Written by Yasmine

    This year, the focus is not only on the 24 days calenders, but the amazing 12 days boxes as well - filled with suprises and best-sellers. These are the most favorable gift sets and calanders to get.

    Rituals - The Ritual of Advent 2D and Premium Calander 2023
    The Christmas calendar of all calendars for the Scandinavians, is the classic Ritual of Advent. This year, the brand has not been afraid to go even more extravagant. The calendar comes in three sizes, from the 2D set similar to a magical London townhouse to Premium containing a 3D village, where you build your own christmas city. Both lovely to have on the table as decoration. The options are filled with suprises that will make you smile, with Rituals favorites from bath soaps, candles, and skincare. Find it here.

    Body Shop - Ultimate Advent of Change Advent Calender 2023
    Ultimate Advent of Change is dedicated to the beauty fanatic. The calendar is packed with trusted full-size bestsellers, gorgeous skincare, accessories and everything else you need to pamper yourself this December.
    Think outside the box and discover an even more beautiful Christmas together with Edelweiss Smoothing Day Cream, iconic Mango Body Butter, Vitamin C Face Polish, and the wonderfully scented Banana Shampoo along with much more.

    Estèe Lauder Blockbuster 2023
    A great thing with Holiday boxes is that you get the opportunity to try new products. For the first timers of Estèe Lauder, this is for you. The Blockbuster gives you all the brands bestsellers from the Advanced Night Serum and Eye Cream, to their lipsticks and eye shadow palette. All wrapped in a beautiful red velvet case, for your travels. I will definitely use mine daily. A magical gift to give to yourself this holiday. Find it here

    Charlotte Tilbury Pillow Talk Gift Set
    The glittery Pillow Talk makeup vault is back for 2023, with 14 full-size makeup icons. As someone that is new to the brand, this gift set is perfect to try the brands popular icons. The gift set includes Hollywood Glow Glide Face Architect Highlighter in Pillow Talk Glow, Pillow Talk Beautifying Face Palette and Pillow Talk Matte Beauty Blush Wand, alongside 11 other Pillow Talk Icons for your eyes, lips and cheeks. Not to mention, it's smartly packaged in a luxurious box with its own mirror and is set in a rose gold touch. Find it here 

    NYX Professional MakeUp Ready. Set. Flamin-Go
    A calendar to give to the teenager or someone who loves color, is this Ready. Set. Falmin-Go gift from NYX. The brand understands that it can be hard to wait for all those 24 gifts, so this year, they are giving us everything at once. Open up each of our 24 full-sized products at the same time - for a true unboxing experience. Get ready for eyeshadow to lip gloss, to blush, and highlighter. Not to mention some accessories. Find it here.

    NIVEA MEN Calendar
    Since this year we are only recommending gifts that are all usable, one of those gift boxes is this calendar from NIVEA. Say hello to 24 products of lip balm, face mask, body lotion, face cream and deodorant and other surprises. A perfect gift for the skincare beginner or the more experienced skincare enthusiast. Countdown the days until Christmas with products both from NIVEA and Labello for a moment for yourself. Find it here.

    KIEHL'S Limited Edition Holiday Advent Calendar
    There is no better time to try Kiehls products than winter. The brand is celebrated for their rich skincare, and this calendar is packed with it. This year, the Christmas calendar is designed by the artist duo Icinori, who create art with elements of fantasy. With 24 surprises in skin and hair care, face cleanser, face cream, serum, face masks and much more. Find the calander here.


    LUSH Advent Calendar 2023
    Treat yourself to 25 sumptuously scented vegan products from the brands 2023 advent calendar. Expect exclusive festive treats such as the Jingle Jelly shower jelly, Boogie Woogie soap and Christmas Eve Candle, alongside all-year-round favourites and classic products. The calandar is packaged in a limited edition box designed by Andre Williams of Trifle Studio. When the festivities are over, the box can be reused as storage for your future Lush products. Find the calander here.

    BABOR Advent Calender 
    Good luck in a hatch! Every day for 24 days, a surprising boost awaits your skin. Behind the doors of this year's calendar, our magical ampoules hide, 2 ml of active skincare in its most concentrated form. Super serums that take your skincare routine to a whole new level. Give your skin a gift every day or crack one open when you need an extra boost; you'll receive ampoules from our original range and upgraded Doctor Babor ampoules. Discover the magic of adding an ampoule to your skincare! Find it here.

    24 Days of Clinique Calendar
    With the Clinique Holiday Advent Calendar, you can get all of your old and new favorites in a beautiful treat. Experience the enchanting Advent season with new beauty items with 24 days of clinique. With everything from their most loved skincare, beauty products, and body care - perfect to give to someone who loves this iconic brand. Find it here.


    article updated 28th Nov / change of text

  • Intersections of Art: Astrid Jensen Kruse and Marjolein Rothman

    Written by Natalia Muntean

    “It felt very natural. My paintings speak about photography, and Astrid’s work revolves around photography, but it is very painterly. And we have similar motivations for why we do the work,” says Dutch painter Marjolein Rothman about the shared exhibition with Danish artist Astrid Kruse Jensen. Brought together by Björn Wetterling, the artists have come back to Stockholm with exhibitions currently gracing the walls of Wetterling Gallery. “He suggested that we should share the exhibition, knowing each other's work very well. We had a good feeling about it and it made sense,” explains Kruse Jensen the idea behind the shared exhibition.

    “Resonance” by Astrid Kruse Jensen is somewhat of an existential journey catalysed by personal loss, while Marjolein Rothman returns with a series of paintings titled “Orange and Teal”, exploring ideas of fleetingness and the human condition. Even though different at first glance, their artistic trajectories and the current exhibitions hosted by Wetterling Gallery, deeply rooted in personal narratives and explorations of identity, intertwine seamlessly.

    Natalia Muntean sat down with the artists as they peeled back the layers of their creative minds, offering glimpses into their profound motivations, divergent mediums, and the intersections that define their artistic journeys.

    Natalia Muntean: I would like to know more about the exhibition and how you approached it. Did you treat it as two completely separate exhibitions, or was there a dialogue about it?
    Astrid Jensen Kruse:
    Marjolein and I had participated in group exhibitions together before, and this project space of Wetterling Gallery, which feels more like a two-space gallery, allows for exhibitions to communicate with each other, yet remain separate. It's like Marjolein said - there's so much linked between our work, even though it looks different. The strokes of light, for example. My work is photographic, but because of the chemical traces and the strokes of light, it also has this painterly touch. We both use ourselves as a starting point, drawing from life experiences like grief, loss, and love. It emanates from a deep, personal interest rooted in our hearts, but we want to make it universal, so anyone can relate.

    NM: Seems as if you take an essence of yourselves and transmit it through photographs and pictures?
    Marjolein Rothman:
    Yes, and also in our way of working, we take a step back, becoming more analytical while maintaining a strong, personal motivation. I have moments of reflection, considering what works and what doesn't. As a painter, you stand in a long tradition, so what do you do then? I chose classical subjects like architecture, self-portraiture, and flowers. For me, that was daring because painting flowers was the only thing that women were allowed to do. But then I tried to do something that is maybe different and that is also a motivation.
    AJK: I am not afraid to work with something beautiful, while always incorporating an element of disturbance. It's never just beautiful; there are always cracks, a duality between beauty and pain, love and loss, darkness and light. This shimmering between these elements is constant. It's quiet and moving at the same time.
    MR: And that also depends on how you approach the medium. You, Astrid, choose photographic material that is expired for example. I use just two colours, let the painting appear, and that's it. I don't want to create a fixed image that I build up; I want the work to be in this in-between state, reflecting movement, transformation, and vastness. This is very important to both of us. It's about fleetingness. I care less about traditional norms in painting and more about the direct expression of ideas. Painting isn't solely about technique; it's about conveying what you want to show. Failure is part of the process - erasing, building, scraping - until the light appears, and the image emerges. It's been a journey in painting, but I love it.

    NM: When do you know a painting or photograph is ready?
    It's linked to a specific moment, much like photography. The connection to the image and the mood during its creation are crucial. I don't precisely know beforehand what I'll paint, but I have a general idea. I work within a short time, around 10 or 20 minutes, and once that's done, the piece is finished. I want the painting to mirror the state of being when I made it. I can't go back and add strokes; the energy needs to be captured in that moment.

    NM: You don't alter it after?
    No, sometimes I conclude, but altering it feels different energetically. The brushstrokes and everything else reflect the making process, and that's crucial.

    NM: It sounds like they live their own lives, and you're just the medium. What about your process, Astrid?
    I think my process is slower. Most often, I write about my images before finding a location. I photograph the same place multiple times. Sometimes, you're there, see the light, and you just know without really seeing or understanding how the chemicals will react; you know this will be it. I prefer getting to know the locations beforehand. That's why I return and photograph again. I place them all on the studio walls and start making selections. It's a slow process, but sometimes, seeing ten pictures laid out, I just know which are the ones. It's different each time, but there's a feeling within, a certain knowing. You can't explain it exactly, but you feel it.
    MR: Do you sense it when you take a photo?
    AJK: Sometimes when I enter a space, see the light, and I know, inexplicably, I have to be there. Other times, I revisit, seeking a different angle or adjustment. It's about understanding the space I work in.
    MR: There's a magical element too, as Astrid mentions the writing and the wonder of it all. I often tell students that while we can teach painting techniques, the wonder doesn't come from that. It's about the spontaneous moments, influenced by everything – the walk to the studio, conversations, films watched. Sometimes, despite efforts, nothing happens, and other times, it just clicks. There's an attempt at control, rituals like using a certain palette, but ultimately, you want things to happen on their terms. Setting the stage for it to happen is key.

    NM: Astrid, you mentioned the title Resonance - how do you interpret and adapt this concept in your work?
    It’s the duality of the word 'resonance' that I've been working with and used as a title for the exhibition. It's so beautiful and I was inspired by the German sociologist Hartmut Rosa. He writes that resonance is when you experience things falling into place. It's not about material wealth or physical beauty, but those moments when you might be sitting on a bench, the light hits a certain way, and suddenly, you're filled with a sense of something special and it might arrive when you least expect it. I started this exploration after my husband died in 2019, an event that changed every element of my life. And of course, this experience made me question life's meaning. So, for me, it became an existential journey—to learn to live with the loss, while I also appreciated what I had. And this longing resonated for me, and I was looking for a location where artists before me had experienced some of the same questions. I found this artists’ home built by a woman, a Danish architect. They were still together and hadn't necessarily experienced the loss I did, but they wondered about life's essential elements: a place to live, work, have a family, and find meaning in life. So for me, while looking for these answers, it was important to find a place where people had done that before me. I experienced it not just as the artists´ home but used the house as a location —a stage for something beyond architectural dimensions, something more metaphysical and abstract. Being able to work there while it was empty was like a gift because then I could walk through this home, which was more like walking through a painting because every room has its own colours. The kids who grew up there did not talk about what was in the rooms; instead, they referred to them by colour. These rooms represented hope, dreams, and memories. I felt that this location could kind of provide a lot of what I was looking for.

    NM: I have to ask, is that you in the picture?
     No, no. But it's good to ask because my models look like me. It's a common experience, even with painters—to seek models you can somehow relate to. Throughout my work using models, I've always searched for someone I could identify with. It took me a while to realise that they looked like me.

    NM: Is that your way of taking a step back?
    For me, yes. I prefer standing on the other side, controlling every little element. So that's also why it mustn't be me. But I think that even though it looks like me, I also hope that it could look like you or that other people could identify with it. But I hope that also by turning their back on you, it's an invitation for the viewer to relate to the photo. 

    NM: What about you, Marjolein? Is that you in your paintings?
    It is, but I can also relate to what Astrid said because I used to speak about myself and other women through pictures of others. I've made a series of portraits of 19th-century Catholic saints, because the Catholic church uses beauty and sexuality to promote their values, and tried to examine how it is to be a woman in this world, what we represent, and what is expected of us. After that, I made a series in the same kind of manner using friends of mine in an attempt to show that we are all the same and we can all represent those values. This is how I used to work and sometimes I would make a self-portrait facing away, to invite viewers to put themselves in the subject's place. In this present exhibition, there is a self-portrait that is difficult because she looks at you, but she also looks into the mirror, at herself. I speak in the third person but it’s me because I photographed myself and then it became a painting. As women, we are used to being mostly the subject of the pictures, and if somebody takes a picture of you, the person who takes the photograph is the person in power. But in the case of my paintings, she takes a picture of herself and she chooses how she depicts herself. If I compare it to the other portraits, it's the first time I’ve made such a daring self-portrait. The self-portraits and the flower series speak about different stages in life, fleetingness, how beauty slips away, and that you cannot hold on to a specific moment, but also about the different roles - what's my role in life? What is my identity?
    AJK: I think if you refer to all the male painters, they will have a muse. And then you're your own muse, and I think that's empowerment.
    MR: That is also true, but it's difficult because I also don't want to be vain, so I'm examining my position now.
    AJK: There is this Finnish photographer, Elina Brotherus, who's using herself all the time, but not in self-portraits. She says, “It's not me, it's a photograph.” And this refers to both of our works. We use ourselves and our bodies. Even though they look like us; it's a photograph or a painting.
    MR: Yes, it also speaks about representation. What does a portrait mean? What does it want to say? What does somebody else see? Who sees the portrait?

    NM: Marjolein, could you tell me a bit more about the two colours, orange and teal?
    Lately I have been painting in blue and red hues. In the flower series, the colour evolved from almost monochrome paintings to black and then more and more colour, eventually focusing on these two. It's also tied to my exploration of Mondrian's work during his move towards abstractions, for example, his depiction of trees. When seen in person, his paintings are almost blinding, they demand attention and are so intense. He painted a red and yellow mill with such intense colours that people thought he was going mad. But he said that he was actually looking into the sun and then at the world and this is what it looked like to him. This concept interested me. So I use these colours to have this kind of effect that you can look at the picture, but almost not, your eyes can hardly focus. And then I found out that these two colours, 'Orange and Teal', are also often used in filmmaking and photography, where you have the cooler hues in the background and the reds to highlight the subject. But I want everything to fuse. So, I called it “Orange and Teal” because of its reference to film and photography. It's about these colours evoking something together and challenging the traditional connotations. Here, the subject isn't just in the foreground or the background. It may seem technical to express that I desire this blurring, but essentially, similar to what Astrid mentioned earlier – I wanted to express something timeless.

    NM: But regarding the exhibition, you utilised expired Polaroid films. Can you explain how this choice helped you capture fleeting and ever-changing moments or aspects in your photography?
    I think what I kind of realised by actually moving away from the perfectly shot photograph was that by using a material which also had some unexpected elements and traces of the chemicals that I would never really know exactly how they reacted, I felt somehow that made it even clearer for me. The Polaroid camera, the one that I use, has technical limitations that I find interesting, and after I take the photographs, the Polaroid is more like my negative. So I scan the polaroids afterwards, and then from there, I can enlarge it. And of course, because it's so tiny, then the lack of sharpness becomes even clearer. I think you kind of give yourself some limitations, but these limitations open up a lot. Because within a new frame, you have to push yourself to do things differently.

    NM: It seems like you pushed boundaries by amplifying these imperfections, resulting in beautiful interplays with light. And Marjolein, in your painting series, you employ low contrast and parallel lines. Could you explain how they convey the transformation you aim to capture?
    Normally, you would see the subjects in the front. In my paintings, even if you can identify a subject, like a flower, by lowering contrast, its visibility diminishes. Your eyes move, trying to grasp what you're seeing. It’s also connected with how we shape our ideas, politically or otherwise. Everything is moving. Everything is uncertain. And we cannot deal with it actually, I think. But I think we should be aware that we are constantly changing and forming our ideas.

    NM: So you let viewers work a little for the image.
    Yes, I hope so!

    NM: You mentioned losing your husband, Astrid, and I'm curious to understand how this process of creating art serves as a means of processing your emotions. Was it a healing journey for you to go into this house and create this image?
    AJK:  No, I don't see my work as therapy, not to get over something or learn to live with it. I see it more as the loss creating this urge within me to work with the notion of resonance, something I was engaged with. For example, the show I did before, “Floating,” was also about the stage of being present and absent. My art isn't therapy, it won't heal me, but it reflects what's going on within me. It's a process where I feel it shows more about me, not just my story but something universal.
    MR: What I find interesting is that sometimes people ask, “What do you want to tell with your work?” But when it comes to my work, I also have questions. There's always a question!
    AJK: Yes, it's about how it is to be in the world. How is it to be human?
    MR: And I still don't know…
    AJK: But I think this honest curiosity leads to finding a way, maybe different than before.

    NM: So do you create to find answers to some questions, or do you create because you already found some answers and you want to share them with the world?
    No, I think I always thought that art for me was to create something open-ended that raises questions and curiosity and to look at what you maybe think you know, and then question it. For me, it's about opening new ways of being in the world, rather than just answering questions.
    MR: That's interesting to me as well. And sometimes people can engage with it, but I'm not aiming at that. It’s about exploring questions that I have. I would say it's a way to live, a kind of ritual. I paint and some might find it useless—why spend a lifetime painting? Why would you do that? But it's a way of living through the process. It's about asking questions and it's wonderful when someone else can relate. I don't have a strategy for it, but it's very special when others can also relate to my questions and my work.

    NM: Marjolein, your motives for flowers and self-portraits are described as nods to Vanitas and Memento Mori. How do these references contribute to your exploration of the fleeting nature of life?
    It's always been my theme. I find it very difficult to deal with the concept of things ending. So I have painted flowers from time to time, but never really took on the challenge of painting a whole series of them. And considering the tradition, that is something that you do, you start with. And so I did, I painted flowers for seven years. Looking back, it started when my mom died, so it was quite logical as a theme because of its memento mori connotations. I also found out that it is not only about death, decay, and fleeting beauty but also about something new, it is about transformation.

    NM: And how do you hope the viewers will perceive the connection between your works that are different, but very connected still?
    I hope there's a specific atmosphere here that creates a connection. We talk about concepts and motives, but ultimately, because both our works are rooted in and discuss the human condition, I want people to look at the work and feel something.

    NM: Are there specific emotions you'd like to connect with it?
    I think when it comes to exhibitions, and when it comes to art in general, sometimes you don't get touched at the moment, but then you wake up two days later and realise there was something there and you have to go back and find out. So I hope people will be curious and see the similarities in our approaches, our curiosity on how we work with each medium and the connectedness even though the mediums are different. And I think if people get touched, I'm happy.

    Installation photos: Jean Baptiste Béranger

  • photography Crille Forsberg / Rockson
    fashion & text Jahwanna Berglund




    Hedda wears
    knitted sweater ARKET

    earrings Ole Lynggaard
    bracelets Engelbert


    Valter wears

    sweater Calvin Klein
    bracelet Ole Lynggaard

    "Börje - The Journey of a Legend" - Interview with Hedda Stiernstedt & Valter Skarsgård

    Written by Jahwanna Berglund

    November 19th marked the world premiere of the biography tv-show “Börje- The Journey of a Legend”.
    A tv-series in six episodes unfolding  the early life of the Swedish hockey icon Börje Salming, played by Valter Skarsgård alongside actress Hedda Stiernstedt portraying his first wife, Margitta.
    In an exclusive chat with Odalisque, the talented duo sheds light on their immersive experiences travelling back in time and  bringing these characters to life.

    Valter, can you tell us what drew you to the role of Börje Salming in this series? What about the character and the story resonated with you?
    Meeting Börje I was sold instantly. His story is so unbelievable and amazing that I felt that I had to be a part of it. And it was such an interesting challenge to try to portray someone with the duality Börje had. Being such a nice man but also being one of the toughest hockey players.

    Hedda, playing Margitta Salming, what kind of research and preparation did you do to accurately portray the life and experiences of Börje Salming's wife?
    I did a lot of research, and I met with Margitta. She is such a lovely and gracious person and she showed me a lot of personal pictures. BUT she is not a public person like Börje, there isn't any documentation on her, no videos or interviews etc. As an actress That’s both good and bad. Bad because I have less to go from, but good for the same reason - I had much more artistic freedom than Valter in my portrayal. That’s both good and bad. Bad because I have less to go from, but good for the same reason - I had much more artistic freedom than Valter in my portrayal.

    Valter, what was it like working closely with director Amir Chamdin, who had a personal connection with Börje Salming? How did this influence your performance in the series?
    Working with Amir was fantastic. We were on the same page early on. And he was very keen on inviting me into the process from an early stage so we could form this together. On set Amir was fantastic in that he was always open to suggestions or changes but never jeopardised his vision.

    Valter, could you share your experience of collaborating with cinematographer Crile Forsberg once more? How did the partnership influence the visual storytelling both in front and behind the camera?
    Working with Crille again was amazing. We had such a good collaboration on our first project “Zebrarummet”. I even said to him back then, when I found out he knew Amir that he has to be part of this project. He would be perfect for it. And he was!
    The cinematography is a very big part of what makes the show great.
    The way the project is filmed makes it feel like you’re really back there in the 70s and 80s. It doesn’t feel like a modern project that takes place then. You get transported back and that to me was fantastic to witness as we went along.

    Hedda, working with Crille Forsberg on this extended project was a new experience for you. How did the collaboration between you and the photographer influence your portrayal of the character? Did the unique approach to filming enhance your performance in any way?
    Of Course the visuals are always important but when working on a period project like this it's extra important! And Crille really brought it up a notch. He even built his own lenses to get that perfect 70s feeling. As an actor it's so important to trust the photographer and I really do both professionally and privately. We were lucky to work with a team who were so very good at What they do, Crille and the costume department, the scenographers, makeup, they all helped to create something extra special. Spearheaded by our lovely director Amir Chamdin who knows that 70s visual cool style inside and out.

    Hedda, can you give us some insight into the emotional depth of Margitta Salming's character and how her journey is portrayed in the series?
    It was important to Amir to not make her too much of a cliche ”worried wife” character. She wants her beloved husband to be happy, and he loves to play hockey so she wants that for him. But then of course the cliches in a sport-drama are there for a reason. She IS lonely most of the time, she IS scared for Börjes life when he plays. Those things are inevitable. And she also loves to create so we get to follow her pursue her career as a designer. But that’s difficult, it's the seventies and someone has to take care of the kids, you know.

    Valter, Börje Salming is a legendary figure in Sweden and NHL history. How did you balance the responsibility of representing this iconic sports personality while bringing your own interpretation to the role?
    I tried to stay as true as I could without making it feel like an impersonation. I early on found my way of doing Börje who I had a very clear image of in my mind. So once we were filming it was basically automatic, because of the work we had put in before.

    Hedda, the series captures a significant period in Swedish hockey and sports history. What do you think the series can teach viewers about that era and its impact on the world of hockey?
    It's a time where the players were expected to fight. It was so rough! But to be honest I know nothing about hockey I just know this story haha. But Börje truly is a legend in the whole world and all legends change the game.

    Valter, as an actor, what were the most challenging and rewarding aspects of taking on the role of Börje Salming, a real-life sports hero?
    The most challenging by far was playing hockey. I had no idea how to skate before this! But it was of course also challenging to balance the mild nature of Börje with the toughness. But as I mentioned it was 2 years of preparation that got me ready for all of it.

    Hedda, could you share any memorable moments or scenes from the series that you found particularly powerful or moving as an actor?
    Yes, as I mentioned one of my favorite scenes is when she picks Börje up at the AirPort after he got hit with the skate in the face and had 400 stitches. She puts on her sunglasses to hide her tears so that he won't be put under more stress. That is so sweet, so caring. If you've seen the real photos of his face you would understand how difficult it would be to hide. After that follows the ending scene and I’m not gonna Spoil it too much but I will say that I was heavily influenced by the ending of ”The graduate” in how I chose to do the scene.

    Hedda, I also spotted a maple leaf tattoo on your underarm, could you share the story behind it?
    I have a few tattoos and all of them have been done at parties haha this one included. Don't try this at home kids. No but on a serious note. This project is extra special to me. We were stuck in Canada together for months and so we truly became a family. I love everyone on this project and so we decided to get matching tattoos. They were made with a stick and poke technique at a party by our makeup department after a few drinks. I was the guinea pig and did the first one.

    Valter, in what ways do you feel the series captures the essence of Börje Salming's legacy, both in the world of hockey and in the hearts of fans?
    We stayed very close to the true story of Börje so in my opinion it gives a great look into who he was during this time. And I think a lot of people will respect him even more after this. Knowing his story in detail just adds to the legend that everyone already knows he was.

    Valter, as a final question, what was the most memorable or personally impactful moment for you during the filming of “Börje - The Journey of a Legend”?
    It’s impossible for me to pick just one! There were so many. But getting to go down to Niagara Falls and walk along the bank, which is not open to the public, was literally a once in a lifetime experience.

    Hedda wears 
    total look CHANEL



    pyjama shirt & socks CDLP
    trousers & shoes & Jacket Oscar Jacobson

    Hedda wears
    dress CHIMI

    coat COS ATELIER
    bracelets SKULTUNA


    Valter wears

    total look Oscar Jacobson

    ring Ole Lynggaard

    Hedda wears
    knitted sweater ARKET

    stockings Swedish Stockings
    socks Öjbo Vantfabrik

    Earrings Ole Lynggaard
    bracelets Engelbert


    Valter wears

    sweater Calvin Klein
    pyjama trousers CDLP

    bracelet Ole Lyngaard

    Hedda wears
    total look CHANEL


    Valter wears

    cardigan VANS
    pyjama shirt & socks CDLP
    trousers & shoes Oscar Jacobson

    Hedda wears
    total look CHANEL


    Valter wears

    pyjama shirt & socks CDLP
    trousers & shoes & jacket Oscar Jacobson

    Hedda wears

    knitted sweater ARKET

    earrings Ole Lynggaard
    bracelets Engelbert


    Valter wears

    bracelet Ole Lynggaard
    sweater Calvin Klein
    photography Crille Forsberg / Rockson
    fashion & text Jahwanna Berglund
    makeup & hair Jessica de la Torre
    color edit Samir Alaoui / Desolo Studios
    photography assistant Mika Forsberg