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Not Just a Renovation: The Reinvention of Sheraton Stockholm
Not Just a Renovation: The Reinvention of Sheraton Stockholm images courtesy Sheraton Sheraton Stockholm is in the middle of a transformation that goes far beyond new carpets and fresh paint. It’s a rethink of purpose, identity and relevance; a shift from being a global chain outpost to becoming a place with a point of view. In this conversation, Elin Roquet reflects on why a traditional renovation would have been too small a gesture, how “A Journey Towards the Light” became the guiding principle for every decision, and what it takes to lead a long, complex redesign without losing momentum. The result is a hotel aiming to feel less like a brand template and more like a lived‑in, confident part of Stockholm’s rhythm. What convinced you that Sheraton Stockholm needed a full transformation rather than a traditional renovation? Because a cosmetic update would have been dishonest. The problem was never the surface, it was relevance. The city had moved forward. The hotel had stayed put. At that point, changing the carpets isn’t enough. You have to question the whole thing. What are we actually for, and why would anyone choose us tomorrow? How would you describe the identity you’re shaping for the “new” Sheraton Stockholm? International in feel, local in confidence. Not sterile luxury, something more lived-in. Where it feels just as natural to stop by for a glass of wine as it does to check in for a week. Less “global chain”, more someone’s beautifully considered home. What does “A Journey Towards the Light” mean to you in practical terms? It’s a filter for everything. Light shapes how we think about materials, movement, how we meet the guest. Less heavy, less closed, more air. In practice, it means removing friction. Anything that feels dark, complicated or unnecessary gets cut. What did you consciously decide to leave behind? The idea of being “for everyone” in a way that makes you relevant to no one. And anything generic — that feeling of being interchangeable with a hotel in any other city. Part of what drove that decision is that luxury and premium have been applied so broadly and so indiscriminately across the global hospitality market that the labels have genuinely lost their meaning. When everything is five-star, nothing is. The lifestyle segment matters more than ever right now precisely because it’s the space where taste, curation and personality still carry weight. That’s where we want to operate. When you walk into the renovated rooms, what detail tells you the design is working? When it feels quiet in the right way. Not literally, mentally. When the room doesn’t ask anything of you and you land without needing to adjust, rearrange or think. That’s when you know the proportions, the light and the materials are right. Can you point to a moment where you had to make a difficult trade-off? Several. But the clearest one was how far to open up the public spaces. Design-wise, you want to dissolve every boundary. Operationally, you need control. We had to find a balance that still feels free but actually works on a Saturday night when every seat is taken. What moment in this transformation most tested you as a leader? The middle. Not the beginning, when everything is possibility, and not the end, when you can see the finish line, but the middle, when it’s still far away and everyone is tired. That’s where leadership is actually decided. How do you sustain energy in a team going through something this long and complex? By being very clear about why we’re doing it. People can handle more than you think, but only if they understand what they’re building. And you have to actually celebrate progress along the way, because otherwise it just feels like an endless construction site with no horizon. Can you share a moment where Marriott’s global standards and Scandinavian hospitality philosophy pulled in different directions? It happens more than you’d think. Marriott is built on structure and recognition, while Scandinavian hospitality is more intuitive and understated. A concrete example is the level of formality in how we meet guests. We’ve pushed it toward the personal, even when that means stretching the framework a little. What role do you want Sheraton Stockholm to play in the city’s cultural and social life? I want it to be part of the city’s rhythm. A place where things happen but without feeling like they’re trying to, where you end up by chance and stay longer than you planned. If we get it right, people won’t think of it as “the hotel”. They’ll think of it as “where we go”. How are guest expectations changing? People are more sophisticated now and they see through anything built on autopilot. Correct service isn’t enough anymore, it has to feel like something. We’ve shifted from optimizing processes to curating experiences. Less standard, more point of view. What do you hope guests will still remember ten years from now? A feeling rather than a specific detail. That it was somewhere they felt at ease without quite being able to explain why. And maybe a night at the bar that ran a little longer than planned. If you had to describe the future Sheraton Stockholm in one sentence? A place that Stockholm didn’t know it was missing, until now.
Odalisque Magazine Interviews Efva Attling
Odalisque Magazine Interviews Efva Attling images courtesy Efva Attling Efva Attling has never followed a straight path. From modeling and music to silversmithing, her creative journey has shaped a distinct voice in contemporary jewellery. Since founding her brand in the mid 90s, Attling has become known for designs that merge clean Scandinavian aesthetics with powerful messages about love, identity, and equality. Now, as Efva Attling Stockholm approaches its 30 year milestone, her work remains as relevant as ever. Jahwanna: You moved from modeling to Gogo dancing to silversmithing. How do music, dance, and fashion still influence your jewelry today? Efva Attling: Well I moved from Go Go dancing at night and silversmithing in the daytime when I was sixteen to modelling at seventeen. I can’t live without music, and dance is so good for your body and mind. It always inspires me to create new designs. JB: You actually began training under Bengt Liljedahl at age 16 before your modeling career took off. What was it about returning to the bench in the mid-90s that felt like the right ‘homecoming’ for your creativity? EA: I never thought about creating jewellery for nearly 30 years. So when I got back to jewelry I was really ready. I needed to live my colorful life, with all the experience I got from modelling, being a pop star, and having two sons. JB: As you mark 30 years of Efva Attling Stockholm in 2026, you’ve seen the brand grow from a small atelier in Södermalm to a global name. If you could send a piece of jewelry back to yourself in 1996, which one would it be, and what message would it carry? EA: The Homo Sapiens necklace, “the thinking man” in Latin, and the Human ring. My message would be to respect and be respected. JB: The “Homo Sapiens” collection became internationally known when Madonna wore it. Why do you think the “thinking human” message feels even more relevant in today’s digital age? EA: The Knowing Man in Latin. I divided the word. What I want to say is that all human beings are equal and have the right to love whoever they want. Just as important then as it is now. JB: Your philosophy is ‘Beauty with a Thought.’ You’ve mentioned that jewelry should be a ‘conversation piece.’ Can you share a story of a customer whose life was changed or ‘boosted’ by the message on one of your pieces? EA: Glenda Bailey, former editor of Harpers Bazaar, got the ring Fuck Off and said this piece gives a whole new meaning to jewellery. She needed it every day… JB: With your sub-brand ‘The Högdalen,’ you’ve created a ‘cocky little sister’ to your main line. How does this outlet allow you to express the more rebellious, ‘rule-breaking’ side of your personality that might not fit the classic elegance of the main collection? EA: Jonas Åkerlund, who is a fantastic film director making videos for Madonna and recently for Billy Idol, made some jewelry with upside down crosses. One big cross worn by Ozzy Osbourne weighed a quarter of a kilo. It is fun to play with other talented artists. JB: You often mix the ‘cool’ of sterling silver with the ‘warmth’ of gold. In collections like ‘Twosome’ or ‘Love Knot,’ how do you use these contrasting materials to symbolize the complexity of human relationships? EA: My basic thoughts are about human relationships…, love, humor, and politics. Jewellery has always been around mankind as talismans wishing for love, a better crop, a better self consciousness, and maybe even a change of life.
Aggy K. Adams on Channelling ‘Chaos’ and Learning to Let Go of Control
Aggy K. Adams on Channelling ‘Chaos’ and Learning to Let Go of Control “There’s nothing better than putting your lived experience into an art form” photography Jason Jude talent Aggy K. Adams / CLD Communications Ltd fashion Rachel Davis / ONE REPRESENTS makeup Dani Guinsberg fashion assistant Lauren Glazer production Ignas Kelpsas suit Bella Freud shirt Rejina tie Bella Freud PYO @Couveture & the Garbstore shoes Burberry ring Ruha suit Bella Freud shirt Rejina tie Bella Freud PYO @Couveture & the Garbstore shoes Burberry ring Ruha shirt Rejina tie Bella Freud suit trousers Bella Freud socks Missoni ring Ruha With several shorts and featured roles under her belt, Polish-born British actress Aggy K. Adams joined Netflix’s hit drama series The Witcher (2019) for its third season in 2023 and is on a booming career trajectory, pursuing independent film. In conversation with ODALISQUE, Adams breaks down the early stages of her acting career, how she got into character for The Witcher, and tells us about her upcoming indie film debut. Ella Nelson: When did you first realise you wanted to pursue acting as a career, or has being an actor always been the goal? Aggy K. Adams: The first thought of acting came to me as an impulse – I must’ve been around 10 years old, and I did some acting classes, which I really loved. I remember receiving a lot of praise from my teacher and classmates, too, which made me feel that I was good at it. Realising later on in life that I wanted to pursue it as a career has always been a negotiation between that pure moment of love, joy and creativity, and crippling doubts in my mind. I am learning that perhaps one wouldn’t exist without the other. EN: That can be a hard balance to navigate. Was there someone in particular whom you looked up to when it came to acting while you were growing up? AA: I remember watching Julia Stiles in Save the Last Dance and Angelina Jolie in Girl, Interrupted. I really looked up to them both, especially Angelina. She had that sensitivity and rawness I was mesmerised by. For example, in that intro scene where she rules the psych ward – I just couldn’t look away. EN: You trained at the Royal Central School of Speech and Drama in London. Did you have any drama or acting experience prior to attending? What were those early experiences like? AA: I had very little experience at that time. Whatever I heard from teachers when I was 18-19 years old, I took it extremely seriously and as ‘the truth’. I didn’t realise at the time that teachers are also humans with their own journeys and flaws. I was lucky to work with great teachers at Central, but also not so lucky later on with other ones. EN: Great teachers can truly have such an impact! Was there a particular teacher, moment, or lesson that left a lasting impression on you – something you still carry with you in your work today? AA: The person who helped me the most with confidence and craft was Alexa Lipworth, who runs an English-speaking theatre company in Paris called ‘Acting Ensemble’. I spent a lot of time in Paris training with her during and after COVID. She dug me out of the hole of insecurity that previous teachers helped me enter. She is busy directing plays now, but we still work together when we can. EN: You’ve worked in both film and TV. How do you approach these two formats as an actor? Do you find your process changes between them? AA: I have been lucky enough to work in TV for the last four or five years, and this year I wanted to focus more on independent film. The approach between film and TV is very different. In film, I feel a lot more agency and co-creation. The formats and scripts are shorter; I can approach them more with the entire context in mind and then try to work out how best my character can serve the story. TV is a much longer process, often without a single visionary, and the scripts and episodes are always changing. I feel ready to take on a new TV show now though, and I have read some incredible scripts recently! cardigan Toga skirt Ray Chu pulla @Couveture & the Garbstore dress Milo Maria shirt A Jane tights Tabio boots Huishan Zhang EN: In 2023, you joined the cast of The Witcher as Iskra – an elven member of the notorious gang of teenage fugitives known as The Rats – for the series’ third season. What was it like joining a show that already had so much momentum and such an established fanbase? AA: It was tricky at times because there was a lot of attention on us already. But that pressure came with some benefits, and doors have opened as a result. EN: How did you prepare for the role of Iskra? AA: She was a great character to prepare – very physical! Firstly, training how to fight with the Wakizashi (shorter Katana) sword was a very thrilling and challenging experience too. The prosthetics, hair and costume were a large part of the preparation for an elf character in the fantasy world. Shoutout to the incredible Megan Thomas, who did my hair, makeup and ears every day! EN: Was there a particular aspect of her character you were especially drawn to explore? And in what ways, if any, do you see yourself reflected in Iskra, and vice versa? AA: I wanted to make Iskra a little like a Harley Quinn character. I’ve worked towards complex, unpredictable and chaotic energy, high intellect and emotional instability. I definitely have some chaos in me, so it was about tapping into it and bringing it out to the surface. She is also bubbly, fun-loving and witty – that, I say, we share somewhere too.
Paris Art Spring 2026: What Not To Miss
Paris Art Spring 2026: What Not To Miss text Eva Drakenberg Birds singing, green trees dancing, and happy Parisians drinking wine in the sun at every single brasserie. Spring has fully sprung in Paris, which not only entails blooming tulips at the florists but also a full-on blossoming art scene. As the season draws to a close, a few current exhibitions are truly worth visiting. Explore recurring themes of light, chaos, female energy, and spiritual geometry. Les Petites Aquarelles, n° 1,1908, aquarelle et crayon sur papier, 26 × 36 cm, HaK085. By courtesy of the Hilma af Klint Foundation – photo The Moderna Museet, Stockholm LIGHT EXPLOSION As spring arrives, we tend to crave more light in our lives, and a few shows offer exactly that. At the Bourse de Commerce, the Pinault Collection is presenting the striking Clair-Obscur, where over one hundred works explore the philosophical interplay of light and shadow. From Sigmar Polke’s unconventional postwar paintings and Wolfman Tilman’s photography, to Maria Martins’ sculptures, artists working across media transport you to new realities. Meanwhile, across the Seine, the Musée d’Orsay offers a glimpse of Scandinavia with its temporary Northern Light exhibition. In a small room featuring eight paintings, artists such as the Swedish national romantic Carl Larsson capture the subjectivity of light. By visiting both shows, we allow a dialogue between the past and the contemporary. How is our relationship to light influenced by the ideas of our time? Pinault Collection, Clair-obscur Open now to August 24 View of the exhibition “Clair-obscur”, Bourse de Commerce – Pinault Collection, Paris, 2026. © Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier. Photo: Nicolas Brasseur. I Pierre Huyghe. Camata. 2024. Robotic driven by machine learning, self-directed film, edited in real time by self-learning algorithms, sound, sensors. Pinault Collection. © Adagp, Paris, 2026 Musee D’Orsay- Northern Light Open now to May 10 Carl Johan Forsberg. Pax, 1905. Musée d’Orsay. Achat, 2022. © Musée d’Orsay, dist. RMN-Grand Palais / Sophie Crépy NAVIGATING CHAOS How often have you heard “we live in such a crazy time” recently? Well, you are definitely not alone. As always, artists help us navigate difficult societal issues such as climate change and inequality. Find clarity, comfort, or discomfort through performative works by Paul McCarthy, photography through the lens of mass tourism by Martin Parr, and figurative paintings by Henry Taylor. These American and British contemporary artists navigate a turbulent world through their own artistic expressions. Hauser & Wirth Gallery – Paul Mccarthy, SS EE Saint Santa Eva Elf Open now to May 9 Installation view, ‘PAUL McCARTHY.SS EE SAINT SANTA EVA ELFDRAWING SESSIONS 2025WITH LILITH STANGENBERG,’Hauser &WirthParis,2026.© Paul McCarthy. Courtesy the artist and Hauser & Wirth. Photo: Nicolas Brasseur Jeu De Paume – Martin Parr, Global warming Open now to May 24 © Martin Parr / Magnum Photos. 1996. Picasso Museum – Henry Taylor, Where Thoughts Provoke Open now to September 6 Henry Taylor, We Were Framed, 2014. Coll. Part. Photo Brian Forrest. © Henry Taylor. Courtesy the artist and Hauser & Wirth FEMALE ENERGY Gender roles are questioned by strong voices, such as Nan Goldin’s film installation at Grand Palais and British artist Rose Wylie’s figurative paintings interpreting Henri Rousseau at David Zwirner Gallery. While tackling different aspects of misogyny in two separate media, both do so with a similar wit and a sense of joie de vivre. Goldin’s photography famously captures the intimacy of the present and Wylie understands the now by interpreting the past. Despite difficult topics, both shows echo a sense of hopefulness. Grand Palais – Nan Goldin, This will not end well Open now to June 21 Vue de l’exposition Nan Goldin, This Will Not End Well, Grand Palais, Paris__455 © Photo Simon Lerat pour le GrandPalaisRmn. David Zwirner – Rose Wylie, Henri, Egypt…Bette, Bear Open now to May 23 Installation view. Rose Wylie: Henri, Egypt…Bette, Bear, David Zwirner, Paris, April 2-May 23, 2026. Courtesy David Zwirner. Photo by Nicolas Brasseur. SPIRITUAL GEOMETRY For some, geometry typically feels static and mathematical, yet several current exhibitions suggest the opposite. By embracing a geometric visual language, many artists seek to explore the spiritual dimension of reality. The Fondation Louis Vuitton exhibits a retrospective of Alexander Calder, who explored spirituality by rejecting logical shapes in his sculptures. In the Marais, the Institut suédois celebrates geometric abstract art with around 30 works of concretist Olle Bærtling, accompanied by contemporary artists. Similar to Calder, Bærtling was also interested in seeking spirituality in nature through shapes and colours. Lastly, in early May, the Grand Palais opens its very grand Hilma af Klint exhibition, a must-see for every Scandi in Paris. Try to name a better way to finish Paris art spring than seeing the world through Hilma! On top of that, from grand to more petite, one should not miss the new Swedish, material-focused Galerie Börjesson Perott. From May 6, they are exhibiting a group show that continues the echo of Af Klint, featuring works by contemporary artists Bella Rune, Nadine Byrne, Ylva Snöfrid, and more. Fondation Louis Vuitton – Alexander Calder, Rêver en équilibre Open now to August 16 Alexander Calder, La Grande vitesse (1:5 intermediate maquette), 1969, Sheet metal, bolts, and paint, 259.1 x 342.9 x 236.2 cm, Calder Foundation, New York. © 2026 Calder Foundation, New York /ADAGP, Paris. Photo courtesy of Calder Foundation, New York / Art Resource, New York Institut suédois – Olle Bærtling and more, Formes Ouvertes Open now to July 19 Installation view. Formes Ouvertes. Vinciane Lebrun (Voyez-Vous). Grand Palais – Hilma Af Klint Opens at May 6 Éros, n° 4, 1907, huile sur toile, 58 × 79 cm, HaK030. By courtesy of the Hilma af Klint Foundation – photo The Moderna Museet, Stockholm.jpg as light brings hope we feel to cope as tragedy occurs we choose magic to stir
Iittala × Pokémon
Iittala × Pokémon photography Atlas Woo Iittala marks Pokémon’s 30th anniversary with a capsule collection that brings the franchise’s familiar world into the Finnish design house’s own universe of clarity and craft. At its center is Origo, Alfredo Häberli’s striped icon from 1999, reinterpreted with Pikachu‑inspired colors and small illustrated adventures that move playfully across the surface. The collaboration feels less like a crossover and more like a shared origin story. Pokémon was born in 1996; Origo arrived three years later. Both shaped the late‑90s imagination, both became cultural touchstones, both endured. Here, they meet again in objects designed for everyday use: mugs, plates and bowls that carry narrative without losing Origo’s graphic discipline. Rather than treating Pokémon as novelty, the collection integrates it into functional pieces meant to live on tables, in kitchens, and in daily rituals. Nostalgic, yes, but also contemporary, rooted in Iittala’s belief in restraint, color, and objects made to last. Launching 1 May 2026 in Finland and Japan, the capsule sits at the intersection of design, collectability and memory, a reminder that some things we grew up with continue to shape us long after.
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WHAT IS MARKETPLACE: INVALID TIMESTAMPS. (Contracts Error)
Marketplace: invalid timestamps. #RC# Verify Encountering a technical error while interacting with smart contracts can be a frustrating experience for any crypto user. Troubleshooting contracts issues is vital for maintaining the integrity of your digital assets. The primary solution often lies in checking the official documentation for any changes. The architecture of modern dApps requires precise synchronization between the frontend and the contract. Many developers overlook contracts event logs for hidden warnings . The decentralized nature of these projects means that community forums are the best place for help. It is worth checking if there are any ongoing governance proposals that affect logic. Check if your wallet’s firmware is up to date, as old versions can sign transactions incorrectly. Shared fixtures, deterministic transaction templates, and versioned API contracts reduce integration drift. Marketplace fees and royalties channel value back to developers and treasuries. Formal verification of core smart contracts, rigorous bug-bounty programs, and continuous red-team exercises are essential for minimizing exploit risk. GLM is an ERC‑20 token on Ethereum, and most marketplaces tie access rights to a wallet address or to on‑chain approvals. Audited smart contracts, transparent operator selection criteria, and public proofs of solvency strengthen the security posture, but audits and proofs do not eliminate operational risk from misconfiguration, insider compromise, or novel attack vectors. The transaction execution might be sensitive to the timestamp of the block in some cases. Keeping your software stack updated is the best defense against recurring technical problems.
Uncategorized
WHAT IS MARKETPLACE: INVALID TIMESTAMPS. (Contracts Error)
Marketplace: invalid timestamps. #RC# Verify Encountering a technical error while interacting with smart contracts can be a frustrating experience for any crypto user. Troubleshooting contracts issues is vital for maintaining the integrity of your digital assets. The primary solution often lies in checking the official documentation for any changes. The architecture of modern dApps requires precise synchronization between the frontend and the contract. Many developers overlook contracts event logs for hidden warnings . The decentralized nature of these projects means that community forums are the best place for help. It is worth checking if there are any ongoing governance proposals that affect logic. Check if your wallet’s firmware is up to date, as old versions can sign transactions incorrectly. Shared fixtures, deterministic transaction templates, and versioned API contracts reduce integration drift. Marketplace fees and royalties channel value back to developers and treasuries. Formal verification of core smart contracts, rigorous bug-bounty programs, and continuous red-team exercises are essential for minimizing exploit risk. GLM is an ERC‑20 token on Ethereum, and most marketplaces tie access rights to a wallet address or to on‑chain approvals. Audited smart contracts, transparent operator selection criteria, and public proofs of solvency strengthen the security posture, but audits and proofs do not eliminate operational risk from misconfiguration, insider compromise, or novel attack vectors. The transaction execution might be sensitive to the timestamp of the block in some cases. Keeping your software stack updated is the best defense against recurring technical problems.