Acne Studios Men’s FW22 – Q&A with Jonny Johansson, Creative Director

Nomadic lifestyles, and the codes of transient communities. A collection rooted in creativity and character: pieces are crafted and patchworked, as if well-worn, purposefully mismatched, with colours both earthy and of the artist’s studio. This is a collaging of moods and feelings through clothes, and a reflection of the way we live now.

Menswear traditions are both respected and subverted. There’s a play with proportion, with high waists and elongated silhouettes. Texture is crucial, both in individual pieces and then how they are contrasted together. Found items are treated like jewels, mixing high and low. These are elemental pieces, worn for warmth, protection and pleasure.

How did this collection begin?

I’m interested in the language of clothing that evolves in nomadic communities, and how a style emerges with its own logic. I was also thinking of the nomadic communities in northern Sweden around where I grew up, and the desire for roots in local heritage.

How does this translate to the pieces?

It wanted it to be a very poetic collection, with mixed-and-matched pieces that feel lived in for years. There are very traditional pieces that we have brought into the Acne Studios world, like a broad-shouldered tweed coat, or a wrap cardigan in chunky wool. There are pieces that play with tradition, like a washed tuxedo with a denim lapel, or ultra-high waisted trousers held by braces. Then there are pieces that play with patchwork or cut, like patchwork brocade pants, or boleros of patchworked shearling.

Can you talk through how you put the looks together?

I was interested in the contrast of textures and materials, which feels very creative and personal to the wearer. I like the knitted bib, which itself has a contrast of yarns as well as sticks woven into the yarns. We put this with a turquoise shirt that’s embellished all over with sequins, and I like this contrast between the rustic and the celebratory.

How did you play with the silhouette?

I was thinking about different ideas of functionality, like the ultra-high waisted pants that sit just below the chest. These are held in place by braces, and to me feel like a very functional garment. The same is true for the jodhpurs, which today may seem like an unusual shape, but they are cut for freedom of movement. I like this idea of internal logic to the pieces, that they are perfectly natural within this world.

What are your favourite details?

I was obsessed with buttons in this collection. It started with an old floral button I found which we put on a washed leather trench. We then made buttons that are like flowers held in see-through domes for a crushed velvet jacket, or buttons in the shape of hearts for a liner coat. I love how these details make the piece something new.

Can you talk about the collaboration with Jessi Reaves?

I’ve been a fan of Jessi’s work for a few years now. She makes the most incredible furniture as art, cutting, mixing and matching pieces together, or using found materials to create her own language. Her pieces are so bold and playful, but her sketches are so small and intricate. I asked her if she could make jewellery pieces for us like her sketches, using whatever materials she wants. I love to give artists freedom when they collaborate with us to make what they want.

Tell us about the Kero boots

Kero are known in Sweden for their ‘beak’ boots. When I was growing up, my mum thought they were really cool so she made me wear them. I hated them at the time, and was always one of the only kids wearing them at school. Now I’m older, I wanted to see if I could bring them into the Acne Studios world, and play with this idea of heritage and roots.

Why did you choose to shoot the images on women?

It’s about looking beyond gender. I wanted to experiment with the lookbook and see what happened. For me, the point of having a brand is to think about possibilities, and to push forward.