op-cultural memory, tracing how the “uncool” is not only being
reinvented, but transformed to the desirable. Conceptually, Ringstad has had a problem with under standing commercial fashion and influencer culture, which has shaped both the collection and the context it exists within by actively working with these structures to try to understand them. Through a ongoing “social media performance”, she experiments with the tools of
branding and marketing as satire, using theory from memeology as an argument for why
distancing irony and commecirally driven creativity is what boosts sales today. It´s part a critic of the system, part benefitting from it herself.

Her work rooms esoteric knowledge and hyper-mainstream aesthetics, working with niche and kitch craft-techiques sourced from a Gen X-approved Pinterest algorythm together with
silhuettes that get the most likes on the gram these days. The duality in research, references and aesthetics exists together between sincere enthusiasm and analytical distance. By working with thematics that intitially rubs her the wrong way, she articulates a design practice where critique exists among the visual expression.

Trivial hobby-crafts are contextualized with “trashy” materials through how in each their own way they stribe after mimicing an “authentic” type of fashion. This is both a design choice and a parody on how trompe l´oeil has become a prefix for everything fashion and cool. To list
methods and materials included in this collection; PolyesterWith Real Mink Fur Print, Faux Brushed Mohair Real Silk Handknitted On Bias, Woven To Shape Knitted Wool Chanel Tweed Dupe, Sock Heel Margiela-esk Shaped Tailored Knits.
Walter Benjamin describes how children sees potential in adult´s trash, how an empty can of tomatoes can become anything your imagination desires to. In a similar way, capitalism´s “coolness” operates in a circular motion of consumption, where what is lacking value becomes elevated through a ongoing dance of trickle ups and trickle downs. The definition of high- and low culture has taken a pilates pirouette, where the Scandibabes now can afford to take the time to knit their own chunky cable knit sweater, while the suburban moms wanting to follow the trend but without the priviledge of economy and time have to compromize with the store-bought “knock-off”.

In a pendelum between mainstream popular culture and “insider” esoretic knowledge, a
heartfelt enthusiasm and postmodern irony over everything that belonges to the trendy-core reality of influencers, Ringstad has buried her own post-cringe era and taken a decition to dive into this universe herself. With a hypothetis that everything can be elevated in value if it enters through the “gateway of coolness”, this collection is a testing ground for how far one can reach an audience beyond the fashion people, generate fame and commercial interest through choices of mediation, casting and staging.