Design

Lorenza Luti on Kartell’s legacy of continuous Innovation text Natalia Muntean For Kartell, innovation isn’t just a strategy, it’s genetic. As the granddaughter of the brand’s founder, Lorenza Luti, Marketing and Retail Director at Kartell, has spent a lifetime watching plastic transcend its industrial roots to become sculptural, sustainable, and even visual poetry. Today, she steers the iconic Italian design house into the future, with every piece produced by Kartell telling a story. In this interview, Luti reveals how Kartell balances heritage with disruption, why sustainability demands ‘revolutionary materials, not just green gestures,’ and how a family business thrives when it treats design as ‘a spark, not a formula.’ Natalia Muntean: How do you see Kartell evolving over the next decade, and what role do you envision yourself playing in that evolution?Lorenza Luti: Our creativity and purpose of always innovating will not stop in the future. Kartell has always worked, above all, in the logic of innovation, carrying on simultaneously creativity with impossible challenges never realised before. We will continue strengthening the brand through the expansion and diversification of the sales network with a very specific global retail policy that guarantees strong brand recognition. Today, as in the future, Kartell aims to be not just a furniture product but a real lifestyle brand. This is the path that was traced first by my grandfather, followed by my father up to now, and certainly, my brother Federico and I will continue on this path, carrying forward this legacy. NM: How do you honour Kartell’s legacy while pushing for innovation? What challenges have you faced as a leader in a family-owned business, and who has inspired your leadership style?LL: Being part of a family business like Kartell is wonderful, even if it requires a lot of commitment because the private and professional spheres inevitably overlap. But it is rewarding to be part of a great story, one that has been going on since the generation of my grandparents and continues today with mine and my brother’s commitment, alongside my father. Since I was a child, Kartell has been part of my life. I carry within me the passion and commitment that I have seen in my father when he follows the birth of every single project and finds the right idea to transform a creative intuition into a market success. Nohing stimulates me and gives me more satisfaction than attending meetings between him and the designers. It is a back and forth of ideas, a continuous exchange of working hypotheses and new discoveries, always going further. NM: What has been the most rewarding aspect of your career at Kartell so far, and what lessons have you learned along the way?LL: There is no design without emotion and this has been our inspiration. A design piece must tell a story, going beyond the product itself. I firmly believe that this is the direction in which we need to go: to excite by creating not a series of objects but a transversal and versatile lifestyle. A complete proposal that knows how to arouse something, in which the products enter into dialogue with each other and in relation to the living spaces, creating personal solutions. It is the vision of design that is always on the move, in which a style becomes strong and recognisable precisely because it can highlight the living room, the different contexts and cultures with which it is mixed. NM: Can you elaborate on some of the key initiatives Kartell has undertaken to become more sustainable? How do you balance the need for innovative design with the increasing demand for sustainable products?LL: Our commitment to sustainability and environmental protection has always been a priority at Kartell. The passion for excellence, that has guided Kartell’s development since its origins, has led us to focus on environmental responsibility and attention to good sustainability practices. For us, each item we create is a timeless product, developed with respect for the environment and designed to occupy museum spaces and collectors’ assets at the end of its function. Kartell’s commitment to implementing and increasingly improving the environmental management system is guaranteed by adherence to International certification protocols. that characterise Kartell. It is a dynamic and enriching process, which inspires and motivates me every day. NM: What do you think will be the most significant shifts in consumer behaviour over the next few years, and how is Kartell preparing for them?LL: Our strategy is based on online and offline multi-channel. Today, in its expansion process, stores are becoming increasingly larger, so we had to rethink our spaces both to create a story capable of making our bestsellers communicate with the latest product news but also to convey Kartell’s renewed ability to offer total living proposals in which sofas are set with armchairs, rugs, side tables and lights as well as tables and chairs, thanks to the expansion of the range and the inclusion of products and product families that allow us to represent an overall vision and also satisfy a very broad market demand. This, without forgetting our vertical display, which is becoming even more elegant. E-commerce is the other Kartell distribution channel, together with Retail, which for us remains our core business. In 2014, we were the first in the furniture sector to open a direct e-commerce that we have continued to develop and enrich, becoming a real relationship platform with our customers. The site is not only a commercial digital showcase but is a global platform for corporate storytelling. Furthermore, we are increasingly working towards harmonising the showcase campaign, which is now the same for both the digital and traditional retail parts. This is immediately visible starting from the home page, where there are not only showcase launches but also editorial or cultural content that give a well-rounded vision of our brand. NM: What emerging trends in the furniture and design industry are you most excited about, and how is Kartell positioning itself to capitalise on these trends?LL: Our philosophy is to create emotion through our products to achieve what we call the Kartell lifestyle or the

Interview with Filippa Burenstam Linder, Creative Director Mateus text Yasmine Mubarak Filippa Burenstam Linder is the creative director of the porcelain company Mateus, a 30 years old brand with inspiration from Swedish design and Portuguese craftsmanship. Together with her mother Teresa Mateus Lundahl (who founded the company), they are a driving force in the porcelain industry. They are dedicated in creating colorful tables around the world, with a strong inspiration taken from the fashion world, but also love for family gatherings. Odalisque had a quick talk with the Creative Director, to ask a few questions for the spring and summer festivities. Tell me about your inspiration and love for Mateus.Mateus is truly part of my DNA. My mother founded the company when I was just seven years old, so it’s deeply woven into my childhood. I have so many memories of accompanying her to the factories and helping pack orders in our basement, which at the time served as our warehouse. When I was nine, I gave her a drawing of a plate for her birthday. She loved the idea and decided to produce it, with a few tweaks, of course. That became my very first design for Mateus. What are your inspirations for the brand, currently and for the future?What inspires me most is our customers. I feel incredibly proud when I meet someone who’s been collecting Mateus for years, adding new pieces over time – or when someone inherits pieces and wants to continue building their own collection. That kind of loyalty and connection to the brand is both humbling and motivating. How did your own passion for design start?I think I was born into it! Design has always been a part of my life. Even as a child, I was constantly rearranging my room – probably every other week. I’ve always had a love for aesthetics and how they shape our surroundings. Written by Yasmine Mubarak Filippa Burenstam Linder is the creative director of the porcelain company Mateus, a 30 years old brand with inspiration from Swedish design and Portuguese craftsmanship. Together with her mother Teresa Mateus Lundahl (who founded the company), they are a driving force in the porcelain industry. They are dedicated in creating colorful tables around the world, with a strong inspiration taken from the fashion world, but also love for family gatherings. Odalisque had a quick talk with the Creative Director, to ask a few questions for the spring and summer festivities. Tell me about your inspiration and love for Mateus.Mateus is truly part of my DNA. My mother founded the company when I was just seven years old, so it’s deeply woven into my childhood. I have so many memories of accompanying her to the factories and helping pack orders in our basement, which at the time served as our warehouse. When I was nine, I gave her a drawing of a plate for her birthday. She loved the idea and decided to produce it, with a few tweaks, of course. That became my very first design for Mateus. What are your inspirations for the brand, currently and for the future?What inspires me most is our customers. I feel incredibly proud when I meet someone who’s been collecting Mateus for years, adding new pieces over time – or when someone inherits pieces and wants to continue building their own collection. That kind of loyalty and connection to the brand is both humbling and motivating. How did your own passion for design start?I think I was born into it! Design has always been a part of my life. Even as a child, I was constantly rearranging my room – probably every other week. I’ve always had a love for aesthetics and how they shape our surroundings. The Mateus brand is introduced as Swedish Design meets Portuguese craftsmanship, tell me a bit more about that merge. My mother was born and raised in Lisbon and moved to Sweden when she met my father, so Portugal has always been close to our hearts. The country has a rich heritage in ceramics, and from the start, it made perfect sense to bring together Portuguese craftsmanship with the simplicity and elegance of Swedish design. That combination defines Mateus. What are your hopes for people buying Mateus items?That they’ll love and cherish them for many years. Our collection is extensive, we have around 700 unique items, and we rarely discontinue products. That means customers can start a collection and continue to build on it over time, knowing they can always find complementary pieces. What do spring/summer 2025 look like for you personally?Fashion-wise, I’m a denim girl – I love a good Canadian tuxedo. When it comes to table settings, I’m all about color. I prefer bold tones like blue, red, and yellow over pastels. For me, vibrant colors really bring a table to life. Last question, tell me about your latest collaboration with Sam Baron. How did it start, how did you found each other? We first met in 2017, when we invited Sam and Costas to design a collection for our 25th anniversary. Since then, we have stayed in touch, thanks in part to Sam’s residency in Portugal and our encounters at international design fairs. Coincidentally, my mother and Sam also goes to the same tea shop in Lisbon! When we decided to incorporate patterns in a modern and intriguing way, Sam was the natural choice. Read Odalisque’s interview with Sam Baron here.

Nude Ateljé is crafting stories through space text Natalia Muntean Eva-Lotta Axelsson, founder of Nude Ateljé, describes her brand as a storyteller of spatial experiences, where architecture and life intertwine. “Rooms are performances,” she explains, “with layers that magnify over time, inviting subtle mannerisms and inhabitation.” Drawing inspiration from the uncultivated beauty of Alvaret’s limestone landscapes and the wild creativity of old fashion houses, where production, studio, and shop coexisted, Axelsson infuses her designs with a sense of timeless exploration. This philosophy is embodied in the NOTKATEsideboard, a sculptural piece born from a collaboration with a Stockholm boutique hotel. What began as a humble sketch on a plane evolved into a bold, functional design that balances elegance with playfulness. Crafted from materials like birch, concrete, and corten steel, the sideboard reflects Nude Ateljé’s commitment to blending aesthetics and functionality. “The result is a piece with enough confidence to fill a room by itself,” Axelsson says, “yet with the grace to team up alongside any other furniture.” Rooted in traditional craftsmanship and inspired by the interplay of space and life, the NOTKATEsideboard is a testament to Nude Ateljé’s vision of creating enduring, lived-in narratives. Natalia Muntean: The sideboard was born from a collaboration with a boutique hotel. Can you share more about how collaborations influence your design process and the unique challenges or opportunities they present? Eva-Lotta Axelsson: We listen. A lot, and often. The customer is central to everything we do; we usually say that we interpret the assignment based on location, function, and client. Testimony to these values is our projects with boutique hotels and the one with Dennis Pop Awards, for which we created one of our lamps, Chimes of Light. The lamp was originally created for the auction at the 2017 Denniz Pop Awards. This lamp is our tribute to a talented and inspiring late music producer. We aim for this piece to embody the same warmth and brilliance he represented, honouring his legacy. It features thirty hand-turned walnut pendulums, each adjustable in height, dimmable, and emitting a warm glow. With these kinds of projects, my intention is to broaden the idea of creation, to inspire but also to be inspired. Then sustainability and quality are equally important, both in terms of materials and people. The process begins with meeting the person for whom the room is for. I love observing them from every angle, carefully absorbing their world. Then I ask them a series of questions: what do you want to do in the room? How do you want it to feel when you leave it? When I have explored all this, I create a mood board, a one-pager, which we agree on as the strategy ahead, and then the drawing begins. Observing spatial culture and creating tailored spaces go hand in hand with Nude Ateljé’s anthropological pursuit, an investigation that gets translated into a collection of products. There is a fascinating process to unpack, maybe strategically framed as a day in the life of observations and qualitative questions. NM: The sideboard features materials like birch, concrete, travertine, corten steel, and hardened glass. What inspired this specific combination of materials, and how do they complement each other in terms of aesthetics and functionality? ELA: The common theme in our material expressions is elegance, eclecticism, and boldness, often accompanied by a degree of dissonance and friction. This creates a sense of tension and contrast. The products we design are objects where aesthetics and functionality are given equal consideration. NM: Given that the NOTKATE sideboard is handmade, what role does traditional craftsmanship play in its creation, and how do you ensure consistency and quality across each piece? ELA: The NOTKATE sideboard is a testament to the art of traditional craftsmanship. Each piece is carefully handcrafted by our small team of skilled artisans, who have years of experience working with solid wood. We value classic woodworking techniques, ensuring that every detail, from sturdy joints to a smooth finish, reflects our commitment to quality. At the same time, we’ve refinedour process to keep each sideboard consistent while preserving the wood’s natural look and character. We follow clear design guidelines and use specialised tools to ensure precision, but we never hide the wood’s unique grain patterns that make every piece one of a kind. Before leaving our workshop, each sideboard is carefully inspected to make sure it meets our high standards. The result is a piece that highlights the warmth and beauty of natural wood, crafted to last for years to come. NM: Nude Ateljé is known for experimenting with innovative materials. How do you decide which materials to work with, and what role do sustainability and durability play in these choices? ELA: Nude Ateljé has a distinct eye for creating life, discovering specific approaches through an anthropological process that starts with collecting materials. The work results in translations between inside and outside and the spaces in between rooms. For us, sustainability and durability are centred around longevity, using materials that outlast us, and improve over time with a natural patina and can be repaired or repurposed. For example, wood can be sanded and refinished multiple times. For NOTKATE we buy whole trees that we dry in the carpentry, from where we form the construction, the base and top of the object. Our room scent ‘Forest Temple’ is created with leftover wood from the production of the sideboard. NM: Are there any upcoming projects, materials, or design concepts that you’re particularly excited about? ELA: There are a lot of interesting things happening right now, and we are working on both residential and commercial projects, developing the architecture part, our furniture collections and the carpentry at the same time. We might even explore working with other materials and mediums going forward. We are particularly excited about “Grundvik,” a concrete house where we have worked on both the architecture and interior design. This house will showcase Nude Ateljés’ entire universe, encompassing architecture, interiors, and curated objects. It will serve as a “moment of truth” – a

A Decade of Design: Malin Glemme on Layered’s 10-Year Journey and the Future of Interior Aesthetics text Ulrika Lindqvist As Layered celebrates its 10-year anniversary, we sit down with founder and CEO Malin Glemme to reflect on a decade of design, creativity, and innovation. From an unexpected beginning—creating a rug for her own home—to building an internationally recognized brand, Malin shares her journey, the inspirations behind her work, and what’s next for Layered. Ulrika Lindqvist: Hi Malin, congratulations on celebrating 10 years with Layered! Malin Glemme: Thank you so much! It’s been an incredible journey, and I’m so proud of what we’ve achieved. UL: Could you share how long you’ve been working in the interior design industry and what initially inspired you to pursue a career in this field? MG: I’ve been working in the design industry for over a decade now. My journey began with a deep passion for creating beautiful spaces that evoke emotion and feel personal. In 2014, I was decorating my new 200-square-meter home on a limited budget. Having a background in product development, I decided to design my own rug. I found an amazing supplier in India who helped bring my idea to life, and the rug ended up being featured in Sköna Hem. Readers started reaching out, asking where they could purchase it, and that’s when I realized there was real interest in this kind of design. That moment inspired me to launch LAYERED with a vision of offering rugs that combine innovative and sustainable design. UL: What motivated you to establish Layered a decade ago? MG: The experience of creating that first rug and seeing people’s excitement about it made me realize there was a gap in the market. At the time, rugs were often treated as neutral backdrops rather than statement pieces. I wanted to change that by introducing designs that felt bold, stylish, and high-quality while being crafted sustainably. Layered was born out of a desire to elevate rugs to something that could truly anchor a room and tell a story. UL: Over the past 10 years, have there been any standout projects or events that hold a special place in your journey? MG: There are so many memorable moments! Collaborating with inspiring designers and launching collections that push creative boundaries has been incredibly rewarding. One standout memory is when we launched internationally—it was a pivotal moment that showed how far we’d come. Every production trip has also been memorable and inspiring. Meeting our suppliers, many of whom run family-owned businesses, and seeing their craftsmanship up close is always fascinating and invaluable. But honestly, some of the most meaningful moments come from customers who share how our products have transformed their homes. That connection to real people and their stories is what makes it all worthwhile. UL: We’d love to hear more about your jubilee collection—what inspired its creation, and what makes it unique? MG: The Ten Years Unfolded collection is a celebration of our journey. We revisited our archives and reimagined three of the very first designs we ever launched. These were pieces that helped define our signature style in Layered’s early days. While the patterns still felt relevant, we updated the color combinations to give them a fresh, contemporary look that fits today’s aesthetic. The collection is special because it represents where we started and how far we’ve come, blending heritage with innovation. UL: What is your most cherished piece of interior design in your own home, and why? MG: That’s such a difficult question, but I’d have to say my old wooden table from the 1800s. It has a very simple design with a beautiful patina and has been with me through every home over the past 20 years. I’ve even promised my children that it will always be a part of our homes—it’s become a symbol of comfort and continuity for us all.  UL: Can you take us through a typical workday in your life? MG: No two days are ever the same! I usually start my mornings with some quiet time to gather my thoughts—either a quick walk or a cup of coffee at home. A large part of my day revolves around my role as CEO, ensuring that Layered is not just creatively inspiring but also a healthy, thriving company. This means everything from reviewing budgets and planning long-term strategies to connecting with my team and fostering a strong company culture. I also make time for creative meetings, working on new designs, and planning collaborations. And, of course, balancing work with family life is incredibly important to me. UL: You’ve also launched another company, PICK A POPPY. How do you manage the demands of running two businesses simultaneously? MG: It’s definitely a challenge, but I’m passionate about both brands and their unique stories. I’ve learned to focus on what I do best and surround myself with amazing teams who share the same vision. Time management is key, as is trusting the people I work with. PICK A POPPY allows me to explore a more playful side of design, which complements my work with Layered beautifully. UL: Looking to the future, what’s next for you? Are there any specific projects, goals, or aspirations you’re especially excited about? MG: I’m excited to continue pushing creative boundaries with both Layered and PICK A POPPY. For Layered, we’re focusing heavily on expanding in the U.S., where we’re seeing significant growth. In 2024, we’ll also be participating in several major global design weeks and fairs, including New York Design Festival, 3daysofdesign in Copenhagen, and Paris Design Week. These events are incredible opportunities to connect with international audiences and showcase our vision on a larger stage. Alongside that, we’re exploring ways to make our products even more sustainable and timeless, with exciting design collaborations in the works. Personally, I’d love to dive deeper into storytelling through design—whether it’s through new collections, partnerships, or finding fresh ways to inspire people in their homes.

Dimma by Maria Nilsdotter Dimma combines the warmth of almond blossoms with rich roasted amber. Its base notes feature sweet rum and vanilla, balanced by a smoky bonfire essence. Housed in dark green glass, this candle offers a cozy, festive atmosphere. Crafted with care in Stockholm, Sweden, it’s perfect for winter moments. Top: Almond blossom Heart: Roasted hazelnut, amber, carnation Base: Cade, vetiver, sawdust, rum, vanilla absolute photography Jonas Carmhagenfashion and text Ulrika Lindqvist Icon 1902 by NK Collection The Icon 1902 candle from NK Collection celebrates the timeless elegance of NK’s heritage with a sophisticated blend of oud, jasmine, and musk. Encased in a patterned glass vessel inspired by archival NK designs, it’s a tribute to history and craftsmanship. Made in Sweden with paraffin-free soy wax and a pure cotton wick, this 300g candle offers approximately 60 hours of burn time, filling your space with a luxurious and evocative fragrance. Top: Oud
Heart: Jasmine
Base: Musk Icon 1902 by NK Collection The Icon 1902 candle from NK Collection celebrates the timeless elegance of NK’s heritage with a sophisticated blend of oud, jasmine, and musk. Encased in a patterned glass vessel inspired by archival NK designs, it’s a tribute to history and craftsmanship. Made in Sweden with paraffin-free soy wax and a pure cotton wick, this 300g candle offers approximately 60 hours of burn time, filling your space with a luxurious and evocative fragrance. Top: Oud
Heart: Jasmine
Base: Musk Pine Spice by Sense the Moment/Hemtex Capture the essence of a festive winter forest with Pine Spice from Sense. This candle combines the fresh, crisp scent of pine with warm, spicy undertones, evoking the cozy ambiance of the holiday season. Made from a high-quality blend of paraffin and wax, it offers a burn time of approximately 35 hours. Encased in a beautiful, decorative box, it makes a perfect addition to your holiday décor or a thoughtful gift for a loved one. Size: 210g
Burn Time: Approximately 35 hours Fäviken by Björk and Berries Inspired by the rugged beauty of northern Sweden, the Fäviken candle brings the essence of the Fäviken farm to life. With top notes of fresh blueberry and bergamot, heart notes of geranium, cyclamen, and pine, and a rich base of smoky vetiver, cypress, and Tuscan leather, this fragrance captures the wild, serene landscapes of the gardens and forests that surround the farm. The perfect scent for those who appreciate the raw beauty of nature, it offers a warm and earthy atmosphere, ideal for cozying up during the colder months. Trio of Scented Candles by Maison Francis Kurkdjian Celebrate the festive season with Maison Francis Kurkdjian’s Trio of Scented Candles, inspired by a poetic winter in Paris. This enchanting collection includes Mon beau Sapin with its woody freshness, Baies des Forêts offering a spicy warmth, and Baies des Lunes enveloping you in creamy, comforting aromas. Each candle is housed in a delicate Limoges porcelain holder, designed to honor Maison’s historic boutique at 5 Rue d’Alger, adorned specially for the holidays. A limited-edition set that perfectly captures the magic of Christmas in every flicker. Weight: 3 x 70g
Burn Time: Approximately 20 hours each Canopée by Cartier Embrace the crisp, invigorating spirit of the holiday season with Canopée, a candle that transports you to the towering treetops where fresh, botanical, and woody aromas fill the air. Its complex blend of vibrant, earthy notes evokes the serene beauty of winter forests, offering a majestic fragrance perfect for cozying up during the colder months. Light it individually or pair it with others to create a unique, personalized olfactory landscape for your home. For best results, allow the candle to burn for at least three hours the first time to form a smooth layer of wax. Housed in a reusable ceramic vessel, this signature Cartier piece adds a touch of refined elegance to your festive décor. Trio of Scented Candles by Maison Francis Kurkdjian Celebrate the festive season with Maison Francis Kurkdjian’s Trio of Scented Candles, inspired by a poetic winter in Paris. This enchanting collection includes Mon beau Sapin with its woody freshness, Baies des Forêts offering a spicy warmth, and Baies des Lunes enveloping you in creamy, comforting aromas. Each candle is housed in a delicate Limoges porcelain holder, designed to honor Maison’s historic boutique at 5 Rue d’Alger, adorned specially for the holidays. A limited-edition set that perfectly captures the magic of Christmas in every flicker. Weight: 3 x 70g
Burn Time: Approximately 20 hours each Scented candle Saffron Myrrh Clove by Singular Society This handmade Italian ceramic candle by Enza Fasano doubles as a charming coffee mug. With a 40-hour burn time and a 12% perfume concentration, it blends saffron, myrrh, and clove, evoking cozy holiday moments. Crafted in partnership with Givaudan and Bougies La Francais, it’s a sustainable, collectible piece. Holiday scented candle by Lexington Fill your home with the warmth of the holiday season with this elegant blend of ginger and black amber. Part of the exclusive Christmas collection, this candle is crafted from a soy wax blend with a cotton wick, offering an exceptional burn time of up to 40 hours. The fusion of soy’s eco-friendly qualities with paraffin’s superior fragrance throw creates a long-lasting, luxurious scent experience. Housed in a deep red jar with a classic Lexington label, it’s beautifully packaged in a checkered gift box, making it the perfect present—or a treat for yourself. Size: 9 cm diameter x 10 cm height Wax Weight: 300g Burn Time: Up to 40 hours Infuse your home with the refreshing, zesty fragrance of Pomelo from Arket. This vibrant candle captures the bright, citrusy notes of pomelo, blending them with subtle floral undertones to create an uplifting and energizing scent perfect for the festive season. Its clean, crisp aroma evokes the freshness of winter mornings, adding a touch of lightness and joy to your home. Ideal for those chilly days when you need a burst of warmth and brightness, this candle can be enjoyed on its own or paired with others to craft a personalized

An Interview with Daniel Nordgren, founder of Nord Books text Ulrika Lindqvist What truly makes a city feel alive is the diversity of independent shops, cafes, and other ventures. About a year ago, Stockholm was fortunate to gain a little gem of a bookshop: Nord Books. Specializing in a curated selection of books in English, Nord Books has quickly become a cherished spot. We sat down with founder and owner Daniel Nordgren to reflect on his first year as an independent shop owner. Ulrika Lindqvist: Have you always wanted to work with books? How did you get started in this industry? Daniel Nordgren: No, not really. I’ve always wanted to run a shop, for some odd reason. I have a very romantic idea of having a small business that is enough to sustain me and my family. I got into reading quite late and I’m not from an academic background so books became a way to self-educate myself. They became a way to discover stories, in form of fiction as well as non-fiction about art, philosophy, film, music and things like that. I think the shop is a product of that constant search of knowledge. UL: Before opening Nord Books, you spent many years at the renowned bookshop Söderbokhandeln. How did you know it was the right time to start your own bookshop? DN: In all honesty, I don’t think that there’s ever a” right time” to open a bookshop. I felt that I needed some sort of change, a space opened up and it happened quite spontaneously. I had seen a kind of bookshop in other cities, bookshops that carried what struck me as a very personal selection. Small bookshops in London and Paris represented something that I missed in Stockholm and when the tiny space on Sankt Paulsgatan became available I decided to give it a try. UL: What are the most important criteria for your book selection? How do you go about curating the store? DN: I guess the most important criteria is excitement or befuddlement. Some books I get instantly excited by and others lead to some sort of curious confused feeling that needs to be dealt with. That usually leads to rabbit hole reading and more books being bought for the shop. No books exist in a vacuum so what makes my job fun is to try to figure out where a book is coming from and try to have some of the other titles that it is in dialogue with. I also like to look at publishers a lot. The shop carries a big selection of independent publishers from the UK, the US and Europe and I try to follow the ones I like and take on their new titles as much as I can. But basically, I just want books that makes me interested. UL: As a Stockholm-based shop, what inspired your decision to exclusively sell English books? DN: I guess I’ve always been a huge anglophile. Growing up in Gothenburg gives you a certain interest in British culture from the start. Having studied English literature and worked with the English selection for Söderbokhandeln for a long time, it sort of became my thing. And I firmly believe that if you’re going to have a shop, it should be full of stuff that you know something about. Not just something that is in demand at the moment but something that you are excited about. UL: Are there any particular bookshops or other stores that influenced or inspired Nord Books? DN: There is a shoe shop called Lester in Gothenburg, where I’m from, that I’ve always loved. I think that’s where I first got the idea to be a shop owner. They just seemed to love their job and their selection of shoes so much. As far as bookshops go, I learned my trade as Söderbokhandeln so they were a big influence on me as a bookseller. The same goes for the people of John Sandoe Books in London who have been very supportive. But if I’m going to mention bookshops that influenced my selection it would have to be Donlon Books in London and After 8 Books in Paris. The way they curate and arrange their selection is very inspiring. Two incredible bookshops. UL: Could you share a memorable moment or event from Nord Books’ early days? DN: The first event we had is a bit special to me. American poet Wendy Lottermans came by and did a talk and a reading from her brilliant collection A Reaction to Someone Coming In (Futurepoem Books 2023). Everything just came together that night. The shop was packed with people (and a dog), another great poet called Matthew Rana held the talk and read some of his own poems. It was just a perfect night at the bookshop. UL: You showcase artists’ work on the store’s walls—can you tell us about the current artist on display? DN: Well, that whole thing started out by me seeing a painting by Olle Halvars that I wanted to buy. I’ve never been a person that buys art and I really couldn’t afford it now so I asked him if I could borrow the painting and have it in the shop for a few months. Then that led to me asking some artist that I liked if they would want to hang some paintings in the shop. We’ve had eight” shows” this year and we have a bunch planned for next year. Right now, we have prints from an artist called Tova Fransson. She works with printmaking and creates beautifully graphical shapes inspired from the printing press in itself. She feels very based in craft, which I admire a lot. Her bold prints often look like some sort of ancient alphabet, portrayed in a very industrial way. It’s such a pleasure to have works from artist like Tova around me in my workplace. UL: Who are your customers? Are they primarily Swedish, or has an international clientele discovered the shop? DN: I’d say it’s about 50/50. A lot of non-Swedish speaking people based in Stockholm have found

“We felt a certain frustration over how many products are designed and how quickly their design becomes outdated.” In this exclusive interview with Aarke co-founders Carl Ljungh and Jonas Groth, we dive into the heart of their design philosophy—one that champions simplicity, functionality, and timeless beauty. Drawing from years of experience in industrial design, Carl and Jonas share how their frustration with disposable, uninspired products sparked the vision for Aarke: a brand that puts people and longevity first. From the countless iterations behind their iconic Coffee System to their unwavering focus on sustainability, the duo opens up about their passion for creating objects that are not just functional, but truly loved. This is the story of Aarke—an exploration of what happens when thoughtful design meets real-life needs. Jahwanna Berglund: Aarke has a strong emphasis on integrating high functionality with aesthetics. How did your backgrounds in industrial design shape your approach to creating Aarke’s minimalist, premium look and feel? Carl Ljung and Jonas Groth: During our years running a design agency, we had the opportunity to work closely with many different types of companies, designing various products and solutions. This experience ultimately led us to the direction of starting our own brand—one where we could combine insights and ideas from all this work and create something new and something we felt was overseen by the design community. After years in the industry, we learned that the customer must always be in focus in order to create a good product. A product or solution may be aesthetically pleasing, but if it doesn’t function the way the user expects and intuitively understands, it misses its purpose. We also have experience of working with many types of materials, gaining insight into what is sustainable—not only for creating products that can withstand physical wear but also for visual durability, an aspect that is equally important if you want to create timeless and sustainable products. We felt a certain frustration over how many products are designed and how quickly their design becomes outdated. We felt that if we ourselves thought there was a lack of a certain type of products—true design objects to love, made from better materials with intuitive and delightful functionality and timeless design—then there was probably an audience that shared the same frustration. This was the start of Aarke. JB: Carl, you mentioned (at the press breakfast) that each product requires hours of iteration to achieve quality and user-centered design. Can you share insights into Aarke’s iterative process and any challenges faced in creating the Aarke Coffee System? CL: In all our development projects, we face challenges where our high standards for making even the simplest functions exceptional, are put to the test. We invest countless hours into solving what often appears to be the simplest functions. Ironically, it’s often that the seemingly simplest solutions are the hardest to achieve. The Coffee System is no exception. For example, developing a very advanced and finely tuned technology to achieve the best results with just one push of a button required at least 60 iterations of the software that controls the brewer. Solving the seemingly simple function of being able to use both a glass carafe and a Thermal Jug in the same Coffee Maker required many hours of consideration. Also, being able to create a solid stainless steel handle without making it too heavy is another example that took us many months to resolve. JB: Aarke products, such as the new Coffee Maker, prioritize ease of use. What are the key factors you consider to balance advanced functionality with a simple, intuitive user experience? CL and JG: The answer to this question is balance. There is always a balance between many good ideas and simple usability. We believe we have incorporated the essential and important features in our Coffee System without making it complex or hard to understand. The Coffee Maker and the Grinder work intuitively and seamlessly, without the user even having to think about it. The focus remains on the result and an elevated coffee brewing routine, with minimal effort and interactions. “A product or solution may be aesthetically pleasing, but if it doesn’t function the way the user expects and intuitively understands, it misses its purpose.” JB: Your products emphasize durability and quality, often using stainless steel. Could you elaborate the role of sustainable materials and practices in your production process and future goals in this area? CL and JG: In our designs, we carefully select materials that meet several criteria, each to serve its purpose in the best possible way. The materials we use are thoughtfully chosen to meet several criteria, each to serve its purpose in the best possible way. We use stainless steel as the main structural material since it’s both lightweight and long-lasting and the majority of the steel we use is recycled. For structural integrity, we use screws rather than glue, making our products highly repairable. When we use plastic it is because it is the best choice of material for the particular application and when we can explore and try to use plastic materials with less Co2 footprint and Ocean Bound Plastic, which is what we use for our Purifier Large. We constantly challenge ourselves to try to be better and better in all of those aspects. It is our core belief that by developing high quality, built-to-last products with a timeless design we can enable a more sustainable lifestyle by investing in fewer, superior products that will last for years to come. This philosophy is the foundation of our product development. JB: How do you address the expectations of customers who prioritize both high-quality design and functionality? Are there specific user insights or requests that have influenced recent product updates or features? CL and JG: We don’t see a conflict in combining high-quality design and functionality. To achieve this combination in the right balanced way is our constant focus. We aim to avoid clutter, keeping the design clean and free of unnecessary buttons or screens. We believe

The Design Interview: Vincent Laine text Yasmine M For the design enthusiasts within photography and lifestyle, you may have come across this designer’s work. Vincent Laine is the award-winning designer, behind products such as the Leica Q and Q2, Hasselblad CFV-50c and lately the Db Ramverk Pro Luggage collection. Today, as the creative director at Db, he still is focused on his minimalistic yet powerful designs. Odalisque Magazine, got a sit down with the designer to talk about his journey, aspirations for his upcoming work and thoughts on Japanese Kansei Design. Y: When did your passion for design start? Tell us a bit about your journey within design.V:  Most of my family members had a medium for creative output whether it was painting, garments or woodwork. With that said I do not believe that this kind of upbringing validates your creative capabilities by any means, or is a prerequisite in order to pursue a creative career – it is just my story and thinking about about makes me feel grateful. When thinking about the range of creative mediums that I work with from product design, photography, physical installations, video, copy and so on – I can certainly reference the openness to any medium or creative field through my childhood. You have designed everything from Leica cameras to luggage. How did that happen and what has been most fun and inspiring?As a teenager I started searching for “my” creative field, and later ended up in design school. During studies me and some classmates won a local design contest and I bought a camera for the money – only to end up extremely dissatisfied with the product because of how poor the user experience was, of crafting an image with that camera was. I was already 3-4 years into design school and so I decided to design my own camera (as a fake 3D concept) to provoke and channel my frustration, but I wanted this to feel and look real, so I picked Leica as the brand for this concept and studied their design language and brand assets to include that into my work. A couple of weeks later I received a phone call from the director of product management at the time, the call started with a firm explanation of how I had vialated the right to use their brand in my work – but towards the end of the call the tone shifted ending up with an internship at Leica. A year later (2014) I had dropped out of the university and landed my dream job as product designer at Leica. How was it to start at Leica?The first project on my table was the Leica Q. Over the following years I got the opportunity to also design the Leica Q2, before leaving Germany and going back home to Sweden, more precisely Gothenburg where the camera brand Hasselblad is located. A great brand dedicating their craft to design and photographic excellence – but I wouldn’t help but noticing a pattern of repetition. Not just by designing camera bodies and lenses but also through celebration of historical brand milestones. Leica had celebrated their 100 year anniversary when I joined and at Hasselblad the celebration was 50 years on the moon and it got me thinking “Id like to be a part of making those milestones instead looking back. ”I was already 3-4 years into design school and so I decided to design my own camera…” Tell me a bit more about your design journey for DB? How did you start out at DB?As a camera designer I traveled to see the world through my viewfinder and ultimately improve them – but instead something else caught my attention. Luggage. Hard case luggage in particular. I had a hard time finding a brand that spoke to me as a young creative. When I looked at the market I saw many luggage companies producing luggage – but very few brands with a belief and a perspective on the world. So, I started looking for up and coming brands and came across Db – contacted them and pitched hard case the same way as I did a few years back at Leica. A couple months later (October 2019) I moved to Oslo to design the hard case collection today known as the Ramverk Pro. Everything originated from the Ramverk Front Access Carry-on which was designed to host a professional camera insert if you are a photographer. The only way to create this spacious carry-on hard case was to connect the shells together somehow and our solution to that was the aluminum frame. The frame was then carried over to the other sizes of the collection – but instead of connecting the shells together – it works as a closure mechanism replacing the weakest component of conventional luggage, the zipper. As the appointed Creative Director, what are your aspirations and hopes for the brand, especially the travel pieces? What is important for you to focus on?My hope is that Db as a brand continues to push the envelope of creative thinking, through both design and marketing at the intersection of our subcultures where we enable these journeys and stories to happen all over the world. I genuinely believe that mixing genres of creativity is the future. Look at music 100 years ago, “featuring XYZ” between artists was unheard of, mixing genres even more so – now it’s the norm and new subcategories are created every day. That’s the vibe and spirit that I see for Db in the future just through product and culture. Db has an inherent duality that speaks evolution to me, designing so-called “spearhead” products in core communities and subcultures like skate, snow surf and photo. But instead of trying adapt to each activity or community, we believe in a more holistic approach where our perspective on design is the constant – essentially what it comes down to is the juxtaposition of two components – Rugged and Refined. A layering that we call Capable Elegance. Capable enough to be thrown

Interview TAF Studio x Odalisque text Jahwanna Berglund   When two design geniuses put their heads together, the outcome resulted in a new timeless and functional at home classic. TAF Studio was founded in 2002 by Gabriella Lenke and Mattias Ståhlbom after graduating from the Department of Interior Architecture and Furniture Design at Konstfack.Their design is recognized for its minimalist yet functional approach to design, creating pieces that blend simplicity with a touch of whimsy. They work across various disciplines, including interior design, product design, architecture, and furniture design. The studio’s portfolio boasts collaborations with numerous well-known brands like Muuto, Hay, Design House Stockholm, and now String Furniture. Their designs often showcase a balance between form and function, with an emphasis on clean lines, thoughtful details, and a Scandinavian aesthetic. Their work has been exhibited internationally and has received several prestigious awards, cementing TAF Studio’s position as a prominent design studio within the global design community. Throughout their journey, they’ve maintained a commitment to creating innovative, sustainable, and visually striking designs, leaving a mark on the world of contemporary design. String Furniture is a Swedish design icon that emerged in the mid-20th century and has since become synonymous with Scandinavian design. It was created by Swedish architect and designer Nils Strinning and his wife, Kajsa Strinning. The history of String furniture dates back to 1949 when Nils Strinning entered a design competition organized by Bonnier’s Book Club. His submission was a shelving system that consisted of simple side panels and shelves supported by thin wires. This innovative design allowed for customization and flexibility, enabling users to adjust the shelves to their liking without the need for tools. The winning design, known as the “String System,” became an instant success and was launched into production by the manufacturer, String Furniture AB. Over the years, String Furniture has maintained its timeless appeal and relevance in the design world. The original String System continues to be manufactured and sold, while the brand has introduced new variations, colors, and materials to adapt to contemporary design trends and technological advancements. Nils and Kajsa Strinning’s legacy lives on through the enduring popularity and influence of String furniture, which remains an emblem of functional and elegant Scandinavian design. How did the collaboration between TAF Studio and String Furniture come about, considering both entities’ rich design legacies?We started our collaboration when designing a wall shelf for the Nationalmuseum of Stockholm. The Museum collection is since then available in the String Furniture range What unique elements or insights did each partner bring to the table during the creation process?It is of course a great pleasure working with a producer that has such specific knowledge when it comes to shelves and storage. String Furniture knows everything about wall shelves and we brought our knowledge as designers and interior architects when it comes to a free standing piece. Relief is designed to be as nice from the back as from the front to be able to position in the middle of room and double as a room divider. TAF Studio is known for its minimalist yet functional approach, while String Furniture embodies timeless Scandinavian design. How did these philosophies converge in your collaborative project?For us it is like working with a good friend – someone that you have a lot of things in common with. String Furniture works with a strong legacy and with their classics and we, even though it is very hard, try to achieve new things that can age as well and live as long as the classics. That meeting ends up in a natural dialogue on what we can do together. Could you tell us about the specific design principles that guided the creation of this new furniture classic?We think of the Relief as a basic background piece with a reduced expression. Almost like a podium under a sculpture. Something that can store and carry other objects rather than “objectify” itself. String Furniture has a longstanding history, while TAF Studio represents a more contemporary design approach. How did you balance honouring the heritage of String Furniture while injecting modern elements into the new design?Despite the reduced aesthetics we also believe that an object designed today needs to be a footprint from our time. We used modern and contemporary techniques in our design process, as does String Furniture when it comes to the actual production. We hope that gives a contemporary expression in a subtle way. What were some of the key challenges faced during the design process, considering the rich legacy and expectations associated with both TAF Studio and String Furniture?We have worked very much with the detailing and proportions in order to be able to transport the system in a more sustainable way/knock down and to store it in an efficient way. All the dimensions have their origin in an ambition to fit on a EU pallet. The true challenge was to make them also work for all the different functions when assembled. Can you elaborate on any innovative techniques or materials used in the creation of this furniture piece?We have looked at many new materials and techniques and made tryouts and mock-ups but found no advantages. In the end we have been using wood, mdf and cast aluminium. How did you prioritise functionality without compromising on the aesthetic appeal of the furniture piece?The visual appearance is very boxy and we have had pixels as a reference but there are a lot of hidden functionality. For example with all the fittings – there is an invisible connection bracket to connect more than one part. Under the squarish handle there is a soft curve that you do not see but feel when opening the drawers. A row of hooks in the same widths could also be added to take care of things you do not want to keep in the drawers. Both TAF Studio and String Furniture have made significant impacts on the design world. How do you envision this collaboration contributing to your respective legacies?We hope of course that the reception of the new collection will be good and used in a way that we were aiming for – a background piece focusing on storage,

Fogia Art Selection: Where Design Meets Art text Natalia Muntean Swedish design brand Fogia unveils the second edition of its initiative, Fogia Art Selection. The project marries the worlds of art and design, showcasing how art can blend into living spaces and also offering artists and creators a platform to express themselves. The Fogia Art Selection initiative, introduced in 2023, is based on the belief that art and space are interconnected. By curating and integrating the artists’ work with Fogia’s range of designer furniture, the initiative highlights the impact of textiles, silhouettes, materials, colors, and shapes on our emotional landscape. This year’s lineup features three Swedish artists: John Artur, Malou Palmqvist, and Micael de Leeuw, each selected for their ability to echo Fogia’s design philosophy through their respective mediums. Transitioning from music and fashion to the art world, Artur’s creations are a study in contrasts, blending organic with synthetic, and encompassing a diverse range of mediums from paint to pixels. Micael de Leeuw’s artistic evolution has led him from traditional painting to the sculptural realm, experimenting with various techniques and mediums, including yarn, to create pieces that straddle the line between the real and the abstract. With a focus on stoneware ceramics and textile sculptures, Palmqvist’s work captures the surreal nature of human forms, portraying a delicate balance between movement and disintegration. Fogia Art Selection is now on display in the brand’s Concept Store in Stockholm.