Lisen & Gösta

Lisen & Gösta

A deep burnt umber ground carries our variants of the fleur de lis in tight semé, each figure individually drawn so no relation between neighbours repeats. The motif is drawn from letterpress, the ivory lifting softly out of the warm earth ground. At room scale the pattern reads as texture; up close, as heraldry.

Fits in

• Study
• Library
• Dining room
• Panelled hallway
• Gentleman's office
• Smoking room

Color palette

A ground of burnt umber in the register of earth pigments, the dark warmth that European interiors have carried from the late Renaissance onwards. The ivory motif reads as aged parchment against it, warm against warmer, the temperature kinship giving the paper its quiet richness.

Complementing colors

The figure carries a soft raised impression drawn from letterpress, the ivory lifting gently above the burnt umber ground rather than sitting on it. The surface holds the tactile memory of the block, where the matrix has shaped the sheet itself.

Gustav, Jan & Astrid

With Gustav, Jan & Astrid, we revisit a distinctly Swedish design tradition—where gustavian ornament, folkloric elements, and stencil printing coexisted across both class and countryside. From manor house parlours to rural cabins, walls carried a visual language shaped by repetition, handcraft, and subtle variation.

We take our starting point in gustaviansk simplicity—the restrained Swedish neoclassicism of the late 18th century—but allow it to dissolve gently into folk memory. Each pattern carries traces of nobility—and of how that nobility was interpreted by the common hand.

What binds the collection together is our use of stencil logic—but with a Linlava intervention: variation i varje våd. Each form is repeated, but never identical.

We treat the stencil not as an end, but as a starting point.

We ask: what if each ornament were applied again and again by hand, with shifts in angle, paint load, or even interpretation?

At Linlava, we’re not imitating tradition—we’re extending it. Through layered textures, imperfect repetition, and historically grounded forms, Gustav, Jan & Astrid becomes a study in how memory, hand, and ornament can shape a new kind of room.