Helin Honung enters the room like a vigorous yet gentle whirlwind. A casting director in the fashion and film business and a sincere soul, she is full of life and dressed in chunky military boots, loose-fit jeans and a tailored shirt. She never seems to pause, yet always has a serene expression. With an intense lifestyle that encompasses managing her own agency, having homes in two cities and a relentless exercise regime, she’s constantly on the move, exploring the world as well as her inner essence and ceaselessly evolving in all areas of her life.

From a young age, Honung has been into sports – anything from yoga to kickboxing – and it has added an invaluable dimension to how she’s evolved as a person. It’s clear that, for her, the importance of exercise in her life lies in how it helps her mentally as well as physically. “It’s not rocket science, really,” she says. It’s commonly known that exercise makes you more focused and productive, and Honung is the personification of this principle. “Exercise eases my mind and makes me feel strong, mentally and physically. It takes me to a place where I can think more clearly and in a more nuanced way. That’s why it’s essential for me.”

Honung fell into her profession by accident. A friend of hers was producing a music video and asked her to help with the casting. Honung had recently dropped out of the design school Tillskärarakademin in Stockholm after realising that fashion design wasn’t for her. “I was a total wreck and under-stimulated, so when my friend asked me, I thought, ‘Why not? Let’s do this.’” It’s been four years since that first job and, today, Honung has her own agency; she has found her true purpose within the fashion world. Leading an active lifestyle seems to be crucially complementary to what she achieves in the professional sphere, so we ask whether she feels these fields energise each other. “If I compare the periods in my life when I haven’t worked out to the times I have, I notice a huge difference,” she says. “It’s a feeling of being in control and understanding the process and how to deal with it. It’s the only place and space where I’ve been able to handle external stress. I believe that goes hand in hand with how the two fields stimulate one another.”

Unsurprisingly, Honung is not one to get comfortable and settle down immediately. Growing up in a small city, she has always had an urge to explore and be independent. “It has affected everything I do in life,” she says. When travelling she’s open to whatever presents itself. Instead of seeking something specific, she prefers to explore unknown streets and enjoy the atmosphere of the cultural scene. “For me, city life has always held the idea of being free and being whoever I want to be. That’s something I’ve been aiming for.” As a consequence, and also because her boyfriend lives in Berlin, she divides her time between Stockholm and the bohemian and artistic German capital. “Stockholm is a bit idyllic, at least for me, but still restricted, while Berlin is dirty and liberal,” Honung says. “Different cities teach you different things and I’m in it for the experience.”

Living part-time in Berlin has developed Honung in multiple ways. She used to be scared of failure, but life in Berlin has been an era of personal misadventure that has evolved her perspectives. “I’ve learnt a lot about other people’s behaviour as well as my own. I learnt about being in an unsafe environment and about my own loneliness.” Honung feels that Berlin’s citizens are very different from her friends in Sweden. “I really like that. People around the world travel there or settle down for a while because of its openness and liberalness. Berlin is like its own state, it’s fascinating.”

Honung combines urban life in Berlin with her desire to be close to nature and revitalise her body. When the weekends come around you’ll find her with her boyfriend at the Vabali Spa, “walking around naked, switching from one sauna to another and enjoying an aufguss [a ritual involving pouring cold water enriched with essential oils on hot coals] or a cold dip in the pool”. Some days, she can be found strolling around the large inner-city Tiergarten Park or at her favourite gym, Chimosa, devotedly strengthening her body and mind while simultaneously feeling the spirit of city life.

The combination of an active lifestyle in the city is reflected in Honung’s clothes and her ability to put together a comfortable yet stylish look. “I just want to be comfortable all the time,” she says. By combining quality fabrics and elegant, tailored garments with streetwear influences, she’s found the perfect wardrobe for her multifaceted lifestyle.

Being relaxed in her clothes may also reveal how comfortable she is within herself. Honung says that she feels most like this “by myself, wherever”. This could also be a result of her determination to be in control of her body and mind, as well as that ceaseless drive within her to explore. By pursuing an active lifestyle and remaining steadfast in her desire to challenge herself and be open to new fields, cities and perspectives, Honung characterises the ability to be in a state of sustained evolvement while simultaneously staying true to her pure spirit and nature.

Special thanks to Peak Performance

Team credits
Words by Hedvig Holgersson
Photography by Daniel Roché
Styling by Mine Uludag
Hair by Jennifer Galle
Makeup by Helena Narra using Lancôme
Digital operator Moritz Thau
Retouching Nitty Gritty, Berlin
Location Wolkn Space
Special thanks to Peak Performance

Fashion and beauty credits
#1 OMG Shirt and OMG trousers
#2 Raincoat 2-Layer
#3 #4 Bounce hoodie and My trousers, shoes by Balenciaga
#5 My trousers, shoes by Balenciaga
#6 Twist shirt jacket and Alpha trousers
#7 Code crew-neck sweater
#8 #9 M logo top and M tech club shorts 
All clothes Peak Performance
Makeup Lancôme

Dead Vibrations

Consisting of Christian Jansson, Elmer Hallsby, Josefin Ahlqvist Lyzwinski and Louise Erdman, Dead Vibrations break the sound barrier with their heavy tunes. Just listen to their eponymously named debut album, released in January – it will blow your mind. The Stockholm-based band combines the darkest aspects of psych rock with minimalist shoe gaze, accompanied by angry drums.

They explain their own sound by saying that it’s characterised by their previous individual experiences as musicians. “Everyone has their own way of playing and musical peculiarities that go in different directions, which I believe makes the final sound unique,” says bassist Hallsby.

Jansson, Dead Vibrations’ vocalist and guitarist, says the album stands out quite a bit from their previous releases, since they did not have to work to any deadlines when producing it. This allowed them to take their time and let the music grow. “The songs became more thought out and were allowed to breath for a while until we felt fully content with them. It allowed the ideas and thoughts regarding the sound to flow naturally. It’s a mixture of something beautiful and evil, like a summer’s day with dark clouds and tense air pressure,” he says.

Dead Vibrations seem to live and breathe music. They describe it as their medicine and a great passion, something you sense listening to their tracks. To be absolutely free and without boundaries triggers their evolvement and keeps their creative spark alive. “I think that we evolve musically by not having any boundaries. We’re free and able to do whatever we like, making music in a way that feels the most comfortable and fun for us,” says Jansson. “I believe that as long as we don’t put ourselves in a corner of a genre, we will continue to be innovative and creative. It has worked very well so far.”

For all of the band members, their first really strong memory connected to music can be found in their childhoods. Drummer Ahlqvist Lyzwinski recalls her parents playing music that ranged from Neil Young and Björk to The Knife and Led Zeppelin. “Just as Josefin, all my early music memories are connected to my home and upbringing,” says Hallsby. “Early mornings in front of ZTV probably left some kind of imprint as well. It’s easy to get stuck in shallowness when you talk about things close to your heart such as music, but the fact is that music is such a striking medium. It still dazzles me. There is no time for it to pass through filters of consciousness. It still gets you and that’s what’s beautiful about it.”

The band’s style reeks of an updated and personal take on rock’n’roll, which is probably why the Whyred clothes worn in the shoot look like they have been part of their wardrobes for a long time. “If I find something skintight that I won’t sweat away in I’m pretty satisfied,” says Hallsby playfully. “We do also often help each other out finding garments that will make us look collectively cool.”

When it comes to fashion and style icons Ahlqvist Lyzwinski drops PJ Harvey as an inspiration – “Style-wise and regarding attitude.” Hallsby opens up about his soft spot for suits: “I like to look a bit sloppy, dirty and undone, but still a bit half-luxurious.” Their frontman seems to have an even more creative approach towards clothes. “I have started using more colours and lighter ones, which is weird,” says Jansson. “I think that I miss summer and try to remind myself that the sun actually exists. It’s probably going to be the other way around when the sun comes back.”

With the debut release behind them, a Scandinavian tour in April with NONN is what’s next on the agenda. This will be followed up by a new album release at the end of the year. Dead Vibrations really seem to have found a golden productive artery.

HOLY

The project of Hannes Ferm, HOLY, is like a bag of candy, mixing sweet and sour. He’s building a unique musical universe consisting of ’60s garage, lo-fi pop influences and melancholic atmospheres that get torn apart by glam-rock riffs. All topped with a voice softer than satin.

From Umeå, north Sweden, Ferm now lives in Stockholm and studies art at Gerlesborgsskolan while he makes music. Does studying another art form influence his creativity? “I think studying art has given me the possibility to get inspired by things I otherwise would not have been exposed to,” he says. “It’s also taught me to think in an abstract and conceptual way, something I couldn’t do before.”

HOLY’s second album, All These Worlds Are Yours, was released in January and explores soundscapes in an experimental way, avoiding the trap of stagnating in how he makes music. “I believe the formula is angst and inferiority combined with a genuine interest in exploring unfamiliar musical areas,” he says.

The album carries the same qualities as the ’60s psychedelic movement, yet also has elements of the early-’70s glam-rock scene mixed up with modern garage DIY vibes. The result is the sound of a 21st-century Bowie or Rundgren, just to mention a few. “I think that seeing The Rocky Horror Picture Show is what triggered the start of the process, but I also listened to classic early-’70s rock – Lou Reed’s Transformer and Diamond Dogs by Bowie,” he says. “[With this album] I wanted to explore every part of that world, the aesthetic aspects but also the music and theatrical parts.” He reveals he had also wanted to work with rock’n’roll clichés: “I realised these clichés are so damn beautiful. I came to the conclusion that a song can feel both powerful and fragile.”

When it comes to HOLY’s visual work and aesthetics, such as the music video to the almost-impossible-to-pronounce track ððð, you get the impression that Ferm gives this a lot of thought. “What’s most important is that the visuals and music match and evoke the same feelings in me,” he says

As for fashion influences, Ferm mentions Liberace, the entertainer famous for his extravagant clothing, but being busy travelling, he doesn’t really have the time or energy to pack his suitcase or think about putting together an outfit in the early mornings – “I just take whatever is on the floor closest to my bed.” Judging by his look, this probably means that Ferm only owns great clothes.

Even though it has only been a few weeks since the release of All These Worlds Are Yours, Ferm has already got grand plans for HOLY in the year ahead. “We will do a few festivals this summer and some shows during the fall. I have also started to record the next album, so I’m going to try to finish it during this year as well,” he says. Ferm has found a creative drive that leads him to explore unknown musical landscapes. Like astronauts in space, he steers his steps towards ground where no one has walked before.

ShitKid

In many ways pure and raw in its expression, yet very well made, ShitKid’s music makes an upfront and direct impression. It’s something that has made her output strong and powerful, beating like a hammer through the constant buzz of music releases.

A lot has happened for Åsa Söderqvist, aka ShitKid, since she first uploaded her self-titled debut EP to the internet in 2015. Söderqvist is insanely productive and has released singles and a full-length LP since, as well as received music awards. She doesn’t seem to have a very complicated relationship with her own creativity, though. Her main driving force is that she finds making music fun and lets everything evolve from that mindset. “When I make music it’s often because I happen to fall into it. Sometimes I feel all hyped instead of tired for a whole week, so it’s hard to tell. But I find making music fun, and that’s always something. If I get stuck or if it sounds bad, I just do something else until making music feels fun again,” she says.

Her relationship towards music hasn’t changed that much since the start, but as she points out, it’s only been two years since she started out. “I still play music the same way, using the same instruments. OK, except there are two songs with bass in it, that’s it. But on the other hand, I want to try making the next album in a completely different way,” she says.

The media has often depicted Söderqvist as unpredictable and even a bit cocky. For those of you who have seen her live, you might be tempted to agree, but Söderqvist is fully aware of how she’s being portrayed. It’s clear that she owns the situation and plays by her own rules. Mainly she’s the one in charge of the way journalists write about her, contributing to their coverage of her through her use of social media. “I love that Örnsköldsvik Allehanda, a small local newspaper, wrote that I got kicked out of Manifestgalan due to my caption on a photograph uploaded on my Instagram. I think that they’ve missed rock’n’roll or something,” she laughs.

ShitKid’s aesthetic is undoubtedly DIY and it has a visual mindset that permeates her videos and covers. Söderqvist confesses that she doesn’t think that much about it but accepts there are normcore aspects, a kind of anti-fashion approach. “I’m probably pretty normcore apart from the fact that I’m also crazy,” she says. “Then it’s great to have a band like ShitKid where you can use it as an image. It is something that has developed from me being emo while I was growing up, until I became boring and stopped wearing make-up.”

Söderqvist seems to have a pretty relaxed attitude towards what she wears and is often found in normcore clothes, sometimes with an added little twist of irony. She mentions her friend and style icon Moa Romanova Strinnholm as an influence when it comes to fashion. Also, the Whyred rock’n’roll aura really fits the punk side of her artistry with its playful attitude towards fashion norms, mixing casual dressing with finer tailoring. But she confesses that she hates shopping. “I really hate buying clothes and I get in a panic when visiting stores,” she says.

It probably won’t come as a surprise that this creative mind has a lot going on, with new music in the pipeline. This time around she’ll begin by creating the songs as usual and then let her band members, Arvid Sjöö and Lina Molarin Ericsson, interpret them. “Unlike me, they know their instruments. I imagine it will be easier to listen to and more professional, but still using the same musical foundation,” says Söderqvist. Later this year, ShitKid is going to USA and doing more gigs. As Söderqvist herself says: “There aren’t any more awards to win, so that’s probably what I’m going to do.”

Evolvement is all about challenging yourself, daring to question your standpoint and the way you process and work with your ideas. Dead Vibrations, HOLY and ShitKid are all great examples of how good the result can be if one dares to go outside the usual patterns. They’re artists who are representing the wonderful diversity of our wide musical landscape and keep exploring unknown territories.

Team credits
Words by Amanda Båmstedt
Photography by Dan Sjölund
Styling by Pejman Biroun Vand
Hair and make up (Dead Vibration and Holy) by Lillis Hemmingsson
Hair and make up (ShitKid) by Elva Ahlbin
Stylists assistants Hedvig Holgersson and Emelie Berglund
Special thanks to Whyred

Fashion credits
All clothes by Whyred

Your show is a dj-set combined with rap and insightful talks to the audience. I sense that you have a mission with your performances as well as your music, to influence your listeners and evolve a scene that might have been trapped in a destructive archetype. What’s your own thoughts on this?
“Wow, what an amazing question right out of the gate. The flaws in hip hop culture today are immense. But I more so want to try to tap into the good that exists in all of us to overshadow the destructive and manipulative culture that surrounds religion and hip hop today.”

How would you like to evolve the hip hop scene and the patterns within?
“I hope that I can be similar to John the Baptist – a voice crying out in the wilderness. In a scene full of misogyny and lack of morals, I simply hope to be an alternative option. Something that people can turn too when they are sick of the gimmicks and want a more holistic representation of their lives in their music.”

What do you want to achieve with your shows, as a completion to your recordings?
“The shows are very special to me because it allows for a dialogue with the fans. I love the recording studio and the production and writing of the songs. But being able to feed off of the crowd’s energy and really be able to have a discussion with them on society today, the music and more is special. My father was a preacher in Chicago. While I don’t preach from the pulpit, this is my version of being able to address powerful issues and hopefully benefit someone in the room.”

You grew up as a preachers child in the historic jazz district Bronzeville, in a neighborhood surrounded by violence. Tell me about this childhood full of contrasts.
“Growing up in Bronzeville was special. Bronzeville was the home of Louis Armstrong, Nat King Cole, Ella Fitzgerald and many more legends after they migrated north in the Great Migration. So the music history is very rich. But then there also was the gang culture and street life that permeated the neighborhood. So I really grew up and lived in the church, but still heard the hip hop and 808s through the stained glass.”

Your mother went to a music school, now she’s touring with you and almost gets the most cheers when you bring her up on stage. How has your family’s interest in music influenced you?
“My entire family was musical and were a big inspiration on my growth as an artist. I have 21 brothers and sisters, so there were always plenty of influences around haha. But growing up in the church always helped me playing drums or singing or doing something musical. Now that I’ve been touring and on the road more, I just want to give experiences and moments back to my mother by taking her on tour. And she loves it!”

What do you bring from your childhood into your music?
“Mission. I try to create mission-driven music and this was instilled in me by my parents growing up.”

What music did you listen to as a child?
Early on in life, when growing up in the church, I listened to a lot of sermons and gospel music as you might imagine. But then after my father died when I was 11 years old, it allowed me to find a whole other world of music – Jay Z, Tupac, Outkast and so many others! My music today is really a blend of these two sounds and approaches, each of which is very personal and authentic to me.”

What made you start making music?
“I always had the bug to be a songwriter. From the time that I was 5-6 years old I was writing songs and performing. As I got older, I started to write songs for other artists in Chicago and also started writing jingles for brands. This led me to take a job at global advertising agency Leo Burnett, in which I scored music for Shrek, McDonald’s and many others. But ultimately I had so much music that was too personal and I had to release it as an artist.”

As you enter stage, you seem to have a scene personality opposite from your private person. How has your courage emerged?
“I think this was instilled in me by my father. He was a preacher and the best performer that I’ve ever seen. So this inspired me to try to do the same. But I truly just love performing and feel like it’s such an amazing opportunity to get in front of people, perform my music and speak my mind. Not only does it give me energy and happiness, it gives me hope for all of us when seeing the amazing crowd give/take that energy.”

Your music is complex, multifaceted and full of influences from both hiphop, r’n’b, pop and gospel. It can’t be limited to any genre in particular, but nevertheless it’s dynamic. What’s the core of your music?
“I think the simplest way to describe my music would be if Jay Z or Tupac were taken to church. You get the hip hop and pop culture, but always over stomps, claps, choir and all. I really was inspired by this same mix. On one side it was Golden Gate Quartet, Louis Armstrong and Aretha Franklin. And the other was Jay Z, Outkast and Tupac. All of these artists had an agenda and deeper message behind their music, which I certainly try to convey.”

I sense you have an interest in fashion and style. Why is that important?
“People might try to not judge a book by the cover, but image, fashion and style is very important for how you present yourself. This is true for anyone, but especially for a recording artist. Just like the music, I try to keep the fashion as authentic as possible. I came from a church with Baptist robes and church shoes. But I also come from urban streetwear and a nice new pair of Jordans on your feet.”

What do you want to communicate with your clothes and style?
“Excellence and originality.”

Is your style another expression of an urge to evolve the hip hop scene into another direction?
“I feel like overall, my style is unlike other hip hop and R&B artists. Some other artists are inspired by church. Or some artists might have a similar background to myself. But no one has the same experiences or has been shaped by my experiences in the same way. I hope that I can be a vehicle of change, just one piece of a larger movement, in hip hop to inspire a shift and progression towards more positivity and a focus on global issues. No one artist can take on this task, but I hope to be one spark in the fire that is about to come.”

Team credits
Words by Hedvig Holgersson
Photography by John Scarisbrick
Styling by Pejman Biroun Vand
Stylists assistant Hedvig Holgersson
Special thanks to H&M 

Fashion credits
#1/6 Blazer by H&M Studio, shirt by H&M Edition, trousers by H&M Studio
#2 Jumper by H&M Studio
#3 Shirt by H&M Studio, trousers by H&M Studio
#4 Coat by H&M Studio, shirt by H&M Studio, trousers by H&M Studio, shoes by H&M 
#5 Shirt by H&M Studio, trousers by H&M Studio