Gärdet, Stockholm, Sweden.
In Sweden, you are the person that has covered the menswear industry from the inside for the longest time.
— Yeah, I started as fashion director at Café Magazine in ’98, and one of the first things I did was a trip to Milan. Hugo Boss were opening up a store at Via Montenapoleone, and while there I took the opportunity to visit other brands, like Prada and Gucci. I asked them, ’I want to go to your shows, and how do I do it?’ I didn’t know anything about the industry. Next season, I got an invitation from Prada.
What are some of the biggest changes in the industry since you started?
— The audiences at the shows are much bigger now with the influencers, bloggers, and celebrities. Also, when I started, you needed to actively search for in-formation, today you just scroll your iPhone. But there has also been a cultural shift, men and women are more equal, especially in Sweden. With young men today, you don’t even say that they are interested in style, you take it for granted.
Is there a symbiosis between your fashion interest and your design interest?
— For sure. You can see that furniture design and fashion design are living parallel lives. Many of my favourite menswear designers, like Raf Simons, are looking to interior design. If he talks about a Bauhaus museum in Berlin, I have to go there.
Several of your apartments have been published in magazines, so interior design has obviously been important to you.
— Yes, it began when I started at Café. My then editor-in-chief, Rikard Lind, was very interested in ’50s and ’60s design, especially from Denmark. This was when Wallpaper magazine was launched in the world. The Wallpaper people came to Stockholm a lot, used Swedish photographers, and wrote about Scandinavian design. There was a lot of focus on Danish designs from the ’50s. I remember we went on a conference trip to Copenhagen, and stayed at the legendary Arne Jacobsen designed SAS hotel. Rikard knew that one room, 606, hadn’t been renovated, that still had the original furniture, and we stayed there.
All three of you?
— Yeah, that’s how it started for me. I brought books about Arne Jacobsen, Børge Mogensen, and Hans Wegner. Then I started to work a lot in Copenhagen, so I bought pieces in auctions. It wasn’t that expensive at that time, not in the way it is now.
The home you have now, it’s like a house on top of a roof.
— Yeah, it’s an old office house from the ’60s that they remodelled as apartments. On the roof they placed terraced houses. It’s two floors, small, like a box, but I have a great view.
You are also into Ettore Sottsas vases.
— Yes, but two months ago I came home, and two of my most expensive vases had crashed, because my son, who is six years old, had jumped on them. I cried. I could use some insurance money, and I found out that I could order them from Italy, but it was a long process and a lot of tears.