Beate Karlsson of AVAVAV on the Brand’s Latest adidas Campaign, Sushi & Why Fashion Needs a Sense of Humour.

Editorial

12 Nov

PERFECT: Hi Beate! This is your third collaboration with Adidas, could you walk us through the inspiration behind the collection and the campaign surrounding it?

BEATE: It’s not the same soul-searching process as when we work on the Avavav main line — no emotional deep dives or existential tears. With Adidas, it’s always been more about having fun with sports, stepping into the three-stripe universe like tourists on a creative vacation. We’re guests in their DNA, which is kind of liberating — there’s a limit to how far we can go, but that also gives us something to play against.

Each piece came from a different spark: I wanted to make my version of an “I ❤️ NYC” beanie, with two pompoms. The matching scarves are for the team-less Avavav fans — full enthusiasm, zero athletic commitment. The Superstars got this moulded leather treatment so that all the logos and stripes pop out like they’re carved out of clay. And the “baby puffer” is literally what it sounds like — a tiny, overinflated jacket that somehow turned into a cropped, ‘90s femme dream.

PERFECT: What are the biggest advantages that working with a powerhouse like Adidas has brought to AVAVAV — both creatively and logistically?

BEATE: One obvious advantage is the level of resources — for a young brand like Avavav, it’s been incredible to tap into their production muscles. We’ve developed two completely new shoe molds — something we’d never have the budget for on our own. But honestly, the best part has probably been traveling with Adidas. Suddenly we’re flying business and staying in hotels that don’t have “Hotel” in their name — which is a bit different from our usual Avavav trips, where we just pick something and hope for the best.

Working with their big teams has been inspiring too, even if it’s… a lot of meetings. But in all seriousness, the people we’ve worked with have been amazing, and we’ve really felt like we’re part of a family somehow. You definitely learn the difference between moving like a giant and moving like a small creature with too much caffeine. There’s freedom in being tiny, but there’s power in being part of something established.

PERFECT: You’ve ventured into sportswear with this partnership — how has designing for a sportswear brand felt different, and what have you enjoyed most about that shift?

BEATE: Stepping outside one’s comfort zone is always intriguing. Fashion can sometimes take itself rather seriously — it’s a world built on references and precision. Approaching it through the lens of sport felt surprisingly liberating, because it didn’t have to perform as fashion; it simply had to function. Starting from practicality and then reinterpreting it through a fashion perspective creates something slightly odd — and, in its own way, a little bit seductive. It exists in that in-between space, where neither fashion nor sport quite belong, and that’s what makes it exciting.

PERFECT: Humour is central to AVAVAV’s identity — how do you decide when to be playful versus when to get serious in a design?
BEATE: Humour and playfulness are essential to my creative process. I need a sense of freedom — high ceilings, metaphorically speaking — to let ideas take shape without overthinking them too soon. For me, the best work happens when it feels like play. But once the concept is set and it’s time to translate it into a real object, that’s when the mood shifts. Production requires a different kind of precision and discipline. I like that contrast — being able to move between chaos and control, intuition and craftsmanship.

PERFECT: And Do you feel fashion could benefit from not taking itself so seriously?
BEATE: Yes, I do. I think the structure of fashion weeks and the constant need to “show” and “perform” have made the industry a bit caught in its own loop — not necessarily serious, but sometimes a little self-conscious. There’s this unspoken pressure to be hyped, to win an invisible competition judged by no one in particular, yet by everyone at once.

I’ve started to feel that it’s all a bit exhausting — for brands, for audiences, for everyone. I’m more interested now in stepping out of that cycle, doing things because they feel exciting rather than just doing for the sake of doing.

PERFECT: Many of your shows feel like events or performances rather than typical runway presentations — where do these show concepts begin, and how do you let them evolve?
BEATE: Each collection reflects something we’ve been learning or struggling with in real time. The concepts often come from a mix of curiosity and mild frustration with the realities of being a small brand in a big industry.

The first show, where models fell on the runway, came from my own fear of failure. It was my debut, and all I could think about was what could go wrong — so I put that fear on stage. The next one, where the clothes fell apart, was about the challenges of production and quality when you’re new and small. Then we did a show about having no time at all, which was… very true.

The most recent presentation explored the tension between creativity and commerce — something every independent brand faces. In the end, it’s a way of turning our mistakes and frustrations into something a bit more poetic, and a way to stay true to our thoughts.

PERFECT: You’ve mentioned that fashion week and the industry at large operate by a set of ‘rules’ you’re keen to question. If you could change one thing about how the fashion industry functions today, what would it be?

BEATE: If I could change one thing, it would be the unspoken rule that every brand must put on a show each season. For young, independent labels, that pressure can be exhausting. Fashion week has become more of a public spectacle than an industry conversation, and it often feels like brands are performing to stay visible rather than building something sustainable.

When you start without capital or connections, the only thing you can do is show and expose yourself — to market before you can truly produce or distribute. It’s an easy trap to fall into; we’ve all become brilliant at visibility, but visibility alone doesn’t build a business. The structure favours those with resources already in place.

What excites me now is not necessarily the next show, but the idea of building a company that can stand on its own — with the right production partners, distribution, and team. There’s real joy in creating something that lasts, surrounded by a team that feels like a chosen family. That, to me, feels far more meaningful than chasing the next round of applause.

PERFECT: And finally, outside of the studio and runway world, what three things are bringing you joy right now?
BEATE: Good question! I’ve recently fallen back into Dario Argento’s world — I love his universe, it’s magnetic. I also recently re-explored sushi; I’m in such a mood for it lately. And the third one is my family and friends!