Why Oslo’s International Library of Fashion Research Collects Invitations and Lookbooks That Were Meant to Be Thrown Away

Nestled in the heart of Oslo, the International Library of Fashion Research (ILFR) is no ordinary library. Here, a unique mission is underway: to collect and preserve fashion's most fleeting artifacts—the invitations, lookbooks, and press releases that are typically discarded.

Following a presentation at Oslo Runway, we visited this one-of-a-kind space founded by Elise By Olsen to explore how it transforms the ephemeral remnants of the past into inspiration for the future.

A Library Helmed by a Young, Acclaimed Publisher

In Oslo's Aker Brygge district, directly opposite the National Museum of Norway, you'll find a charming, cream-colored former station master's house from the 1920s. Though it has long since served its original purpose, today it welcomes a new crowd: fashion students, industry insiders, and cultural researchers. In November 2022, this historic building was reborn, opening its doors as the International Library of Fashion Research.

At the helm as founder and director is the young publisher Elise By Olsen. A prodigy in the field, she published her own fashion magazine, "Wallet Magazine," at just 13 years old and has long been captivated by fashion's visual culture and the legacy of printed matter. The ILFR is a natural extension of her extensive research and publishing endeavors.

The library's story began with a final wish. In 2019, the late New York cultural theorist Steven Mark Klein, calling Olsen his "last disciple," entrusted her with his personal collection of 5,000 fashion-related printed items.

Olsen first launched the ILFR online in 2020 and negotiated with the National Museum to bring the collection to Oslo. She raised one million Norwegian kroner to fund the transport. Klein passed away in 2021, never getting to see the physical space, but his vision and collection now breathe life into the library.

"His archive was an accumulation of printed materials born and then lost in the shadows of the fashion industry," Olsen reflects. "Preserving it is also an act of responsibility toward the future."

Preserving Ephemera: The Art of Saving Fleeting Memories

The core of the ILFR’s collection isn't made up of conventional books and magazines. Instead, the focus is squarely on primary source materials known as "ephemera"—transient, disposable printed items such as invitations, press releases, and lookbooks.

The archive boasts rare materials from a host of iconic brands and creators, including Acne Studios, Comme des Garçons, Issey Miyake, Martin Margiela, Gucci, and Virgil Abloh.

"During the pandemic, we were physically unable to produce anything new," Olsen says. "That’s when many brands realized that their own archives were not properly organized, or in some cases, didn't exist at all."

While the fashion industry relentlessly pursues the future, its past is often left behind. The ILFR stands as a quiet counter-narrative to this cycle.

"In the things that most people throw away, you find cultural traces," Olsen explains. "Fashion moves and vanishes faster than words can capture. Our challenge is figuring out how to connect what’s left behind to the future."

What began as a 5,000-item collection has since tripled to 15,000, thanks to donations from all over the globe, and it continues to expand. The library is a perpetually evolving, unfinished project.

The displays at ILFR are not permanent. The archive is brought to life in different ways, shaped by the interests of each visiting researcher and patron. Requested materials are gathered on black trolleys, once used by the National Museum, and are left out for an entire week. The next visitor can then build upon these "traces of reference," turning them into a catalyst for their own new discoveries.

"A library is never complete," Olsen says. "It’s a place where meaning expands and transforms as people gather around this table to discuss and debate. That, right there, is our mission for the future."

A Space for 'Knowledge for the Future'

The physical space itself mirrors the library's philosophy. You’ll find shelves constructed from aluminum scraps from the company Norwegian Hydro, tabletops crafted from compressed old jeans, and fixtures salvaged from the National Museum. Here, discarded materials are transformed into vessels for future memory, embodying Olsen's deep-seated belief in circularity.

Despite the limitations of being housed in a designated cultural property, the ILFR has evolved through ongoing collaborations with students and architects, transforming into a 'space for curation' rather than a mere library.

'What’s truly important to me is that this space is open to the public. Here, people can freely access fragments of the past and use them to spark new ideas. It's both an educational institution and a library accessible to all—I believe this duality holds beautiful possibilities.'

Indeed, the library is run in partnership with its students. You have students conducting their own research, a young team managing operations, and the visitors themselves. The intersection of these groups allows the space to breathe as a 'living archive' rather than a simple repository.

'We're not just preserving the past; we're creating a space that provides knowledge for the future,' Olsen explains. 'Fashion is an industry that consumes the moment, but documenting that moment is also a way to forge the future.'

This small institution, which feels as if it’s watched over by Klein—whom she calls her 'mentor'—is a laboratory. It gathers the fleeting light and shadows of fashion, transforming historical records into knowledge for the future. Every visitor who interacts with the materials gives rise to new questions. It is this value that represents the 'future memory of fashion' that the ILFR champions, and it is the vision of an ever-evolving library that Olsen is bringing to life.