Louise Lyngh Bjerregaard. Unresolved layers

A visionary at the intersection of fashion, art, and identity, fashion designer Louise Lyngh Bjerregaard challenges traditional boundaries with work that explores the unresolved —whether in technique, meaning, or cultural context. Known for blending personal experience with broader societal narratives, she creates pieces that provoke thought and offer new perspectives on time, identity, and expression.

photography: Linus Morales
style & art direction: Katija Hirsch
casting director: Victoria Machmudov
hair: Jesper Hallin
make up: Mantis Lepretre
models: Xia / Viva Models, Juliette / See Models
photo assistant: Thomas Laporte
retouch: 4PM Studio
style assistant: Nany Li
make up assistant: Jade Benaim

all clothing by Louise Lyngh Bjerregaard

What motivates your work?

The unresolved—whether it’s questions, techniques, or balance—always serves as a
catalyst and allows for me to mentally work through layers, cuts, possibilities and identities.
The unresolved always brings up new questions. Annoyingly enough. Sometimes an easier
motivation would be preferred. Like 8 hours of sleep or a desire to be popular. Sadly, in my
atelier we are somehow not interested in either. So we get up, go to work and see if we can
come up with some answers and if not we keep searching.


Do you believe your personal experiences or the current cultural climate shape your
work the most? How do you see your designs as a form of storytelling, and do they
reflect any personal or cultural narratives?


I don’t believe it’s either or. An offering on duality is very generous and I like to be generous
in my work. And specifically. I would argue that in my work personal experiences and cultural
climates mutually influence one another, as they are inextricably linked. I witness how the
two are very related and both exist within the same framework, shaping and reshaping one
another in an ongoing interplay of shape. Personal experiences can be seen as processes
that not only reflect but also transform the external world, offering new realities that emerge
over and through the existing ones. At times, these two forces even provide temporary relief
for one another; when certain experiences are too immediate or unresolved to be fully
processed, the broader cultural context may momentarily take precedence, providing a
space for processing to occur more gradually and by this, informing the work. This
duality—where the personal and the collective interact—can be understood as a generative
dynamic force, where each aspect supports and complements the other. In a way it's
buffering, processing and releasing. Like life. The unresolved.


Can fashion exist beyond time, or is its essence always tied to historical and social
context?


I find it fascinating how fashion exists in a constant state of negotiation between the past, the
present, and an imagined future.
It touches on philosophical considerations about its relationship to time, identity, and society.
The idea of existing beyond time suggests a notion of timelessness - perhaps defined by a
set of aesthetic principles that transcend specific historical moments?
However, to ask whether fashion's essence is always tied to historical and social context
suggests that fashion is reflective of its time. Fashion, in this sense, would be a reflection of
cultural and societal forces: a means through which identity, status, values, and social
movements are expressed and performed. This view aligns with the idea that fashion is not
simply about clothing, but about meaning—meaning that then will shift with time, context,
and societal norms —shaped by everything from the analog, technology and global
interconnectedness to politics and economics. What does Yuval Harari think about this?


Your work lies at the intersection of performance and fashion. Is an art gallery a place
for fashion?


As I work with different outlets; performances, video installations, texts and textile art works
that in my opinion have nothing to do with fashion I'm not one to act as a police officer and
set boundaries for art or fashion or where they can be seen or installed.

How has fashion changed in the last few years, and how is your brand adapting to
these changes?


Fashion has and will always change, and if you constantly adapt to these changes, and your
work is centred around an artistic narrative, do you even know who you are in the end? Or
have you just been a part of mass consumption for the sake of keeping your business
running? That is the question.