It’s an interesting happenstance that William Lundgren and Veronika Kant’s baby has started speaking at roughly the same time that their other baby, BITE Studios, is starting to be more and more talked about. It’s not just that Scandi minimalism is very now, but that people want to look “right,” but not fussy.
Motivated to participate in the industry responsibly, BITE has established its own material guide and regularly updates and reports on how they are doing against these self-imposed limits. The aesthetic framework within which they work is more flexible, but one gets a sense that Lundgren and Kant have chosen a lane. Iconoclasts they are not; it’s nuance and subtlety that they pursue. “It’s nice to develop our details and make them into news.” said Kant on a call. “We try to develop from the elements that we have; we develop and reuse, but not in a boring sense.”
Though tailoring is one of BITE’s fortes, it was not the focus of the spring collection—although a collarless double-breasted pantsuit in black jersey was worth noting. Spring’s line up was not organized by a narrative or even a mood; the best pieces played with texture, tonality, and transparencies. One of the hero looks, a tank and trousers cinched with the brand’s signature petal peplum, brought three different materials together in perfect harmony. It was an exemplar of day-to-evening dressing for 2024.
Layered ensembles, especially those in white, created different opacities and a hint of the skin below. (They also somehow brought the paintings of Agnes Martin to mind.) “It’s nice to show your body as a woman, but still to be able to cover and layer as much as you want to,” said Kant. A ribbed tank in a mottled terracotta sensually followed the body without revealing skin. Ruching, a mini trend that emerged in New York, was especially interesting in terrycloth here.
In contrast to the jersey and knits, the marble jacquard felt stiff; the lone denim ensemble was an outlier. BITE’s take on the cropped trouser, walking shorts, and the oversize cardigan had a welcoming familiarity and freshness in equal parts. It was the airier pieces, those that metaphorically let the air in, or let it glide uninterrupted over the body—that were the most compelling.