There was plenty of grooving at Stockholm Fashion Week this year, where the Swedes showed their collections to an indie rock beat. A live piano concert—shades of Cat Power—attended Filippa K’s noirish collection of pencil skirts, structured dresses, and tilted fedoras in the Museum of Photography, and the crowded scene at Cheap Monday in the Frihamnshallen had the feel of an arena concert. In fact, almost every presentation was held at the Berns, the nineteenth-century hotel-cum-concert-hall where most of the guests were staying. (Good news, that, given that persistent snowdrifts would have made the usual fashion-week runaround pretty unpleasant.) The exception proved the rule at Hope, the week’s highlight, held in the gilded Royal Dramatic Theatre (pictured). As guests sampled delicacies from the Fårö region of Gotland and a second tier of onlookers snapped photos from an upstairs gallery, the two designers gave brief, scholarly explanations of how their crisp, beautifully tailored men’s and women’s wear reflected the influence of Ingmar Bergman’s art-house classic The Seventh Seal, from hooded sweaters meant to evoke Death’s cape to checkerboard prints suggesting his famous chess match. It wasn’t the usual soundtrack for the runway, but the beats were barely missed.