How did the collaboration with Slalom start?
A few years ago, during Stockholm Design Week, I happened to find myself at their booth. I vividly remember a conversation that felt effortless yet profound, one that touched space, sustainability, and of course, acoustics. It felt as if we had discovered common ground.
How did the concept for the booth develop?
I always aim to create a unique universe for each project. For this booth, I focused on maintaining spatial depth by using layers and framed views that evolve as visitors move through the space, unveiling new perspectives, colours and patterns. Since this was my first time focusing on architectural textures and solutions, I felt it was essential to truly highlight this aspect, creating something that felt profoundly architectural. The booth is designed like a pavilion, with an exterior that frames the interior experience—almost like a “box within a box” concept, where the space feels both open and mysterious.
What challenges did you face with this kind of space?
This is the smallest booth I’ve designed, but it’s also one of the most exciting in terms of architectural and artistic design, since this is my first exhibition where I’m not working with specific tangible products like furniture. Instead, I had the opportunity to focus on surfaces and colours, in addition to the acoustic elements. The challenge was to showcase as many materials as possible while maintaining a cohesive and elegant design. Working with Slalom’s acoustic solutions also involved a deep dive into their offerings before starting the design phase.
Colour plays a key role in your work. For the Slalom booth, how did you choose the colours, and how did you balance aesthetic appeal with acoustic functionality?
I don’t see colour as separate from functionality. Visual appeal should enhance the design’s purpose. Colour is a powerful tool in any design. For this booth, I wanted to balance the more neutral tones of Slalom’s acoustic panels such as Woody and Bloom with my typically bold approach to colour, incorporating them in a playful yet refined way that complements the overall design.
What kind of emotions or reactions do you hope to evoke from visitors?
I wanted to create a dramatic yet playful and cinematic atmosphere, offering visitors a series of experiences and perspectives that spark new thoughts.
How does this project relate to your own design style, background and hometown (Stockholm)?
Stockholm is my home, but I often work internationally. For this project, I brought my signature design style, one that’s more international/Mediterranean in influence. I focused on creating that magical intersection between two-dimensional and three-dimensional perceptions working with layers, drawing inspiration from labyrinths, tiles, and monumental, almost surreal moments in space.
Have you discovered new possibilities in Slalom’s acoustic products?
Absolutely. I’m particularly excited by the potential of integrating three-dimensional textures into flat surfaces, like walls and ceilings.
Could you tell us about the product you created for Slalom?
Yes, I designed a printed felt piece featuring a colour-blocked pattern, drawing from the booth’s colour scheme, which incorporates mustard and pastel blue, and adding black, with an emphasis on the airy, “blue sky” tone.
Do you think future innovations in materials will change the way design, colour, and space interact?
Definitely. Sustainable materials are transforming the way we think about design. The textures and appearances of materials will continue to evolve, and I’m excited about exploring new ways to incorporate them into my work. Designers have a responsibility to explore sustainable practices, and the materials we choose should reflect this. I often work with blended, recycled and raw textures in terms of CMF. I hope we can continue to highlight both vibrant and deep colours, as Slalom does so beautifully with its palette and materials.
What colour schemes do you see as becoming more relevant in the future of design?
Calm, harmonious comforting yet cheerful colour schemes are becoming increasingly popular. People crave safe, personal spaces, and colour has a huge role in creating those environments. We’re moving away from the minimalist “white interiors phase” and embracing more nuanced tones.
How did your aesthetic sense develop?
At five or six, my favourite pink carpet was replaced by grey flooring, and I remember how the room’s energy died. I think it was the first time that I unconsciously “understood” what colour and texture could do for a space; later, I recreated that pink carpet in my bedroom. Losing my eyesight at nine deepened my appreciation for everything that was visual appealing. After studying Interior Architecture and working in a Stockholm architecture studio, I felt something was missing: creativity. I started experimenting with colours and materials, creating mood boards, and sharing them on Instagram. This led to launching my studio in 2015, marking the start of my journey with colour.
How does your background as a photographer influence your design work?
In the first few years, I focused mainly on photography. It felt liberating not to worry about function or construction, and instead, to focus on what interested me—strong visual elements, angles, shadow play and colour combinations.
Looking back at my early work, I focused on minimal, graphic images with simple shapes and colours. This helped me realize I needed to reinvent my approach to form and colour. Photography was key in finding my true voice as a designer. After years of architectural photography, I felt I had shifted from creating to merely portraying, whereas I wanted to design what was in front of the camera as well. One of my first steps towards that was a colour collaboration for Montana furniture, where I was able to approach interiors in a new way, being as free, deconstructed, abstract as I wanted…
Who are your creative influences?
While I don’t have a single “hero”, I draw inspiration from various sources — whether it’s a small sun reflection on a backstreet facade or a powerful architectural experience like visiting Ricardo Bofill’s Muralla Roja in Spain. I’m fond of Bauhaus, Memphis, and Nathalie du Pasquier for their influence on design history.
