THE RETURN TO THE INVISIBLE
— The Invisible Language of Beauty, Spirituality and Rebirth
We live in an age where almost everything can be measured, accelerated, reproduced, or predicted.
Artificial intelligence is reshaping creativity. Social media has transformed identity into something constantly displayed, evaluated, and compared. Beauty is increasingly mediated through screens, while fashion moves at a rhythm that rarely allows us to stop and consider what we truly desire.
And yet, another movement is quietly emerging.
A return to ritual. To nature. To intuition. To the invisible dimensions of human experience.
“We are not above nature — we are within it.” The Rebirth Magazine
Across contemporary culture, spirituality is finding new forms of expression. Meditation, crystals, astrology, and practices associated with holistic well-being have become increasingly visible in conversations about beauty, creativity, and personal identity.
But what does this renewed fascination really tell us?
Are we witnessing a spiritual awakening, or are we searching for something that modern life no longer provides?
Perhaps the answer lies somewhere between the two.
For some, spirituality offers a language for understanding emotions. For others, it becomes a way of reconnecting with the body, finding comfort in uncertainty, or creating meaning beyond material possessions.
It is not necessarily a rejection of modernity, but a response to it.
As artificial intelligence becomes more present in our lives, emotional intelligence, empathy, and the ability to connect with one another may become even more valuable.
“Intention is the new luxury.” The rebirth magazine
In a world increasingly shaped by artificial intelligence, perhaps the most radical luxury is to remain deeply human.
This is where our conversation with Felizia Gabriella Jensen begins.
Photo Vesna Walden
Dress Chamber by Rafael schlaepfer
I. THE ART OF BECOMING
CULTURE & CONVERSATIONS
Felizia’s story unexpectedly returns to The Rebirth of the Princess this year. She came with friends to look for a dress back in 2020 when our concept store was in Frogner in Oslo.
At the time, she remembers feeling surrounded by expectations about how young women should dress, what they should desire, and how they should present themselves. Her friends were looking for relatively simple dresses. Felizia wanted something entirely different.
A dress that belonged as much to imagination as to fashion. “It was like Cinderella,” she recalls.
Her friends were surprised by her choice. But Felizia was drawn to precisely what made the dress unusual.
At fourteen
What are you currently shedding, and what are you becoming?
Felizia: I love The Rebirth of the Princess. When we first met I was 14, in a toxic environment. Teenage girls wanting Louis Vuitton bags, wearing a special polo brand. I came to this shop looking for a prom dress with friends before COVID in 2020, so before my change. I have always stood out, never fitting in with these girls. Too strange for the normals, too normal for the strange ones. I have always been a lonely wolf.
I fell in love with those beautiful dresses at The Rebirth of the Princess, but it was also the energy of the store. I got more in contact with Vana (founder of The Rebirth of the Princess), met her girls who were part of the store. I saw everyone had a distinct way, and a different path. I wanted to be more myself. This journey took a long time, but when I became 17, I really started to change, be more myself and started working with spirituality. Then I reconnected with The Rebirth of the Princess. And now the store has a different view. I understand more the concept of The Rebirth of the Princess: being born again, doing what you are doing. Your conception is about being authentic, feeling beautiful in your designs, making people feel like themselves. That is what I feel in your store wearing your clothes. I have such a beautiful point of view of The Rebirth of the Princess now. It makes me feel incredibly good.
REBIRTH: BE BORN AGAIN, A NEW START, A BLANK PAPER.
Looking back, the memory seems to contain something essential about her character.
Even at fourteen, she was searching for a way to express a version of herself that did not necessarily fit the expectations around her.
She remembers later meeting people connected to the concept store, each with their own personality and individual path. Those encounters became part of a longer process of self-discovery.
Over the following years, her relationship with identity, beauty, and spirituality evolved.
What does rebirth mean to you?
Felizia: To be born again, a new start, a blank paper. A reconnection with a self you did not see at first but that you are evolving and able to create. Being at the store gives the feeling of being beautiful. Rebirth is incredibly special because of the transformation I personally had. I was at The Rebirth of the Princess at the age of 14. The dress was not a normal small prom dress. It was gigantic, beautiful in champagne colour, full of glitter with a big skirt, so eye-catching. My friends were shocked, but they liked it too. They wanted simple dresses; I wanted this Cinderella dress. My style has changed but I am still the same: not afraid to show myself, to wear whatever I want.
For her, The rebirth of the princess is no longer simply an evocative concept. It describes an experience she recognises within herself. But her definition goes further. Rebirth is also a reconnection with a self we may not have understood at the beginning. A gradual process of discovering what matters. Of letting go of expectations. Of becoming more comfortable with change.
There is something particularly meaningful about the fact that her story began with a dress.
Fashion is sometimes dismissed as superficial, as though the things we wear cannot participate in the deeper experiences of our lives.
Yet clothing often brings our most significant transitions.
A dress worn at a celebration.
A coat purchased after moving to a new city.
An inherited piece of jewellery.
A garment that gives us the courage to enter a room differently.
These objects do not create our identities. But they can become part of how we discover and express them.
For Felizia, the champagne gown represented a possibility. A version of herself that was willing to stand apart. Years later, the desire remains, even as her understanding of beauty has changed.
She no longer needs the same dress. But she still recognises the girl who wanted to wear it. And perhaps that is the most beautiful form of transformation. Not becoming someone entirely different. But finally allowing ourselves to become who we have always been.
What does rebirth look like for you right now?
Felizia: Everyone is on their journey all the time. There is no ending. If you are stopped, something is very wrong. Regarding my journey, it is important to express myself, show how I define creativity and beauty. I want to become a version of me I can be proud of. I am so much more authentic now, and people notice. They take inspiration from the authenticity I show. I want to be the most authentic version of myself, a loving person, because so many people have lost the real view of what love is. They are afraid of loving, feeling love, giving love, exchanging love.
Rebirth doesn’t always arrive loudly.
Photo Vesna Walden
A PATH OF HER OWN
Oslo is a city of quiet precision.
Its architecture follows clean lines, its light changes dramatically with the seasons, and its sense of beauty is often expressed through restraint.
Beneath this carefully composed surface, another rhythm exists...
Today, Felizia Gabriella Jensen works independently, beginning a new chapter rooted in her own understanding of spirituality, creativity, and self-expression.
Her story is no longer centred on a particular place of work, but on the perspective she brings to what she creates and shares. Stones, handmade jewellery, and personal rituals remain part of that language, alongside a desire to encourage others to feel more comfortable being themselves.
For her, this space is more than a place of work. It is somewhere people arrive carrying questions, uncertainties, and sometimes the desire for personal change.
When we ask what it represents to her, she does not begin by describing the objects.
What does this personal approach or spiritual practice represent to you personally ?
Felizia: A confrontation where you must look inside yourself to see what needs to be fixed and healed. Personally, everything around us is love, and that is the reason we are all one. It might sound strange to some, but this is my definition.
It’s a process where you need to go through different stages, through the difficult moments to build yourself up and become whole. Everyone is at different stages in life. They discover that everything around us is love.
This store doesn’t impose. It reveals.
Her understanding of healing is deeply personal. It is not simply about comfort, but about confronting aspects of ourselves we may prefer to avoid.
Felizia believes that many people are searching for spaces where they can explore their identity without judgement.
She describes it as a path of her own, a different atmosphere from the expectations she associates with everyday life in the city.
For a young woman who has often felt different, that sense of acceptance carries particular significance.
“I was always the weird girl,” she recalls, speaking about growing up with the feeling that she did not entirely belong. Rather than trying to erase that difference, she has gradually learned to understand it as part of her identity.
Her experience reflects a broader question about contemporary society.
How much of ourselves do we sacrifice in the pursuit of belonging?
We are encouraged to develop individual identities, yet often expected to follow remarkably similar definitions of success: the right education, the right career, the right appearance, the right life.
Felizia questions those expectations.
For her, authenticity begins when we are willing to move beyond them. And perhaps that is the first form of "rebirth": the moment we stop asking who we are expected to become and begin asking who we actually are.
Oslo is often perceived as minimal, rational, almost restrained. How does your personal approach exist inside this landscape?
Felizia: It is like a path of my own, very fragile, and very necessary, especially in a town like this. As you said, we are very minimalist, very judgemental. We live by these norms that everything should be decent, and people are afraid to stand out, to be different, to accept themselves. This hurts not only your persona, but your soul and your soul journey. That’s why so many people in Norway struggle mentally and psychologically: they are afraid of being authentic.
This is why this approach exists. I see more people getting curious about crystals, stones, spirituality. Two years ago, people had a different point of view. I was judged because I was different. I have always been the weird girl since I was born. When I started practicing, I felt I was at the right place at the right time, here to open others’ eyes, to help people grow and become the best version of themselves.
How does this personal approach soften the city’s rhythm?
Felizia: People become more willing to understand that everything around us is energy. I have incredibly famous customers who come in secret, buying stones and scents, but only themselves or with a close friend. They are afraid of being judged, of being looked at differently. But I see more people feeling safer about this now. Strangely, spirituality is becoming like a trend.
II. THE LANGUAGE OF STONES
Long before gemstones became objects of desire, they carried stories.
Earth, worn softly.
Channelling Mother Nature
Across civilisations, stones have been associated with protection, devotion, status, and transformation.
Their meanings have shifted across cultures and centuries, yet their fascination remains remarkably constant.
A gemstone can be admired for its colour, transparency, rarity, or imperfections. It can also carry a deeply personal significance, becoming a reminder of someone, somewhere, or something we wish to hold close.
For Felizia, stones belong to this intimate world. They bring her throughout the day.
“My stones are my rituals,” she tells us. “They are my nourishment, my routine, my beauty.”
She wears crystal jewellery almost constantly, incorporating it into her daily practices and her understanding of personal well-being.
Within her spiritual worldview, different stones carry different energies and symbolic properties. These are beliefs that have long existed in various cultural traditions, rather than scientifically established healing effects.
Words like energy, frequency and healing belong to Felizia’s own practice, and we share them in her words, as her perspective, not as medical or scientific claims. In the same way, when we describe the pieces in our store, we describe what they are made of, not what they do.
Yet the emotional meaning of an object does not depend entirely on whether its symbolism can be measured.
Sometimes, an object becomes meaningful because of the intention we attach to it.
A ring inherited from someone we love. A necklace purchased during a moment of change. A stone carried as a personal reminder of strength.
Consumption is often emotional rather than rational. What do you think people are truly seeking when they choose consciously?
Felizia: I feel like we are in a revolution. People are more awake. They want to find their true self and build their identity. People are conscious about what they need, but it depends on the person. For me, I would say I am conscious about what I need, but a lot comes from subconsciousness: what you need to heal. You can be conscious: “I need to do this to heal.” Or you can do it without realising, using your subconsciousness.
When it comes to the stones, for example, if people are very anxious or need protection, they seek a stone that can protect and help them. But I have one rule : I never choose the stone for customers. I always tell them: follow your intuition, follow what you need. If you don’t know what you need, follow your subconsciousness. Follow a stone that you feel is talking to you. That is when you follow your intuition even if you are not conscious about it.
It depends so much on the people. I would not say everyone is like this now. It is going faster, but people are still not completely aware of what they need. We are not there yet; we are coming there. That is why I say it is a revolution. We are evolving to become there, but right now, people are increasingly awake, yet we have a long path to go.
If this store you working now were fashion, what would it be?
Felizia: The store is already fashion. I create jewellery by hand. Jewellery is extremely popular: gemstones, rings, earrings, necklaces, pendants, accessories. I have clients who buy stones for energy, for healing, for uplifting and protection. And I have clients who buy because it is beautiful. That is why the store is already fashionable. It has become more aesthetic. I want people to understand, it is not just a piece of jewellery. It is a healing tool. This is not just a ring. This is an aquamarine ring for luck, balancing emotions and regulation. Each stone has different properties, energies, vibrations. People are buying more gemstones, more interested in energy because they feel these pieces do something for them. This shift happening in the universe, on earth, with people makes them more conscious, open, sensitive. We all seek solutions to regulate and balance this sensitivity. It is either a spiritual direction or a technology: AI, robots doing everything. So we do not need to lift a finger.
Beauty is often taken from nature without giving back. Nowadays we see more attraction to spirituality in fashion and beauty. Some designers have shamans, for example. They use gemstones themselves. Christopher Esber’s last collection used gemstones. Spirituality is taking more space in the fashion and beauty industry, and you are one of the people making this happen through your way of communicating on social media.
How do you personally approach beauty?
Felizia: It is funny you say it is becoming more actual, but shamans at fashion shows and artists using stones, this has been there for a long time. We are facing things at the right time, in the right moment, because we are always connected, whether you believe it or not. Everyone has a path. We are here to create, not just to be here. It is like a revolution. People are understanding this more. The fashion industry understands there is more between earth and sky. People have more faith. They are more awake, understanding there is something you cannot see but can feel. You just need to look inward and connect more with yourself.
If you are connected to your ego, you cannot communicate with the higher energy. In Norwegian culture, we are educated from an early age that we need everything perfect: a house, a perfect job, a perfect car. If not, you are not good enough. This builds ego. When you are too attached to ego, you lose connection with reality, with the fact that people are different. This is against creativity. You cannot create new things if you are too attached to ego. People follow this matrix we are taught, but when you understand it is not about having everything, not about showing off, you realise it is about what you wish to do.
Ego is important, we need it to survive, but it is about how you use it. When ego takes over, it creates fear. You become scared to change, afraid to take risks. But it is about taking small risks to create your own reality, to escape the matrix. I cannot change anyone, but I can show everyone the way I do it. The response I have received is that many take it as inspiration.
Especially in Oslo, so many people have completely selfish egos. We need to change how we perceive each other. Build each other up, not down. Not compete so hard.
Fashion has always understood this relationship between material and memory.
Today, designers continue to explore the expressive possibilities of natural stones.
In the work of Christopher Esber, mineral details become part of the architecture of a garment.
The Orica Crystal Ruched tee and skirt introduce natural stone hardware into a contemporary silhouette, creating a dialogue between the softness of fabric and the solidity of the mineral.
The Mineral Stone Cascade Long Sleeve Dress similarly places a sculptural stone detail at the centre of its visual language.
What makes these designs compelling is not simply their ornamentation, but their material contrast.
Something formed by geological processes meets something shaped by human imagination.
The stone interrupts the fabric. The fabric frames the stone.
And together, they create a new relationship between body, nature, and design.
Swipe or scroll horizontally to explore · Christopher Esber
Discover Christopher Esber selection at The Rebirth of the Princess here
For Felizia, the relationship is spiritual. For the designer, it may be sculptural or aesthetic.
But both perspectives remind us that materials can carry meaning beyond their immediate appearance.
A stone is never merely a stone when someone has given it a story.
III. BEAUTY AS RITUAL
Beauty has become one of the most visible languages of contemporary culture.
Our daily routines are documented, shared, analysed, and increasingly transformed into content.
The morning ritual has become a recognisable social media format. Products are presented as essential steps toward an ideal appearance, while new techniques promise ever more refined results.
But somewhere between routine and ritual, an important distinction emerges.
Routine is often defined by repetition.
Ritual introduces intention.
For Felizia, beauty begins long before she chooses what to wear.
She describes mornings filled with music, movement, and small gestures of self-care.
“I always put on music when I wake up,” she explains. “And I dance. I dance when I’m getting ready.”
Her rituals also include candles, scents, journaling, bathing, and wearing the stones she considers part of her identity.
These practices create moments in which she can reconnect with herself.
They are not necessarily about achieving a particular appearance.
They are about how she wants to feel.
This perspective offers another way of approaching contemporary beauty.
Consider the simple gesture of applying a face mask.
In a conventional beauty routine, the product may be evaluated through its ingredients, performance, and visible results.
But when the gesture becomes intentional, the experience changes.
The Thomsen Beauty Rivage Instant Radiance Face Mask, accompanied by a pink quartz applicator, provides an interesting example of this intersection between skincare and ritual.
The quartz introduces a tactile, symbolic dimension to an otherwise familiar beauty practice.
It invites us to consider the act of application itself: the movement of the hand, the sensation of touch, the time dedicated to oneself.
The skincare formula and the stone serve different purposes. The former belongs to cosmetic care; the latter introduces materiality and personal symbolism.
Together, they illustrate how beauty can become an experience rather than merely a result.
Discover THOMSEN BEAUTY at The Rebirth Beauty here
Scent works the same way. A fragrance can be a product, or it can be a decision about who we want to be today. Pauline Rochas builds her Seven Collection on that second idea: seven fragrances, each created for a different state of mind.
7 chakra-inspired collection as your invisible power kit. Each fragrance awakens a different energy within you. Balance. Passion. Intuition. Confidence. Love. Sex Appeal. Which power are you ready to wear today?
EACH SCENT IS CREATED FOR A DIFFERENT STATE OF MIND
SEVEN PERFUMES
SEVEN MOODS
SEVEN STATES OF BEING
The Seven Collection consists of seven fragrances, each designed to evoke a different state of mind—ranging from confidence to liberation.
Fragrances and Emotions
Each scent represents an emotion or state of being, such as strength, desire, success, love, expression, vision, and liberation.
FROM CONFIDENCE AND CALM TO LOVE, POWER, INSTINCT AND LIBERATION.
Wear the one you need. Or the one you want to become.
Creator: Pauline Rochas, heir to a rich olfactory tradition, blends the art of perfumery with personal and natural influences.
Inspiration: Pauline draws inspiration from her family roots and the beauty of nature, creating fragrances that carry memory and identity.
For Felizia, however, the most important beauty lesson came from her mother.
She remembers being taught that beauty was not determined by clothing, appearance, or possessions.
It was expressed through kindness, authenticity, and the way we treated others.
“Beauty is authenticity,” she says. “It is when you can be yourself.”
In an industry built around the visible, this definition returns our attention to something that cannot easily be photographed:
Character.
Presence.
The ability to make another person feel seen.
Beauty here is quiet, tactile, intentional. What effect does understated beauty have on the psyche?
Felizia: For me, beauty is authenticity. Being yourself, creating that version of yourself where you feel beautiful. My mom taught me from an early age: “Felizia, beauty is not about how you look, what you are wearing, or what you have. Beauty is being yourself, being kind, being loving and caring. It comes from within.” People feel this energy. It is about being authentic, caring and loving. This energy reflects your aura, your vibration, your frequency. It makes you stand out and magnetic.
As I said, it is about being authentic and beautiful from inside. For many, beauty is long hair, pretty hair, botox, being more unnatural, a way to hide true beauty. I like red lipstick and mascara, but I do not do “extra.” I have a specific makeup routine from a special person. When you have the light in your eyes, that shows real, true beauty.
Dress Christopher Esber
IV. THE NEW LANGUAGE OF FEMININITY
What does femininity mean when it is no longer defined primarily through appearance?
For Felizia, the answer begins with vulnerability.
“To be able to be vulnerable, to be able to love, to give love and receive love without needing a shield. That is femininity for me.”
Her words challenge the assumption that strength must always be expressed through control.
In her understanding, vulnerability is not weakness.
It is the confidence to remain emotionally open.
Throughout our conversation, Felizia returns to the idea of external approval.
She observes how easily identity can become dependent on the reactions of others, particularly within social media culture.
Clothing, beauty, and personal presentation can become tools through which we seek validation.
But they can also become instruments of self-expression.
The distinction lies in intention.
Are we dressing to be accepted?
Or are we dressing to express something that already exists within us?
Felizia believes that many women are reconsidering their relationship with visibility, sexuality, elegance, and self-respect.
She speaks about a desire for stronger personal boundaries and a form of femininity that feels less dependent on external attention.
These are her own observations, not universal definitions of how women should dress or behave.
And that distinction matters.
Femininity cannot be reduced to modesty, elegance, sensuality, or any single aesthetic.
Its meaning changes between individuals, cultures, and generations.
Perhaps what makes Felizia’s perspective interesting is not a preference for one particular style, but her insistence that women should be able to define beauty for themselves.
She can be drawn to something mystical one day, something relaxed the next, and an elegant silhouette on another occasion.
Her style changes with her mood.
Her desire for authenticity remains.
In this sense, fashion becomes less about constructing a perfect identity and more about allowing an evolving one to exist.
The freedom to change is itself a form of beauty.
Photo Vesna Walden
Dress Chamber by Rafael schlaepfer
The space attracts a particular feminine energy: intuitive, embodied, present. How do environments shape identity for you?
Felizia: The environment makes me want to become increasingly myself, increasingly authentic. I can see right through people. Everyone has a mask. But for me, environments shapes me in a way where I want to be more myself, proud of who I am. I want to show that spirituality is a way of living, a way to feel my true self.
Authenticity is actually the highest frequency you can be on. The higher your frequency is, the more people notice, and they feel it. It attracts people and inspires them to feel safer in themselves, more fearless about being authentic. So yes, it forms me in a way where I want to be more authentic.
V. BETWEEN INTELLIGENCE AND INTUITION
Artificial intelligence is becoming an increasingly familiar presence in contemporary life.
It can generate images, compose music, analyse information, and participate in creative processes that once seemed exclusively human.
Its development raises important questions about the future of work, culture, and communication.
But it also invites us to reconsider another form of intelligence: Emotional intelligence.
The ability to recognise emotions, understand different perspectives, communicate with sensitivity, and navigate relationships has always been fundamental to human experience.
In an age of accelerating technology, these capacities may acquire renewed importance.
Felizia’s interest in psychology introduces a compelling dimension to our conversation.
She wants to understand human behaviour, identity, and the inner experiences that shape our decisions.
Her spiritual worldview and her interest in psychology do not always speak the same language.
Indeed, Felizia herself describes them as opposing systems.
She is particularly critical of approaches to mental health that, in her view, place too much emphasis on labels and categories.
Her concerns reflect a personal philosophical position. Psychological diagnosis and evidence-based treatment can, however, provide important understanding and effective support, and spirituality should not be treated as a substitute for professional mental healthcare.
What interests us in Felizia’s perspective is the question beneath that disagreement.
How do we understand another person without reducing them to a definition?
Throughout the interview, she repeatedly returns to the importance of listening.
She worries that people are becoming increasingly absorbed in their own ambitions, insecurities, and expectations.
Competition can replace collaboration.
Appearance can replace understanding.
And communication can become something we perform rather than something we experience.
Her reflections lead us toward a question that extends far beyond spirituality.
What happens when a society becomes exceptionally skilled at producing information but less attentive to the people receiving it?
Artificial intelligence and emotional intelligence are not opposing forces. One is a field of technology; the other describes a set of human capacities.
Yet their growing importance invites a productive comparison.
Technology can expand what we are able to do.
Emotional intelligence can influence how we choose to do it, and how we treat one another along the way.
Perhaps the future of creativity will depend not only on our ability to invent new tools, but also on our willingness to preserve the human relationships that give those tools meaning.
For Felizia, that begins with presence.
With the ability to listen.
And with the recognition that everyone carries a story we may not immediately understand.
This spiritual practice is built around ritual and care. Why do you think the modern nervous system is craving slowness?
Felizia: People are more conscious; they’re waking up more. They’re starting to understand that they need to take better care of themselves. They need to make these changes to build each other up. People have been living in this loop, this matrix: nine to five, work, home, eat, sleep, repeat. But what about self-care? Where is the love for yourself? What are you doing with your persona? People are becoming more aware. They need this change to grow and to take care of themselves.
Psychology speaks of regulation; your spiritual practice speaks of grounding. Where do these two languages meet for you?
Felizia: This is particularly important to make clear: spirituality and psychology are completely opposite, a polarisation, two different systems. But for me, I do not have the psychology view that people who study psychology normally have. They are very into diagnosis. They forget what psychology is, what it means. The word “psychology” means “the teaching of the soul,” from Greek etymological roots. Aristotle and Plato wanted to define what is the soul. You have the empiricists and the rationalists with quite different views: some meant we are born with a soul; some meant we are born tabula rasa, empty. Then Immanuel Kant tried to connect rationalists and empiricists: we are born with a soul, but also empty, creating our path as we live.
I study psychology while working at the store not because I want to view spirituality through diagnosis. Not at all, I am personally very against diagnosing people, medicating them, putting them in categories. That is completely wrong because we are all at different stages.
Studying psychology is to understand, to have a bigger understanding of what is really the soul. I could have studied Anthroposophy, Rudolf Steiner, or theosophy, but I chose psychology because I wanted to learn more about how we are as human: why we develop this persona, how we interact and connect. I mix this with energy, how energy and frequencies and vibrations connect us.
But where do regulation and grounding meet for you personally?
Felizia: For me, it is particularly important to be grounded. But it is also important to regulate your emotions and your well-being. You cannot function without grounding. You need this grounding to have regulation in life. When you put regulation and grounding together, my definition of that is: function. Because you cannot function without finding a balance between them.
VI. THE MATERIAL MEMORY
Fashion has always existed in a complicated relationship with time.
It creates objects intended to be desired in the present, while often drawing inspiration from the past.
But the speed of contemporary consumption has changed our relationship with clothing.
Collections arrive and disappear. Trends circulate rapidly. Social media accelerates the desire for novelty.
Against this rhythm, Felizia expresses a preference for garments that carry personal history.
She recalls purchasing a pair of vintage jeans at a market in Pula, Italy, when she was seventeen.
Rather than replacing them as they aged, she continued wearing and repairing them.
For her, sustainability is expressed through practical decisions.
Keeping what she loves.
Repairing what can be repaired.
Choosing secondhand pieces.
And resisting the assumption that something must be new to remain desirable.
Her approach recalls a philosophy long associated with designer Vivienne Westwood, who repeatedly encouraged consumers to buy fewer, more carefully chosen garments and to value their longevity.
Sustainability is often reduced to marketing language today. Is this just a fad, or are people truly aware of it? (Vivienne Westwood was already talking about this in the ’80s and ’90s: people shouldn’t buy a lot, they should buy what they need, something personal, and combine what they already have.)
Felizia: For me, sustainability when no one is watching means: I don’t buy clothes. If I do, it’s mostly secondhand. My favourite jeans are from a market in Pula, Italy. I bought them when I was 17, they’re from the ’90s, and I still wear them. I’ve taken them to the tailor so many times. The thing with me is that I use what I have until it’s almost impossible to use anymore. With jackets, I take them to the tailor. This is my way of being sustainable.
Felizia introduces another dimension to the discussion.
She believes that previously owned garments can carry something of the lives of those who wore them.
Photo Vesna Walden
Your relationship with vintage seems very specific. Can you tell me more about that?
Felizia: It’s important to inform people that they’re actually wearing a piece that has been used by someone else. It is an energy exchange. But it’s all about how you take it in and how you feel when you’re wearing the piece. It can be a very good thing, or it can make you feel weird or uncomfortable.
Whether understood spiritually or metaphorically, the idea raises an interesting question about material memory.
A vintage garment has already existed in another context. It has moved through time. It may have been altered, repaired, treasured, forgotten, or rediscovered. Its imperfections can become part of its identity.
And this brings us back to gemstones. Natural stones are shaped over extraordinary spans of geological time. Their colours, inclusions, and irregularities are records of physical processes.
When incorporated into contemporary fashion, they introduce a material history that exists independently of the seasonal cycle.
The Stone Pin Scarf Drape Long Sleeve Mini Dress and the Orica Crystal Ruched Jersey Tee offer two different expressions of this relationship between mineral detail and clothing.
One uses a stone pin as a focal point within a draped silhouette. The other introduces natural stone hardware into an everyday garment.
Neither needs to be presented as a spiritual object. Their relevance to this story lies in the way they invite us to notice material, texture, and detail.
To look more closely. To consider what an object is made from, rather than simply what it communicates about status. Perhaps conscious fashion begins with this attention. Not necessarily with buying something different. But with learning to see differently.
VII. THE BROWN FEATHER
During our conversation, we ask Felizia to imagine the spiritual space where she works as a material or an object.
If your personal approach was a garment, a texture, or a material, what would it be?
Felizia: A brown feather.
We have different types of feathers. A white feather symbolises pureness, femininity, rebirth. A black feather indicates darkness, more like it has been through a lot. But a brown feather has the combination of both the white and the dark. It’s in the middle. It has the good and it has the bad. It’s not perfect, and that’s exactly why.
A brown feather. For her, this balance reflects the complexity of human life. We are not made entirely of positive experiences. Nor are we defined by our most difficult moments.
We are shaped by both. Her interpretation gives the colour brown an unexpectedly philosophical significance.
In fashion, earthy shades have long been associated with natural materials, warmth, and understated elegance.
But here, brown becomes something more intimate. A reminder that beauty does not require perfection.
That growth is rarely linear. And that transformation often begins with accepting the parts of ourselves we once tried to conceal.
The brown feather becomes a small metaphor for the entire conversation.
Not everything needs to be polished.
Not everything needs to be resolved.
Something imperfect can still be beautiful.
Something fragile can still carry strength.
11:11 — A MOMENT TO LISTEN
Meaning sometimes gathers around the smallest things. A feather. A stone. Four digits appearing on a clock.
For those who attach significance to it, 11:11 can become a small ritual: a moment to make a wish, set an intention, or notice where the mind has wandered. An ordinary instant becomes an invitation to pause. What are we hoping for? What deserves our attention? What are we ready to change?
Music offers another way into these questions. With “11:11” by LUCI as a listening companion to this story, the conversation opens beyond objects and appearances, into sound. A song can become part of a private ritual, hold a memory, or accompany a version of ourselves still taking shape.
Here, we read 11:11 as a symbol of attention. A brief meeting between the passing hour and the inner life. And perhaps another way to approach rebirth: making room to hear what is already stirring within us.
Listen: “11:11” — LUCI
VIII. Closing essay
Fashion, beauty, and spirituality all exist within a world of business. Stones, fragrances, and garments are objects we can purchase. Yet their significance does not necessarily end with their material value.
There is a difference between consuming something and choosing it consciously.
Perhaps what matters is not simply what we possess, but the intention behind what we choose to bring into our lives. An object can become a reminder, a ritual, or a personal expression of who we are and who we are becoming.
Our conversation with Felizia Gabriella Jensen began with spirituality.
It moved through gemstones, beauty rituals, psychology, femininity, and the changing language of contemporary fashion.
But beneath these different subjects, one idea remained constant.
The desire to live more authentically.
In a culture that often encourages us to move faster, consume more, and present increasingly perfected versions of ourselves, Felizia offers a different perspective.
One rooted in introspection, vulnerability, and the belief that personal transformation begins from within.
We do not need to share every spiritual belief to recognise the human questions beneath them.
What gives our lives meaning?
How do we learn to accept ourselves?
What do we carry from the past, and what are we ready to leave behind?
For The Rebirth Magazine, these questions belong naturally within the world of fashion. Because fashion has never been only about what we wear. It is also about identity, culture, memory, imagination, and the ways we choose to present ourselves to the world.
A gemstone can become a personal symbol.
A beauty ritual can become a moment of attention.
A garment can become part of a transformation.
Spirituality, too, can be bought, and we are not outside that. Stones, scents and garments all carry a price, and a magazine that offers them should say so. Felizia’s answer is the one we keep returning to: she never chooses a stone for a customer. Follow what you feel, she says, not what you are told. Perhaps that is the difference between consuming and choosing. Not what we take home, but who decided.
And a young woman discovering an extravagant dress at fourteen can begin a journey toward a more authentic understanding of herself.
“True luxury does not shout. It listens.”
True luxury does not always announce itself. Sometimes it exists in the freedom to choose differently.
In the time we give ourselves.
In the attention we offer others.
In the courage to change.
And in the quiet recognition that becoming is never truly finished. Perhaps rebirth does not begin when we become someone new. Perhaps it begins when we finally learn to listen to who we are.
— The Rebirth Magazine