• photography Jaclyn Adams

    Paula Pantolin: Crafting Personal Narratives in Metal

    Written by Ulrika Lindqvist

    Since founding Pantolin in 2006, Swedish jewelry designer Paula Pantolin has turned her deep-rooted love for art and storytelling into wearable works of meaning. From soldering her first piece as a student to creating emotionally charged collections like Isola, each design reflects a balance of craftsmanship, heritage, and personal history. In this interview, Pantolin shares the inspirations behind her work, the legacy of creativity in her family, and how her pieces invite the wearer to become part of the story.

    UL: Can you tell us how long you have been working in jewelry design and what originally inspired you to pursue a career in this field? 

    Paula Pantolin: Pantolin was founded in 2006. My grandmother was a textile artist and my mother is a painter, so I grew up in a creative environment where expressing oneself through materials felt completely natural. It was clear to me early on that I wanted to find my own voice within the fine arts.
    During my years in art school, I worked as an assistant to a silversmith. I started out doing the more repetitive tasks like casting and polishing, but I was always eager to learn more. The first time I saw two metal surfaces fuse together through soldering, I was completely mesmerized. That moment sparked something in me – a deep fascination that’s stayed with me ever since. Eventually, I earned a Master of Fine Arts in metalsmithing and jewellery design, and that became the foundation for what is now Pantolin.

    What motivated you to found Pantolin? 
    I never really liked working for others, haha. But seriously — I knew my
    designs stood out, and I wanted to create jewellery that I actually wanted to
    wear myself, since I rarely found pieces I liked (except for vintage, of course).
    I’ve always loved the idea of people wearing my art close to their hearts.
    We would love to hear more about the Isola collection. What inspired it, and how does it
    differ from your other collections? From idea to finished jewelry – can you take us through
    the process? 
    It’s a deeply personal project. My late father — who was a professional sailor, among
    other things — and I sketched this together many years ago. He sadly passed away last
    year, so I wanted this piece to serve as a kind of homage to him.
    The new collection is inspired by the idea of a life ring, something that helps you stay
    afloat in the turbulent sea of life. Its name refers to “island” or “solitude.” The collection
    is meant to include the wearer in the creative process, encouraging personal expression,
    as there are no rules for how to wear it. The round shape of the pendant works just as
    well on a scarf, a link, or a chain necklace. For example, paired with Pantolin’s cross
    chain.
    As for the process: I draw all the time, and often my ideas don’t fully mature until years
    later. When I decide to bring something into three-dimensional form, I explore which
    techniques might best serve the piece — soldering, casting, smithing, sculpting… almost
    anything.
    Can you walk us through a typical workday for you? 
    I don’t have typical workdays, I’m afraid. Every day looks a little different. But I’m
    very disciplined. My mornings usually start with exercise, followed by checking emails
    and handling web orders (Pantolin.com relaunched in April!). Then it’s a mix of
    sketching, packaging, running to the post office, and whatever else the day brings. I also
    spend a lot of time working by the bench, doing all the silversmithing myself—it's where

    I feel most grounded. Alongside my own practice, I work part time as a fine metal
    conservator, restoring historical objects.
    Which piece from the "Isola" collection is closest to your heart and why? 
    The bangle. It’s unique, it has a distinct character and feels truly good to wear.
    Is there any symbolism or hidden details in your jewelry that people might not immediately
    notice? 
    Yes, it’s in Pantolin’s DNA to hide little surprises inside the jewellery, whether
    it’s a pattern, engraving, or a gemstone.
    Your jewelry is inspired by the Swedish west coast. Is there a particular reason for that? 
    That's where I grew up, and where my grandmother and mother spent their
    summers.
    What do you want people wearing “Isola” to feel?  Feeling empowered and beautiful,
    while participating in the process of how to wear it, will inspire creativity in
    them as well.
    How do you see the future? What’s next? Are there any specific projects, goals, or ambitions
    that you are particularly excited about? I'm currently working on a few new
    pieces that relate to the rituals around the table – an area I find
    endlessly inspiring. I’m also very much looking forward to my
    upcoming solo exhibitions this summer and autumn, which will offer
    new perspectives on my creative process.

    photography Jaclyn Adams
    photography Cicci Jonson 
  • Hedvig – A Modern Ode to Swedish Culinary Heritage in Östermalmshallen

    Written by Jahwanna Berglund

    Tucked beneath the vaulted arches of Östermalmshallen, Stockholm’s grand temple court of fine food, Hedvig quietly opened its doors and is already becoming one of the city’s most talked-about culinary gems. More than a restaurant, Hedvig is an invitation to rediscover Swedish cuisine through the lens of memory, craftsmanship, and quiet elegance.

    The man behind the vision is celebrated restaurateur Elias Karroum, whose previous ventures include Beirut Café, Bistrot du Passage, Gabagool, to name a few that have earned cult status among discerning diners. With Hedvig, Karroum returns to something closer to home, both geographically and emotionally. Named after the nearby Hedvig Eleonora Church, the restaurant is a deeply personal project that connects food, place, and heritage. “I wanted to create a space where guests can experience the depth and comfort of traditional Swedish cuisine in a setting that honours both the past and the present,” he says.

    Step inside and you're met with an atmosphere that feels both timeless and modern: warm brass fixtures, natural leather, carved wood, and the soft glow of flickering candlelight. The chambre séparée upstairs, complete with a painted ceiling of Swedish birdlife and a view of the church spire, is like dining inside a living poem.

    The soul of Hedvig is steeped in husmanskost—Swedish comfort food, reimagined with seasonal nuance and thoughtful precision. Dishes like creamy gravlax, rich meatballs, terrines, and roasted root vegetables pay homage to the culinary memories of the region, while gently pulling them into the now. Hedvig draws inspiration from classic SARA restaurants and Czech beer halls, but its beating heart is distinctly Stockholm.

    Its setting couldn’t be more fitting. Östermalmshallen, the legendary red-brick market hall where Hedvig resides, has been a cornerstone of Swedish gastronomy since it first opened in 1888 before King Oscar II. Built in just six months using Börringe clinker brick and innovative cast-iron roofing, the hall introduced new architectural techniques to Sweden thanks to the vision of young architects Isak Gustaf Clason and Kasper Salin, who brought back inspiration from their travels through Europe.

    After a major restoration from 2016 to 2020, Östermalmshallen stands proudly revitalised, with its turrets, gables, and intricate details lovingly preserved. Today, it remains a living symbol of culinary excellence, making it the perfect stage for Hedvig’s graceful, flavour-forward tribute to Swedish tradition.

    Whether you're popping in for a spontaneous late-night bite (Hedvig stays open until midnight on weekdays and 1 AM on weekends) or settling in for a long, soulful dinner, every visit promises more than a meal. It’s a celebration of place, history, and the timeless joy of a beautifully set table.

    Come hungry. Leave with a new favourite culinary memory.
    www.restauranghedvig.se

  • photography Linda Alfvegren

    fashion editor Ulrika Lindqvist

    hair and makeup Filippa Smedhagen

    all clothes talents own 

    A decade of crime, psychology, and gripping twists, an interview with author Mikaela Bley

    Written by Ulrika Lindqvist

    Swedish author Mikaela Bley marks 10 years since her debut with Lycke, the first in a string of bestselling psychological thrillers. With a background in television and a fascination for female perpetrators, Bley has carved out a distinctive voice in Scandinavian noir. In this interview, she reflects on her creative journey, the real-life inspiration behind her stories, and how her own fears and recent reality TV experience, shape the narratives she writes.

    Ulrika Lindqvist: Congratulations on celebrating 10 years as an author! Did you always now you wanted to write? What made you take the leap into writing your first novel 10 years ago?

    Mikaela Bley: Thank you! When I worked as an acquisition executive at TV4, I bought a true crime series about women who kill and became completely hooked. I read everything about female perpetrators, and that’s where the idea for my first book series about Ellen Tamm (crime reporter at TV4) was born. Female killers and victims are still a recurring theme in my books. I have always been interested in exploring the origins of a crime, its psychology, and the underlying motives. My ambition is to write multifaceted, exciting, and gripping stories – where nothing is as it first seems. My ambition is to portray our contemporary society from different and new perspectives and to raise questions about guilt, power and justice - where the line between perpetrator and victim lies dangerously close.

    UL: You released your debut Lycke in 2015, how has the response, both critically and from readers, shaped your perception of the novel over time?

    MB: The response was very positive from both readers and critics, and that made me so happy. It went much better than I had ever dared to hope. The series was sold directly to fourteen countries and made it possible for me to continue writing. Since it was a gamble when I quit my job at TV4 to write, it was an incredible relief and luxury to be able to continue writing full-time. I have released eight books since then and take all constructive criticism to heart so I can improve my craft, and of course, I have developed both as a person and as a writer since then. Reading experiences and reviews are subjective, someone loves a book and someone else hates the same book and I love them all!

    UL: You worked at Swedish channel TV4 before becoming an author, how did it feel to return to the channel, this time as a participant in the show The Traitors?

    MB: Completely different. Working on or watching a show like The Traitors is nothing like actually being one of the participants-it’s like night and day. Even though I was prepared for it to be a tough game, it turned out to be much more psychologically demanding than I had imagined. Reality quickly became isolated, and even though I knew and understood intellectually that it was “just” a game, it still felt like it was about life and death. It was very interesting to see and experience my own and other people’s behavior in such a special situation and group, not to mention the group dynamics!

    UL: Ellen Tamm, your character, works as a reporter at TV4. Has your own experience in front of the camera inspired any new developments or insights that you plan to explore in the next book about her?

    MB: Being falsely accused and what that does to a person. When we watch interrogations and interviews with suspected perpetrators and they can’t answer all the questions directly or give vague answers, it is often instinctively interpreted as if they are guilty. My experience in The Traitors made me realize how difficult it is to defend yourself against unreasonable accusations when you are mistrusted. Ellen Tamm will definitely be digging deeper into this.

    UL: What was the inspiration behind your new novel If One Falls, All Fall? Did any particular events, ideas, or themes inspire you more during the writing process?

    MB: In If One Falls, All Fall, I wanted to explore the modern spy-what kind of people infiltrate our societies and live seemingly ordinary lives among us. It could be a colleague, a neighbor, or even the person you are married to. I wanted to try to understand how someone, year after year, can live their life as someone else, lie to everyone, make friends and have a family? What is the driving force behind it? How do they manage it?

    ULIf One Falls, All Fall is launched exklusively as an audiobook before being published in hardback this fall, what is your relationship to audiobooks? Do you have favorite books or genres that you specifically like to listen to?

    MB: The audiobook is the most popular format in Sweden. Most of my “readers” now listen to my books. I myself alternate between reading and listening. They are two different experiences. Some books work better in audio format and others the opposite. When it comes to audiobooks, I mostly listen to nonfiction, biographies, and life stories-preferably narrated by the authors themselves.

    UL: I’ve heard that you’re afraid of the dark, do you often draw from your own fears in your writing?

    MB:Absolutely, I always write about what scares me. Writing is a kind of therapy, a way to confront my fears  and ghosts, get to know them, and try to understand them.

    UL: Which novels or authors have been most influential to your writing style and the themes you explore? Do you find yourself returning to specific works during your creative process?

    MB: Michael Connelly was my great role model; now I am inspired by many different authors in all genres. I read so many books, and all of them teach me something new.

    UL: Could you share some insights into your creative process? When and how do you find you’re the most productive or inspired to write?

    MB: I always have inspiration to write; time is my biggest challenge. The best thing for me is to isolate myself and focus solely on my writing, really immersing myself in the story and the characters-but it’s hard to do that with small children and everything else in life. That’s why I usually write in the evenings and at night, when everyone else has gone to bed and there’s nothing to disturb me.

    UL: What’s next for you as a writer? Are there any new projects or ideas you’re excited to explore?

    MB: I’m working on the fourth book in The Killer series and have a lot of other exciting, secret projects in progress. Stay tuned!

    sunglasses Tom Ford

    bag STHLM MISC

    sunglasses Tom Ford

    bag STHLM MISC

    sunglasses Tom Ford
    sunglasses Tom Ford

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