Kulturista - Cultural Experiences in West Sweden

C U LT U R E E X P E R I E N C E S I N W E S T S W E D E N 6 Center, Textile Museum, Smart Textiles and The Swedish School of Textiles, Borås has adopted a world-leading role in innovative design. The city centre, too, has changed radically thanks to two art biennials: one for sculpture and one for street art. You can now stroll around in a huge outdoor gallery full of murals and inter- nationally renowned sculptures. S V E N S K T T E N N D A R E S T O D I V E R G E Last but not least, we should also mention Estrid Ericson fromHjo, who founded Svenskt Tenn (Swedish pewter). It is currently one of Sweden’s leading design brands. Working alongside Joseph Frank between the wars, she left convention behind with her playful, colourful patterns, often inspired by nature. She dared to think in new terms and developed the simple, functional style into some- thing softer and more homely, and it is possible that her passionate but relaxed approach laid the foundations for the design wave in West Sweden that followed in her footsteps. There’s no denying, it is very easy to be inspired byWest Sweden between daily coffee breaks, wonderful walks in the forest, moments of reflection on its smooth granite rocks and the marvellous pleasure of simply being. Emma von Brömssen, a motif design guru, has also gained much of her inspiration from the landscapes of West Sweden. As she grew up with an ornithologist father, it is not so surprising that her wallpapers, pillowcases and coffee cups are decorated with playful dancing cranes. Playfulness comes through too in the award-winning furniture by cabinet maker Staffan Holm, who strives to evoke feelings with his design. Lidköping is the hometown for the old Rörstrand factory that used to produce tableware for Swedish households as well as for the Nobel Banquet. These days Anna Elzer Oscarsson works in what is possibly Sweden’s smallest porcelain factory - Porslinsfabriken in Lidköping. In 2016 she was awarded the Lauritz Arts and Crafts Prize for her sustainable working method of designing close to the production process. B O R Å S D E S I G N I N G F O R T H E N E X T G E N E R AT I O N While we’re on the subject of sustainable design, Borås, the city of textile and design, has undergone a radical development journey over the last decade. Here, hardly an hour from Gothenburg, creativity is blooming like never before. With its Textile Fashion MATS WIDBOM CEO OF THE SWEDISH SOCIETY OF CRAFTS AND DESIGN What sets contemporary Swedish design apart? “I would say that form and design have taken on an increasingly important role in Swedish society. This is evident not least in our government’s commitment to promoting design, which extends across a number of different policy areas. I interpret this political interest as a sign of the realisation that design-related issues need to be approached from a holistic perspective and that the field of design is central to our efforts to build the sustainable communities of the future.” We’re known internationally for simple, stylish design. Is there any indication that this perception is changing? “I’m in Amsterdam right now for the two-day conference What Design Can Do and the impression I get from this event is that Swedish design continues to be associated with simplicity and stylistic purity. What’s been added to this image is our strong commitment to sustainability issues and the inclusion of sustainability principles in our design. For example, it’s very clear from our annual juried design exhibition, Ung Svensk Form, that young Swedish designers – irre- spective of whether they work in fashion, crafts, archi- tecture or design – are committed to civic participation in a way that nobody could conceive of 20 years ago. Our young designers have also contributed to a greater diversity of expression. Thanks to them, Swedish design is no longer simply a matter of form and function.” What examples of design do you enjoy taking in when you travel? “I get excited about both environments and individual architectural gems. I’ve been known to go on pilgrimages to view a single building, but it’s also wonderful to experience the relationship between a structure and a location. To be completely honest, I prefer experiencing a city as a museum over an actual museum… I used to work as a cultural counsellor in Washington and Paris, so when people ask me for recommendations as to what they should see, I usually tell them to take a pair of good walking shoes with them. Many cities offer such a rich array of sights that you don’t need to plan your visit in advance. Just get out and explore and let yourself be surprised!” Where can visitors to West Sweden find examples of exceptional design? “I must make special mention of Gunnar Asplund’s phenomenal addition to the Gothenburg Courthouse (Rådhuset) from 1936, which both harmonises with and complements Nicodemus Tessin’s original structure from 1672. It might require some explanation for those with an untrained eye, but take the time to pause and admire how Asplund’s design language meshes with the composition of the original building’s façade. It’s an exquisite piece of work!” Mats Widbom is CEO of Svensk Form – Swedish Society of Crafts and Design. In cooperation with Visit Sweden and others, Svensk Form has been given the task to attract more visitors with an interest in design to Sweden. The organisation’s mandate is part of the Swedish government’s export drive aimed at boosting the demand for Swedish design and design-related experiences.