• Altered

    Written by Fashion Tales

    The Swedish innovation that reduces water consumption by 98%. With a nozzle that is easily installed on the crane, the amount of water consumed can be greatly reduced. It saves a lot of energy and significantly reduces CO2 emissions. Behind the innovation that is recognized worldwide, there are three Swedes.

    Altered: Nozzle was launched in 2016 via the crowdfunding platform Kickstarter. The product was based on an idea to use the pressure in the water pipe to atomize the water to use it more efficiently. Prototypes showed that it was possible to divide the water into millions of drops and to increase the speed to 50 km / h, which resulted in the hands being able to wash with full effect with only 2% of consumption. The response was huge with over 30,000 pre-orders of 30 days and over 50 million impressions on Facebook. In a short time you received inquiries from private individuals, companies, municipalities, hotels and restaurants from all over the world.

    Altered: Nozzle was launched in 2016 via the crowdfunding platform Kickstarter. The product was based on an idea to use the pressure in the water pipe to atomize the water to use it more efficiently. Prototypes showed that it was possible to divide the water into millions of drops and to increase the speed to 50 km / h, which resulted in the hands being able to wash with full effect with only 2% of consumption. The response was huge with over 30,000 pre-orders of 30 days and over 50 million impressions on Facebook. In a short time you received inquiries from private individuals, companies, municipalities, hotels and restaurants from all over the world.

    “If we want to make as big a difference as possible, as soon as possible, the goal must be to find extremely simple and affordable ways to upgrade all existing products. Not to replace them. That is what we do with Altered: Nozzle, ”says Johan Nihlén, CEO of Altered.

    Today, the first products have been released and much attention has been paid to the USA and the Middle East, but the fastest growing market is currently India, where interest has been enormous. The products work all over the world and the goal is to reach as many people as possible with the innovation, which has the potential to save billions of liters of water and countless amounts of energy and CO2 emissions.

    Altered: Nozzle has recently been selected to become part of the Nationalmuseum's collection. Cilla Robach, associate professor and first curator of the Nationalmuseum with responsibility for contemporary design, says about the donation of Nozzle Dual Flow Pro: “Design for sustainable development one of the great challenges of the world today and Altered's nozzle offers a simple way for the user to radically reduce their drinking water consumption. But a prerequisite for us to want to use it is that it has an attractive design that blends into modern kitchens. The product has a work height both in design and function. Nationalmuseum is Sweden's responsibility museum for collecting arts and crafts. The collection extends from the 16th century to the present.”

    Since the launch, WWF's prize, Climate Solver 2018, Nordic Cleantech Open and the SME Innovation Award 2018, has also been won by the European Commission's research and development organization for water.

    The company has also recently launched a soap, Altered: Soap, the first in a series of cleaning products specially adapted for the water-saving technology. The product is a rich and environmentally friendly foam soap but only natural ingredients. Altered has more news planned ahead and will, among other things, offer its nozzles in simpler and more affordable materials to get larger, global distribution.


  • New Balance launches unisex collection and continues to pay tribute to talented individuals

    Written by Fashion Tales

    New Balance introduces a new unisex collection that has taken inspiration from the 90's archives. Associated with the launch, New Balance strengthens the brand position “Fearlessly Independent,” which aims to support and lift colorful individuals to inspire others to challenge norms, dare to stand up for change and continue to be progressive.

    The classic New Balance model 997 was released for the first time in 1991 and is, although it may not always got the most time in the spotlight, a big favorite among sneakers connoisseurs. Now New Balance launches it updated version 997H, which inspired inspiration from the classic predecessor, but at the same time breathe modernity and contemporary. The collection also includes clothes, everything in unisex sizes.

    In connection with the launch of 997H, the New Balance continues its work on the global platform “Fearlessly Independent” and this time chooses to let young, fearless Swedish creators take the place and show the outside world its capacity. The campaign faces outwards are the artists Felix Sandman, the former FO & Omedlemen who is now on their own, and Luana Kiara who at Spotify has over ten million streams on his collab “Bad Boy” together with Tungevaag & Rabaan. As the first step in the creative the movement lets you release a music video to Felix Sandman's song “Miss you like crazy” where you to collaborated with set designer and neon artist Josefin Eklund, winner of the Nöjesguiden's Göteborg Award in category “Art of the year” 2018. The music video is released on 8/2.

    It feels like such a large brand chooses to highlight young creators by lifting ours stories and our art. I like that New Balance chose to work creatively and it's cool that they can tell their independent story through mine. I love sneakers so this cooperation fell very much naturally, says Felix Sandman.

    Felix Sandman has, despite his young age and in a short time, achieved great success and has a strong driving force and willingness to change. He belongs to the Swedish independent company TEN Music Group and is highly topical one of the leading roles in Sweden's first Netflix Original series, “Largest of all” released in spring, but will be premiered during the Berlin Film Festival in February. New Balance is both a training and lifestyle brand and they believe that both athletes and creative practitioners are a force for social change and wants to support and lift these in different ways through the platform.

    There are many talented individuals in Sweden who drive conversations, culture and development forward different ways. Through our launch of 997H, we are expanding our cooperation with young and fearless profiles, not only in sports, but now also in creativity and music. This is a first step in spring brand transfer and we have great ambitions ahead, says Hanna Löfberg, Marketing Manager at New Balance.

    The original 997H sneaker is now being modernized and updated in the new 997H to meet today's sport-driven fashion who draws inspiration from the trends and looks of the 90s. 997H comes in four different color settings, is Equipped with an updated sole and a tasteful upper in suede with stylish leather and mesh details. Along with the shoe, two tracksuits are also released in unisex sizes. The 997H collection is released by selectors dealer on 2/2. The prices are SEK 899 for the sneakier, SEK 699 for the track deposit and SEK 749 for wind jacket. Additional product or campaign information can be found on the campaign page at Sneakers Point.


  • Liljevalchs - Vårsalong 2019

    Written by Fashion Tales

    January 25 - March 24

    Vårsalongen 2019 takes place in the home of Carl Bergsten, in the pink house on Djurgården and the audience can queue as usual even though the work for Liljevalch's extension is in full swing.

    All works are for sale and the participants have set the prices themselves. Most expensive this year is the Zorn parafras “Red sand” which costs one million kronor - perhaps as one provocative flash to the art market. SEK 340,000 wants The creator collective Forma has for its installation “17,000” in 34 parts. Cheapest is the animations by Malin Desme (SEK 200) and Karin Elmgren (600). The sale of works is ongoing throughout the exhibition period.

    Since 2010, the number of applicants to Vårsalongen is steadily above 2000. This one time and time a record number was sought: 3,538 applications came in. 136 artists have has been adopted and shows a total of 254 works. This year, the women are in the majority, 79 against 57 men, and the age range remains big. Youngest is an 18 year old from Stockholm and the oldest are two who is passed the 90s. The average age is 49 years.

    The jury for Vårsalongen 2019 has been composed by the artists Helene Billgren, Susanne Vollmer and Lasse Åberg, the latter also museum director,
    the chairman was Liljevalch's head Mårten Castenfors.


  • Femininity and gender equality discussed at the UNTITLED Fair, Miami Art Basel 2018

    Written by Anonymous

    Femininity and gender equality discussed at the UNTITLED Fair, Miami Art Basel 2018

    By bringing art society from around the world together, Art Basel in Miami is a yearly art and culture celebration of the highest rank in the United States. Foremost galleries from North America, Latin America, Europe, Asia, Australia, and Africa introduce works of their modern and contemporary art masters, including new generation of emerging talents. During the art fair certain spaces in the city of Miami turning into art platforms. Spending an intensive week filled with exhibitions and art events, dj sets and private parties, I feel incredibly inspired. However, there are also a number of questions to discuss. 

    The UNTITLED Art Fair at the Ocean drive on the South Beach that through December, 5th-9th, leaves space for established art galleries and non-profit organisations, which spread awareness of significant social and political issues, engaging visitors into an exploratory conversation. One of the participators was the non-profit art platform Girls’ Club based in Fort Lauderdale, who presented a project Changing Room. Featuring performance work of Swedish dancer and choreographer, Jenny Larsson and a static installation with wearable design pieces from the visual artists such as Lucinda Linderman, Michelle Weinberg, and Natalie Zlamalova, the female art collective challenges the conventional norms for the expression of the public female identity. Seemingly, the ability of the Swedish dancer to integrate her feministic considerations into her own artistic language, has inspired American artists, what resulted in a series of grotesque garments. The question is whether the artists’ elaboration on the idea is a further interpretation or a protest against Swedish pragmatism when it concerns femininity.   Furthermore, I feel slightly uncertain concerning the Miami streets being ready to switch to the “Swedish” style of femininity, which definitely is not about girls having nice legs and a tan and radiating their sexuality as an exchange currency for success and empowerment.  

    Another intriguing performance piece at the UNTITLED fair was submitted by the Russian /American visual artist and social justice activist Ekaterina Juskowski.  Her fifty-hour long performance #NeverNotWorking, in which the artist uses the fashion accessory le tablier, text and colour, aimed to manifest the necessity of taking stand towards the repeated injustice of the underpaid domestic labourers. The performance has a deep personal connection because Ekaterina’s great-grandmother was one of such labourers, doing laundry for other people in order to make her own living. 

    Amongst the female contributors, I was able to discover artworks, created by male actors with relation to femininity and gender equality. At booth B 27, managed by the Sapar Contemporary Gallery (New York), had invited visitors to his exciting conversation. Young Azerbaijan artist Faig Ahmed showed a series of handmade carpets, woven by the Middle Eastern women. Understood as psychedelic creations, the rugs involve collectors in a multi-faceted interpretation game. “On a fundamental level, we spread out carpets on the floor to decorate and embellish our homes, the places, where gender equality begins. This is why I’d like to move beyond.” Faig Ahmed’s rugs and intertwine issues of power and subjectivity, gender and class, culture and individuality. To me, when the conditions are right, an artwork becomes resplendent.

  • VEJA: Beyond leather?

    Written by Fashion Tales

    Beyond leather? For SS19, VEJA introduces the Campo made out of the «corn waste» based material (C.W.L). Since we started VEJA in 2005, we are always looking for new sustainable and more ecological raw materials. 

    Our obsession: How can we improve the way we make sneakers?

    Going beyond leather 

    After 5 years of R&D and many failures to find an ecological substitute for leather, we finally found a revolutionary fabric. Developed by an Italian company, C.W.L. is a bio-sourced material, made from a waxed canvas with 50% corn waste from the food industry.

    As a result, this leather alternative is a 63% biodegradable fabric. Its look and touch is comparable to leather.

    A new vegan basic sneaker with a larger sole and a sharper design.

    It opens a new exciting path for VEJA : a new sneaker that is going beyond leather.


    Models available in January 2019. From size 36 to 46.


  • The Azerbaijan Equation vs. Gender Equality at Miami Art Basel

    Written by Anonymous

    A Personal Essay by Ludmilla Christeseva

    The Art Basel show in Miami ran through December 5th thru 9th, introduces and re-introduces artists from around the world. Turning downtown and Miami beach area into a hub of art exhibitions and events, the primary art show in the United States brings the art society together not only for festivities and inspiration but also for great deals in the art business. After consuming art for one week on the sunlit South beach, interpretation is obligatory.

    The diverse artistic expression of The UNTITLED Art Fair on Ocean Drive in South Beach seemed to offer the most exciting art collection with a focus on gender issues. There, in booth B 27, male artist Faig Ahmed from Azerbaijan introduced his Liquid Design carpets, hand-made by female weavers from his home country. As a typical Persian rug could be overlooked, the distinct psychedelic nature of Ahmed’s works is undeniable and one is left to ponder the widely overlooked cultural and historical nature of what lies behind this traditional tapestry.  

    Since at nomadic times some 2,500 years ago at least, tapestries have been embellishing homes in the Middle East. Designing a place to live and raise our children, however, we should remember that this is the place where gender equality begins and where every object can be intertwined with issues of power and subjectivity, gender and class, culture and individuality. One might be able to see beyond the pleasant aesthetics of hand-woven carpets: they are historically produced by women, yet marketed by men.

    Sustained by traditions centuries-old and crossing cultural boundaries, women are widely recognized as the carpet weavers. In villages, women have historically woven carpets for family use and would teach their daughters these skills. Girls would have a greater chance of marrying if they were skilled weavers, textiles were a part of young girls’ dowry to their future husbands whom they, perhaps did not wish to marry. They would take great care in following traditions. Carpet weaving would serve for them as a way to share their stories about daily life, tribal culture, thoughts and perhaps, impossible dreams.

    While providing comfort, warmth as well as decor, tapestry speaks about gender inequality and unpack power relationships in society. The Liquid Design rugs by Faig Ahmed are no exception. I can see through the colour palettes that they are still produced by women but appropriated by men who try to tell the world a different story rather than that of women and carpet weaving which are almost exclusively linked.

    Being both amused and distracted by the manufactured defects, which were skilfully appropriated in the art world of the Azerbaijan artist and conceptualized as a series of handmade woolen carpets, we have gradually moved beyond the suggested psychedelic understanding. This colourful digitalization was executed by the Middle Eastern women and submitted at the world’s largest art fair by a young and talented male artist. Capturing the assiduous cultivation of authenticity and diversity in Faig Ahmed's rugs, I was wondering if his artistic exploration of the field of artisan know-how and creativity connected to today’s contemporary solutions, empowers the women who work for him, to learn by doing. In this part of the world, women are products of cultures that maintain the traditional roles of females to remain at home and know how to take care of families and raise children.  Restricted to their households, tribal art functions both as a duty and for enjoyment, but also as a language widely used to tell women’ stories, feelings and dreams. This language, however, has remained unvarying throughout generations. The yearning of a young woman to get married is still always the emphasis.

    Represented by the Sapar Contemporary gallery in New York City, Faig Ahmed has been exhibiting his handcrafted collection of the psychedelic creations worldwide, gradually earning his status as a spiritual contemporary artist. Suggesting an excited invasion of the traditions of tapestry and I would say of traditions, in general, Faig Ahmed involves ornaments in his artistic language. To me, the meaning of an ornament is, on one hand, a decoration and is a way to organize an object, but on the other hand, it acts as a constant repetition, which is regular and stable. So are the traditions, which are passed down from one generation to another, repeated, and cherished. We are not allowed to change or question them and are therefore afraid.  Using the habitual patterns, Faig Ahmed is developing trust. But what kind of message do his works actually carry? How are social values and norms communicated and discussed through his innovative approach? His disobedient behaviour found in this series of bizarre psychedelic carpets brings many women together in the production process. To me, the weaving in the works of Faig Ahmed is not about decoration or interior solutions, but rather it is about women’s rights which are rooted in patriarchy, which women unconsciously or consciously choose to sustain through generations. When speaking about carpets, we would agree that the best ones come from the Middle East, where the position of women is bound by patriarchal norms and gender inequality. No doubt, his rugs are amusing works of art, yet they are strongly associated with the gender issues of the Middle Eastern cultures.

    While Europeans for centuries eagerly adorned their homes with the best handmade carpets exported from the Middle Eastern countries such as Morocco, Azerbaijan, Iran, Pakistan, and Turkey, to name a few, I was wondering if gender inequality issues, weaved in by women themselves, could be explored, questioned, and eradicated through the same process? Some women find weaving to be an enjoyable means of passing time and a way of expressing themselves creatively, yet it has never been a feasible form of income generation. But what if we reverse the culture of carpentry through learning by doing or by creating a different design pattern together, in which we connect the traditional craftsmanship and artisan know-how with contemporary digital trends. Meanwhile, we might agree that it is important to be mindful of words, actions, and objects in our homes, which can perpetuate or combat gender stereotypes. To me, only when the conditions are right, can anything be resplendent?