• image courtesy of Julia Viklund

    Mille Notti x Beata Heuman launching new collection August 2024

    Written by Fashion Tales

    In August 2024, Mille Notti is launching a new collection developed in collaboration with the acclaimed interior designer Beata Heuman. The collection comprises two duvet sets and one bedspread, all drawing inspiration from historical colours and patterns.

    Beata Heuman was raised in the countryside of Skåne but has since 2004 been based in London, where her continually expanding product collection can be admired in a new showroom at 188 Hammersmith Road. Today, her studio primarily works on interior design for private residences but has also undertaken prestigious commercial projects, such as the Hotel de la Boétie in Paris. For Beata Heuman, the collaboration with Mille Notti was both eagerly anticipated and very natural.

    – My first experience of how much better the sleeping experience becomes when you have really good sheets was when Mille Notti's founder, Peder Wehtje, gave me some beautiful sheets when I was 15 years old, which I still use. In other words, I have been a fan of Mille Notti for over 25 years now.

    She explains that she has long pondered designing bed linen, particularly bedspreads.
    – I find it difficult to find bedspreads that have both character and elegant timelessness. Mille Notti has granted me significant freedom regarding the design of the collection, which is always fantastic fun as a designer, while also being able to rely entirely on their almost three decades of experience in terms of quality and manufacturing. I am incredibly proud of the result, which I believe offers something new for both of us, and I hope that customers will also appreciate it greatly.

    She further explains that for her, the entirety of the bedroom is crucial, and that comfort must be the focal point.
    – This encompasses furniture, such as bedside tables where necessary, the right type of lighting that is both cosy and functional for reading, thoughtful storage to avoid clutter, and colours that are calming. That being said, the most important aspect, of course, remains the bed, the sheets, the duvet, and not least, the pillows,” says Beata Heuman, continuing:

    – When I began to consider which types of products, in addition to duvet covers and pillowcases, I felt could be suitable, bedspreads were a fairly obvious choice. Personally, I feel that a made bed seems incomplete without a bedspread, but I've gotten the impression that it's becoming less common to use them. The bed is always central in a bedroom, and a nice bedspread can give a dominant surface more character. In this collection, I have chosen colours and patterns that complement each other, so that everything can be combined in various ways.

    Mille Notti's co-owner and Creative Director Catherine Wehtje Hustad reveals that she and Beata Heuman had long discussed collaborating together, and they now felt that the time was right. Beata is not only my friend but also a great source of inspiration for me, both in my personal and professional life. I wanted to give her free rein so that the collection would feel one hundred percent Beata in everything, which is why we have chosen to manufacture the bed linens in our 230 thread count cotton percale, which is her favourite quality,” says Wehtje Hustad, continuing:

    – Design collaborations should add something to both the brand and the designer, and I can see that this will be something beautiful for both of us. Beata's design brings a continental and warm feeling to our otherwise quite light and crisp range, something that fits well for us now as we aim even more to reach new markets internationally.

    image courtesy of Julia Viklund
    image courtesy of Julia Viklund
  • image courtesy of Liselotte Watkins

    Liselotte Watkins: “Art is a way of understanding and translating how I see the world.”

    Written by Natalia Muntean by Emelie Bodén

    Originally from Sweden and now based in Rome, Liselotte Watkins is known for her expressive linework and bold use of colour. She is an interdisciplinary artist working across various media including paper, ceramics, and textiles. Watkins' work has a narrative quality influenced by her training as an illustrator. She gained international attention for her illustrations commissioned by the New York Times and has collaborated with notable names such as Miuccia Prada, Vogue, Marimekko, La Repubblica, and the Bitossi ceramics workshop in Italy. Inspired by vintage aesthetics and antique objects, Watkins creates art that celebrates womanhood.

    What is the story behind your exhibition during Stockholm Art Week?
    I first exhibited at Teatergrillen about 15 years ago during Stockholm Art Week. There's something in the walls there; you can feel that they have witnessed many good conversations and meetings. One thing I appreciate about my home country, Italy, is that it doesn't rush to renovate away that feeling, which Sweden can sometimes be quick to do. At Teatergrillen, the stories remain, and I think this suits my paintings.

    What inspired you to become an artist, and how has your artistic journey developed?
    Art has always been with me. After working as an illustrator for many years, my artistic vision evolved in new and unexpected ways. The imagery I create continues to expand, leading to the development of new series inspired by small details. I believe this process is similar to what writers experience when a secondary character unexpectedly demands attention.

    What does your creative process look like and how do you view developing new ideas and concepts for your work?
    I work from 08:00 to 17:00. For me, work breeds ideas. They don't just develop, they come from continuous work.

    What role do you think art plays in society and how do you see your work contributing to or challenging societal norms?
    It is not the role of art to be constructive. Art is a way of understanding and translating how I see the world.

    Are there any particular themes or subjects that consistently appear in your work, and if so, what draws you to them?
    The tables are a reflection of how things find their context. These are things lying around the house or that I have found on trips. These are items that may interest us or have become part of our lives for various reasons. Collectively, they form a fabric that represents who we are.

    Can you share a favourite place in Stockholm where you go to find inspiration or recharge creatively?
    It would be great if I could recharge creatively, or have a specific place for inspiration. In my case, general rest is required between work and everyday life. In Stockholm, I look for things that were there when I lived in the city, like the Teatergrill.

    Can you share a story about a specific neighbourhood in Stockholm that has personal significance for you as an artist?
    I used to live and work in Södermalm when I was in Stockholm. Every day, I would take walks in Vitabergsparken with my dogs. I love that place. In the winter, it's full of kids sledging, and in the spring and summer, kids drinking and enjoying themselves. There are also little houses with gardens, making it a magical place.

    Is there a Swedish artist that you find inspiring?
    Marie-Louise Ekman.

    What is your favourite bar or restaurant in Stockholm?
    Teatergrill.

    Liselotte Watkins: fönster 1
    Liselotte Watkins: Il Sogno I
    Liselotte Watkins: korridor 
    Liselotte Watkins: Il Sogno II
    Liselotte Watkins: vägg 1
    Liselotte Watkins: Il Sogno III
    Liselotte Watkins: Roma
  • DIGITAL-AFTERLIFE-INSTALLATION-VIEWS ©Claudia Ihrek” - Claudia Ihrek

    “Expo_SePropagaranSinRetorno_INJUVE_20” - Instituto de la Juventud

    INSTALLATION-VIEWS-ADD-TO-WISHLIST-01©dibusdibus” - dibusdubus
    portrait courtesy of Marta Galindo Garcí

    Marta Galindo García: “I Became an Artist by Pure Chance”

    Written by Natalia Muntean by Natalia Muntean

    Marta Galindo García is a Madrid-based artist. After studying at the University of Seville and De Montfort University (Leicester, UK), she completed her studies at the Complutense University of Madrid with a master's degree in artistic research and creation. Her first solo exhibition took place at the Valencia Gallery Tuesday to Friday in 2021, followed by “Digital Afterlife” in 2022.

    What is the story behind your exhibition during Stockholm Art Week?
    I'm participating in the show with my piece Deepest Image of Itself, a sound installation piece that invokes Joan Didion's legacy through her writing, specifically her article “The Santa Ana”, and through her personal objects. Ashik Zaman invited me to explore Didion's work, and while researching online, I discovered an auction held after her death, selling some of her personal belongings. I thought it was an interesting way to get to know and remember someone, through her possessions, so I decided to include some of them in the installation. In parallel, among several readings, her text 'The Santa Ana' struck a personal chord with me. The article explains how the east winds from California, named The Santa Ana winds, create an eerie meteorological ambience with an orangish light, and sound and provoke weird behaviour in people. In Cádiz, my hometown, we have exactly the same phenomenon, and each of her words resonated in a very intimate way with my personal experience. Deepest image of itself aims to recreate this eerie atmosphere, akin to the effect of the Santa Ana winds—a space where Didion's words continue to resonate through time.

    What inspired you to become an artist, and how has your artistic journey evolved?
    I'm an artist because I wanted to be a spy. During my childhood, I was obsessed with TV series like Totally Spies, Kim Possible, Spy Kids, CSI… As I grew up and started to consider professional careers, the most similar job I could think of was that of a criminal investigator. My parents quickly convinced me it might be a tough job so I looked for alternatives. Then archaeology entered the scene. It had a similar methodology, as it also involved investigation, gathering evidence, and conducting tests. The available academic degree for archaeology at that time was Conservation and Restoration. It shared subjects with Fine Arts in the first year, which made sense; you shouldn't restore a painting without knowing how to create one yourself. That's when I realised I am a more creative of a person than a clinical one, so I ended up enrolling in Fine Arts the following course. I Became an artist by pure chance. Somehow, I think I still keep that detective spirit. Afterall, an artist is quite an investigator.

    Regarding my artistic journey, I have had a very sincere and eclectic practice, I started focusing a lot on painting but, as soon as I achieved my first studio, I quickly started to play with different processes and mediums. I love to play with materials or objects which aren't meant to be used in art, not only for their materiality but also for their political dimension. When someone asks what kind of art I make, it's always a tricky question. So far I've done installations, sound performances, video installations, sculptures, paintings… I always try to choose freely and fearlessly the medium that feels more loyal to the topic I'm researching, the one that activates it more.

    What is your creative process like, and how do you approach developing new ideas and concepts for your work?
    I usually start with a deep, long and obsessive process of research and reading.I would say that's probably my favourite part: learning new things and drawing unexpected connections between topics and data. Once I have an idea, Itend to design the piece in a very calculated style. Lately, I've been trying to lose myself a bit more on improvisation and accidents, but I'm still working on that. Regardless, I'm usually drawn to exhibitions that feel enveloping, surrounding and gentle to the public, with an irreverent and playful component.Sometimes art can get boring and snobbish, and I love the sensation of entering a room with this kind of installation and feeling embraced by it. They provide an uncommon space where one enters to be part of, versus a more traditional format of facing something, inspected from a distance. How one engages and questions things depends deeply on the position one occupies.

    What role do you think art plays in society, and how do you see your work contributing to or challenging societal norms?
    It may sound a bit cheesy but for me, it's about feeding the spirit. The sensation of walking out of an interesting exhibition, movie, or theatre performance, or even watching a music video—whatever kind of art moves me—is almost like a magical, precious event in our routine and dutiful working lives. It's just like a sweet awakening that interrupts the humdrum and leaves a hint to follow and dive into. If one can find those moments at least once a month, that's being lucky. Of course, if those moments can raise questions or reflections on important subjects, which they often do, that's some serious candy.

    Are there any particular themes or subjects that consistently appear in your work, and if so, what draws you to them?
    The question of technology and magic is a constant in my work. I often address the subjects in relation to others, like digital legacy and physical death; how to survive a possible apocalypse with digital technology waste, fabulous battle drones who can learn empathy instead of violence and desert the army… I’m quite a drifter when it comes to topics because I’m constantly looking for different issues that relate to personal concerns and keep my curiosity alive and moving.

    DIGITAL-AFTERLIFE-INSTALLATION-VIEWS ©Claudia Ihrek” - Claudia Ihrek

    “Expo_SePropagaranSinRetorno_INJUVE_20” - Instituto de la Juventud

    INSTALLATION-VIEWS-ADD-TO-WISHLIST-01©dibusdibus” - dibusdubus

    DIGITAL-AFTERLIFE-INSTALLATION-VIEWS ©Claudia Ihrek” - Claudia Ihrek

    “Expo_SePropagaranSinRetorno_INJUVE_20” - Instituto de la Juventud

    INSTALLATION-VIEWS-ADD-TO-WISHLIST-01©dibusdibus” - dibusdubus
    DIGITAL-AFTERLIFE-INSTALLATION-VIEWS ©Claudia Ihrek” - Claudia Ihrek

    “Expo_SePropagaranSinRetorno_INJUVE_20” - Instituto de la Juventud

    INSTALLATION-VIEWS-ADD-TO-WISHLIST-01©dibusdibus” - dibusdubus

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