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Author name: Natalia Muntean

Culinary

Oddnorm- The Experience

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Oddnorm – The Experience text Ulrika Lindqvist and Natalia Muntean Oddnorm presents itself not as a traditional dinner, but as a state of mind. A journey through shifting concepts where food, music, and art intertwine. The evening unfolds as a decadent, meticulously choreographed experience in which each course reshapes both the dining room and the mood. For four weeks, Restaurant Persona, in collaboration with Doubble Space and No Normalcy, takes over the Old Gasworks at Norra Bangården for a new edition of what has become the Nordic region’s most multisensory dining event. image courtesy John Scarrisbrick The ExperienceWe arrived knowing almost nothing beyond an estimated start and end time. The night opened in the Oddnorm bar, where a southside served in a playful squeeze pouch set the tone alongside snacks such as a liquorice cone filled with foie gras and raspberry jam, finished with liquorice sprinkles. ODDBAR welcomes guests from Wednesday to Saturday during the weeks when ODDNORM takes place. Guests were then ushered, one group at a time, into the main room and seated along a single long table that gathered all seventy of us. Conversations buzzed, speculation, excitement, a little nervousness, exchanged with both tablemates and strangers met in the bathroom queue. Each chair held a custom-designed pocket for cutlery, to be retrieved by the guest before each dish. The backs of the chairs featured specially designed holders for bottles of still and sparkling water, which were continuously refilled during the evening. From there, the evening escalated: video art washed across the walls, smoke drifted thick through the room, music pulsed, and a procession of exquisitely constructed dishes appeared, accompanied by thoughtful wine pairings. Highlights included a smoked halibut tartare with dashi and vanilla, a surprise oak-aged vodka, and a mushroom-and-spinach pithivier served with an unforgettable sauce. Ulrika was even invited into the kitchen to choose between champagne or beer, don a black glove, and help decorate the sauce on a meat dish. About the CreatorsThe menu is crafted by Persona. Based in Stockholm, the restaurant is known for blurring the boundaries between culinary craft and contemporary art. This year’s ODDNORM menu is designed to awaken the senses, disarm expectations, and guide the guest through a spectrum of emotional states — from curiosity to enchantment. Oddnorm was founded in 2024 by Julia Anjou and John Scarisbrick of Doubble Space, Karin Ringbäck and Carl Philip Dickman of No Normalcy, and Jonatan Nyström and Louis Caspedes of Persona. The ODDNORM Dinner ExperienceThe experience takes place at Doubble Space in Stockholm’s Old Gasworks at Norra Bangården, Torsgatan 22. Each seating lasts roughly three hours, beginning between 6 and 7 p.m. and ending around 9 to 10 p.m., Wednesday through Saturday from November 13 to December 12. The set menu is priced at 1,700 SEK, with drink pairings ranging from 1,100 to 4,500 SEK. Reservations can be made at www.odd-norm.com/booking. 

Design

“A Collective Contribution”: Michael Anastassiades on His ‘After’ Series for Fritz Hansen

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“A Collective Contribution”: Michael Anastassiades on His ‘After’ Series for Fritz Hansen text Natalia Muntean With a career spanning over two decades, Michael Anastassiades has cultivated a unique language of design, creating lights, furniture and objects characterised by a balance of improvisation with structure. Having collaborated with the world’s leading manufacturers, from Flos to B&B Italia, his work is part of permanent collections of institutions like the Museum of Modern Art and the V&A. Now, Michael Anastassiades brings his poetic, yet rigorous design language to his first large-scale furniture collaboration with Fritz Hansen.  Natalia Muntean: This is your first collaboration with Fritz Hansen. How was this experience different from your other partnerships?Michael Anastassiades: It’s different in the sense that it’s a Danish brand. So for me, although I’ve had quite a lot of experience in collaborations on a different level with Scandinavian brands, Fritz Hansen is probably the first one of that scale in terms of industrial production. I have worked in the past, starting with Iittala, Danish Modern, or Bang & Olufsen, but this really is the first furniture collaboration on that industrial kind of level. Every brand is different. The culture is very different when you do something in Scandinavia. The speed and the development process are very different and there seems to be a different attitude towards the sense of ownership of design. With Danish design, if you study historically, it feels like it’s a more collective contribution towards the evolution of icons. They were all modelled on different archetypes from history – a classical Greek chair, or traditional English furniture. Every time a certain typology of chair was approached by an architect, it was built on something that had happened before. This approach has been recurring for many years; everybody was adding something, building on what came before. For me, this was a particularly attractive point when working with Fritz Hansen, understanding that sense of collective contribution was a good starting point for the dialogue about this chair. NM: And how has this philosophy of collective contribution shaped your approach to the ‘After’ series? MA: It has shaped it in the sense of understanding and acknowledging it, this sense of ownership. So somehow it feels a little bit more democratic. This different mindset is very much aligned with everything else I have done, especially for my brand of lighting, which is also modelled on a sense of familiarity. There is already a starting point for a conversation; you’re not there to shock people with something completely different. That approach is very much aligned with my brand, so it does work very well with the project I’ve done for Fritz Hansen. NM: Your work often strikes a balance between simplicity and emotion. How did you find that balance in the ‘After’ chair and table? MA: I think it’s really obvious in that example because there are hardly any elements to it. Structurally, if you analyse the chair, there are four legs, an armrest which is combined with the backrest, one element that wraps around, and then there is the seat itself. Everything is so perfectly placed in its position and how they are constructed together. There’s not much you can actually remove from the design other than the essentials I have chosen to keep. That reduced approach is very much there in its simplicity. NM: What was the biggest challenge in achieving this pure form, without compromising comfort? MA: Well, the fact that you have to constantly revert to your original idea and vision. You have to pause now and then and look back. It’s interesting because even the very early prototypes look almost identical to what it ended up being. But the challenges have been: how do you introduce comfort? And what does comfort mean in your approach to a piece that is so strict and disciplined? The biggest challenges have been how to make these introductions in such a subtle way, not to compromise the strength of the chair in terms of its look. NM: You’ve worked closely with the craftspeople and the creative team in a very hands-on way. MA: The development has been over a series of workshops in Copenhagen with the design team. The conversations were very much about trying it out on the spot and making a collective decision that this makes sense. There was very much their feedback in the process and how it guided us to arrive at the final result. NM: Can you tell me about the material choices? There’s a contrast between the wood and the marble tops. MA: The starting point of the ‘After’ series is really the chair itself; that is the protagonist. I wanted it to be monolithic. I wanted it to be wood for its warmth, its lightness, for all the welcoming qualities. I like the challenge of using a soft material in a very strict language. The type of wood was very much a sustainability decision. You have to look at the cycle certain timbers have in the world in terms of their availability. We chose types that are readily available and not rare species, which also drives the cost. The choice of ash was that kind of decision. NM: Your process has been described as both analytical and intuitive. How did that unfold for the ‘After’ series? MA: I think you’ve got to really educate yourself. Informing yourself about the DNA of the company, their contribution to the Danish approach, and then historically looking at the history of design and the history of a chair. Understanding how anything new is positioned in this map – that takes many years of study, observation, and education. From that moment on, all that information is embedded in your process. You don’t have to constantly refer to it because you’re already informed. So when you start working, you follow a certain intuitive process, but that deep knowledge is already filtering whatever comes out. NM: The development took nearly three years. How did time influence the final

Beauty Articles

Remington Launches AIRvive™: A New Styling Range for Smoother Hair

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Remington Launches AIRvive™: A New Styling Range for Smoother Hair Remington has unveiled AIRvive™, a brand-new styling collection that combines ionic airflow technology with heat-activated micro-conditioning to deliver long-lasting smoothness and frizz control at home. Designed for everyday ease and salon-quality performance, the new range features four tools specifically designed for fast styling, reduced heat damage, and effortless shine. AIRvive™ Digital HairdryerA lightweight dryer with ionic, anti-static airflow, a fast digital motor, and heat sensor protection to prevent overheating. It includes two magnetic attachments, operates quietly, and is 15% more compact and 30% lighter than comparable models. AIRvive™ 2-in-1 Air StylerA dual-mode tool that dries and styles. Wet Mode uses low heat to smooth damp hair, while Finishing Mode boosts plate temperature to tame flyaways. With ionic cooling airflow and ceramic plates infused with micro-conditioning, it delivers up to 80% smoother results, easily creating curls and bends. AIRvive™ Rotating Curling IronThis curling tool features a split rotating barrel for effortless curl direction control. Ionic cooling locks in shape quickly, while ceramic plates help keep curls soft and frizz-free. Three heat settings (160–210°C) allow for custom styling. AIRvive™ Slim StraightenerA sleek straightener designed to create 80% smoother hair using ionic airflow and ceramic, conditioner-infused plates. Floating plates, five heat settings (150–230°C) and a rounded casing make it suitable for straight styles, waves and curls. With AIRvive™, Remington aims to help users style frizz rather than simply fight it, offering lightweight, ergonomic tools that enhance the hair’s natural softness while protecting it during heat styling.

Culinary

Trattoria Giorgio’s Brings 1960s Italy to Stockholm

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Trattoria Giorgio’s Brings 1960s Italy to Stockholm “Stockholm is a market with high expectations, and our goal is to create restaurants where the experience feels authentic from the first moment,” says Brazer Bozlak, founder and CEO of Urban Italian Group. “Giorgio’s is our interpretation of the Italian neighbourhood trattoria – a place where the details speak for themselves and the atmosphere is shaped by the food and the energy around the tables.” Trattoria Giorgio’s has now opened its doors, introducing Stockholm to a warm and stylish tribute to the trattorias of 1960s Italy. The interior welcomes guests with deep wood tones, marble, velvet sofas and warm lighting, a nostalgic nod to Milan in the 1960s. Ceiling murals by artist Elin PK add a touch of colour and playfulness. An open kitchen runs through the restaurant, making the cooking part of the experience, just as it is in Italy’s traditional trattorias. Giorgio’s serves comforting Italian classics with a contemporary twist. Among the highlights are Carpaccio Royale, Agnello Cremoso, Hummer Dreaming or Carbonara al Limone. Desserts stay true to the trattoria spirit while adding a playful edge. Guests can indulge in the pistachio-filled Green Mamba with profiteroles, or the fresh and zesty Limonamisu, a citrus reinterpretation of tiramisu. Behind the launch is Urban Italian Group, the team also known for Basta and Florentine, now reinforcing its position as Scandinavia’s leading player in modern Italian dining with its fifteenth restaurant. “We want to create dishes that people recognise and still feel surprised by,” says Kristjan Longar, co-owner of Urban Italian Group. “Italian cuisine has such a strong foundation; our job is to give it new life without losing what makes it so loved.”

Culinary

Studio Canteen – a new concept by Marion Ringborg

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Studio Canteen – a new concept by Marion Ringborg text Natalia Muntean After years of influencing Stockholm’s dining scene, from co-founding Garba to running Studio Marion, chef and entrepreneur Marion Ringborg is returning with a new concept centred on daytime dining. “I’ve felt for a long time that Stockholm needed places where lunch isn’t just functional,” she says. “I want to offer something that treats your day a little bit.” On 28 November, Ringborg opens the doors to Studio Canteen, her new café and lunch restaurant in the heart of Stockholm. The space, which she describes as “a living room you actually want to spend the day in,” blends well-cooked food, pastries and house-made drinks with an atmosphere that feels warm and personal to Marion. The menu is built on the flavours that define Ringborg’s cooking: a blend between British comfort and Italian simplicity, with other influences woven throughout. Expect dishes inspired by classic British cooking, like savoury pies, alongside fresh pasta and salads. “We love to work with capers and parmesan and lemon and olive oil – that will be the base,” she says. The menu will always offer a few staple dishes, together with a weekly special that shifts with the seasons. As in all her projects, Ringborg brings a personal layer. “My mum is from Gambia, and that’s the food I’ve been eating my whole life, so of course it will be fun to get that in too,” she says. Her favourite dish? Jollof rice. And the flavour she always returns to? “Jasmine.” Pastries are central to Studio Canteen’s identity – simple, flavour-led and comforting. Think polenta cake with jasmine cream, tiramisu and chocolate-forward desserts made with natural ingredients and intuitive combinations. “I’m not a pastry chef, I just really love flavours,” she says. “Pastry for me has been very much learn-by-doing.” image courtesy Anna Eriksson The drinks menu is equally thoughtful. Alongside coffee, tea and matcha, Studio Canteen offers its own house-made shrubs – bright, fruit-and-vinegar-based drinks in flavours like kimchi soda, rose & hibiscus, and saffron & sea buckthorn. The idea grew out of Ringborg’s pregnancies and her desire for something flavourful and alcohol-free during the day. “I wanted a grown-up drink that’s really nice but works during the day – that’s how I started making shrubs,” she says. Studio Canteen extends the creative spirit of Studio Marion, but this time the expression is softer, lighter and more intimate. Ringborg has designed the entire interior herself, filling the space with second-hand pine furniture, natural fabrics and mismatched vintage chairs handpicked in antique stores. “The interior is very personal. I’ve chosen second-hand furniture, light wood, fabrics… everything is picked by me because I want the space to feel like a home.” Beyond the café area lies a large event space, able to host around 100 people. It’s intentionally kept clean and adaptable, ready for art exhibitions, fashion events, private dinners or creative gatherings. “I’ve been doing events for years, but always in other places,” Ringborg says. “I wanted a home base where I could host bigger events and fully shape the atmosphere myself.” Studio Canteen is open Monday to Saturday, 10–17, with a dedicated Saturday brunch featuring a set menu and signature drinks. Everything is available for takeaway, and businesses nearby can pre-order lunches and fika. As Ringborg puts it, “If someone walks out feeling lighter, or inspired, or just a little happier than when they came in, that’s success to me.”  image courtesy Patric Johansson

Art

Estelle Graf on Art, Vulnerability and the Human Condition

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Estelle Graf on Art, Vulnerability and the Human Condition text Natalia Muntean In her exhibition “Dressed Up and Desperate” (Finklädd och Förtvivlad) at WAY Gallery in Stockholm, Swedish artist Estelle Graf delves into the complexities of the human condition through anthropomorphic figures. For the self-taught artist, these themes are not new obsessions but lifelong inquiries. “Everything I’ve painted… these are things I’ve been thinking about my whole life: what it means to be human, exist in this world, and hierarchies,” she explains. The exhibition brings into focus the fragile balance Graf depicts: the tension between the suit-clad personas we perform and the vulnerabilities we hide from others. “People usually try to hold up a picture of themselves being controlled,” she says, “and then underneath that, for everyone, there’s something unresolved or raw.” Through scenes with animal-headed figures, Graf uses humour and unease to strip away our social costumes, asking a question that fuels her entire practice: “We all seem to be struggling with the same things… and then when we go out in life, we’re still so conforming. We’re so tense, and we’re so scared. Why is that?” Natalia Muntean: “Dressed Up and Desperate” is an interesting title. What emotions or ideas did you want to capture through it?Estelle Graf: The title points to a tension I think many of us carry: the desire to present ourselves as composed, cultured, even elevated, while underneath there is something quite raw and unresolved. ”Dressed Up and Desperate” refers to that duality. We perform being human. We dress up, but the deeper emotional landscape is rarely neat. There is longing, confusion, insecurity, and hunger. The works move between the theatrical and the vulnerable, almost like characters caught mid-scene, mid-collapse. I wanted to hold both the absurdity and the sincerity of that state. NM: Was the title something you decided in the beginning, or did it come to you when you started working?EG: The theme it explains has been there. I’ve known what I’m trying to talk about all the time. But I think it always comes to me through the process – what could best describe what I’m thinking about right now, what I’m trying to communicate. So somewhere in the middle of the process, I think, “Okay, so this is it.” photography Felicia Larsson NM: How do you title your works?EG: When I’m finished, definitely. Sometimes I have a title in the beginning, and then it changes. I have an idea, “Okay, this is the story,” and I work with that as something to hold on to. Then, in the process, it changes and shifts and ends up as something else. I think the truth in the work often shows when I’m done. It’s similar to the way I work with myself as a human being. You have an idea of who you are, and then through the process of living your life, you realise stuff about yourself. You thought you were one way, and then three years later, you look back and realise something stood for something else. I think it’s the same when I create art. I start with one wish, one vision, one title, and then throughout the process, I realise, “Okay, this is probably more about this than that.” NM: Tell me a bit about your process – what does a day look like in your studio? Do you go in with a plan, or do you just let your intuition lead you?EG: To be creative and start my process, I need to be alone in a quiet space for quite some time. When I start the actual practical process, I can sit and just paint for eight hours straight. But before I do that, I have to sit in complete quiet. I can’t listen to anything, and I usually just stare at the wall, waiting for inspiration to kick in. NM: So you just need to be with yourself. And you don’t create from a place of chaos?EG: My work is about chaos in one way. It’s chaos to just be alive. And in order to be able to tell the story about chaos, I need to be in harmony. NM: I know you’ve written a book before as well, and have explored some of its themes through your art. How does storytelling differ between these two media? Obviously, painting and writing are quite different, but how does your approach shift depending on the medium?EG: When changing media, it’s also a way of getting a new outlook. If I have an idea and I’m writing about it, it will give me one conclusion. If I try to translate that into a painting, even directly, it will maybe give me a different conclusion. That’s something I think is really interesting. The medium can help you find new conclusions or discover things about a subject you thought you had turned upside down. You change medium and you’re like, “Oh, this is what it’s about.” NM: You are a self-taught painter – tell me about this journey.EG: Yes, I am self-taught. I’ve been painting all my life, but I was so scared of making that my work identity. NM: Why?EG: I think maybe because it’s vulnerable. If something really means something to you… I have a feeling, when I talk to friends and read about people’s lives, that a lot of people are doing their plan B because their plan A is vulnerable. It means something to you. So if you’re going to take it too seriously, that’s a risk. It’s the same with relationships. The more it means to you, the harder it is to get too close. That was the case for me. I wasn’t even trying to walk close to it until I actually studied form and learning design. It started with a book. I felt like, “Oh, so this story that I’m telling, or the thoughts that I’m having… people seem interested in this narrative.” That’s a nice feeling – to feel that people relate

Cinema

The Sound of Falling: A Conversation on Inherited Pain with Mascha Schilinski

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The Sound of Falling: A Conversation on Inherited Pain with Mascha Schilinski text Natalia Muntean “Traumas exist. They don’t just dissolve. There’s this idea that if we are conscious and aware, everything disappears,” says Mascha Schilinski. “I don’t think so. It’s just life, and we have to deal with it.” Her second feature, Sound of Falling (In die Sonne schauen), premiered in Cannes and now screens at the Stockholm International Film Festival, where its quiet intensity lingers long after the credits. The German director traces a century of life on a rural farmstead, following four generations of women bound by the invisible weight of inherited pain. Shot in 4:3 and illuminated by natural light, the film unfolds less as a story than as a current of sensations, a tapestry of echoes and gestures that bridge time. Schilinski talks about the act of “listening to the film instead of making it listen to us” and the courage to create something unbound by plot, yet rooted in truth.  Natalia Muntean: I read that the idea for the movie started with a photograph from the 1920s?Mascha Schilinski: It started long before that. But the photograph was maybe the starting point in a visible sense. My co-writer, Louise Peter, and I wanted to lift invisible things into visibility. We wanted to talk about matters that are delicate, things that sit within our bodies and are transmitted from long before we were born. We found the large courtyard, the farmstead you saw in the film. It became like a vessel that could hold the story. During our stay there, we discovered an old snapshot – three women looking straight at us. It wasn’t staged; it was a moment captured. That photograph became a mirror. They were aware that they would pass, just as we will. That was the spark that began everything. NM: I also read that the film took nearly three years to write. How did you know when the story was ready? Did it change a lot during those years?MS: Three and a half, almost four years until we started shooting. For two years, we simply talked. Ten hours a day sometimes. We tried to understand why we felt uneasy, almost physically attacked by certain emotions. We realised that transgenerational trauma, pain passed from one generation to another, is a fact. At first, we thought we could construct a plot, but the film resisted it. It didn’t want a plot. We had to listen to the film instead of making it listen to us. We saw images within us, almost like hallucinations. They left echoes, and out of those echoes we began to weave, connecting them like repetitions that travel through generations. NM: The film doesn’t follow a traditional plot but feels like a series of sensations and images. Was that structure deliberate from the start?MS: Yes. I’m a visual thinker. For me, it’s like literature – you read something and something forms in your mind. That was the foundation. The film was limited in time and budget, so there was no room for rehearsals. Everyone had to understand the emotional world deeply. The script had to communicate the feeling, not the technical side. Filming took thirty-three days, so very short, especially with so many children in the cast. We could only shoot three hours a day with them, so it was extremely challenging. NM: The story spans four generations of women, and they seem to share an inner life. How did you approach this idea of inherited emotion or inherited pain? Do you see them as separate entities or parts of a whole consciousness?MS: We wanted to see what remains in the body, what fixates itself in the body over ten years or a hundred years. What are the soft, quiet vibrations inside a person? Where does something break, very quietly? How is shame created? We found in Greek texts that shame is where euphoria is broken. You feel euphoria when you are fully yourself, alive and strong, and someone breaks that. Something powerful happens inside you, but it becomes isolated. You can’t name it anymore, and it manifests in the body. We looked for moments when something like that becomes visible, when a phenomenon like that manifests physically through generations. NM: But this feeling or experience seems to be something all the women in the movie live with. They’re drawn to it. Do you see that as self-destruction or endurance? Or both? And do you think it passes down through generations?MS: It’s the question of what came first – the hen or the egg. Sometimes you walk through life, and something happens, and you think, “Why does this happen to me?” It doesn’t seem to belong to me. And sometimes you feel you are fighting a theme that belongs to another generation, one that couldn’t deal with it. It’s not the traumatic event itself that matters, but how you deal with it. When you are left alone, when nobody takes you seriously, that isolation provokes what happens afterwards. Traumas exist. They don’t just dissolve. There’s this modern idea that if we are conscious and aware, everything disappears. I don’t think so. It’s just life, and we have to deal with it. What’s hopeful in this film is that the women share pain; they are not isolated. Even though they feel alone, the film shows that there is a connection. Many of us want to separate from the generation before, saying, “I don’t want to be like my mother”  or even not have children to avoid passing things on. But if you look differently, you can also be thankful for how much new generations achieve. NM: Maybe freedom or relief comes from being allowed to talk about it?MS: Yes, it’s good when we can talk about it, but there will always be things that stay hidden. That’s part of being human. There isn’t one moment of relief for everyone. image courtesy Fabian Gamper NM: You spent quite a few years with

Opiates, Uncategorized

MERIT Beauty Launches “The Winter Set” – A Modern Take on ’90s Glam

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MERIT Beauty Launches “The Winter Set” – A Modern Take on ’90s Glam MERIT Beauty welcomes the season with The Winter Set, a complete kit designed to bring back the timeless elegance of the ’90s, reimagined for today’s minimalist aesthetic. The curated collection includes essentials for eyes, lips, and cheeks, offering everything you need to achieve a cohesive, polished winter look. The set features MERIT’s signature favourites, Clean Lash Mascara in a handy travel size and Brush No.2, alongside bestselling formulas in two brand-new, exclusive shades. The Signature Lip Liner, Mini Flush Balm, and Shade Slick Sheen debut in Courmayeur, a warm rose-brown tone that flatters all complexions, while Solo Shadow Sheen arrives in Mink, a soft, smoky brown-gray perfect for subtle definition. Blending nostalgia with modern simplicity, The Winter Set captures MERIT’s signature philosophy: less effort, more impact,  and always, everyday luxury.

Opiates, Uncategorized

Ströms Woman – A New Luxury Destination for the Modern Woman

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Ströms Woman – A New Luxury Destination for the Modern Woman Photo: Jesper Florbrant Ströms Man & Woman is embarking on a new chapter with the launch of Ströms Woman, an expanded space exclusively dedicated to women, on the upper floor of its iconic store at Kungsgatan and Sveavägen. A long-standing fixture in Stockholm’s Centrumhuset since 1939, Ströms is increasing its women’s fashion floor area by over 50%. The renovation of the upper level in this landmark building has created a distinctive and inviting destination for women’s style in the city. CEO Torbjörn Rusck noted that the expansion was inspired by a desire to offer customers in Stockholm an “elevated shopping experience, one that combines a warm and welcoming atmosphere with a premium, international touch”. He emphasises that the new space “builds on our 120-year heritage of quality and service, while introducing a modern expression tailored for today’s women.” The store’s design highlights quality and craftsmanship, with every item and piece of furniture custom-made for Ströms. All furnishings are handmade in Sweden, underscoring a strong commitment to authenticity and attention to detail. Art plays a central role in the store’s interior design, including Lukas Göthman’s painting “I Like Your Fire”, which invites visitors to form their own reflections and interpretations. Rusck summarised the overall feeling by saying: “We want to create a place that feels curated and effortless”, adding that “every detail in the interior is chosen to reflect the same care we show our customers.” Ströms Woman is designed to be a complete destination for the modern woman. It offers a complete wardrobe, from everyday and business to party attire. The assortment combines Swedish and international design brands such as Marni, Tory Burch, Boss, by Malene Birger, Malina and MaxMara, along with their own collection, Ströms Woman. Photo: Jesper Florbrant Rusck describes the modern Ströms Woman customer as a “businesswoman in her best years, confident in her style, whether she’s at work, out in the evening, or dressed casually”. He added that the store is designed to be a “three-generation store,” believing that the right products can connect with women across generations. The new floor features a “city living room” on the entresol level, offering a quiet contrast to the busy intersection outside. This space includes lounge groups and an exclusive Chambre Séparée, hidden behind a sliding door, which offers undisturbed personal styling. On enhancing the shopping experience, Rusck said: “We want our customers to feel relaxed, and it’s just as important that their friends or partners feel comfortable too. A personal shopping experience takes time, and selecting pieces to enhance a wardrobe should feel inspiring and enjoyable. Our goal is for the experience to be as rewarding for the customer as it is pleasant for her company.”

Opiates

PENDULUM – merging the universes of MH 925 and Åsa Stenerhag 

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PENDULUM – merging the universes of MH 925 and Åsa Stenerhag “I was very inspired by Åsa’s exhibition and immediately recognised the ring-like forms within her sculptures. I felt a kinship in her design language. It resonated with me. It was clear she would be the perfect collaborator to create jewellery,” says Marie Häger, founder of the Scandinavian jewellery brand MH 925. The idea for the collaboration was born at Åsa Stenerhag’s exhibition at Collection Apart. Known for merging Scandinavian minimalism with a bold, conceptual aesthetic, MH 925 focuses on handcrafted pieces made to order in Stockholm from recycled sterling silver. Stenerhag, a multidisciplinary artist and designer educated at Beckmans School of Design, brings a sculptural sensibility honed through her work with Filippa K, Totême and BITE Studios, as well as collaborations with Jil Sander, Rörstrand and Julia Hetta. The resulting collection, Pendulum, includes necklaces, earrings, and a ring – all handcrafted in sterling silver. The sphere takes centre stage, with designs exploring form, balance, and proportion. “When Marie approached me with the idea of a collaboration, I immediately felt a spark in our conversation – an energy that, to me, is essential to the creative process and ultimately the final result. There was a mutual understanding and a deep respect for each other’s fields,” says Åsa Stenerhag. Handcrafted in Stockholm and true to MH 925’s ethos of slow, non-seasonal production, Pendulum explores the purity of the sphere and the harmony that arises from shifting proportions and scale. Designed to be worn alone or layered, the pieces are adaptable, personal, and will stand the test of time. 

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