• photography Kristian Bengtsson 

    Shaping Light and Space: Morgan Persson’s Journey from Color to Cosmic Inspiration

    Written by Ulrika Lindqvist

    Renowned glass artist Morgan Persson has spent years pushing the boundaries of his craft. In this interview, he shares the creative process behind his latest collection, The Milky Way, and the inspiration drawn from the vastness of space. He also reflects on memorable projects, the challenges of working with glass, and his vision for the future of his art.

    Ulrika Lindqvist: Can you share a bit about your beginnings—how did you first start working with glass?

    Morgan Persson: I first discovered glass in my early twenties, and it was a life-changing moment. At the time, I was working as a car painter and playing volleyball at an elite level. One winter evening, I had what I can only describe as a sudden epiphany: I had to dedicate my life to glass. It was a completely unexpected turn, but I followed the impulse, left my job, and enrolled at Glasskolan in Orrefors. That was the beginning of an obsession with mastering every aspect of glassmaking.

    UL: For your latest collection, The Milky Way, you’ve created monochrome sculptures, which marks a shift from your historical focus on color. Could you tell us about this transition and the inspiration behind the collection?

    MP: The Milky Way is a departure for me. I’m known for my bold use of color, but this time, I felt drawn to creating something entirely in white. I could picture the pieces before they existed, these “space stones” with a celestial quality. The inspiration came from thinking about stargazing, galaxies, and the vastness of space. It was a challenge to step out of my comfort zone and embrace minimalism, but it
    was also exciting to explore how the optical effects of white opal glass could evoke depth and movement.

    UL: You collaborated with master glassblower Peter Kuchinke on this collection. How does such a partnership work, and what are the dynamics of your creative collaboration?

    MP: Working with Peter Kuchinke was an inspiring experience. He’s a master craftsman with an incredible knowledge of glassblowing techniques. Collaborations like this are all about trust and communication. I brought my ideas and vision, and he brought his expertise and technical skill.

    Together, we experimentedand solved challenges,like achieving the desired effects in the opal glass. These partnerships are a mix of structured planning and spontaneous problem-solving, which keeps the process dynamic and rewarding.

    UL: What is your personal relationship with space? Are you fascinated by it, do you fear it, and would you ever consider space travel?

    MP: I’m deeply fascinated by space. It represents both mystery and endless possibilities, and it inspires me to think about perspective, how small we are in the grand scheme of things. While I find it inspiring, I don’t think I’d personally venture into space. I prefer exploring the unknown from a grounded, creative perspective.

    UL: Can you describe your creative process—do you plan and sketch in advance, or do you prefer to improvise? Additionally, what unique challenges or limitations does working with glass present?

    MP: My process is a mix of planning and improvisation. I start with an idea or a vision, which I might sketch or just hold in my mind. Once I begin working with the glass, I let the material guide me. Glass is unpredictable, it changes with heat, reacts to different techniques, and demands precision. One challenge is timing; you have to make quick decisions before the glass cools, but that’s also what makes it so exhilarating. I enjoy the balance between controlling the material and allowing it to take its own form.

    UL: Are there any particular projects or moments in your career that stand out as especially memorable?

    MP: There are several, but one that stands out is the moment I first experimented with recycled glass in collaboration with Leif Hauge. Creating glass objects from seized smuggled alcohol bottles for Tullverket was both challenging and rewarding, it pushed me to think differently about sustainability and design. Another memorable moment was when my family and I moved to Småland to start my own hot shop. That transition marked a new chapter in my career and creative journey.

    UL: What does a typical workday in your life look like?

    MP: My day usually starts early in the morning with preparation in the glass studio. Depending on the project, I might spend hours blowing, fine-tuning details or working in the cold shop on grinding and polishing. Running a family business means I also wear many hats, managing the showroom, or hosting visitors. It’s busy, but I love the variety and the chance to immerse myself in every part of the
    process.

    UL: Looking ahead, what’s next for you? And if you could embark on your ultimate dream project, what would it be?

    MP: I’m always looking for new ways to push the boundaries of what glass can do. After The Milky Way, I’d like to explore working with larger formats and experimenting more with sandcasting techniques. I’m particularly interested in creating monumental public artworks that could combine glass with other materials. Collaborating with a team on a large-scale project, it offers an opportunity to blend expertise and creativity, which often leads to surprising and powerful results. For now, I’ll keep experimenting and trusting my instincts, as they’ve always been my best guide.

    photography Daniel Lindh 
  • photography Darrel Hunter

    images courtesy of Charles & Keith

    Charles & Keith: The Must Have Brand on Every Gen Z Student's Radar

    Written by Maya Avram by Nicole Miller

    London Fashion Week is right around the corner, with events and presentations kicking off the Autumn/Winter season at the capital later this week. And while the Swinging City may not have the big-money splendour of New York or the century-old aesthetic of Paris and Milan, London’s vibrant energy is unmatched compared to the rest of the big four. Its brimming experimental nature is a creative haven for emerging talent like Nensi Dojaka, Simone Rocha, JW Anderson and Erdem, all of whom have grown to become global phenomena in recent years. The same fervour is extended to storied English houses too, like Burberry and Vivienne Westwood, rendering London’s fashion industry a pioneer of subversion and boundary-breaking design.

    This is why Central Saint Martins — the famed London fashion school whose impressive list of alumni includes the late Alexander McQueen, Phoebe Philo and Christopher Kane, among others — has a permanent slot on the Fashion Week schedule, as it’s generally agreed that its graduates are primed for greatness.

    This is why leather expert Charles & Keith has teamed up with a select group of CSM styling students for its latest campaign. Shot by celebrated photographer Darrel Hunter, the shoot benefits from his affluent lens as well as the students’ fresh attitudes, resulting in unrestrained creative expression that is so quintessentially Charles & Keith. Proving, once again, that no one does it like Londoners.

    photography Darrel Hunter

    images courtesy of Charles & Keith

  • photography Andy Liffner

    courtesy Layered

    A Decade of Design: Malin Glemme on Layered’s 10-Year Journey and the Future of Interior Aesthetics

    Written by Ulrika Lindqvist

    As Layered celebrates its 10-year anniversary, we sit down with founder and CEO Malin Glemme to reflect on a decade of design, creativity, and innovation. From an unexpected beginning—creating a rug for her own home—to building an internationally recognized brand, Malin shares her journey, the inspirations behind her work, and what’s next for Layered.

    Ulrika Lindqvist: Hi Malin, congratulations on celebrating 10 years with Layered!

    Malin Glemme: Thank you so much! It’s been an incredible journey, and I’m so proud of what we’ve achieved.

    UL: Could you share how long you've been working in the interior design industry and what initially inspired you to pursue a career in this field?

    MG: I’ve been working in the design industry for over a decade now. My journey began with a deep passion for creating beautiful spaces that evoke emotion and feel personal. In 2014, I was decorating my new 200-square-meter home on a limited budget. Having a background in product development, I decided to design my own rug. I found an amazing supplier in India who helped bring my idea to life, and the rug ended up being featured in Sköna Hem. Readers started reaching out, asking where they could purchase it, and that’s when I realized there was real interest in this kind of design. That moment inspired me to launch LAYERED with a vision of offering rugs that combine innovative and sustainable design.

    UL: What motivated you to establish Layered a decade ago?

    MG: The experience of creating that first rug and seeing people’s excitement about it made me realize there was a gap in the market. At the time, rugs were often treated as neutral backdrops rather than statement pieces. I wanted to change that by introducing designs that felt bold, stylish, and high-quality while being crafted sustainably. Layered was born out of a desire to elevate rugs to something that could truly anchor a room and tell a story.

    UL: Over the past 10 years, have there been any standout projects or events that hold a special place in your journey?

    MG: There are so many memorable moments! Collaborating with inspiring designers and launching collections that push creative boundaries has been incredibly rewarding. One standout memory is when we launched internationally—it was a pivotal moment that showed how far we’d come. Every production trip has also been memorable and inspiring. Meeting our suppliers, many of whom run family-owned businesses, and seeing their craftsmanship up close is always fascinating and invaluable. But honestly, some of the most meaningful moments come from customers who share how our products have transformed their homes. That connection to real people and their stories is what makes it all worthwhile.

    UL: We’d love to hear more about your jubilee collection—what inspired its creation, and what makes it unique?

    MG: The Ten Years Unfolded collection is a celebration of our journey. We revisited our archives and reimagined three of the very first designs we ever launched. These were pieces that helped define our signature style in Layered’s early days. While the patterns still felt relevant, we updated the color combinations to give them a fresh, contemporary look that fits today’s aesthetic. The collection is special because it represents where we started and how far we’ve come, blending heritage with innovation.

    UL: What is your most cherished piece of interior design in your own home, and why?

    MG: That’s such a difficult question, but I’d have to say my old wooden table from the 1800s. It has a very simple design with a beautiful patina and has been with me through every home over the past 20 years. I’ve even promised my children that it will always be a part of our homes—it’s become a symbol of comfort and continuity for us all. 

    UL: Can you take us through a typical workday in your life?

    MG: No two days are ever the same! I usually start my mornings with some quiet time to gather my thoughts—either a quick walk or a cup of coffee at home. A large part of my day revolves around my role as CEO, ensuring that Layered is not just creatively inspiring but also a healthy, thriving company. This means everything from reviewing budgets and planning long-term strategies to connecting with my team and fostering a strong company culture. I also make time for creative meetings, working on new designs, and planning collaborations. And, of course, balancing work with family life is incredibly important to me.

    UL: You’ve also launched another company, PICK A POPPY. How do you manage the demands of running two businesses simultaneously?

    MG: It’s definitely a challenge, but I’m passionate about both brands and their unique stories. I’ve learned to focus on what I do best and surround myself with amazing teams who share the same vision. Time management is key, as is trusting the people I work with. PICK A POPPY allows me to explore a more playful side of design, which complements my work with Layered beautifully.

    UL: Looking to the future, what’s next for you? Are there any specific projects, goals, or aspirations you’re especially excited about?

    MG: I’m excited to continue pushing creative boundaries with both Layered and PICK A POPPY. For Layered, we’re focusing heavily on expanding in the U.S., where we’re seeing significant growth. In 2024, we’ll also be participating in several major global design weeks and fairs, including New York Design Festival, 3daysofdesign in Copenhagen, and Paris Design Week. These events are incredible opportunities to connect with international audiences and showcase our vision on a larger stage. Alongside that, we’re exploring ways to make our products even more sustainable and timeless, with exciting design collaborations in the works. Personally, I’d love to dive deeper into storytelling through design—whether it’s through new collections, partnerships, or finding fresh ways to inspire people in their homes.

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