Wallpaper Magazine No 2 by Boråstapeter AB

WallpaperMagazine

issue.02

1974 Prunus

1975 Prunus

3580 Tailor's Tweed

3585 Helen's Flower

CONTENTS OUR VISION 9 SCANDINAVIAN DESIGNERS10 SWEDISH TR ADITIONS22 WABI-SABI 28 COTTAGE GARDEN32 THE FUTURE OF INTERIOR DESIGN40 WALLPAPERINA 48 FRIDA AND R ASMUS’ BLISSFUL BLEND58 SUSTAINABILITY62 EASTERN SIMPLICITY64 REFINE THE DESIGN TOGETHER72 LOVELY PATTERNS76 IF WALLS COULD TALK 84

1971 Fruktlåda

e v o l e h t r Fo r e p a p l l a of w OUR VISION FOR A MORE BEAUTIFUL WORLD

Anyone who has ever taken down old wallpaper only to find another pattern hidden underneath – and perhaps yet another beneath that one – knows the feeling well. That feeling of peeling back layers and travelling through time. Through the patterns, colours, textured surfaces and scent of old wallpaper, walls speak and shape stories in our minds. Stories of the styles and dreams of the past, of the people who once lived in these rooms and what they did here. And stories of their desire to transform this space with new wallpaper. Presumably, they wanted to bring a new feeling to the room, maybe change its function, or simply update it for a new era, new ideas, new people. Wallpaper is one of the easiest and most efficient ways to change a room and enhance its beauty – while also reflecting the individual who put it up.

Boråstapeter has been around for over 115 years, which means walls all over the world might have our wallpaper at the deepest layer. And hopefully at the top layer, too. For example, this year we hope to treat the world’s walls to Eastern Simplicity’s perfect union of Asian and Scandinavian minimalism, or to one of the rediscovered patterns from our archives in Scandinavian Designers III. We don’t only want to be part of the change – we also wish to surprise, by presenting our wallpapers in unexpected settings for a new mode of expression. In this second issue of our award-winning magazine, we turn to classical ballet for inspiration for our wallpaperinas: precision, position and perfection in pleated wallpaper tutus, in an endless dance across the ballet stage. In this brand-new context, these captivating wallpapers earn well-deserved applause. We also present stories from start to finish in this magazine, like the tale of how a collection is created and communicated in words and images, as well as the story of our vision for a more beautiful world. Sustainability plays a leading role in it, from the first brush stroke all the way to recycling. While we create wallpaper, we’re also designing better and eco-friendlier ways to make it in order to reduce our environmental footprint. Because our vision for a more beautiful world is about so much more than just walls.

1963 Ros och Lilja

SCANDINAVIAN DESIGNERS TRANSFORMING BELOVED CLASSICS INTO WALLPAPER

PHOTO Patrik Hagborg ART DIRECTOR Frida Hagman DESIGN Madeleine Sidemo STYLIST Anna Strarrén

Scandinavia holds a great treasure of patterns. Wallpapers as well as textiles, paintings, blueprints and sketches. Many of them hidden away or even forgotten, in drawers and boxes where the artist once put them. We had the honour to select a few of the most beautiful gems – from some of our most outstanding designers in modern times – and make them into wallpaper. Stig Lindberg, Arne Jacobsen, Viola Gråsten, Gocken and Lisbeth Jobs and the world-famous Finnish architect Alvar Aalto – together they are Scandinavian Designers. 10

1965 MIT

ALVAR AALTO M.I.T

M.I.T

For a few years in the 1940s, the architect Alvar Aalto had a professorship at Massachusetts Institute of Technology, USA. During this time, he also designed the Baker House dormitory including furniture and textiles. M.I.T is one of the textile patterns, inspired by the raw brick façade of the building. Two layers of brick pattern crossing each other, creating a third pattern revealing the background as white dots — an epitome of Alvar Aalto’s design in its brilliant simplicity.

When Alvar had his breakthrough as an architect in the early 1930s, he had his very own authentic expression: wavy shapes and organic forms in harmony with the surrounding nature, precise detailing and true devotion to the materials. Over the years he drew many prestigious buildings all over the world. But he was a designer as well. Outside of Finland, he is probably most known for items like his iconic wavy glass vase and his classic bentwood furniture. The furniture is still produced by the furniture company Artek. 12

1952 Hassel

VIOLA GRÅSTEN HASSEL, KORGPIL

Viola Gråsten’s modernist approach, flowing shapes and unusual colour combinations launched a new era in the Swedish textile arts. She came to Sweden from Finland in 1944, when the war had left wool in short supply in her home country, and added her dazzlingly colourful and imaginative touch to everything from long-pile rya rugs to fabrics and blankets. She quickly became one of Sweden’s most acclaimed textile artists and in 1947, she was hired by the department store NK, where she reinvigorated the store’s rya rugs and printed fabrics.

HASSEL

This imaginative, lush tree was designed for the textile department at Nordiska Kompaniet in 1959 and was printed on linen. To translate the feel of textile onto wallpaper, we have placed the pattern on a fine linen textured background. The original black-and-white colour is now accompanied by a linen tone and a muted forest green, bringing a pleasant warmth to the room.

1974 Prunus

STIG LINDBERG FRUKTLÅDA, PRUNUS, GRAZIA, HERBARIUM

It has now been a century since the imaginative Jack-of-all-trades was born, and Stig Lindberg is more popular than ever. His timeless design is just as contemporary and popular as during his heydays in the 1950’s when his textiles, china, illustrations for children’s books and television sets were featured in every Swedish home. And now you’ll find his playful and decorative patterns on walls all over the place. Just as Stig would have liked it. 16

PRUNUS

The delicious prunes can be found in thousands of Swedish homes, on cups and dishes. Stig Lindberg made the design for the traditional Gustavsbergs Porslinsfabrik in 1962. We think he would have loved the idea of putting it on walls as well.

1992 Trapez

ARNE JACOBSEN TASSEL, RANKE, TRAPEZ, YPSILON, KEJSARKRONA

He is the world famous Danish architect and designer who made design history with his furniture, textiles and cutlery. Arne Jacobsen was so timeless in his design that his work feels completely contemporary regardless of the fact that it’s been a quarter of a century since his glory days. Rumour has it that as the strict father prohibited his son from pursuing an artistic career, Arne Jacobsen revolted by painting the walls in his room white to draw on. Now, as his patterns are turned into wallpaper, we dare to guess that it’s a move that would have made the young Arne very happy.

TRAPEZ

The graphic Trapez is already a favourite in many homes as well as among stylists and architects. The reverse trapezium was initially designed for textile in the 1950s and became wallpaper in our first Scandinavian Designers collection. Now we are releasing it in new gold shimmering versions.

1961 Fågelbo

GOCKEN & LISBET JOBS ROS OCH LILJA, FÅGELBO, GRANATÄPPLE

Take your pick from anything in the well-preserved treasure chest of the Jobs sisters’ patterns; it will always be a timeless classic. From fabric, shawls and tablecloths. The sister first set off to work as potters in the 1930’s but glaze was hard to come by during the Second World War. Astrid Sampe, manager at the Nordic Company suggested that they should transfer their flower patterns onto fabric instead. The Jobs sisters’ colourful textiles made perfect complements to the strict and functional expressions that became a trademark after the war. 20

FÅGELBO

Lisbeth Jobs drew the little bird’s nest in sheer grass in 1943, on behalf of the textile department at Nordiska Kompaniet. Years went by, and finally, it was printed in the piece. On textile, the pattern was made through overprinting, with two colours on top of each other to bring out a third tone. We use the same technique when printing the wallpaper, giving it a beautiful glow and colour brilliance.

SWEDISH TRADITIONS

Swedish holidays are full of traditions that may seem odd to others. But there’s a reason why we celebrate the way we do. PHOTO Malin Mörner

CRAYFISH PARTY A FAREWELL TO SUMMER

In the past, crayfish fishing was only permitted between August and November, which we still celebrate in grand style – even if these days, we can eat crayfish year-round. The crayfish party, or kräftskiva in Swedish (literally “crayfish board”, in reference to a tabletop laden with food) used to function as a farewell to summer among the bourgeoisie. Obligatory elements of a crayfish party are silly hats and lanterns (which are particularly striking when made out of wallpaper), and the beautiful red and pink shellfish, best enjoyed with dill, cheese quiche, and a nice loaf of bread. And of course – schnapps and drinking songs.

EASTER A BLEND OF TRADITIONS

Easter in Sweden shares a great deal with Christian Easter celebrations worldwide, but we also have elements of folk belief and new traditions. The Swedish word for Easter is ‘påsk’, which derives from Hebrew and means unleavened bread. We decorate twigs with colourful feathers in hopes of hastening the arrival of spring. Children dress up as adorable witches for Easter and knock on neighbours’ doors; in the past, they were actually ugly witches. The egg, which symbolises fertility, naturally plays a leading role. Possibly hand-made from wallpaper, eggs are used as decoration and as a hiding place for sweets, and are also incorporated into the wonderful Easter buffet.

ELEGANT EASTER EGGS

For this craft, you will need: • Wallpaper • Paint and brush • Glue • Scissors • Brads or more glue • Easter eggs Instructions: 1. Gather up all the Easter eggs you have at home. We’ve repainted the eggs that had Easter patterns with ordinary wall paint; you could also use any kind of hobby paint. 2. Take a look at the wallpaper you have at home and cut out patterns from them, or make your own patterns. Paste the wallpaper pieces onto the eggs; get as creative as you like. From one wallpaper, we cut out big flowers, overlapped them on the eggs, and used brads or glue to stick them in place. Another wallpaper had small leaves, which we applied as a band around the entire egg. From a wallpaper with a small floral pattern, we cut out lots of little flowers and applied them in layers to the lid of the Easter egg. Glue the patterns to the eggs and let dry. 3. Fill the egg with beautiful tissue or parchment paper and sweets in the same colour as the egg, and decorate with some dried flowers, if you like. Tip! To give the flowers a nice shape, cut out all the petals and bend them upwards.

CHRISTMAS MERRY AND BRIGHT

Swedes love going all out on Christmas decorations and the weeks leading up to the holiday are at least as important as Christmas Eve itself. In the past, Christmas decorations served as a form of escape from an impoverished daily life, but today, they’re more about brightening the darkness and setting a festive mood with candles, flowers and heirloom decorations. Sweden is the only place in the world where Christmas stars and candlestick holders in windows are a Christmas tradition. Today, many people skip classic red and green and choose to decorate their homes however they please instead. For example, with garlands or ornaments made out of a favourite wallpaper.

LOVELY PAPER ORNAMENTS

For this craft, you will need: • Wallpaper • Steel wire • Hole punch • Wire cutters and round-nose pliers • Wooden beads • Jute twine • Scissors Instructions: 1. Draw and cut out six strips of wallpaper measuring 22x1.5 cm. Cut out the strips in the direction that the wallpaper is rolled, to make sure the paper has a nice shape. 2. Measure the centre of each strip at 11 cm and punch or poke a hole there with a hole punch or needle, and punch or poke a hole about 1 cm from either end of each strip. 3. Cut an approx. 12 cm piece of steel wire. Using round-nose pliers, or the pliers you have, make a loop at the end of the steel wire. String on a wooden bead and then all six strips at the centre hole. 4. Poke the top of the steel wire through both ends of the paper strips. It’s important to start with the bottom strip – the one closest to the wooden bead – and then go from there. Thread on the strips, clockwise, one after the next, to give the ornament a nice shape. 5. Finish by adding one last wooden bead, once you have determined the shape of your paper ornament. Make a slightly bigger hook with the round-nose pliers, so that you have space to tie on a piece of string. See more of our wonderful crafts at borastapeter.com

WABI-SABI – IMPERFECTION IS PERFECT Eastern design influences continue to fuse with the legacy of Scandinavian design. When the wabi-sabi world-view is interpreted in our homes, nature, simplicity and well-loved objects are placed front and centre. These days, the perfect home can be a little rough around the edges.

Wabi-sabi is a Japanese philosophy and world-view based on the beauty of imperfection. Asymmetry, wear and wonkiness are all valued aspects of beauty. Things should be simple, subdued and natural, and above all, loved and treasured. The philosophy is rooted in Zen Buddhism and its primary features include living simply and focussing on the important things in life.

here was once a priest who loved flowers, bushes and trees. So he was tasked with caring for the garden surrounding a famous Zen temple. Next door to the temple lived a very old Zen master. One day, some prominent guests would be visiting the temple, so the priest spent hours raking leaves, trimming the hedges and clearing out withering flowers. He wanted everything to be perfect. The old Zen master watched with interest from the other side of the wall. When the priest was finished, he asked the Zen master what he thought. The Zen master responded, “It’s very beautiful, but something is missing. Help me over the wall, and I’ll take care of it.” The priest helped the Zen master over the wall, and the Zen master approached one of the trees and gave it a gentle shake, covering the grass with leaves once more. “That’s better,” said the Zen master, “now you can help me back over again.”

Start by weeding things out. Marie Kondo’s tips on organising things into drawers and cupboards are useful here. The idea here is that having fewer things, but things you treasure, creates harmony. Your home ought to have empty spaces, as well as special wabi-sabi-inspired nooks in soothing colours where you can place items like beautiful, history-infused stones and lit candles. Above all, wabi-sabi is associated with featuring objects that are used and loved. Things that are imperfect, according to the norm. So fill your home with such items – your own handmade ceramic bowl, a well-worn pillowcase from the past with an embroidered monogram, heirlooms, or a drawing by a child. Why shouldn’t a beloved bowl with a crack have a place in your home? Wabi-sabi is about seeing beyond function and capturing the feeling conveyed by an object. A worn-out armchair may not match the rest of your furnishings – but each time you sit in it, you remember your grandfather and the stories you read together. In the philosophy of wabi-sabi, that is more valuable than buying a brandnew armchair in your mission to design the perfect home. Flaky paint on furniture with history, fallen petals from a bouquet, the cracked spine of a book after countless reads – in wabi-sabi, these are signs of harmony, rather than indications that it’s time to clean and refurnish.

NOTHING IS PERMANENT

This story captures the philosophy of wabi-sabi, a Japanese world-view and approach to life that is based on the beauty of imperfection. Asymmetry, wear and wonkiness are all valued aspects of beauty. Things should be simple, subdued and natural, and above all, loved and treasured. The philosophy is rooted in Zen Buddhism and its primary features include living simply and focussing on the important things in life. The idea is to humbly behold your surroundings and understand that nothing lasts, everything changes constantly, and the traces left behind by time are beautiful. There is value in aging and wisdom, unconditional love, humility and stillness.

NEW VIEWS ON INTERIOR DESIGN

Of course, wabi-sabi is also an interior design style with a focus on nature and the seasons. Colours, light and materials should be welcomed into our homes, lending added dimension to wrinkled linen and meandering witch hazel. So the next time you set a beautiful table, fill it with nature’s treasures. Chestnuts, driftwood and winter’s withering rosehip branches set the mood just as well, if not better than a bouquet of cut flowers from the store. And as a perfectly natural consequence, wabi-sabi is also the opposite of consumerism, luxury design and fast fashion. Because if we can just learn to love what we already have, to appreciate something used by someone else, or to use what nature offers for free – well, we won’t be the only ones who experience harmony. So will our planet.

NATURAL AND SUSTAINABLE

1775 Vertigo

The influence of wabi-sabi on the Eastern aesthetic is comparable to the influence of Greek beauty ideals on Western culture. Perfection and symmetry versus imperfection and asymmetry. In an interior design context and from a popular science perspective, wabi-sabi can be described as a combination of feng shui, sustainability, and Marie Kondo’s approach with the added notions that nothing is perfect, nothing is ever finished, and nothing is forever. In other words, it is an unbelievably liberating view of design in which trends are suddenly irrelevant and renovations don’t need to be ‘finished’! But even if the wabi-sabi approach is careful to emphasize freedom from rules and formalities, it still has a few typical traits to emulate. 31

3595 Nightingale Garden Mural

COTTAGE GARDEN Rural English romance meets classic Swedish design in a warmly poetic style. Hand-painted flowers, tweed patterns and plaster lend vibrance and atmosphere to these rooms. Welcome to a Cottage Garden. PHOTO & STYLING Emily Slotte ART DIRECTOR Frida Hagman DESIGNUlrica Hurtig

3585 Helen´s Flower

3577 Tailor´s Tweed

3572 Laura`s Cottage

3570 Molly´s Meadow

3587 Painter´s Wall

3591 Marion´s Mural

Japan

Geometry

English gardens

THE FUTURE

TRENDS OF INTERIOR DESIGN

Classics

The tranquillity of nature

Building preservation

What is hot and on point in paint, form and design in the last few years? Boråstapeter’s head designer Sissa Sundling peeks into the crystal ball – and sees six clearly emerging trends.

s n e d r a g h s i Engl

n o i t a v r e s e r p g n i n d l i u B 1. BUILDING PRESERVATION

In an uncertain world, we often turn to a sense of security, to something real, to all things sustainable and local. We use what we’ve got and take care of what we have. Building preservation is becoming increasingly important, and we are searching for original details and saving woodwork and decor that we might have scrapped just a few years ago. “Many people dream of painstakingly renovating an abandoned house in the countryside, living off the land, and favouring local producers. It’s a return to older times and traditions, with genuine craftsmanship and authentic, natural materials playing leading roles,” says Sissa Sundling. She anticipates a future of misty colours and folklore, patterns of flowers and leaves on the walls, and an interior design style infused with Swedish nature. Sustainability, regarding both lifestyle and interior design, is a key word.

2. ENGLISH GARDENS

Abundance is another key word in a trend that Sissa Sundling is actually seeing already, but which she expects to grow even more in 2021 and 2022. It is personal, warm, and homely, like an English countryside cottage with a table set for afternoon tea with mismatched cups and saucers. We’re decorating with books and flowers, our own handmade art, and European classics of romantic style. The look is floral and colourful, emotional and well considered – while simultaneously appearing both simple and a bit haphazard. “It’s really an all outapproach! Old objects with some patina have a natural place next to personal, beloved items. Another feature here is wallpaper patterned with big blossoms, preferably in dark colours! We’ve really seen an explosion of that style in recent years in the wallpaper world, and it’s going to continue,” says Sissa Sundling. 42

The tranquillity of nature

4. JAPAN

Influences from the East have been seeping into the Scandinavian interior design aesthetic for years, and Sissa Sundling expects Eastern simplicity to dominate everywhere, on the walls and among accessories, in both architecture and art alike. But nothing will be too extravagant – the spotlight is on minimalism. “The style is modern, but with a nod to the past, which makes it timeless. Indigo blue is a dominant feature, for example on walls and in the glaze on ceramics,” says Sissa Sundling. Above all, this style is clean and functional: the objects we surround ourselves with should have a clear purpose. And if they’re imperfect or cracked or tell a story – all the better. This scaled-back look is neither feminine nor masculine, but somewhere in between, and realistic large-scale landscapes create a sense of calm that suits everyone.

Japan

3. THE TRANQUILLITY OF NATURE

Imagine a peaceful lake on a misty autumn morning. Reeds, driftwood, water, and silence. Then bring that feeling indoors with you. This interior design style is soothing and tactile, with wood, linen, plaster and Nordic simplicity intermingling with the light, as grass and branches create silhouettes. “Nordic nature meets Japanese minimalism. It’s naked, simple and peaceful, with pale tone-on-tone palettes,” says Sissa Sundling. Materials and finishes are important to this peaceful growing trend. This is interior design with an intuitive feel. It is modest, and every item has a natural place. Sissa Sundling concludes that this interior design style appeals to our Nordic sensibility and fits our desire to cleanse and refine.

Tomorrow’s interior design trends aren’t just pale, subdued and mild. Colour and personality also have a natural place. Sissa Sundling says this style is eclectic and rather lavish, with bold yellows, oranges and reds, as well as signature furniture and classic pattern pairings – preferably from Swedish and Scandinavian interior design traditions. Think Arne Jacobsen, Svenskt Tenn and Gocken Jobs. “The idea here is to combine styles, but not just any which way. You should know what you’re doing and select furniture and objects with care,” she says. This style is exclusive, with design classics that signal good taste, and time is spent finding just the right puzzle pieces – the ones which, upon first glance, may not seem to match, but which unite to form a perfect whole.

Geometry

5. CLASSICS

6. GEOMETRY

German Bauhaus and graphic Art Deco patterns are making a comeback, but with a new twist that is softer, airier, more pastel. “Let’s call it a more feminine expression of what used to be a fairly hard, masculine style,” says Sissa Sundling. Inspiration also comes from the postmodernist Memphis Group, which wanted to revolutionize and challenge the 80s design aesthetic with bold geometric shapes. Sissa Sundling expects geometric artwork, such as works by Hilma af Klint, and sculptures to find their way into homes in the near future, serving as beautiful eye-catchers.

Classics 46

Wallpaperina Beauty is in the details. In the swirling brushstrokes of wallpaper patterns, precise fractals and soft colour combinations. It is also in the ballerina’s pointed toe, arched back, and toned muscles. They merge to become wallpaperinas – uniting to create beauty together. BALLERINA Kusi Castro PHOTO Mats Bäcker MUA Jenny Guerrero TAILOR Jennie Österberg

ARTISTIC ARABESQUE Wallpaper: 1954 Sommar

EFFORTLESS ÉCARTÉ Wallpaper: 4422 Foliage Green

STUNNING SOUS-SUS Wallpaper: 1963 Ros och Lilja

LOVELY LOW ARABESQUE Wallpaper: 1958 Korgpil

TERRIFIC TUTU Wallpaper: 1976 Herbarium

PAPER PENCHÉ Wallpaper: 1961 Fågelbo

54 54

PLEATED PORT DE BRAS Tapet: 1974 Prunus

4544 Waldemar

FRIDA AND RASMUS’ BLISSFUL BLEND PHOTO Lina Östling STYLING & WORDS Jill Windahl

In a beautiful wooden house from the 1920s, flowers, leopards, stars, wild strawberries and chestnuts climb the walls. The blend is blissful and every room has a unique look. Welcome to the home of Frida, Rasmus and their family, and to a richly patterned journey of inspiration.

he front door is slightly ajar. It’s the kind of door you want to take home with you, with carved details in an exquisite shade of old-fashioned blue. A cat bounds across the grass, making welcoming little leaps. Even at the threshold, this home feels like a wonderful oasis, a doll’s house whose roof I want to lift off so that I can peer inside. Rasmus, Frida, Miri and Emerson live here with two cats, Lasse and Maja. You can guess who chose their names. Seven hens also cluck around the garden. The family bought the house in 2015, and when asked if they’ve renovated much, the response is hearty laughter. I’m assuming the answer is yes. Rasmus explains that none of them would really be happy in a white house. During the renovation, white walls were never an option. “I always knew we would have wallpaper. We started by painting the kids’ room bright blue,” he laughs and continues, “But once we started wallpapering, I realized that this is how it should be.” “Once we had wallpapered one room, we were totally sold and wanted to keep going,” adds Frida. “Plus, the process of putting up wallpaper is so fast, because you don’t have to tape off anything; you just go for it.” THE SECRET LIES IN THE DETAILS

The house was built in the late 1920s on land owned by Rasmus’ father. It is surrounded by forest and open space. A stone wall separates the plot from the adjacent road and a mossy oak tree stands watch at the gate. Rain has slowly begun to patter against the windows. Rasmus serves coffee in the kitchen and the cats eye the cream-filled pastries, well aware that they are not the intended recipients. “What I love about the wallpaper in the kitchen is how quiet the pattern is. You don’t really see it until you get up close,” he says. “We’ve been pretty fearless about the transitions between rooms. I like to think that similar details are carried from one room to the next, acting Frida and Rasmus’ home is filled with a medley of wallpapers in varying styles. But that’s exactly what Rasmus and Frida like: that it works beautifully to use different patterns in every room. They’ve chosen floral and organic patterns in the wallpapers Chestnut Blossom, Flora and Strawberry Field. Wild Jungle brings a sense of playfulness with an animal pattern, while subdued Stjärnflor and Funkis are more soothing.

5469 Funkis

5476 Flora

7463 Wild jungle

1465 Stjärnflor

7215 Strawberry Field

like a bridge to connect each space.” He points out that you might make a bold choice in one room, while the pattern in the next is a bit more subdued. But Frida and Rasmus are thrilled to have chosen lots of different wallpaper for their home. “I’m surprised by how much it all actually works together. I think it suits old houses for each room to be individualized, with its own look. We have a lot of different patterns, but it’s still nice to be everywhere in the house. My mum really likes the kitchen; she says it reminds her of her grandfather’s old kitchen,” says Frida. Children dash across the floor upstairs. The kids have both cleaned their rooms, in their own way: Miri by picking things up and Emerson by taking things out. He proudly presents his Legos, dragons, puzzle and ironing board. “My room is cosy,” he says, rubbing his hand over the sequins on his T-shirt. He explains that he likes leopards and monkeys and that he chose his wallpaper himself. Miri prefers slightly calmer patterns, and shades of blue and green. She also chose the wallpaper for her room. “I didn’t want pink and I didn’t want it to be too cutsey,” she explains.

7201 Chestnut blossom

PATTERN REPEATS ARE IMPORTANT

Rasmus’ favourite wallpaper in the house adorns the walls of their bedroom. “For me, the pattern repeats are incredibly important. It’s a genuine art to achieve the repeats. If the pattern repeat isn’t any good, the results can be striped, even if the actual pattern is organic,” he explains. Frida considers and decides that her favourite is the wallpaper in the hallway, Strawberry Fields, and Waldemar in the dining room. “Both are fairly dark, which makes the space feel relaxed and cosy,” she says. Rasmus agrees and explains, “With these wallpapers, the rooms aren’t sharply defined. It isn’t entirely clear exactly where the walls are, only that you’re sitting somewhere wonderful.” The pastries are long gone and the coffee cups have been filled for the third time. “I’m just as excited every time we finish a room. Wallpaper always looks good when it goes up,” says Rasmus.

SUSTAINABLE FOR PEOPLE AND FOR THE FUTURE

In Viared outside Borås, we create wallpaper all the way from concept sketch to finished product. That means we have total control over the process, and the opportunity to influence and take responsibility for sustainability at every step.

t Boråstapeter, we have been refining our vision for a more beautiful world for over a century, while creating a work environment that takes a holistic approach to sustainability. This applies to aspects of all sizes, design, materials, production, logistics, energy and recycling. A holistic approach involves the obvious: minimising our environmental impact, compliance with environmental legislation, and simultaneously maintaining curiosity about new ways in which we can contribute to a better world. It also involves consideration for people – those who work in our production, and those who live in spaces surrounded by our wallpaper. SUSTAINABLE DESIGN

Our wallpaper is born from a designer’s mindset – and already at the outset, we place enormous emphasis on sustainability. Trends are followed and created, but the goal is always to achieve patterns and colours that will last and be loved over time. Our designers also enjoy delving into the company’s vast historic archive, which is full of classic collections to be inspired by or reuse. A SENSE FOR MATERIALS

Our suppliers runs an eco-friendly forestry operation, without clearcutting, and with mindful replanting practices to help reduce global warming. The paper is environmentally friendly and free from both chlorine and PVC. The inks we use for printing are completely water-based. Our wallpaper contains nothing environmentally hazardous, nothing allergenic, and no heavy metals. And of course, the same is true for all of our printing techniques, old and new alike. Our skilled paint mixers save leftover ink and reuse it for new colours. This way, nothing goes to waste. All of our packaging materials are recyclable, from the plastic around each roll to the cardboard boxes we package them in. The wallpaper itself can be recycled as combustible waste. RESPONSIBLE PRODUCTION

Because our raw ingredients and how we process them are so environmentally benign to begin with, we don’t need complex treatment plants. We also offset any omissions that do occur, and only use renewable electricity at our factory. A great deal of the energy used in our production can be recycled and used to heat our fa-

cilities. To further protect nature and our surroundings, we have built our very own water treatment plant, which only releases clean and checked clear water. We also do all we can to minimise waste and excess, and recycle anything that is leftover as heat and energy in the municipal district heating system. DELIVERED WITH CARE

Transports comprise one area in which, as a producer, we can take significant responsibility and make a huge difference. We want to purchase, package, organise and ship using the eco-friendliest methods possible. For example, we buy all of our paper from our region of Europe, in order to shorten transports as much as possible. We choose eco-minded logistics partners that share our interest in environmental improvements. And our production and warehouse are located near one another, which facilitates smart coordination of transports to and from us. GUARANTEED RESPONSIBILITY

We have oversight. And our industry has oversight. What we do is regulated by numerous certificates and labels that guarantee, among other things, environmental responsibility, safety, health and the highest quality. This also applies to things like emissions, design rights and codes of conduct. We care as much about biodiversity and natural cultural heritage as we do about safe, fair working conditions for all people involved in our production, from forestry – where it all begins – to our own factory. This is Boråstapeter’s vision for a more beautiful world – environmental practices that make us a global leader in our industry. Follow and read more about our sustainability initiatives at boråstapeter.com

3127 Dancing Crane

EASTERN SIMPLICITY

WALLPAPER FOR AN INSPIRING SPACE Eastern Simplicity pays tribute to Asian handicraft traditions, with a clear historic connection interpreted through contemporary Scandinavian style. This collection is also infused with the unpretentious beauty of nature, like bamboo whispering in the wind and undulating patterns on the water. The palette is subdued and natural to adorn the walls of your home with finely tuned harmony. PHOTO Patrik Hagborg ART DIRECTOR Anna Söderberg DESIGN Ingela Wingborg STYLING Fanny Hamlin

3131 Indigo Garden

Noomi Spange’s dreamy, whimsical scenery decorates the large-patterned wallpaper Indigo Garden. A rhythmic interplay of lines and dots creates depth and movement, while the horizontal quality is evocative of still water.

3115 The Wave

The pattern on The Wave is inspired by block-printed, stylised waves with a pattern repeat that forms infinitely swelling seas.

3112 Ink Bamboo

Ink Bamboo is a modern wallpaper with clear Asian influences. The pattern is painted with ink on raw rice paper, after which the wallpaper is printed with flowing cylinders to achieve that perfect, vivid feel.

Temple Tree

INGELA & ANNA

REFINE THE DESIGN TOGETHER

Anna

One of them creates patterns, while the other finds the perfect settings for them to flourish. Meet designer Ingela Wingborg and Art Director Anna Söderberg, whose sense of colour, form and context comingle in Boråstapeter’s communications.

he creative process always hasthat crucial moment when all the pieces fall into place and the vision takes shape. When it comes to working with communication materials for Boråstapeter’s Eastern Simplicity collection, which was released last autumn, designer Ingela Wingborg and art director Anna Söderberg agree: “You came into my studio with your mobile phone in hand and showed me a picture on Instagram of a living room. It was incredibly beautiful, in 1960s style with elements of teak and a matte marble floor that almost looked like concrete. I remember saying, ‘Now we’re home,’” says Ingela. “Yeah, from the moment I saw that picture I felt like it would be perfect. It had the style and the details we were looking for,” says Anna.

But to understand how Boråstapeter’s designers and art directors work together, we have to go back to the beginning. When Ingela started planning the Eastern Simplicity collection with her colleague Noomi Spange, they began with inspiration and impressions they had been collecting for a long time. “Three years ago at the Milan Furniture Fair, I saw a lot of signs that an Asian-inspired decorative, yet subdued style was about to become trendy. That suits us here in Scandinavia, where we appreciate a clean and modern look, but are happy to add an authentic, hand-crafted feel. We wanted to keep building on that style, and marry history and the present together,” she explains. The popular Dancing Crane wallpaper pattern from an earlier collection served as inspiration, along with museum exhibitions on how Swedish designers have been inspired by Asia throughout time, as well as various trade fairs and literature on Japanese design and philosophy. “I also attended lectures on tea ceremonies and learned more about kintsugi, the art of repairing beloved old items with layers of lacquer and gold leaf,” says Ingela.

It’s the day after the release of a new collection of wallpaper patterns. The press release has gone out, the marketing materials and adverts are ready and the website is full of new wallpaper patterns. Boråstapeter’s retailers have received the big collection book. It’s a book for all the senses. It contains wallpaper samples, of course – made for running your hand over them to feel the textures and sense the hand-painted brush strokes. It also has gorgeous pictures of a selection of the Asian-inspired patterns, understated yet clear, tranquil yet striking. The book is a way to present them in context, put up on real walls, in the very home that was suggested to Anna and which turned out to be just a few dozen kilometres from Borås.

Ink Bamboo Ingela

A FLOURISHING COLLABORATION

For each collection, a team is assembled early on in the creative process, at the idea phase. The design studio, where Ingela works, and the marketing team, where Anna works, seamlessly weave their work together and roles are assigned. In an initial presentation, the marketing team learn the keywords, 72

The designer and art director are in close contact throughout the design process. They share links and materials with each other, and suggest books and social media accounts to check out. the collection, and may also offer feedback and input. While the design process is underway, the art director may begin considering the context in which the wallpaper will be presented and marketed. “I like to explore Instagram and Pinterest, where people with beautiful homes gladly show off their style. In this particular instance, a colleague randomly met a photographer at an event and got to see some interior pictures of a home he had photographed for an interior design magazine. I contacted the homeowner, who was happy to open her doors to us,” explains Anna. She describes the house as old-ish and perched on a mountain top, where the peaks of the tallest trees below filter the light that comes in through the windows. It is surrounded by nature and mature trees. Parts of the house give the impression that it is floating. It is full of genuine teak and marble, custom bookshelves, intriguing angles and understated details – as well as plenty of life and movement. “It’s easy to find suitable settings for a collection like Eastern Simplicity. Clean lines and a 60s and 70s aesthetic are prevalent in both architecture and interior design right now, so we looked at other places first. But that home had a special warmth that felt like exactly where we want Boråstapeter to be,” says Anna. “Yeah, we were clear on that from the beginning. Understated, absolutely – but also pleasant and accessible, beautiful and relatable. My design aesthetic can be fairly reserved, and that makes it especially important for the surrounding environment to feel warm,” adds Ingela. EXPERTISE OF ALL KINDS

The designer and art director have close contact throughout the design process. They share links and materials with each other, and suggest books and social media accounts to check out. Before the photo shoot, the designer, art director, stylist and photographer have a handover meeting to establish guidelines and discuss the big picture – like what emotions the images should convey – as well as the details, like the style of the furniture and accessories. Then the designer hands over responsibility to the art director, who becomes the coordinator for the photo shoot. Ingela explains that she may drop by during a photo shoot, but she’s careful to stay out of it. She doesn’t usually see the results until all the photos have been taken and processed. “It’s incredibly important for the art director, stylist and photographer to be able to bring their expertise to the table, without disruption, and do what they do best,” she says. This time, however, she sent along two small, well-worn Japanese books which she found at a pattern fair in Germany, and her wish for them to be included in the pictures, as well as input for the stylist about the process of a tea ceremony. THE FINISHED RESULT

Location

Anna and Ingela agree that the photo shoot in March feels like a long time ago. Since then, a pandemic has erupted and they have all worked on their own, with primarily virtual contact. After a long day of shooting pictures, carefully selecting the images, design, captions and messaging – the communication is in place and the world can see the collection. Both of them have already started working on future collections, but they enjoyed the opportunity to look back at a project that is close to their hearts. “We both really like the style, which I think is one reason why the final result is so good. I wanted the pictures to convey a sense of nature, the play of light, stillness and calm,” says Anna. “Yeah, it’s hard to turn those words into a product, but you really succeeded. Not all of the research I do can be included in the wallpaper, of course. There just isn’t enough space. But the images convey what I wasn’t able to put in the patterns: a certain purity, and a sense of materials that creates a holistic impression,” says Ingela. 74

The Wave

Raku

Indigo Silk

7269 Nocturne

LOVELY PATTERNS SIX WALLPAPERS FOR TIMELESS WALLS

Some patterns can appeal to the eye, heart and soul for generations. These timeless classics capture the spirit of the moment and successfully take it with them into the future – thereby remaining modern for all time. Here are six popular patterns that offer everything from the history of wallpaper and a longing for summer to whimsical journeys and explosions of flowers.

4501 Rosenvinge

7270 Nocturne

ROSENVINGE

NOCTURNE

ANNO

SENSE OF SILENCE

Rosenvinge wallpaper is a quiet Renaissance pattern in three soft colourways. This pattern is nearly 500 years old and was found on the oldest wallpaper in the Nordic region. It was discovered in the 1950s during renovations to the historic Rosenvinge House in Malmö. A few beams inside a gable room had remnants of what turned out to be the oldest wallpaper in the Nordic region, dating back to at least 1564. The Rosenvinge House is one of the first examples of the Renaissance in Scandinavia.

Nocturne Originalet, with hand-painted flowers, berries and leaves, is from our huge wallpaper archive and has been lovingly updated. This decorative, dense and captivating pattern is reminiscent of frost-covered nature. This paper perfectly combines timeless charm with a contemporary twist for the modern, trend-conscious home.

6252 Charlie

4878 Midtone 6701Alicia Blue

CHARLIE

ALICIA

SCANDINAVIAN DESIGNERS MINI

BEAUTIFUL TRADITIONS

Designer Amanda Nordblad’s fairy-tale figures in the Charlie pattern offer a new, contemporary look. This playful, narrative pattern incorporates squirrels on a journey of discovery. The abundant details in the pattern pique the imagination and inspire an urge to play.

This grand floral pattern brings a luxurious sense of elegance to the entire room, and it is named after the vibrant rising star of the big screen: Alicia Vikander. These rich, beautiful colours both emphasize and complement the trend of interior decor in white – perfect for creating an intentional yet traditional look in the home.

7666 Dhalia Garden

5474 Flora

DAHLIA GARDEN

FLORA

FALSTERBO III

JUBILEUM

This kind of floral ornamentation is classic in the world of wallpaper, but this pattern in particular is brand-new and hand-painted by our designer Jenny Hahne Gadd. The big blossoms of the Dahlia Garden wallpaper were created as a tribute to the magnificent dahlias of late summer. The paper is covered with Arts & Crafts-inspired floral ornamentation, with dazzling dahlias on a background of meandering leaves. Dahlias have been grown in Swedish gardens since the nineteenth century, and now the walls of your home can be covered with the same spectacular flowers.

In the early 50s, inspiration from nature’s most beautiful forms flourished among Swedish designers. We were at a crossroads, with one boot still planted in the fields, and one shiny shoe on the road to a more modern future. No one knew what awaited ahead, and creativity was allowed enormous freedom. Colours and shapes became bolder and more vibrant than ever before. The focus was on craftsmanship, and in winter, Nordic residents craved wallpaper splashed with summer flowers on their walls.

IF WALLS COULD TALK. If you listen very carefully, You might just hear me. Right here, at the heart of everyday life. I have front row seat to it. Trace its contours onto paper. Gentle lines captured with a single stroke. A skill passed on from generation to generation. To last for all time. I come alive at the touch of your hand. Infuse rooms with warmth and smiles. I give shape to the future that awaits. Reawaken faded memories. A silent witness as dreams come true. As hearts are broken and healed. I hum along to echo birthday songs. Tune in softly to your sorrow. I am part of you and your home, colour every moment of your day. Because this is where life happens. Amid the everyday chaos, And the quiet spaces to breathe. And if you listen very carefully, You might just hear me.

Find inspiration and explore our concept at borastapeter.com.

1970 M.I.T

1977 Herbarium

3127 Dancing Crane

3118 Umbrella Leaves

WE LOVE YOU. AND WALLPAPER. WE HOPE YOU DO TOO.

WALLPAPERMAGAZINE . Publisher: Boråstapeter, 2021. borastapeter.com Design & content: Consid. Print: Eskils Tryckeri. Photographers: Mats Bäcker, Patrik Hagborg, Malin Mörner, Emily Slotte, Lina Östling Stylists: Anna Starrén, Jill Windahl, Fanny Hamlin

1963 Ros och lilja

1961 Fågelbo

borastapeter.com