citizens of the city apart from the rest of the fashionably-inspired world, and delves into what makes the people of this fascinating nation so unique. Based on travel, research and personal conversations with Reykjavik residents, this project highlights the country’s emphasis on its Icelandic culture, support of local design and its people’s desire for self-expression as contributing factors to the styles witnessed on the streets. Reykjavik Street Style breaks down this content into three distinct themes that help describe why Icelandic dress is so wonderfully idiosyncratic. This curatorial project seeks to inform and engage, while encouraging readers to make meaningful connections of their own. 3



city The magical city of Reykjavik With a population just one-twentieth the size of Toronto, Reykjavik has a small yet powerful artistic community. Known as home to musicians such as Bj枚rk and Sigur R贸s, little is commonly known about the city outside of these famed exports. As a city that receives continuous daylight in the summer and perpetual darkness in the winter, Reykjavik is never short of changing climate. Although the city is the most populated area of the entire nation, Iceland itself is one of the least densely populated countries in the world. It is the most literate nation on earth (99.9%), produces tentimes more films than the United States, is deemed one of the three happiest nations in the world, and 92% of its citizens are ethnically Icelandic. These unusual statistics help provide some insight into understanding why unique dress and creativity in this island nation is more culturally prominent than not.

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Characterized by its colourful roofed homes and scenic landscapes, visiting Reykjavik can feel like stepping into another world: one that feels mystical yet tangible. Despite the darkness of winter, Icelanders’ attitudes and dispositions often reflect the brightness they experience throughout the summer. The relatively cool weather, however, often influences what citizens can wear, as the temperature typically ranges from -3°C to 14°C based on the season. Perhaps due to the climate, Reykjavik is home to many cozy independent cafés and eateries. The energetic live music scene is a defining element of the city as one can find a band or musician performing somewhere every night of the week – often in a converted coffee shop or bar. The creative culture of Reykjavik extends well beyond music, as fashion and design have become artistic outlets Icelanders like to explore. While walking through the main shopping district of Laugavegur, one will find rows of independent boutiques lining the road as stylish citizens stroll the streets. The artistic community is prominent in the city, and by exploring the trendy 101 district (the postal code of this area gave way to the name), this cultural presence becomes evident.


In early 2008, Iceland’s currency (the króna) began to rapidly fall against the euro, and by October of that year, three out of Iceland’s four major banks had failed. This crash resulted in national losses worth over €50 billion, and Iceland was essentially bankrupt. The financial crisis took its brutal toll on Iceland’s economy as many businesses were greatly affected by the devalued national currency. The damage to the fashion industry was particularly evident, as citizens were “landlocked” due to the fallen króna. This meant that many could not afford to travel abroad to purchase clothing, therefore turning inward for locally manufactured products. Although the months after the crash were particularly challenging, Icelandic designers stayed afloat due to supportive customers and the country’s efforts to help independent companies survive. Despite the fact that the financial strain was an economic setback in many ways, it forced citizens to buy homegrown goods and focus more on domestic design. After the crisis, supporting Icelandic designers became more paramount than ever before. Aside from the shaky economy, Iceland is one of the most environmentally sustainable countries in the world. On top of it being one of the least polluted places on earth, 75% of its total energy

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comes from hydro- and geothermal sources. With the world’s increasing concern over global warming, many international leaders are now looking to Iceland’s model of low-impact living and ability to prevent natural resources from diminishing as examples for themselves. Although climate change is a fairly recent topic of debate in other parts of the world, maintaining an environmentally aware ethos has been part of Iceland’s identity for thousands of years as sustainability has always been a primary national concern. The desire to live while walking lightly on the land directly streams into the fashion industry as many designers find energy and inspiration from their well-preserved surroundings. Reykjavik’s perfectly situated waterfront location means residents have frontrow seats to frequent showings of the Northern Lights. By driving outside the city to explore the country, it is easy to become lost among sights of mountains, geysers, volcanoes and lava fields. Such common interactions with nature in its purest forms helps connect Icelanders to their environment, and provides them with a surreal backdrop for imagining their next artistic creation.


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Elements of nature directly affect the fashion industry as many designers find energy and inspiration from their surroundings.


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street Word on the street-fashion in Reykjavik By way of the Internet, street style imagery has become more instantaneous than ever before. Through fashion blogs and online magazines, styles and trends found in international cities are easily documented and shared to a worldwide audience. Blogs such as The Sartorialist and FaceHunter have reinvented the way we see and perceive fashion; it has become something that can be found on the sidewalk, not just the catwalk. Previously overshadowed by better-known and heavily populated European style centres such as Paris and Milan (and more recently Scandinavian cities of Stockholm and Copenhagen), Reykjavik has struggled to put itself on the competitive fashion map. It has only been in recent years that Iceland has gained international attention as an artistic and creative capital for musicians and designers alike. Although most are still in their infancy, successful annual events supporting the arts such as Iceland Airwaves, Reykjavik Fashion Festival and DesignMarch have helped Reykjavik thrive as an artistic hotbed. Through these events and the power of the Internet, Reykjavik has become home to a larger inventive community that values creativity and expression through dress.

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Síta, 25

Steine, 23

“All my clothes are vintage. I love my dress because of the bright colours and the pattern. It’s from Rokk og rósir vintage store.”

“I’m wearing a self-made scarf, a Diana Freis shirt, KronKron pants, Marjan Pejoski shoes, jewellery from India and a vintage bag from my favourite vintage store, Welttenberg in Los Angeles.”


Urdur, 31

Olga, 36

“I’m wearing Aftur.”

“I love Icelandic fashion. Aftur is my favourite fashion brand. It’s colourful, happy, comfy and their clothes are made of recycled materials.” 15


Björg, 21

Saga, 25

“I’m wearing a knitted XL woolen coat I made myself, H&M dress, Dr. Martens boots, vintage bag and necklace also by myself.”

“I’m wearing vintage and Sonia Rykiel shoes.”


Tinna, 24

Margrét, 21

“I like fur, colours and second hand. Second hand is cheaper and with it it’s easier to create your own style.”

“I’m wearing a second hand jacket, dress and pants by Mundi and a bag from Nepal. I like to mix second hand with unique pieces from Icelandic designers.” 17


Street style has reinvented the way we see and perceive fashion; it has become something that can be found on the sidewalk, not just the catwalk.


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style A closer look at the Reykjavik fashion industry Known for its breathtaking views and distinctive wildlife, Iceland often feels like the isolated island that it is. It should then come as no surprise that Reykjavik is home to very few “big box� fashion chains such as the ever-growing H&M and the cheaply produced Forever 21. Although these mass-market chain retailers are the backbone of fast fashion consumption in other parts of Europe and North America, Iceland is extremely limited to the presence of these types of companies. Due to the lack of fast-fashion found on the island, Icelanders are more inclined to shop locally, which results in enthusiastic support of homegrown businesses. Known to appreciate and engage in the arts, citizens of Reykjavik value fashion design both personally and as an important aspect of their economy. They do not shy away from expressing themselves through clothing, as they communicate a larger cultural meaning by way of fashion.

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Unlike in neighbouring Nordic countries such as Denmark and Sweden, “big-box” fashion chains have seemingly little interest in taking over the island. Assumedly due to its population, economy, and geographical location, Iceland remains distanced. Although the largest mall in Iceland (Kringlan) hosts both Zara and Topshop outlets, the quantity of product in these stores is considerably low, and the said mall still houses a large number of national brands and businesses. As a result, citizens are forced to get creative with their style and naturally gravitate towards the suport of local fashion design. After speaking with some Icelandic citizens, it was apparent that promoting domestic design was important to them, and an important part of their decision-making process while shopping in Reykjavik. Because of the country’s fallen currency, much of the population feels it is critical to support Iceland’s economy and help foster homegrown businesses. Since the 2008 sea change, efforts to promote Icelandic design have been made and in 2009 Reyjkavik introduced its own annual fashion event: Reykjavik Fashion Festival. The success of the fashion festival has led Reykjavik into the spotlight as a design-savvy city bursting with promising talent. Designers such as Mundi, Guðmundur Jörundsson, and Kormákur


& Skjöldur have received international attention for their collections and are notably recognizable overseas for their uniquely “Icelandic aesthetic”. Part of the reason Reykjavik has such an avid fashion community is due to the practiced art of conveying a sense of self through dress. After interviewing several Icelanders, it became clear that “dressing for yourself” was far more important than following a trend or knowing “what’s in fashion”. Icelandic designers themselves also have a tendency to ignore what others are doing, especially overseas, preferring to instead focus on their personal vision and craft. This sense of individuality and disregard for popular trends brings fashion design back to its original roots of being a creative channel and art form — with less focus on being a money-hungry commercial industry. A prime illustration of this artisan mindset can be found on the Icelandic brand Spaksmannsspjarir’s website. “One of our main aims is to lessen our eco-footprint by using high-quality textiles. We’re able to do this because we don’t mass-produce and we don’t follow the international fashion game of designing for seasons. For us, it’s about quality, not quantity.” (Spaksmannsspjarir, 2013)

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INTERVIEW: Bára Hólmgeirsdóttir Icelandic designer Bára Hólmgeirsdóttir is the founder and owner of Aftur: a design brand that specializes in recycling old clothing and turning it into modern fashion. By designing Aftur pieces for over 14 years, Hólmgeirsdóttir has become extremely popular with Icelandic citizens and celebrities alike. Some of her better-known fans include Björk, Jónsi of Sigur Rós and Daníel Ágúst. Apart from her colourful one-of-a-kind creations being wonderfully avant-garde, the defining element of Hólmgeirsdóttir’s work lies in her sustainable production and manufacturing ethics. By sourcing all materials from alreadyexisting clothing, Aftur limits its carbon footprint and helps promote sustainability in the fashion industry. Although it may not be possible for all Icelandic designers to follow in Hólmgeirsdóttir’s green footsteps, her business model expresses the core belief that most business owners have — exist for the good of the local economy. In Iceland that mindset is embraced by its creative citizens, as clearly defined by their distinctive street style.

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What inspired the Aftur brand to be created back in 1999? Aftur is a fourteen year-old company that specializes in recycling old clothing and turning it into modern fashion. In short, we redesign clothing, and our emphasis lies in working locally, being environmentally sustainable and operating an honest business. We created the brand because we felt the need to design things that we could not find anywhere else. Personally, how important is sustainable design and manufacturing to you? Do you think that most Icelandic designers share a similar mentality? I just don’t see anything else as an option. I am a sustainable fashion designer, and think it would be incredibly cool if Icelanders were to asset their unique position by striving for sustainability and environmentalism in these areas. Imagine if the few people that are involved with fashion here would come together and agree to an honour code of sustainability and environmentalism? We could—due to our small size and all our clean energy— set an example for the rest of the world. Not only would our hands be clean of a lot of the foul things that are going on in the industry, it would also serve as an excellent promotional tool and talking point for Icelandic fashion.

Aftur’s 2010 collection


Aftur believes in operating fairly and honestly. What type of practices does working in this manner include? Our ethics include treating our staff with kindness and honesty, and paying them fairly for their work. Aftur also believes in respecting the environment. How does Iceland’s economy affect the local fashion industry? I am mostly affected by our currency and how bad it is. I would say that the economic crash has affected Icelandic fashion designers in a positive way more than anything. In the crash aftermath that whole “Choose Icelandic” campaign was launched which brought local shoppers’ attention to us. I’ve had people coming into the store to ask if we’re selling local designs and making their purchases mostly based on that. Long story short: our sales have been up, but the currency is screwed. What are some of the benefits and drawbacks of working your craft out of Iceland? In my case there are many obvious benefits, as I choose to work locally. The drawbacks are also obvious, and are mostly connected to our currency system. Focusing on the benefits though, the isolation factors in, as well as the fact that one often benefits from being an Icelander—you can be a big fish in a small pond. Over here you have the network, Aftur’s 2010 collection

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the language and a general understanding of how things are done. Of course, since I only work locally, I do not experience the troubles other designers who work with factories abroad may. Since I don’t use them, I may be a bit of an anomaly. Although Aftur has sold offshore, it does not really interest me. Is dress a means of personal expression for you? If so, what does your style convey about your personality? I don’t know. I just try to create things that I like or want to and try to compromise as little as possible. But my personal style is a lot darker than I can allow Aftur to be. How do you feel about the presence of fast-fashion chains such as Zara and Topshop on the island? I just don’t like them wherever they are— Iceland or elsewhere. How does nature and Reykjavik’s climate influence Aftur’s designs? Well there really isn’t a summer here; it’s more just like a good spring. Because of this, I do more clothes that can be worn all year in Iceland. Nature does not influence my designs but instead gives me energy. What do you think is unique about the mentality and way of life of Icelanders that distinguishes the country from other Nordic nations?

Jónsi of Sigur Rós WEARING AFtur

We are told from an early age that we can and are allowed to do/be anything we want to. We also don’t have a lot of class distinction. What do you think Reykjavik street style says about Icelanders and their sense of individuality? I am not quite sure, but I have given the subject a lot of thought as I get asked this in interviews all the time. There’s something there... Hmmm. There is a core of Icelanders that dress well and fashionably, but most of them just loll around sporting fleece or black clothing of some sort. The divide is really between 101 Reykjavik and the rest of the country as far as I can tell.


101 style is good and tells a lot about the creativity that goes on there, but outside 101 it’s totally different. There’s something edgy about the 101 crowd. The kids there are original and alert. The rest of us just wear fleece. Why do you think Reykjavik has such an idiosyncratic fashion scene? What do you think differs the city from any other style-savvy community? I have no idea. Maybe it’s that we feel we can do what we want and don’t care what others think. What would you say the world’s perception of Icelandic fashion/design is, if any? I believe that pretty much every idea the outside world has about Iceland being cool or fashionable stems directly from Björk. Leave her out of the equation and you’d mostly have people connecting us with Icelandic wool and products made from fish skin. Icelanders are perceived as being somewhat edgy, which again I think we can directly credit to Björk, Sigur Rós and our musicians. We have no history or breakthroughs in the global fashion market, but we do have an edge and some people associate a quality of coolness to us.

Aftur’s in house collection

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To Icelanders, dress is an essential means of personal expression, and a channel in which individuals can communicate a sense of identity.


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References “About RFF.” Reykjavik Fashion Festival. N.p., n.d. Web. 18 Jan. 2013. Chozick, Amy. “Style & Substance: Fashion Taps a New Cool Backdrop: Iceland.” Wall Street Journal: B.1. Jan 28 2005. ProQuest Business Collection; ProQuest Newsstand. Web. 4 Oct. 2012 . Evans, Andrew. Iceland. Guilford: The Globe Pequot Press Inc, 2011. Print. Fashion Iceland Design Centre; BLOG.” Iceland Design Centre. N.p., 2012. Web. 21 Oct. 2012. Hardarson, Thor. Personal Interview. 13 Jan. 2013. Hólmgeirsdóttir, Bára. Personal Interview. 1 Mar. 2013. Magnússon, Haukur S. “Fashion Distraction.” The Reykjavik Grapevine. N.p., 19 Mar. 2010. Web. 28 Oct. 2012. Nagasaka, Fumi. “Mundi at Reykjavik Fashion Festival.” Dazed Digital. N.p., 1 July 2010. Web. 28 Oct. 2012. Piazza, Jo. “Slow Fashion Movement Picks Up Speed In Iceland.” Fashionista. N.p., 4 Apr. 2012. Web. 28 Oct. 2012. Sigurjónsdóttir, Æsa. “The New Nordic Cool: Björk, Icelandic Fashion, and Art Today.” Fashion Theory: The Journal of Dress, Body & Culture, 15.2 (2011): 239-58. June 2011. Web. 5 Oct. 2012. Sigurðardóttir, Hófí. Personal Interview. 1 Jan. 2013. “Spaksmannsspjarir.” Spaksmannsspjarir. N.p., n.d. Web. 30 Jan. 2013.

image Credits Bloomberg. Retail and General Views of Iceland’s Capital. 26 Sep 2011. Getty Images, JPEG. Bloomberg. Reykjavik City Before Icelanders Vote on Debt Repayment. 2 Apr 2011. Getty Images, JPEG. Bloomberg. Trial of the Former Icelandic Prime Minister. 23 April 2011. Getty Images, JPEG. Bryson-Hackett, Kelsie. Iceland Set. 2012. Flickr, JPEG. Dario Cantatore. Reykjavik Fashion Festival, Day Two. 2011. WireImage, JPEG. Education Images. View from Hallgrims Church. 16 Dec 2003. Universal Images Group, JPEG. Hämmerle, Gunnar. Reykjavik. 22 Apr 2011. Style Clicker, JPEG. Jokinen, Liisa. RVK Looks Series. 2012. Iceland Design Centre, JPEG. Musicians wearing Aftur. Aftur, JPEG. Photos. 2010. Aftur, JPEG. Rodic, Yvan. Reykjavik Face Hunter. 2012. Face Hunter, JPEG. Sinding, Adam Katz. Reykjavik Archives. 2011. 21 Eme, JPEG. Spessi. The Twilight Bone. 2012. Mundi Vondi, JPEG. Tomlin, Annie. Where to shop in Reykjavik. 26 Jan 2012. Admiring Distance, JPEG.

Reykjavik Street Style Written and designed by Laura Hensley


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