It is difficult to classify the label based on Stockholm Our Legacy. This is precisely as the founders of the brand want it to be. It is a bit minimalist, due to its Swedish roots, but there are indications of eccentricity. Classic codes: Commercial double chest and tunic coats: They are mixed with camouflage ripstop jackets, fleece clues of pink cotton jersey and mesh tops. “The fact that we have not put ourselves in a corner makes us easier to adopt things from many subcultures,” says co -owner Richardos Klarén. “We can be ‘Street more’ if we want, or we can be more sartorials. We can inspire ourselves in music, cinema or skate.”
Its best-selling products: the signature truck boots (£ 520), which was first launched in 2014, and the digital printed jeans of denim (£ 390), with trumpe-l’lyl anguishing, encourage usual customers to dress a little more strange. Meanwhile, the NBA players look our legacy during the tunnel walks, it is often seen in the K-Pop stars.
Now with 20 years, the brand says that it stopped SKR400mn (around £ 29 million) in revenue in 2024, a 500 percent growth in the last three years. It has eight brick and mortar stores, one in London, one in Berlin, two in Stockholm and four in South Korea, and 250 warehouses worldwide. In a sign of greater interest around the label, LVMH’s investment arm, luxury companies, took a minority participation in the business last November. “With the impulse of luxury brands in massive increases in prices in recent years, the directionable market for Our legacy It has grown significantly and I can see why LVMH has decided to invest in the company, ”says Mario Ortelli, managing partner of the Ortelli & Co luxury sector.
Our legacy was founded in 2005 by Jockum Hallin and Cristopher Nying of a small study in Stockholm, selling printed shirts. Klarén, who worked at Acne Studios, joined in 2007 to direct the company’s finances. His ethos was to create a brand that was out of products, instead of marketing, an anti-establishment statement. “We start from scratch with not much experience, from sales and stores. We knew how we wanted something to feel, but we didn’t know how to create it, ”says Hallin. “Then we learned along the way.”
They began to show collections in commercial fairs in 2007, collecting global warehouses while they became known for a classic offer, quite minimalist and male clothing. But that didn’t sit well. “We felt that we were pushed to a place where we really didn’t want to be, this type of male patrimonial clothing brand,” says Hallin. Nying adds that someone described the brand as “broken preppy.” That was not his intention. “We wanted to be curious and explore different cultures and subcultures,” says Nying.
The big change of aesthetics arrived in AW13, with a collection that included a black leather coat with funnel neck, pants, printed coat and thick ponyhair boots, filmed in an androgynous appearance model. “That really broke limits of what was allowed to do with different fabrics, in different silhouettes and taking it to the next era,” says Hallin. “A risk was a bit, but it really worked,” adds Nying.
They opened stores in London and Berlin, and launched women’s clothes for the first time in 2018. However, what really drove the brand was their work workshop line, which was first launched in 2016 and became a recycling platform that reused Deadstock Fabrics and other residual products of the main line of the brand. Its identifier, one of the few brand exercises of our legacy, is a Yin and Yang logo, more commonly seen today in its hoodie (£ 150) and cash t -shirts (£ 70).
Through Work Shop, our legacy has collaborated with other brands, including Dr. Martens, Vans and Denim Tears. Hallin attributes the brand’s first collaboration with the Californian surf brand Stüssy – It was launched in 2020 and used Deadstock fabrics from the 90s to create Royal Oxford shirts and relaxed pants, such as a key inflection point. “That really put us in this great positive path.”
The essence of the success of our legacy is reduced to a buzzing and cold factor that is difficult to distil. Looking for an explanation, Hallin quotes authenticity and there is no obvious brand. Nying says that it is through the creation of clothing that he and the rest of our inherited staff would use. “My most important inspiration is in the street, seeing those garments under the radar, proletaria, or how different people use them, like an old woman who wears a jacket for men in an unexpected way, or a child who uses the opposite, like a pink hoodie. We do not do icons, it has never been interesting to make a David Bowie look or something. I prefer not to define our inherited man or woman. “
Lawrence Schlossman, coanfrerion of Launch adjustments Podcast, says that the attractiveness of the brand lies in its capacity “to create portable clothes that are still challenging.” He says that the main value proposal of the brand, apart from offering a sweet price, is not “necessarily only to give the client what he wants, but to show them something that they might not know they wanted or needed.”
The brand plans to open more stores this year, one in Paris and a second in London, while growing in markets like China, where Tmall was launched last year. The trio also wants to grow the offer of women’s clothing, which is smaller than male clothes in business terms but has found a next niche. “We are coming step by step with women’s clothes,” says Hallin. “I hope we can grow organically without pushing it too far, or simply for good.” One of the brand’s great projects will be a second launch of its very publicized Giorgio Armani Collaboration, this time with women’s clothes, in a high summer drop.
Our legacy was created with the idea that the brand was taking the legacy of previous generations and adapting them to modern times. In the process, he has created a legacy in his own right, as, says Schlossman, “a container for enthusiasm, the fandom and the taste for the different fans of male clothes of different stripes.”