• photography Sandra Myhrberg 

    fashion Emilie Boden 

    scarf worn as top Karoline Lenhult

    earrings Efva Attling

    Linn Koch-Emmery's Path to 'Borderline Iconic'"

    Written by Emelie Bodén by Sandra Myhrberg

    Swedish musician and songwriter Linn Koch-Emmery grew up in Norrköping, a town south of the capital where she developed a passion for music. She formed her first band at the age of thirteen or fourteen, having known since childhood that she wanted to be a musician. At nineteen she moved away to London to focus on a solo career and in 2016 her first single “Come back” was released. Linn kept releasing singles, albums and EP:s and now has a strong and reliable following on spotify.  May 23, 2024 she released her latest album “Borderline Iconic” with songs like Ebay Armour, Happy and No Hands.

    Could you trace the origins of your musical journey for us? What were the pivotal moments or influences that propelled you to pursue a career in music?
    I got obsessed with rock music in my early teens. I think it was my cousin who sent me mp3 files of bands and songs that she liked, like Clash, Dylan and Beatles, that also resonated with me.Then White Stripes, Pixies and Oasis. I daydreamed a lot about playing in a band. Walked laps around my neighborhood listening to music and fantasizing about being in a band and writing music. Then I knocked on my neighbors door and asked if he could teach me to play guitar.

    What influenced your decision to predominantly channel your artistic expression through the genres of indie rock and pop, and how do you think these genres particularly complement your musical vision and storytelling?
    I have no idea why I got stuck on guitar music. They are really cool I guess. I have always been more interested in the emotions of music rather than the skill. I guess indie rock is a somewhat forgiving genre for that, or at least my personal division of it. There are of course very skilled musicians in this genre as well, I was just never interested in being one of them.

    Could you share any unique experiences or influences that have distinctly shaped your musical style and thematic choices?
    Being depressed at 13 years old, walking around my block listening to Oasis and Dylan daydreaming. I watched Oasis live once as well, it was one of the last shows they did together, but I was quite disappointed.

    What factors influenced your decision to relocate to the UK to further your music career, and how do you believe this has impacted your artistic growth and opportunities within the music industry?
    I’ve got some family and friends in the UK so I have naturally spent a lot of time there throughout the years. Pete (who produced the record) reached out about trying to work on some new stuff in 2022, he lives in Somerset where we also recorded the album. I still got my base in Stockholm but I bounced back and forth a lot in the process of recording. I love the UK, they are passionate about their rock music.

    In reflecting on your decision to record your album in the UK, could you elaborate on the ways in which this move has contributed to your artistic evolution and development?
    Working with a new producer of course changed the sound a bit, even though I believe the core is still very much there. I feel like I grew a lot as both an artist and human being while working with Pete. His approach to music is very intuitive.

    And lastly what advice would you give to aspiring musicians who are just starting out and looking to carve out their own path in the music industry?
    Follow your guts and focus on the music you want to make and how it makes you feel. Every now and then, take a walk and remind yourself why you started.

    Check out her spotify here!

    dress Baum und Pferdgarten
    stockings Stylist's Own
    shoes A Stinaa.J
    shirt & skirt Stadsmissionen
    stockings Stylist's Own
    shoes Coach
    earrings Thomas Sabo
    rings Annika Gustavsson, Mau Loa & Efva Attling
    photography Sandra Myhrberg

    fashion Emilie Boden 

    hair & makeup Alicia Hurst 
    art as backdrop L. Christeseva

    jacket Pellobello
    stockings Stylist's Own
    scarf Karoline Lenhult
    shoes Coach

  • image courtesy of Design House Stockholm

    Design House Stockholm's New Home

    Written by Fashion Tales

    Design House Stockholm has found the perfect location for its showroom, event space and head office at the very heart of Stockholm. At Götgatan 14, once the home for Record-Teatern, one of Stockholm’s oldest and most spacious cinemas, they have landed right by the reborn Slussen that links the Old Town with the vibrant creative Södermalm, the South isle of the Scandinavian design capital. They say that they will have their love for design on permanent display here, and all true Scandinavian design aficionados are invited to come along and share their passion.

    Some sixty designers has seen their ideas been brought to life with the keen expertise of Design House Stockholm for some 28 years. The storefront’s generous window display will bring to life this ever-changing selection of design classics and novelties, an unending series of creative innovations that continues to imagine new possibilities in both contract and home settings. Do step inside to browse a floral installation by a local flower shop showcasing eco-designs such as Atelier 2’s indoor greenhouse. Or meet a minimalistic stage-set with Carina Seth Andersson’s low-key tableware for Nationalmuseum along with Lena Bergström’s wool and leather-rimmed rugs. Behold Alexander Lervik’s Luna hailed as the ultimate globe pendant, and Tatu Laakso's Olivia Chair that offers balance lightness, sturdiness, and comfort: slender in appearance yet comfortable to sit on. The interior will change with every exhibition and will also offer the possibility to meet with both famous designers as well as aspiring newcomers right here in the middle of Stockholm. Step down the old cinema’s well-trodden marble stairs to visit their creative workspaces where their unique publishing house of design continues to assemble the very best design talents. Participate in their discussions with designers, and go right into every detail in some of their most famous designs. Delve into their choice of materials, designs, and workmanship. Learn more about 15 producers around the world and their code of conduct. Challenge them and their designers on bespoke designs for architectural projects. And Partake in their quest for the best ergonomics and a truly sustainable slow-design that creates new archetypes for modern living. Their space will of course be as easily visited virtually through their soon to be reborn website.

    Götgatan 14, in the very centre of Stockholm, is our new home after many years in different locations. And Södermalm is spot on as the very apex of their Stockholm based design. Right here Götgatsbacken rises in a steep slope almost up to Mosebacke where August Strindberg situated his radical satire The Red Room that brought the young novelist immediate fame, and where one enjoys a wide view of Stockholm cityscape distributed on a multitude of islets. Greta Garbo was born just a block away some decades later, as well as much earlier on the poet and musician Carl Michael Bellman. And do not forget the philosopher Emanuel Swedenborg, who had his summer house here in the 18th century, or Stieg Larsson’s Millennium Trilogy, which is acted out here. Today quite a pedestrian Södermalm is full of fashion and vintage shops, cosy restaurants and beer gardens, while at the same time hosting a major part of Sweden’s architecture offices. Slussen is a new meeting spot in the city with a newly renovated City Museum, and with a new Nobel Museum about to be built. Another treat is Fotografiska showing photography from all around the world with an acclaimed restaurant. Södermalm is without doubt the very birthplace of a large part of a Swedish design sporting that unmistakable energy and easy-going attitude that characterise Design House Stockholm. Not surprisingly, a lot of their designers have their workshops in this former working class neighbourhood, and they surely aim to bring along and show their diversity, expertise and standing at Götgatan 14.

    Link to website here!

    image courtesy of Design House Stockholm
    image courtesy of Design House Stockholm
  • photography Sandra Myhrberg

    special thanks to CFHILL

    Everything I Do, Every Step I Take, Has to Be Connected to Reality. A Conversation With Ylva Snöfrid.

    Written by Astrid Birnbaum by Sandra Myhrberg

    Known for her innovative blend of painting and performance, Ylva Snöfrid has captivated audiences worldwide with her unique exploration of existential themes. Her works are deeply introspective, often drawing on historical motifs to delve into the human experience. Her current exhibition, part of the Cosmos Vanitas series, is titled Jungfraujoch – High Altitude Paintings and is showcased at CFHILL in Stockholm. It takes us to Jungfraujoch, the second-highest viewing point in Europe, where Snöfrid’s artistry melds with the breathtaking elevation. The resulting celestial maps chart the intimate terrains of human existence. Central to Ylva’s work is the theme of ‘Vanitas’, reflecting on life's transience. Her paintings don't just depict this; they embody it, with each brushstroke and color choice resonating with the vibrancy of life amidst change.

    Ylva, I would like to begin at the beginning. Looking back, what first inspired you to pursue a career in art?
    I think I understood very early that I was an artist. My parents were also making art, even though they had ordinary jobs. They lived like artists. Even though my childhood was a struggle in many ways, they were very supportive of me making things. There are specific moments from my childhood when I realized I was an artist. One was when I was around six and I made some drawings of the queen from Elsa Beskow's Midsummer tale. The queen was helping the wild weeds and the flowers to get together to have a party. The tale is about a girl who falls asleep and sees the world of these plants. I tried to make a portrait of her, but I couldn't manage to draw her like Elsa Beskow. I was so disappointed with myself. It was such a struggle, and I could not stop. It was more important than many other things in my life at that moment.

    Part of my life as an artist began during my childhood. I had a mirror twin who lived behind the mirrors, named Snöfrid, while I was Ylva. I wrote a poem about her as a child, and she gradually became more real, embodying my artwork. Once, I created her as an alcoholic beverage that I distilled on paintings for an installation, inviting people to 'drink' her. During interviews, she accompanied me and even answered questions. Consequently, some interviews featured Ylva, Snöfrid, and the interviewer. Unable to rid myself of her presence, I eventually created a life-sized doll with my proportions. When my family and I moved to Athens, I felt the need to take the next step in my artistic practice, necessitating a transmutation. This eight-hour ritual, performed through a mirror, was part of a show in Montpellier curated by Nicolas Bourriaud. I sat on paintings, inviting the audience to participate. In a small tent, I conducted the actual ritual, meeting Snöfrid in the mirror. I painted my vagina on small paintings and invited people to sit down, serving her—us—on these paintings.

    Through this process, I abandoned my surname and became Ylva Snöfrid, uniting us as one. We are now physically connected all the time. I wear gold joints—gold jewelry around my waist, wrists, neck, and fingers—gradually covering my entire body. These joints symbolize our connection and frequently appear in my paintings. The use of gold has multiple reasons. In my childhood, within an anthroposophic environment, I received gold injections to strengthen my sense of self and create a boundary between the outer and inner worlds. I administered these injections myself into my belly.

    Your current exhibition, 'Jungfraujoch – High Altitude Paintings,' shown at CFHILL, takes us to the heights of the Swiss Alps. What drew you to this remote location?
    In my artistic practice, I have always worked with my own life and body as the foundation for my artwork. My approach is highly subjective and intuitive, building on my personal experiences. I have explored themes from my own childhood to motherhood, including significant events like giving birth. For instance, my father was a heroin addict during my childhood, and this profoundly influenced my paintings and overall artistic practice. For me, art must be as real and tangible as the ordinary reality I perceive.

    In the five years before starting the project that culminated in this exhibition, I lived in Athens with my family. In Athens, I created a secluded artwork that was essentially a home, complete with furniture and paintings. We slept on paintings, we ate on paintings. This immersive experience prompted me to look beyond the confines of this project and explore the external world in a more existential manner, recognizing that I live on Earth, a planet that offers a broader, planetary experience. This exploration extended to the cosmos and my connection to the world on a larger scale. As part of this study, I created three monumental paintings, “Cosmos and Vanitas,” each 7x6 meters high, which are installed in Lund. This project involved visiting various places to explore the connection between mass and atmosphere. My husband, Rodrigo, discovered the Jungfraujoch research station, situated at an altitude of 3,500 meters. It is one of the highest research stations globally, attracting researchers from around the world. Rodrigo applied on my behalf for the opportunity to stay there. Therefore, I went up this high mountain.

    How did the environment of Jungfraujoch affect your creative process?
    I went there thinking I was going to do a study on the atmosphere and mass. But I didn't really think that it could affect me physically. When I arrived, a whole other process started within myself, inside my body. The first thing I felt was this very high pressure on my brain. Later, my eyesight improved dramatically because my eyeballs actually adjusted to the pressure. I felt very bad physically. I started to get high altitude sickness, and I was just in that feeling somehow. I got worse and worse, hour by hour. The nights were the worst. Visually, things were very strong. I am not sure if I was hallucinating, but I saw snakes coming out of the sky. I saw everything moving. Either it was because I had such a clear view and it was reality, or it was hallucinations. I became more and more affected. The second night I had a very hard time sleeping. I slept a little, but I woke up because of the pressure on my brain. The brain actually gets bigger. I understood I couldn't fall asleep too deeply. I felt I was losing it a little bit, but at the same time, I was drawing and painting up there.

    I know you have a strong connection to rituals in your work and life. Can you tell me about that?
    Every task or habit, everything I have to do, has to be a ritual. Life is sacred somehow. For me to make it necessary to live, I have to make everything important. As a ritual, it is necessary. It's the same with my artwork. I want it to be necessary—it cannot just be an illustration. It has to be needed for me; it's a personal thing. In my personal life, I have probably taken it to an extreme. I have developed it through the years. The family also agrees on this way of living—and I understand if they would not, but they do. Everyone sleeps on paintings, everyone eats on paintings, even the sofa is paintings. It's for the sake of the artwork. It's a bit like when Edvard Munch had this outdoor studio in the snow, and the snow was hardening the paintings. The soul of the painting might be there or not. For the paintings to be a part of daily life and rituals is toughening them up a little bit. We become connected somehow. In my case, this is my path. And I totally understand there are other ways. This is what makes it worth living for me: to make life necessary.

    How did your rituals look up in Jungfraujoch?
    The same, actually. I don't have many things, but they always conduct everything equally. I have these different objects with me and I do the same rituals. Maybe it's less or more hard to execute things. For instance, at the end of my time up there, I couldn't even really walk. I had to lean against the wall. I was in such bad shape, but it didn't stop me from my rituals.

    I forgot to ask: How long were you actually up there?
    In my drawing, you can see it starts from day 1 to 3. I came on a Friday and left on Sunday morning.

    What do you hope viewers feel, think, or learn when they view your work?
    I don't hope for anything. My question for myself is always: Does this artwork have the right to exist in the universe? I ask that question for every work I make. If I see that it adds something that is not a burden, I let it continue to live in the world. Otherwise, I burn it or destroy it. People can think or experience whatever they want. I am happy that people see them; that is enough for me.