Join us as we delve into an inspiring conversation with Elisabet Stamm, the visionary founder and creative director behind the fashion brand STAMM. In our exclusive interview, we explore her stunning Fall/Winter 2026 collection, which emphasises the beauty of outerwear designed with purpose and sustainability in mind.
Elisabet’s creative journey for this season began with a thoughtful reflection on what truly matters in fashion, the art of selection and refinement over mere excess. Collaborating with the UK-based 360 Group, she honed her signature ultra-exaggerated design language, creating voluminous coats that envelop the wearer in comfort while allowing for freedom of movement. This collection showcases puffers with organically curved shapes, innovative features like dual-access pockets, and adjustable hems, ensuring that functionality harmonises with style.
As a brand that embodies Scandinavian aesthetics with a global outlook, STAMM has garnered accolades, including the prestigious ZSA Zalando Sustainability Award. Elisabet’s design philosophy is grounded in natural fabrics and performance materials, each piece crafted to empower wearers and enhance their everyday lives. The collection invites us to reflect on our connection with nature and the comfort of a well-crafted garment.
Don’t miss our thoughtful discussion where Elisabet shares her reflections on the evolution of her approach to outerwear, the inspiration behind her designs, and what it means to truly find fulfilment in her work. “Stamm Winners” isn’t just a collection; it’s a testament to resilience, creativity, and the joy of embracing one’s love for fashion. Join us in celebrating this remarkable designer and her latest collection, as we discover how each piece offers not just beauty, but a deeper connection to the world around us.
Follow: @stamm.exchange / @elisabet_stamm
KALTBLUT: Your latest collection, “Stamm Winners,” emphasises the importance of editing and refinement. Can you elaborate on your decision to strip back and focus on what truly matters in your designs?
With five runway shows, presentations, awards, and lots of exposure on the front end, I’ve shown that I can create a lot and that I like to create full collections. Yet, in my current situation, choosing to create a collection, the only right thing is to centre and create a more sustainable set-up for myself. It takes resources to have multiple suppliers, and one thing is to design several product categories, but for it to get an actual life with customers, it needs to be brought to market and supported by a structure throughout the whole process.
KALTBLUT: How did collaborating with 360 Group influence the direction and development of this autumn-winter collection?
Christian Jensen, Mads Buur and Morten Sieron (360 Group UK) looked into the full body of my previous work. They selected what they named ‘STAMM Winners’. To create clarity and foundation, we decided to centre on outerwear as a starting point. I refined some of these, as well as created new jackets. The collaboration gave me a purpose and clarity that I’ve longed for in the past years.
KALTBLUT: You mentioned revisiting your past work to find inspiration. What specific pieces or ideas from your past influenced the designs in “Stamm Winners”?
The dimensional form of my work comes through so clearly when it’s standing on its own. My jackets have a signature, and they can stand on their own. I’ve let some of my functional core pieces get space. I think I cheated on them for a while, hehe. Creating jackets is something I do in excellence, and I’m always curious about new things, so I might have moved on too fast. One thing is energy and pleasing the feed; another thing is to put up a mirror and sit with your work. Ask yourself, “Would you be able to see the forest of bare trees if you were experiencing this as a buyer?” And, “Those wonderful people who love your jackets — what more could you give them?” I’ve enjoyed that, and I have time to do it now that I didn’t need 30 runway looks.
KALTBLUT: The outerwear in this collection is described as the “backbone” of your brand. Can you talk about how your approach to outerwear has evolved?
Since my early career, I’ve always loved outerwear, or other categories like denim, the fields where fabrication really matters. To design and develop a good jacket, you need to know how to work in layers and how to combine. I lived and worked in China in the past, learning about manufacturing, and I developed teams to supply larger brands with outerwear. I created an outerwear brand before STAMM, one that still exists, but might have changed today. With STAMM, I went all the way back to my love for my father’s big VOLVO trucker jackets. I’ve created so many jackets that I might have lost a bit of appetite in the past years, until I came to this new process. Now that I’m not selling the collection myself and not being an octopus handling various freelancers for shows, I somehow fell in love with my work again. Now I look at this and wish I could go even deeper and keep falling in love with it over and over again.
KALTBLUT: Your coats are known for their exaggerated shapes. In what ways did you consciously refine this design language for this collection?
I want my work to have dimension. I want to see an equally beautiful side view of a person as the front and back. To make a point, I’ve often exaggerated this. I have a piece called ‘Ordinary Extra’; it’s a classic example of this. Yet I often don’t like to wear those pieces myself. I need to be able to move, bike, and be in a free flow in my everyday life. I can’t have sleeves that get stuck in the door on the way out. I also sometimes got a bit bored of people’s fast perception of categorising my work as ‘big oversized jackets’. So I worked with scale and dimension in other ways here. Some pieces have a tight waistline, while the shoulder and back are exaggerated. I’ve also created ways of folding in the volume, both at the sides of a jacket and in the cuffs. Then people have the choice of styling as they please.
KALTBLUT: Functionality seems to be a major theme this season. How did you balance aesthetics with practical details in your pieces?
True — and I actually did design a series of jerseys with artworks, but I never developed it. It was as if it created a noisy layer I just didn’t need right now, and I’m quite satisfied to again begin to have ideas that I can let breathe and mature. Time and timing are important. I’m done pushing.
I think the pieces where I mix fabrics become quite aesthetically interesting.
KALTBLUT: You introduced various organic fabrics alongside performance materials. What was the inspiration behind this combination, and how do you envision it impacting the wearer’s experience?
I believe we all urge to feel grounded, safe and protected. Within functional wear, it sometimes feels like I see men in Copenhagen looking like robots, squeezed into too square-fit jackets with top coatings that remind me of my stir-fry pan with heavy Teflon. I stand behind them in supermarket lines and feel like setting them free. Their shoulders are already so close to their ears because of all the responsibilities of being a civilised human being, and it doesn’t help that they have no space in what they wear, or that they can’t possibly ventilate it either. When I combine fabrics, I suggest balance. And I get a little kick out of it myself, too.
KALTBLUT: One of your pieces is designed to resemble a star-filled night sky. Can you discuss the creative process behind this specific design and the emotions you aimed to evoke?
One of my friends recently said, ‘You’re a thinker. You’re a poet. An artist.’ I said, ‘Yeah, but I make puffer jackets.’ I think this piece is perhaps an example of my mind and my working toolbox. During autumn 2025, we had incredible Supermoons. I haven’t travelled, and I miss that so much. Yet I thank myself for my ability to ‘mind-travel’. I’ve worked with embellishment before, so I had this deep-dyed blue recycled rayon. I looked at those beautiful skies during the Supermoon and thought I could capture that and bring a piece of it down to the streets.
KALTBLUT: After facing business challenges, how did that turmoil shape your creative process while developing this collection?
One important thing is to even want to keep creating when you’ve given it your all and faced what I have. There’s a new confidence slowly kicking in, because I know that, regardless of any exterior influence, the love for my work is intact. That being said, I had to be lean and clean and work smart. Somehow, I really like that when looking at what we’re presenting now. It’s not punchlines; it’s a leaned-back statement.
KALTBLUT: You mention feeling like you’ve come home with this work. Can you explain what this means for you on both a personal and professional level?
I had a vision to create a platform where young creatives could join in. I even wanted to create a bridge between manufacturing and young creatives. I invested all my personal resources, and sometimes it did feel a little imbalanced, having paid everyone and ending my night after a show with three taquitos from 7-Eleven. I didn’t fill my own cup, to put it frankly. By coming home, I refer to simply being me, in my everyday life and in my work. When the lights are off, very few people stick around. I’m grateful for the ones who did, and I now have more energy to be present as well.
Simply being with my quiet self and mastering the things I can do, without having ambitions on behalf of others.
On a professional level, I’ve been fortunate to be motivated to even start this season by the mentoring of Nikolaj Nielsen, founder and creator of WON HUNDRED. Both Nikolaj and 360 Group, Christian, Mads and Morten have worked with me in this brief process from a rational approach. They haven’t felt the need to ‘mansplain’ anything to me, or tell me that I’m not a one-woman army, or celebrate me as a creative genius one day and punch me verbally for not being a master in Excel. Those were things in my previous set-up, and alongside the despair of being alone with the consequences of mismanagement, it naturally affected me. I’m recalibrating. Digesting. And slowly daring to trust again. They’ve supported me in setting a new foundation and generating clarity. Professionally, I’ve longed for that kind of collaboration — and it’s undoubtedly needed to do business.
KALTBLUT: In what ways did the quiet side of your personality influence the themes or aesthetics in this collection?
It’s what I would call ‘form over face’. There are no artworks; the fabrics and lines come through clearly. I’ve worked with organic, curved cutlines. I’m not a straight highway, not even in my quiet self. There’s more black than I would usually present, and I chose to embrace it by shooting against black, heavily draped curtains. I like it. It’s quiet but confident, somehow.
KALTBLUT: Can you share your thoughts on how the fashion industry is evolving in terms of practicality and versatility in outerwear?
When I started my first brand in 2015, there were very few brands with outstanding puffer jackets. Since then, every brand has a puffer jacket. Now it’s interesting times, because I think the ones without a solid point will vanish. Quite often, when you see older people in the street, they have great coats and jackets. I hope to contribute to outerwear that lasts, either as aesthetic art pieces or functional new classics.
KALTBLUT: This collection is described as “more mature and somehow clear.” How do you define maturity in the context of your design philosophy?
Sometimes when we mention ‘edited’ or ‘simplicity’, I think it’s because there really wasn’t enough substance to begin with. In this collection, it’s more about making room for a substance that’s been created over the years, but slightly overshadowed by the urge to express and do a show. To me, the mature feeling is that I dared to let form speak.
KALTBLUT: Finally, what message do you hope to convey to your audience with “Stamm Winners,” and how do you see them interacting with these pieces in their everyday lives?
It’s never just a jacket to me. It might be to someone, and that’s OK with me, but they will feel that it’s infused with a secret sauce that makes them start to move differently when they wear it, or makes them feel comforted, empowered, or, in some cases, the jacket will be a conversation starter.
Photo credits:
Photographer: Kristine Sokolowski @kristinesokolowski
Concept and Creative: Elisabet Stamm @stamm.exchange
Styling: Gio Armani @gioarmani08
HMU: Lærke Lykke/ Nicci Welsh Academy @nicciwelsh @laerkelykkee_
Light: Ephraim Raiden Rose @ephraiii
Production Assistance: Sarah Schmidt @sarahkms
