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Culinary

One Night at Sturehof with G.A.T

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One Night at Sturehof with G.A.T For one night only, two Stockholm restaurants come together for a four course dinner shaped by French bistro influences, classic cocktails and late night music. On 15 October, G.A.T. will join Sturehof for an evening in the historic restaurant’s upstairs salons. Beginning at 19.00, the collaboration brings together the kitchens of Michael Larsson of Sturehof and Elias Nador of G.A.T., alongside cocktails and music. The menu reflects the character of both restaurants, moving between French and American influences. Dinner opens with crudités from Sturehof’s kitchen garden at Ulriksdal, served with roasted chicken mayonnaise and fermented garlic. Snacks include a tartlet with caviar, pickled cucumber and smetana, Rockefeller oysters, porter cured beef and a petit choux filled with lobster and truffle. A classic shrimp cocktail follows, before the main course of New York strip steak with pepper sauce, pommes frites and vegetables from Ulriksdal. The evening concludes with Sturehof’s playful take on a Swedish favourite: Tipsy princess cake. Throughout dinner, G.A.T. cocktails will be served from a drinks trolley moving through the salons. Restaurant manager Elin Banck and bar manager Axel Söderström will lead the experience, while DJ Storkn takes over the music. From 22.00, the evening opens to all and continues until closing. The four course menu is priced at SEK 995 per person, with advance booking required through Sturehof.  Could this be Stockholm’s greatest evening of all time? There is only one way to find out.

Travel

Amsterdam, on purpose

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The Dylan: Amsterdam, on Purpose A history tour, a stay, and on foot through the streets around The Dylan Amsterdam text Sandra Myhrberg The Dylan has built a history walk that unfolds on your phone, stop by stop, connecting the hotel to the streets around it. It wasn’t quite live when I stayed, so Emma, who works at the hotel, took me through it herself, on foot, slowly, following the route as a guest eventually will. images courtesy Dylan Amsterdam The Building, and the Streets It Opens Onto We started at the address itself. At Keizersgracht 384, Amsterdam’s first theatre once stood. It opened in 1633, drew the city’s crowds for decades, and came down fast, an assistant working too close to the candles set the curtains alight, and the building nearly burned to the ground. What survives from that fire is a single gate, still standing at the entrance, the last piece of a stage nobody living has seen. After the theatre, the address became a guild office, then a church, then a bakery that fed the neighbourhood. Today it is The Dylan. Emma didn’t stop at the door. The point of the walk, she said, is that the hotel’s history is really the neighbourhood’s history, so we kept going, past the small, independent shops the hotel sends guests to instead of the obvious ones, along canal houses whose narrow rooftops she pointed out one by one, each one a small piece of how Amsterdam actually builds and lives, not the postcard version. Walking it, the theatre gate and the shopfronts stop feeling like separate stops on a list and start feeling like one continuous street. The Stay Back inside, the hotel makes its own case for slowing down. The Dylan has forty one rooms, each one different, mine leaning industrial against a building that is anything but. Many people’s favourite spot in the house is the staircase, narrow and steep in the way old Amsterdam canal houses are, and standing in it, you understand why, it’s the one place in the building where four hundred years of renovation haven’t managed to smooth the place out. The garden does something similar in reverse, a genuinely quiet pocket a few steps from Keizersgracht’s traffic, used for weddings and long dinners, and apparently one of the few spots in the city centre where the noise actually drops. Fall Within What I did on foot, off script, is now something guests can book outright. The Dylan’s new Fall Within package, running from September 21 through December 20, folds the same shift into one stay, a personally guided heritage walk through the surrounding canal district ending at a museum, tickets into the canal history there, the audio history experience of the hotel itself, a minimum two night stay in one of the luxury rooms, daily breakfast at Bar Brasserie OCCO, and autumn flowers left in the room.

BackStage

Selkie Debuts The Ghost Ship | NYFW

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Selkie Debuts The Ghost Ship | NYFW photography The Moment Department photography The Moment Department photography The Moment Department photography The Moment Department photography The Moment Department For Fall 2026, that idea took shape as a traveling pirate circus of warrior girls living off the grid and sailing through space in an imagined apocalypse. Haunted by a regretted past and an uncertain future, Gordon’s cast of rebellious circus girls performed to survive, create and facilitate joy, turning the collection’s fantasy world into a meditation on choice, judgment and self-determination. The collection brought together maritime folklore, historical fantasy and circus imagery through Selkie’s distinctly feminine lens. Pirate and harlequin references met armor, corsetry, romantic dresses and theatrical silhouettes, while chain mail, religious jewelry, ocean shells and exaggerated accessories pushed Selkie’s familiar fantasy into darker territory. Returning to create the show’s beauty world were Linh Nguyen and Alexandra French. Nguyen created the wigs for the runway in partnership with Cutler Salon and Redken, while French returned as lead makeup artist in partnership with Urban Decay, developing a “ghost clown porcelain doll” look to complement the collection. French created softly diffused, luminous-matte porcelain skin, diffused circular blush and painterly eyes, contrasted by sharp double-wing liner and a dimensional, softly bitten lip. “The clothes are so feminine, and the hair and makeup bring a little lived-in grunge to it all,” says French. “Kim has such an amazing vision for who her Selkie girl is. Her world truly is for the feminine gaze. I love being a part of her world and creating these characters.” SOREL partnered with Selkie for backstage footwear, outfitting models in the pink Ambler™ Women’s Waterproof Clog before and after the runway. At the center of The Ghost Ship was Gordon’s idea of performance itself. Against a contemporary culture shaped by social media, judgment and the pressure to perform for others, the collection instead proposed performance as an act of agency. As Gordon writes in the show notes, “Feminism is the freedom to choose the life you want.” Ultimately, The Ghost Ship was an invitation to dress freely, embrace the choices that shape us and, in Gordon’s words, “perform with absolute abandon.” Continuing Selkie’s runway-to-retail model, the Fall/Winter 2026 collection became available to shop alongside its runway debut, bringing the fantasy of the show directly to the brand’s community. Selkie is on affiliate network AWIN and available via Skimlinks.  ABOUT SELKIE Selkie is the ready-to-wear label founded by designer and former Wildfox co-founder Kimberley Gordon. Rooted in folklore, fantasy and self-expression, the brand is known for its romantic silhouettes, imaginative storytelling and inclusive approach to dressing, with styles offered across an extensive size range from XXS–6X. Named for the mythological selkie of Irish, Scottish and Scandinavian folklore, a woman who reclaims her identity and returns to the sea, the brand has built a global community around Gordon’s deeply personal approach to femininity, fantasy and freedom. Through its runway-to-retail model, Selkie brings that world directly to its customer, making collections available to shop alongside their runway debuts. photography The Moment Department

Opiates, Uncategorized

Kasthall opens new showroom in New York

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Kasthall opens new showroom in New York Swedish design company Kasthall has opened a new showroom at the New York Design Center and is now furthering its reach in the American market. The showroom opened its doors on September 17 at 200 Lexington Avenue in New York, offering private customers as well as professionals, such as architects and interior designs, an insight into the products from the Swedish brand. The opening comes after Kasthall’s commitment to the American market and its focus on the home and contract sectors, and the showroom display the brand’s collections of woven and hand-tufted rugs. The new space has been developed in partnership with design agency Fyra and builds on a concept presented at Kasthall’s Stockholm store in 2025. Mirkku Kullberg, CEO of Kasthall, explained that the company wants the New York showroom to function as more than a retail space. “For us, a showroom should be more than a place to see rugs. It should be a place for conversation, creativity and collaboration,” Kullberg said. She added that New York has long been an important meeting place for the architecture and design industries and that the new location will allow Kasthall to become more involved in the city’s design community. The opening at the New York design center provides the Swedish company with a dedicated location within one of the city’s established destinations for interior design and furnishings.  

News

Dario Vitale to Design Emporio Armani

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Dario Vitale to Design Emporio Armani Giorgio Armani revealed the appointment of Dario Vitale on its official Instagram account on September 16, 2026. Dario Vitale has been named Creative Director of Emporio Armani and Giorgio Armani Accessories, becoming the first person outside the Armani family to hold the role. Vitale brings extensive experience from across the fashion industry, with a focus on product, quality and contemporary design. His appointment marks a new chapter for the house, with the Armani Group describing it as a step towards strengthening its creative structure while continuing to respect the aesthetic vision and values established by Giorgio Armani. Vitale will join the Armani Group with immediate effect. image courtesy Giorgio Armani via Instagram

Opiates

Skulls, delicious pastries, and hummingbirds adorn Lush’s latest Día de Muertos collection.

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Skulls, delicious pastries, and hummingbirds adorn Lush’s latest Día de Muertos collection. The company Lush, which produces fresh, handmade cosmetics, presents the launch of a five-product collection to celebrate this year’s Día de Muertos (“Day of the Dead”). Día de Muertos is a holiday celebrated annually in Mexico on November 1–2 – with similar celebrations around the world – to honor and remember deceased loved ones. It is far from a sorrowful event; grief is replaced by festivities featuring gatherings, food, music, and art. Lush’s 2026 collection features products inspired by the holiday’s iconic sugar skulls (here shaped into bath bombs), the “Postrecito” soap (inspired by a popular dessert), a sugar scrub scented like the traditional Mexican drink horchata, and the “Aliento Del Colibrí” shower gel – with a light, floral, and mildly uplifting fragrance. The collection is part of Lush’s “Co-Create” program, a product development internship program aimed at Lush staff. The program aims to promote diversity, inclusion, equity, and belonging by highlighting authentic stories from different cultures and communities. Four employees from different parts of the world collaborated on this year’s collection, including staff from the USA, Canada, and Australia, as well as a designer from Mexico who created a design for Lush’s reusable gift-wrapping alternative: “knot wraps”. Knot wraps are reusable and eco-friendly fabric alternatives to traditional wrapping paper, ribbons, and gift bags. These colorful pieces of fabric are inspired by the ancient Japanese art of wrapping objects in cloth, known as furoshiki. They can be folded and tied to wrap gifts of all shapes and sizes, or used as everyday accessories. Lush’s 2026 Día de Muertos collection will be available in all Lush stores and online starting Thursday, September 17. This vibrant bath bomb is a tribute to “sugar skulls” (calaveras), which symbolize death as a natural part of life. Its colorful exterior – filled with tonka bean, bergamot, lemon myrtle, and warming benzoin resin – reminds us that everything related to death doesn’t have to be sad. Created by Shantal Astudillo from Lush Toronto: ”My partner and I created the Calaverita bath bomb to celebrate Día de los Muertos in a colorful, nostalgic, and meaningful way. We wanted to share the fact through this project that in Mexican culture, the love, memories, and connection to those who have passed away never disappear; everything just takes another form. The skull represents death, but when transformed into bright colors and sweet scents, it doesn’t become something frightening, but rather something warm and comforting. This project is also very personal to me, as an immigrant woman with dyslexia, because it has allowed me to proudly express my culture, identity, and creativity through Lush, and be inspired by my childhood memories of creating ofrendas.” Calverita Bath Bomb Postrecito Soap This creamy and fruity soap is inspired by a sweet dessert often served at family gatherings, and smells of vibrant oils from orange, mandarin, and bergamot. A playful blend of berry and citrus notes melts together with a soft, creamy base, creating a scent that feels lovely, uplifting, and embracing. Created by Jailene Mandujano from Lush San Diego: ”My grandfather introduced me to the concept of visiting family members during Día de Muertos. As soon as he arrived at our family’s resting place in Mexico, he said ’Hello, I’m back to visit you’, and greeted them one by one while we filled the place with gifts and flowers. He also introduced me to the power of building your own family, filled with relatives and friends you’ve learned to love along the way. As we age, we can all still honor those we have lost, whether they were connected to us by blood or by bonds of love. This sweet delicacy was something I always looked forward to during Día de Muertos and our other large family gatherings. It is an inexpensive dessert that symbolizes endless, familial love, and captures the feeling of ’here, have another sweet so everyone else can taste it too!’.” Horchata Body Scrub Aliento Del Colibrí (Breath Of The Hummingbird) Shower Gel Horchata is a traditional Mexican drink made from white rice soaked in water, flavored with cinnamon and sweetened with granulated sugar – perfect to transform into a moisturizing body scrub! Many of the original ingredients have been recreated here, including exfoliating rice and warming cinnamon, and complemented with moisturizing oils and plant butters for soft and nourished skin. Created by Cena Miller from Lush Texas: ”Horchata is a much-loved drink with roots stretching all the way back to ancient North Africa, where drinks were made by soaking tiger nuts. The recipe then spread to Spain and eventually traveled to Latin America with Spanish colonization, evolving into the rice-based version that many people are familiar with today. Nowadays, it is enjoyed both as a refreshing drink and as a symbol of cultural heritage in many Spanish-speaking communities. It is often served at family gatherings and festivals, but also as a small everyday luxury. For this year’s Día de Muertos, I wanted to share a culturally important symbol and a common Mexican joy with all Lushies around the world – so that they can take it to their hearts (and bodies!).” On Día de Muertos, the heavenly hummingbird follows the beautiful scent trails to find its way to all the ofrendas. The birds bring with them messages from missed loved ones. In this shower gel awaits sweet rose oil and a hint of sun-ripened berry notes that seem to hum when they come into contact with the skin, taking it on a flight among flowers, softness, and memories. Created by Diego Cruz Rodriguez from Lush Australia: ”Aliento del Colibrí is inspired by a well-known belief in Mexican culture: that hummingbirds carry messages from the dead to the living. When a hummingbird appears, it is said to bring love, thoughts, and words that remained unspoken – a quiet sign that those who have passed are still present. Under Día de Muertos, memories are filled with color and

News, Uncategorized

At IFA, Xiaomi Designs a World Beyond the Smartphone

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At IFA, Xiaomi Designs a World Beyond the Smartphone For its IFA debut, Xiaomi took over 3,300 square metres in Berlin with more than 380 products. Alongside smartphones and smart home technology, three cars reveal how far the company’s ambitions now extend. A car created for a video game could easily feel out of place at a technology fair. But on Xiaomi’s stand at IFA in Berlin, the Vision Gran Turismo offers a glimpse into how the company sees its future, both on screen and on the road. This is Xiaomi’s first year at IFA, and it has arrived with its largest standalone presentation outside China to date. More than 380 products fill the 3,300-square-metre space, moving from smartphones and home technology to kitchen appliances and electric vehicles. At the centre of the presentation are three cars: the SU7 electric saloon, the high-performance SU7 Ultra and the virtual Xiaomi Vision Gran Turismo. Each shows a different side of Xiaomi’s growing automotive business. The SU7 is the clearest example of Xiaomi’s move from smartphones into mobility. Its long, low shape places it firmly within the world of modern electric sports saloons, but the more important story is found inside. Powered by Xiaomi HyperOS, the car connects with the devices already used throughout the day. The idea is simple: your phone, home and car should be able to communicate without requiring separate systems for each. The SU7 Ultra focuses more directly on performance. In April 2025, the production model completed an official Nürburgring Nordschleife lap in 7:04.957, setting a record in the Electric Executive Car category at the time. Considering Xiaomi delivered its first production vehicle only in 2024, the result helped establish the company as a serious automotive competitor far more quickly than many might have expected. The Vision Gran Turismo takes a more experimental approach. Created for the Gran Turismo franchise, it makes Xiaomi the first technology company to take part in a programme traditionally associated with established carmakers. Because it does not have to meet the same immediate demands as a production car, its designers have been able to push the form further. The concept has a teardrop-shaped cockpit, an active system that manages the airflow behind the car and a sharply sculpted body that looks as though it belongs equally on a racetrack and inside a video game. The interior is unexpectedly soft. Xiaomi describes the concept as “Racing on a Sofa”, replacing the rigid feel of a traditional racing seat with something more comfortable and cocooning. A ring-shaped assistant called Xiaomi Pulse sits at the centre of the interface. Some of the language surrounding the concept is deliberately futuristic, but the question behind it is relevant: as cars become increasingly controlled by software, how should it feel to interact with them? The cars are part of Xiaomi’s wider “Human × Car × Home” strategy, which connects personal devices, vehicles and household products through AI and HyperOS. In practice, this could mean the car communicating with the home before the driver arrives, adjusting the lighting or temperature depending on the time of day. A photograph taken on a phone could be sent to a printer through a spoken request. Instead of operating separately, the devices are designed to work together. Of course, this level of connection is also good business. Once a phone, car and home all work through the same system, choosing the next product from the same company becomes easier. Xiaomi is not only developing individual devices; it is building an environment around them. Europe will be important to the next stage of that plan. Xiaomi is using IFA to expand its Mijia smart home business across the region, while its automotive division is expected to enter the European market in 2027. The Berlin presentation therefore feels less like a conventional product launch and more like an introduction. Before European consumers are asked to buy a Xiaomi car, the company wants them to understand the connected world that will come with it. Among the many promises of smarter homes and more intuitive technology at IFA, the cars make Xiaomi’s ambitions easier to see. This is a company that no longer wants to be known primarily for the smartphone in your hand. It also wants to shape the rooms around you and, eventually, the car waiting outside. The Vision Gran Turismo may never reach the road in its current form. But that is not really the point. For now, its purpose is to show us where Xiaomi believes it is heading. text Jahwanna Berglund  

Cinema

Asian Film Festival 2026 Goes on Swedish Tour

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Asian Film Festival 2026 Goes on Swedish Tour This September and October, the Asian Film Festival 2026 doesn’t only arrive in the swedish capital, but goes on a tour to different cities in Sweden and puts films with questions on Youth and Community on the big screen. 17 films from seven countries with the headline: “Eyes on YOUTH: Friendship & Hope.” This year’s 17 films look at how young people navigate a fast changing world, new technology and a constant stream of social and political noise. Through friendship, family, identity, belonging and, importantly, the festival hope you can get inspired with new and unique films. The screenings will take place in Stockholm, Gothenburg, Malmö, Linköping, Norrköping, Uppsala, Umeå and Visby,  with additional screenings and collaborations at local cinemas and venues.    The programme brings together contemporary Asian cinema and celebrated and popular films from recent film history. You can revisit classics everyone should see such as In the Mood for Love, Oldboy, Parasite, Millennium Actress, Harakiri and Howl’s Moving Castle. And say hello to some of the new titles from this year, such as A Useful Ghost, Girl, Gohan, The King’s Warden, Don’t Tell Mother, Kokuho, The Seoul Guardians, Elder Son and We’re Nothing at All. In other words, whether you’re looking for your next cinematic discovery or an excuse to revisit a classic, there’s plenty to choose from. There will also be special events and collaborations during the fall, with selected screenings, including Korean themed events and a performance by the VeraSol K-pop choir. So bring a friend or go solo, pick a film and location, and get ready to see a few different corners of Asia – without needing a passport. Find the complete 2026 programme, individual film information and screening details on, asiatiskaff.com. text Yasmine Mubarak

BackStage

Elena Velez SS27 | NYFW​

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Elena Velez SS27 | NYFW photography Oumar Kante image courtesy Elena Velez photography Abigail Ford image courtesy Elena Velez photography Karla Tomanelli image courtesy Elena Velez photography Oumar Kante image courtesy Elena Velez

Design

The Art of Staying Grand

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The Art of Staying Grand Inside Grand Hôtel Stockholm’s “soft renovation”, where cinematic turquoise, royal blue and fragments of the past reveal a more personal idea of modern luxury. Guests expect historic hotels to evolve, but rarely want them to change. The rooms must function for the present while retaining the atmosphere that made people return in the first place. Grand Hôtel has never been simply a place to sleep. Since opening in 1874, royalty, diplomats, film stars and Nobel laureates have crossed its floors. For some, it has been a room for the night; for others, a temporary home. For Stockholmers, it has also long been a setting for occasions that call for somewhere special: dinners, meetings, birthdays, first dates and evenings that continue long after the final glass has been cleared from the table. Interior designer Sanna Nathanson describes the work she has carried out with Studio Ramson as a “soft renovation”. The phrase makes sense as we walk through the hotel. Her approach is not built around a dramatic reveal or a single visual concept imposed on every room. It is about knowing what should feel new, what can be reinterpreted and what is better left alone. We begin with an alcohol free cocktail named Postcard from the Riviera before heading upstairs. Behind each door, the atmosphere shifts. One room is calm and almost monochrome, with soft grey walls and a graphic carpet. Another has bespoke headboards upholstered in patterned Le Manach textiles. In Room 448, the original wallpaper remains, its age treated as character rather than something to correct. There is no single contemporary identity repeated throughout the hotel. Even the ceilings have been painted in shades chosen to correspond with the palette below, bringing warmth and completeness to the rooms. Guests can even request a preferred colour. Almost. For those whose hotel preferences already extend beyond the choice of pillow, blue, green or something more neutral can now be added to the conversation.  In the Ingrid Bergman Suite, colour takes centre stage. The corner suite spans 76 square metres and is defined by a shade I immediately think of as “Grand Turquoise”. It recalls Tiffany blue, but is richer and pulled further towards turquoise. The colour gives the room a glamorous, slightly unexpected energy. A portrait of Ingrid Bergman hangs beside the windows, while references to cinema appear throughout the suite. Tiles dating back to 1874 bring a fragment of the hotel’s earliest history into the room without turning it into a museum. From film history, we move to royal history. The Bernadotte Suite is named after Prince Sigvard Bernadotte, who decorated the hotel’s third floor in collaboration with Svenskt Tenn. Across its 165 square metres, classical mouldings and pale walls are interrupted by deep green, rust red and blue. The dining room is the suite’s centrepiece. A landscape unfolds across wallpaper painted by hand, surrounding a table set for eight. Blue striped chairs and a graphic rug keep the room from feeling overly ceremonial. It is unquestionably grand, but still feels ready to be used. This is Grand Hôtel’s interpretation of Swedish design. Not the bare minimalism with which Scandinavia is so often associated, but restraint combined with colour, texture and a taste for ceremony. Luxury is communicated through proportion, materials and the confidence to let an unexpected colour take up space. Beyond the suites, a deep royal blue carpet now runs along the staircase. It changes the mood without changing the architecture and seems destined to become the backdrop for many photographs to come. The practical updates are quieter. Every room now has a coffee machine by the Swedish company Sjöstrand. This leads to one unexpectedly useful lesson: coffee with milk is among the worst things you can spill on a hotel carpet. If it happens, call the front desk immediately. Who knew? These interiors may be carefully composed, but they are still made to be lived in. Perhaps that is what it means for a hotel to remain grand today. It is less about marble, chandeliers or square metres than continuity: allowing new stories to enter without losing those already held within the walls. The renovation is gentle, and that is precisely the point. The art lies in knowing what to touch, what to leave alone and how to make history feel alive. text Jahwanna Berglund

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