Time Well Spent

Beckmans College of Design
Graduation Show 2021

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Alice
Hägglund
Product
Design

Genderfucked Ornament

My graduate project is concerned with decoration. I find beauty in the contrast between feminine and masculine coded aesthetics.

As time passes I have problematized the concept of gender neutrality. I have had difficulty in interpreting the concept of gender neutrality in design since the result is frequently a lack of gender expression.

In my view, gender neutrality is created when masculinity and femininity are allowed to coexist. And so I examine gender neutrality as a combination of masculinity and femininity, rather than their omission. In this project I challenge my own notions about ornamentation and décor as femininely coded.

With Genderfucked Ornament I aim to represent the spectrum between masculine and feminine coded aesthetics. While working on the project I have concluded that ornamentation can be regarded as masculine just as well as feminine. It has no need to be one or the other; it can be Genderfucked.

Contact

butchxfemme@gmail.com
@butchxfemme

Thanks

Flinks Järn
Erika Greene
Siri Svedborg
Emma Henriksson

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Alice
Lannfelt
Product
Design

A place for Food and Craft

For the past year, I have longed for a time when restaurant visits with friends is part of everyday life again. During the spring I have explored how restaurants may look like in the future and created a restaurant focused on artisan foods.

With inspiration from craft traditions, I have designed an interior that communicates the feeling of being handmade. That the objects are made especially for this place and tell us that someone has put their time and care into them.

My hope is that the furniture I have created for this restaurant will elevate the relationship between the food that is served and craftsmanship. Handcrafted objects are, like artisan foods, characterized by the work of the hands and the craftsman's knowledge of materials and techniques.

The item of furniture that best materializes my thoughts about the handmade-feeling is the dining table, made from solid birch with carved and stained details. The interior as a whole consists mainly of my own designs, with the exception of chairs and lighting, and is shown in illustrations and a model in scale 1:25.

Contact

alice.lannfelt@gmail.com
Portfolio

Thanks

Emilia Lamberg
Felix Öhlund

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Alina
Piatanova
Product
Design

Libro microlibrary

Libro is a sustainable micro-library with a focus on art, design and architecture. Its aim is to deliver art to the suburbs and to vulnerable districts, making it accessible to all.

Each of us has, on some occasion, experienced a problem with finding a source of information. Sooner or later our search ends with the need for a specific book which can either be purchased or borrowed from a niche library. In times of pandemics, there is no choice at all. Most niche libraries have closed to ordinary visitors.

If everything is a little simpler in the field of science, the problem becomes more complicated when it comes to art. During the time that I spent working on the project I rapidly discovered that art continues to be regarded as a matter of class. Art resources are concentrated to the centre of the city while suburbs and vulnerable districts are forgotten. Numerous people have talked about the importance of libraries to democracy, but the words have not led to significant changes.

Can I change anything myself? This question inspired me to create the concept of a micro-library which, thanks to its simple and universal design, can be erected more or less anywhere: in a park, close to a metro station and in the middle of the square.

Contact

alina.piatanova30@gmail.com
@alina.piatanova
Portfolio

Thanks

Nils-Erik Fransson
General Architecture

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Anna
Rothlin
Product
Design

Permanence & Perishability

What are Permanence and Perishability? Different ways of relating to time? Movements at different tempi?

A meal is a perishable activity which our continuing existence is entirely dependent upon. As an actor and a former ballet dancer at the Royal Swedish Opera I have, so far, worked exclusively with art forms that are fleeting and perishable. Dance and theatre express themselves in an evening performance and are gone the next day.

My father worked in stone and his sculptures remain, despite the fact that he is no longer alive. My project is based on professional and personal experience. During the course of the project, my thoughts have materialized about the differences between how Western and Eastern cultures view objects, experiences and values. The Western world is more fragmented in relation to ethics and aesthetics, with consciousness and matter separated.

Have today’s Westerners lost a deeper link between people and the environment? I think that this is an important question to pose in the field of design. A reflection around taking in object, time and value.

The 150-kg dining table made from Swedish Biskopsgården diabase.

Contact

annarothlin0@gmail.com
@annarothlin
Portfolio

Thanks

Marmor & Granit
Rasmus Hössung
MoveMkrs
Thomas Zamolo cinematographer
Freddy Houndekindu
Åsa Lundvik Gustafsson
Stig Zamolo
Leon Zamolo
Centas

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Arpie
Amirians
Product
Design

Essential Urge

In an effort to remove critical design from its habitual exhibition context, I have applied the method to a product that has been designed for mass production and consumption.

In order for design to continue to be relevant in constantly changing times there is a need to explore different design theories and methods and learn to apply them in new contexts.

Critical design is often provocative - aiming to challenge the viewer’s preconceptions and consequently make them open to new perspectives and discussions. In a sense it is the opposite of mass produced design.

Taking critical design as a starting point I have designed a vase that is thought-provoking without it being instantly obvious. The intent is to avoid the vase being presented in a category of exclusive products that are out of reach for a broad range of people, and for it to be mass produced and presented in a commercial context.

All the design choices of the vase, the heavy stone with the delicate glass, are meant to evoke questions about consumption and initiate discussion among the consumers.

Contact

arpieadelina@gmail.com
@arpie_amirians
Portfolio

Thanks

Ammy Olofsson and Erika Kristofersson at Glasbolaget
Borrkungen
Yasin Fayazi
FrontPac
Annelie Wihlborg
Wasim Harwill
Edvin Strömblad
Felix Öhlund

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Elsa
Frisén
Product
Design

Reflect – Reshape

What interests me about light is the influence it has on us. Reflect – Reshape is a lighting experience that, by means of reflection and indirect light, distorts our perception of the room.

Reflect – Reshape is about our experience of light and its capacity for change. Light is an individual experience which means that everyone perceives light on a personal level and that it gives rise to people’s own personal associations.

The light source illuminates the reflective surface which allows reflections to expand in different directions and to alter the room through indirect light. We see it and we interpret it. The lighting image can be adjusted and will be experienced differently as it is formed and adapted to its surroundings.

During my graduation project I have devoted time to examining these questions by experimenting with reflective materials and different light sources. I wanted to create a light image that differs from how we see light in the public space by playing with contrasts and with scale. The aim was to create a pleasant experience of light that is adaptable to many contexts.

Contact

elsa.frisen@gmail.com
@elsafrisen

Thanks

A house Ark
FMH Stainless
Johan Wirén
Cecilia Mosesson

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Emma
Falkehed
Product
Design

Assemble

Assemble was created in collaboration with Skandiform for a life-cycle scenario in which the company leases its furniture on a continuing basis, refurbishing and exchanging parts when worn out.

In this context I have examined how a chair’s usage can be extended in public space. The chair, or parts of it, can be returned to Skandiform to be repaired and possibly used in another context.

A challenge has been to design the construction of the chair in a series of parts, to avoid the use of glue in the manufacturing process, and to be able to reclaim all of the components. The construction had to be strong enough to undergo intensive use. Collaborating with Skandiform was an opportunity for me to try to adapt the project to their manufacturing methods and tools.

The design makes the construction visible in order to communicate clearly how the various parts of the chair are assembled and upholstered. I have tried to create a design that can be further developed and adapted to different people and places. By being able to use the chair without upholstery or partially upholstered, and by making it possible to use a variety of colour combinations, I hope to make room for increased interaction between user and product.

Contact

emma@falkehed.com
@emma_falkehed
Portfolio

Thanks

Johanna Cahné
Ida Gudrunsdotter
Per Wikström and Kristina Rung at Skandiform
Lasse Nilsson at Möbelform
Gabriel AB
Marita Tjernström
Bo Andersson at Steelnova AB
Felix Öhlund
Pierre Astell at Alma

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Gustav
Winsth
Product
Design

DIO

The DIO shelf is the result of an exploration of sneaker aesthetics with regard to shapes, materials and the underlying subcultures that make its foundation.

Inspiration comes mainly from a gushing stream of news, rumours and trend observations pertaining to sneakers. The wild and intrepid aesthetic gives rise to thoughts about volume, colour and material which, when applied to an item of furniture, fall into the expressive category that I consider essential if one is to create a stimulating and personal home environment.

DIO has imitated and developed the positive trend of adding a share of granulated waste material when casting the sole of the sneaker. By examining the recycled rubber granulate as the principal material when casting complex geometries and exposing the raw waste, value is created in a climate-smart aesthetic which builds identity.

The gradient dyeing on the aluminum profiles was achieved by an experimental anodizing technique to create a shifting transition, from the expressive design language and material of the foot to the shelf’s crisp form.

Contact

gustav.winsth@gmail.com
@g.winsth
Portfolio

Thanks

PurPartner
Alutrade
Bomans Lackering
Peter Norman

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Johanna
Fosselius
Product
Design

local-source.furniture

A furniture concept about making use of local resources. Follow the free drawing and build it yourself with wood from a hardware store, or purchase the premium version and take it to your local cabinetmaker.

Once upon a time there was a business strategy called “mönsterritningar”. Furniture drawings that were ordered and taken to a local cabinetmaker who made it for you – if you did not want to build it yourself. local-source.furniture is a furniture concept inspired by “mönsterritningar” and open source. With the project I have sought to emphasize the time required for creating furniture, from designing to manufacturing, and inspire to build yourself or buy locally.

The bench is designed in accordance with predetermined guidelines set by myself. The dimensions are adapted to suit planed pine from hardware stores and essential tools are an electric screwdriver, drill, and possibly a saw. The design is adaptable to different dimensions and can be repeated in several directions to enable a furniture series.

The free bench is built by my mother and the premium version is made by Oscar Wall, a local cabinetmaker. I have built a developed version of the free bench in the form of a shelf, which shows how the design can be further developed into more types of furniture.

Everything can be seen at local-source.furniture.

Contact

johannafosselius@gmail.com
@johannafosselius
Portfolio

Thanks

Svenskt Trä
Oscar Wall
Måns Peterson
Liselott Fosselius
Carl Folkesson
Felix Öhlund

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Matilda
Olsson Borg
Product
Design

Peggy

How do we perceive a piece of furniture with different dimensions and proportions than the ones we are used to relating to? With the chair Peggy I want to invite people to experience a new perspective by playing with the scale of the furniture.

A tree stump and a rock in the woods, or a pillow on the floor, are objects that have made me think about the various sitting heights that we encounter in life, as well as where and how we sit.

Based on another way of sitting, I have explored how I can design a chair that captures the borderland between child and adult, small and large, neat and clumsy. During the process I have analyzed shape, size and proportion with the help of friends and family who have tested different sitting heights to see how the chair is perceived.

The chair Peggy functions as an extra seat in social contexts in the living room, and as it becomes part of the seating around a coffee table. The chairs are made of solid ash and pine, and joined together with wooden plugs and glue.

Contact

matilda.o.borg@gmail.com
@matildaolssonborg
Portfolio

Thanks

Fanny Johansson
Felix Öhlund

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Max
Stjerna
Product
Design

Sense & Settle

Three pieces of furniture in which materiality has been explored in order to heighten the sensuous experience in interaction with them, with the intention of counteracting alienating environments.

By means of research and my own experiences I have discovered that modern environments, and the objects that belong to these settings, are sometimes associated with an inhospitable, foreign, uneasy sensation. Theories that I have discovered point to the fact that these alienating experiences depend partly on the detachment of the objects’ meaningfulness connectected to man, as well as the disregard of the sensuous qualities of the object.

With the hope of countering this alienation, supported by the increasing digitalization and consumerism of society, I have set out from three contexts: pause, contemplation and visit, with the aim to recall sensuous qualities found in memories and personal references linked to these. Material qualities and feelings from the memories have been applied to three items of furniture: a stool, a side table and an armchair for each context respectively.

The body’s, not least the hand’s, invited interaction with the furniture, has been a driving force in their design. In dialogue with specialists in each respective materials, I have sought to portray the innate qualities of the materials used.

Contact

max.stjerna@gmail.com
@maxstjerna
Portfolio

Thanks

Wasasten of Sweden AB
Bröderna Ahlgrens Marmorinredningar AB
Razmuz Ahlgren
Glasteknik i Emmaboda AB
Bomans Lackering AB
AB Westermalms Metallgjuteri
Max Lundén
Ackurat Industriplast AB

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Nataliya
Khanenko
Product
Design

Shelter

Damage in the form of vandalization of bus shelters seriously impacts on people as it generates a sense of vulnerability. With the new design of shelters I want to contribute to a more protected society.

The project started with my own experience when I was standing at a vandalized bus shelter, wondering why the designer could not have used a more appropriate material. When I started to examine the matter at a deeper level I realized that this would not suffice.

Damage is often associated with dissatisfaction with social systems. Since almost all shelters in European countries are very similar in design, they can hardly be experienced as belonging to the people, and so a bus shelter can become the target of damage.

Over time I have examined the question: In what way might a new design improve bus shelters so that they increase our sense of being safe? Various types of research and experimentation led to an answer which I find satisfactory. By creating an attractive bus shelter I want to indicate that people think and care a little more about all of us. With a bus shelter to a new and carefully considered design I hope to give it added value at the same time that it becomes a popular part of the environment that one finds oneself in.

Contact

natalie666664@gmail.com
Portfolio

Thanks

Alicia Lindahl from 3DVERKSTAN
Andreas Mehlgvist from Nobina
Douglas Bjelkström from Veidekke Prefab AB
N.P RINGSTRÖM AB
Oskar Martinsson from Glasfiber & Plastprodukter AB
Storstockholms Lokaltrafik AB
Team Tejbrant AB
Lena Elinder
Bromma Stål
Plastbearbetning AB
Plastbiten Harry Persson AB
Flügger Färg
Highlights Södermalm
Clas ohlson
Material AB

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Teresa
Lundmark
Product
Design

Custom Chair

Custom is a design method created in order to challenge my role as a designer. The Custom Chair has been specially designed using laser cutting to show off the benefits it provides.

In collaboration with three companies I have developed a design method that is adapted to production techniques in metal. The method relies on translating technique into shape. Custom Chair is specially designed for laser cutting in which all of the dimensions and proportions are adjusted to minimize the amount of waste material.

In this project I wanted to explore what happens in a reshaped design process. Custom therefore started out as a study of the metal industry where I looked at various manufacturing techniques. I chose to make use of laser cutting, welding and bending which have economic and efficiency aspects in production.

The technique became a way of relating throughout the process and can now strengthen my decisions based on it's requirements and limitations.

Contact

info@teresalundmark.se
@teresalundmark
Portfolio Beckmans

Thanks

Skellefteå Rostfria
Svenska dynor i Flanken
Repay
VTT
Anki Lundmark
Stina Berglund
Niklas Lindh
Dennis Fahlgren
Peter Jonsson

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Britta
Åsåker
Fashion
Design

A Marriage

A work that depicts a variety of sensory perceptions through material compositions.

My graduation project is based on an interconnection of my earlier experiences in the field of fashion and textile crafts. It is an examination of the tactile and of sensations, materiality and classic textile craft techniques.

During the time that I have been working on this collection I have placed a great deal of focus on creating a wearable collection, with an investigative eye as to how, in a subtle manner, one can challenge social norms in connection with the wearer’s experience of showing her or his body.

This is a collection with tribute paid to textile crafts and the human body. As a method I have chosen to look more deeply into different textile craft techniques and have continuously worked with, for example, patchwork in order to join together fabrics that I find have particularly interesting characteristics. In the collection I have chosen to work primarily with sensations based on how one can experience a garment visually, when touched, and through sound and movement.

Christina
Leube
Fashion
Design

Between Two Worlds

Can one add mysticism to functional form? My investigation is based on a meeting between two powerful artistic means of expression, the functional form and my free painting.

I have looked back in time to the creative artistic home that I grew up in. The clear demarcation between functional uniformity and how my colourful paintings were my starting points. How can I transfer my art to a fashion-design context? Can the visual give rise to a thought about the fashion industry by trying to see and to appreciate fashion more like a highly-valued work of art?

The pandemic has meant that I have had to stop and reflect. When I am painting I am at one with the present and with time. In my painting on canvas I want to convey feeling and to listen to the senses. In my collection, the colours take their place on long silhouettes that fly in motion, in combination with a tailored expression, details, buttons and collars.

The transformation to digital printing has been a major part of the process with regard to preserving the mystique. I have chosen to work with fabrics that, in a very stimulating way, create contrasts. Many of the materials have been recovered from waste materials.

Materials: Leather, suede, wool, silk, chiffon, satin, silk and velvet.

Contact

stinaleube@gmail.com
@christina_leube_design

Thanks

Inga tack?

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Erika
Haglund
Fashion
Design

Il mio mondo

During my final year at Beckmans I devoted time to introspection. What are my strengths? What comes naturally? What seems artificial? How can I “own” my artistic expression? What really inspires me?

My inspiration for this collection is the essential practice of escapism and the need to feel beautiful. How do I set about creating something that embodies my inspiration and communicates the sensation of feeling that one is beautiful and “beyond everyday” to the person wearing the garment?

In fashion psychology there is much talk about how one projects outwardly; whom one wants to be and how other people perceive one. I am not happy with that explanation and I feel, rather, that the real and important phenomenon lies in how big a role fashion has for us personally, and inwardly as a healing element.

Garments have attributes and values that influence the wearer’s mood. They help the individual to achieve self-satisfaction, feeling beautiful if only for a fraction of a second. Perhaps to experience the sense of not belonging in this time frame at this place. The importance of this has become evident in recent years on account of the pandemic.

Contact

erika.josefin.haglund@gmail.com
@erikajosefinhaglund

Thanks

Fredrik Wåhlin – Leather and Light
Kristina Elisabet Larsson
Leif Magnussons

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Filippa
Agaton
Fashion
Design

Homage to Ambivalence

My impression is that designers are expected to niche their aesthetic expressions and be consistent in this, something I have long struggled with. But during my graduation project I realized that my various styles have, rather, become an asset.

Personally, I have long felt that I shift between two contrasting expressions. On one hand I want to create fashion that radiates elegance and femininity, but on the other hand I also want to create fashion that is oversized and sporty. I have frequently tried to choose one of these styles but just as many times I have changed my mind, and this indecision has long been a insecurity in how I see myself as a designer.

But while preparing to work on my graduation collection it dawned on me that I have in fact always alternated between just these types of aesthetics, already as a child I would for periods dress exclusively as a princess, or keep to only wearing riding clothes or my big brother’s oversized sports clothes.

This made me realize how contradictory it is to limit one's creative process and, for this reason, in my graduation collection I have chosen to work with both expressions. And I have come to see my indecision as a great asset instead of regarding it as a weakness. This collection is a tribute to the division in me and all the influences that created it.

Contact

filippaagaton@gmail.com
@agatonfilippa
Portfolio

Thanks

Åsa Stenerhag

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Marte
Stensrud
Fashion
Design

Escapism

How can I create a collection that will let me disappear in dreams, that will make me happy and allow me to flee from reality?

During the pandemic I have experienced a greater need to get away from reality, to dream of being in some other place. Can I create a collection that will take the viewer to some sort of Utopian world of dreams? A collection that raises itself and that radiates glamour.

How can colours influence us positively and what happens to them when the sun comes out? How can I express this in my collection? The project is inspired by my time spent in tropical venues; my own experiences.

I have shaped the collection with the help of deconstruction and draping on a dummy. The patterns are inspired by zebras and giraffes combined in different dimensions. The colours come from feelings and from travelling. Pink, lime green, turquoise and creamy white are the colours used in the collection. Materials are satin silk, recycled cotton satin, recycled stretch polyester, ostrich feathers and glass beads.

Contact

marte.stensrud@hotmail.com
@ma.s_design

Thanks

Everyone who has helped me create my collection.

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Mathilda
Guve
Fashion
Design

I See a Little Silhouette of Myself

A study that reflects me as a creator, my qualities and my dreams.

I want to be what I create. Regardless of whatever comes and goes, she will always be the principal character in my drama. Playing every day as though it was her own. She dances and sings and laughs and weeps, feeling every second of it. She stands there in front of the whole world, and she believes that she is the only person who has ever lived. Just for a moment in a daydream. Then I return to reality. The world.

Characters and dreams… I want to design miniature versions of me. To share myself and my alter egos in a group of characters that are my characters. Name them and bring them to life. Welcome to Mathilda’s world, in this chapter you can learn what she is, can be and what she dreams of becoming.

To be able to achieve this to an elevated emotional level it is important to keep on an honest and self-confident course throughout the journey. Creating with a nerve and a method that I feel most at home with and that I understand. Not just to promote the raw and honest dimension but also in order to enjoy the process itself.

Contact

mathildaguve@hotmail.se
@helga.otthila

Thanks

Inga tack till?

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Niklas
Gustavsson
Fashion
Design

Harry Houdini (Escapist)

I have undertaken an autobiographical project based on memories from my childhood. It is a matter of the individual contra the collective.

This is a surrealist expression of the private individual’s struggle to attempt to fit in. The background to my work is that I have spent the last three years in a new city and, soon, with a new identity as a fashion designer. Thoughts that have turned up during the course of the project have concerned who I am and where I come from. What memories do I build my identity on?

My vision is to visualize the private individual’s struggle to find his or her place and to try to understand how marked we are by our cultural and collective inheritance. My work has resulted in a collection for women that is based on the modern, sustainable wardrobe, together with the welfare state’s wardrobe, as inspiration for the materials and the construction of the collection. I have examined the characteristics of the various garments and their importance to me, and how I can win them over and give them a personal expression.

The techniques that I have chosen to visualize identity, and the individual’s struggle, include a crevé technique which involves making holes in the fabric in order to make the inside visible. This is like a trompe l’oeil technique for creating particular effects with the help of digital printing. The idea comes from – and is a tribute to – Elsa Schiaparelli.

Contact

electrobobby@hotmail.com
@niklas.gustavsson

Thanks

Inga tack till?

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Ronja
Berg
Fashion
Design

Messy Dressing

An examination of work on dressing and on the garment’s expected function. Inspired by my nieces, Elsa seven and Edith four, who have yet to fully master all the social codes, or are not yet much influenced by expectations.

My nieces are at that stage in life when they don’t yet relate to everything or feel governed by the garment’s expectations. There can be a lack of understanding with regard to certain garments, that someone has read the coding about the function incorrectly and happened to put a top on as pants. This adds some excitement into the routine task of getting dressed; a top is suddenly not a top and its specific purpose is unimportant.

I can also experience an unconscious nonchalance with Elsa and Edith in their relationship with clothes which is based on play and on curiosity. That clothing, and even other things whose purpose they understand, does not stop them from still examining their functions. I find inspiration in how they can both take a top, pants or a scarf and not just dress up in it or use it as an accessory. Instead they visualize this otherwise silent action which getting dressed entails and ask themselves: how can I put on these pants? And not let the preordained relation to the pants, or to the codes that they can understand, determine how they will use the garment on their bodies.

Since dressing as an action is a central aspect of this study, the process of dressing has become an important starting point for finding new relations between garment and body. A former art teacher once told me: “draw what you see, not what is there”. I want to apply this method in the process – dress me in what I see and not what is there.

Siri
Gertonsson
Fashion
Design

Reflection

A reflection of my life, how to capture a moment or mirror image. What does reflection entail and how can it be interpreted and expressed?

I want to study the concept of “Reflection”, what it means and how it can be interpreted. Reflection has many meanings including some that I have chosen to look at in greater depth: retrospection and mirror image.

My aim is to reflect my own reflections at the same time that I show reflections with other meanings. I want to create a high-quality collection where I focus on colour and material. The idea of the collection is to show how reflection can be expressed with a variety of thoughts and ideas. The collection is mixed women and men and I have also chosen to mix more masculine garments such as suits with more “feminine” draping.

A central technique that I have made use of in my collection is marbling, in which I paint with water and create imprints on fabrics – like capturing a reflection. Alongside this technique I have chosen to make use of screen-printing, patchwork and knitted fabrics.

Contact

siri.gertonsson@hotmail.com
@s.gertonsson
Portfolio

Thanks

Frans Bryngel, Music Producer

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Yanis
Dorey
Fashion
Design

There is Nowhere Like Home, But Home is Nowhere

This collection is an examination of bi-culturality and of multicultural heritages trying to reconnect with these roots while also trying to give an empowered vision of cultural diversity.

The bi-culturality is an important component of my creative process. But it is also something that I have fairly recently begun to reflect upon, particularly after moving to Sweden.

Suddenly my cultural identity and my origins have become decisive factors and a point of comparison in people’s eyes and, thereafter, in my own vision of myself.

Europe is restored as a Judeo-Christian culture and this argument is frequently employed, often in a nationalistic manner in order to create conflicts between people and to combat immigration. This creates a sense of exclusion and a tendency to ignore the porosity between cultures that, in my view, is one of the major social problems in Western societies today.

With this project I hope to shed light on this problem and try to talk about my own history in order to communicate an enhanced vision of multicultural people. I wanted to examine how we can integrate the various and complex backgrounds in a modern fashion context.

Contact

yanisdorey@gmail.com
@yanisdorey

Thanks

Maja Sjöberg
Atelier Dentelles

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Almir
Jašarević
Visual
Communication

ÇOK GOTT

ÇOK GOTT is a book that sheds light on the suburbs' cultural heritage as a collection of recipes from different Swedish suburbs.

In today’s media we often encounter a simplified narrative of the suburbs. A narrative that focuses on social vulnerability, alienation, criminality and segregation. But this is by no means the complete picture. I wanted to challenge this portrayal of the suburbs by focusing on something else - the food.

Using a questionnaire I have examined suburbanites' relationship to food and culture. More than 300 people answered the questionnaire and sent in their favourite dishes and recipes. Based on their answers I created a collection of recipes that is intended to highlight this underrepresented cultural heritage.

In my project I have also explored how I can present a more nuanced picture of the suburbs. By bringing forward stories and images that do not merely point to problems, but that also give nuanced descriptions of everyday life and by working with “multiethnic suburban Swedish” as the tone of voice in my book, I hope to contribute to a more nuanced portrayal of these places and the people who speak this sociolect.

The book will be available for purchase during the exhibition and to read online at cokgott.se

Contact

almir@jasarevic.se
@almirjas
Portfolio

Thanks

Lizardo Klavebäck
Yusuf Hussein
Amar Jašarević
Reidar Pritzel
Jonathan Örtegren
Jasmin Nasser
Make your mark

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Astrid
Askert
Visual
Communication

Simulacra Me

My graduation project is a personal investigation of identity from a post-humanist perspective. This has resulted in three self-portraits in which I give expression to my multifaceted identity in the form of an avatar.

Ever since I was little, I have been interested in computer games like World of Warcraft and The Sims, but in recent times I have begun to consider the relationship between players and characters in the games. My thoughts have focused on the non-physical existence of people as individuals and how characters in computer games can be a way of existing beyond our physical bodies.

In computer games there are different characters that fulfil certain ends just like real life in which we choose to display different sides of ourselves on specific occasions. Identity is not binary or static – identity is several ways of being at the same time, or different ones from day to day, situation to situation.

The self-portrait was generated in a 3D program and it draws inspiration in a phenomenon in gaming that is known as “skins”, in which one and the same character has different appearances that illuminate unique characteristics. I show three of all the sides of my identity: courage, playfulness and vulnerability.

I do not need to define my physical body because I am the person I choose to be.

Contact

astridaskert@gmail.com
@astridaskert
Portfolio

Thanks

Lina Reidarsdotter Källström &
Louise Silfversparre at Double Up Studio
Mia Frostner
Jonas Johansson

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Elisabet
Lindén
Visual
Communication

COPY RIGHT

COPY RIGHT sheds light on how a first meeting between a young creator and the design business can look today.
Who has the right to copy who? Where is the line between influence and plagiarism? And how does it feel when someone else profits from your idea?

The step into work and career life is big for the design student, into a world of written and unwritten rules. The design industry is sought after and competition is high.

Copying is a human behaviour. We learn from each other, we mimic to learn. Copying can be a way to acquire new tools and expressions, not least in fine arts education. But what happens when the creator meets industry and the industry doesn't care for copyright?

In the short COPY RIGHT I explored copying from the perspective of an unestablished creator. Inspired by real events where unestablished creator's work have been copied by big corporations, I want to give insight to an increasingly common experience.

Contact

inden.elisabet@gmail.com
@elisabetlindencalatayud
Portfolio

Thanks

Ljud och Bildmedia
ALMA
Lionel Cabrera
Sheila Johansson
Roxy Farhat
Karin Idering
Ava Moosavi
Axel Rundquist
Woesum
Gustav Jennefors
Joel Eriksson
Oskar Persson
Simon Lindgren
Elias Lorenzo
Rebecka Hoffmann
Eliot Siekinnen Lydeen
Sofia Hjortberg
Martin Löfqvist
Peter Holtze

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Erik
Karlsson Malinen
Visual
Communication

Creating in Abundance

Creating in Abundance is a workshop which aims to create an abundance of forms through eight methods. Participants are directed by a workshop kit and music. At the graduation exhibition the workshop starts every 30 minutes, lasting for 16 minutes. I am interested in improvisation, stream of consciousness and experimental methods of creating and I wanted to develop these explorations into a workshop.

I want to invite people to create their own feeds of forms in order to meet their mind halfway. The project has taught me that there are many questions that arise in creation and that spontaneous action can help us understand.

We live in a world of abundance in our feeds and in our thoughts. With the workshop I want to show the abundance found within us, and let participants see the value of their own expression. The project has resulted in a workshop kit which was developed through three workshop studies: Pilot, Self and Auto. This kit leads the workshop at the exhibition.

The results of the workshop have been documented in a book and on the Instagram @creatinginabundance

Contact

erik.karlssonmalinen@gmail.com
@erikkarlssonmalinen
Portfolio

Thanks

Alva
Astrid
Elisabet
Ivan
Joel
Sofia
Viktor
& Wasim for taking part in the pilot workshop.

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Filip
Kwang-Ho Svensson
Visual
Communication

Flight Mode

A visual documentation developed from the isolating apprehension in which I study travel in my hometown. How do I find stimulus and gain new impressions at a time of isolation and closed borders?

I feel indifferent. At a time when it is not possible to travel, like most people, I have been isolated which has given rise to anxiety, claustrophobia, a lack of stimulus and loneliness. How can I interrupt the everyday pattern of life and achieve the mental stimulus I would otherwise gain from travelling? Travel provides us with a nuanced picture of the world and increases our empathy with regard to other people.

In this project I want to study the extent to which I, in a secure manner, can travel at this moment. What would be the emotional difference for me and can I at all place myself in the mental state of travelling when it takes place in familiar environments. With the focus on impressions and feelings that I have found in the moment, I have charted various impulses and changes of mood during the journey. The idea is to get as close as possible to the feeling of travelling and the approach to travelling in general.

The results of my study will be presented in the form of a website.

URL: flight-mode.se

Contact

filipkwangho@gmail.com
@filipkwangho
Portfolio

Thanks

Joel Udd
Eric Ericson
Albin Johansson
Carin Juborg
The Store

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Isabelle
Sjö
Visual
Communication

Possible Planet

Millions of species are undiscovered, exactly how many it is impossible to know. What does the species look like that will die out before they are discovered?

Humankind has probably not catalogued more than a sixth of life on earth. Possible Planet depicts the species that have yet to be discovered by humans. By showing undiscovered species the project reflects on humans' place on earth.

Anthropocene, the age of humans, has meant that our influence on the earth has changed our planet's geology, ecosystem and climate. We have entered a new epoch and we need to see ourselves as geological actors. Our relationship with the earth has changed. When we look at the earth as a place for us to use we think that we are the only ones with intrinsic value. When humans discover a species, it seems to us that it has not existed until that point, even though the species has had a place on the earth long before we encountered it.

Possible Planet uses the nature documentary as a tool. These productions are created by humankind, and in those, we see the earth through the human gaze. We see our culture reproduced in nature. With Possible Planet, I hope that we can catch a glimpse of a world uncoupled from human beings.

Contact

hej@isabellesjo.se
@isabellesjo
Portfolio

Thanks

Andreas Lundblom
Daniel Elv-Forsén

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Isak
Hultström Swahn
Visual
Communication

Mood Marks

In Mood Marks I examine a new method of communicating intention and tonality in texts by remoulding smileys and emojis into typographical signs.

The idea behind Mood Marks started with an observation that communication today largely takes place in the form of brief texts. At the same time, we receive more and more messages at an ever-increasing speed. This means that neither sender nor recipient can be expected to invest the time necessary for formulating (or reading) detailed descriptions of mental conditions, moods and feelings.

Emojis and smileys are one way for the user to rapidly communicate the intended feelings accompanying the message. But there are situations in which many people feel that emojis or smileys would not be appropriate – for example in formal situations or for stylistic reasons – but where the sender still feels a need to stress a feeling or tone in an efficient way.

With Mood Marks I research a possible complement to smileys and emojis. By integrating smileys with traditional punctuation marks I am creating a typographical sign that indicates tone and feelings in the same way that smileys and emojis.

URL: moodmarks.org

Contact

isak.hultstrom@gmail.com
moodmarks.org
@mood.marks

Thanks

John D. Hunt
Dimen Abdulla
Jack Werner
Emelie Fågelstedt
Göran Söderström
Stina Bengtsson
Kalle Löfgren
Theres Bellander
Tussilago
Vide Norman

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Ivan
Gedin
Visual
Communication

Kamera Obskyra

Kamera Obskyra is a book-sized story about a lost digital camera – a story about getting to know someone at a distance and of how one can produce a photo book without photographs.

Twelve years ago a digital camera got stuck in the zip of my bag in the middle of a crowd during a concert. The camera was not mine, nor were the photographs. But in the course of time, the photos and the camera have become part of me and my memories, and at the same time chance has brought me together with the camera owner: K.

In the book I have explored the private and the public aspects of photography with the lost camera as a case study. I have drawn parallels between the art genre of Found Photography and I have researched previous projects with similar themes. The design of the book is a visual experiment about how I, as a visual storyteller, balance on the margins for censure and copyright in order to ask the question: what happens to photographs over time?

And of course it is also about returning something that has long been missing.

Contact

me@ivangedin.com
@geddi.images
Portfolio

Thanks

Filippa Sande
Samuel Lorent
Andreas Wistrand
Sebastian Johansson Micci

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Lisa
Åsberg
Visual
Communication

Without You

With my pencil I search for my sister, who is no longer with us. My sister, whom I don’t remember, but whom I’ve known for all my life.

My sister was born in November 1994. Although we only had a year together, although I don’t remember her, we have grown up together. She is present in the relations I have with others. She is present in the way we speak about, dream about and imagine her.

I also carry my sister with me like a thorn. Like an uncomfortable, painful injustice. She is present when I move to Stockholm, when I apply to art schools, when I apply to work at advertising agencies. She is present in the way that everything that has been easy for me, would have been difficult for her.

With my pencil as a tool I navigate between rooms and compare my position to my sister’s. I search for her in society. I search for her in visual communication. I search for her at Beckmans. My sister had Down syndrome and I daily notice that the rooms that are easily accessible for me, wouldn’t have been for her.

Contact

lisa.aasberg@gmail.com
@lisa_final
Portfolio

Thanks

Maryam Fanni
Utopia
TMG Stockholm
Abby Priest
BKRY
Bold
Familjen
Le Bureau
Studio Feixen
Åkestam Holst

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Lova
Nyblom
Visual
Communication

Daydreams & other Realities

What distinguishes daydreams from reality? Daydreams & other Realities is a gamebook inspired by quantum theories and lets the reader with their directed attention shape the narrative.

The project is inspired by potential and possibilities. Potential as something that one sees in oneself but also stored energy, which in itself is a possibility. If you were able to wave your magic wand, what would you like? The idea for the project is based on the question whether we, as people, have a mental magic wand that we have not yet learned how to use, and do not yet understand.

The gamebook deals with subjects like dreams, reality, affirmation, intention and their connection to Self, and aims to inspire readers to be the authors of their own lives, creating their own reality. The form is inspired by concrete poetry in which the typography is shaped by the actions on the pages.

In the gamebook you, the reader, is the main character and shape the narrative while you are reading. The book seeks to plant an idea in the reader that they, with their directed attention, can influence their perceived reality in which the pen becomes a symbol for the mental magic wand.

Contact

nyblomlova@gmail.com
@lovanyblom
Portfolio

Thanks

Adelina Funke
Emily Danborg
ishi vu
Lucia Karens
Myrna Lorentzson
Nora Hällström
Oskar Hannu
Patrik Essunger
Paul Enequist
Tuva Larsson
Twana Hassan Cheragwandi
Dinamo
Futurniture
Kurppa Hosk
Arctic Paper
Stans-Service
TMG Sthlm
Älska Pocket, Bonnierförlagen

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Rebecka
Hoffmann
Visual
Communication

Exquisite Corpse

Kierkegaard's esthetician design future human. In my project the aesthetics are a metaphor for fleeting pleasures, chance and inconsequentiality. What does this mean to human evolution?

In order to relate to technical development in the field of synthetic biology, I want to consider philosophy’s theory of the importance of existing in our time. Kierkegaard claimed that existence is not what has taken place. It looks at human possibilities and absurdities; all that we can become.

What is the stimulus behind the evolutionary changes and what will people want to become? If ideas are not challenged and developed, we don't have the opportunity to change reality. The aim and goal of my project is to encourage the beholder to question our time and the contemporary human in an imaginative, disquieting and thoughtful manner. I am inspired by the field of design as critique, investigating ideas before they become reality and posing questions rather than providing answers.

I believe that thoughts and ideas that existentialism touches can create powerful change. It's versatile thinking can help us to imagine our own person, our relationship with earth and, not least, protect our future. I use methods and tools: Consequences game/Exquisite Corpse and CRISPR-technology in order to connect with Kierkegaard’s aesthetics in which I speculate on a dystopic vision of society.

URL: exquisitecorpse.info

Contact

rebeckahoffmann@gmail.se
@rebecka.hoffmann

Thanks

Mia Frostner
Jonas Johansson
Gärdesskolans fritidshem, Trehörningen and Drakgrottan
Collaborators in my workshops

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Saba
Mehrabanfar
Visual
Communication

AI beats designer or AI meets designer?

Can AI, artificial intelligence, drive designers out of the market? Or can AI, instead, become a valuable aid for designers? In my work I illustrate the potential and the limits for AI in fashion.

AI is expected to make everyday life easier but also to replace numerous jobs in both the service and production industries. In my project I have examined the potential and the limitations of AI in clothes and fashions; a field that we can all relate to.

The project looks at the question of whether AI can already replace human design or can be a tool for a designer. I have undertaken some 20 experiments using the Playform program. The experiments have comprised both exclusive fashion labels and “fast fashions”. The results have been evaluated from the criteria of creativity, pattern, form and beauty. Some of the results have been modelled in 3D.

The project shows that AI can create patterns but has difficulty making an attractive shape. The context of complex human history and culture, from which the designer forms a design, is also lost. The question has to be asked as to what happens to diversity and can AI design really express our personal identity.

Contact

saba.mehraban@yahoo.com
@same.far
Portfolio

Thanks

Maria Ben Saad
Lisa Ehlin
Marie Isacsson
Fo Phan
Ashley Reed
Nille Svensson

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Sofia
Hjortberg
Visual
Communication

Ghost Story

Ghost Story is a short comic about a struggling artist haunted by their own thoughts and actual spectres. It's not the scary kind of ghost story, but nevertheless a story about ghosts.

I've been curious about things like nostalgia and visual repetition. After reading essays by cultural theorist Mark Fisher on these topics, I decided to explore it further.

Fisher brings up the term "hauntology" (coined by philosopher Jaques Derrida) – an obscure notion that no one seems willing to explain in a concrete manner, but which formulates a sense of our present time where an infinite access to historical artefacts and idéas puts us in a state of being haunted. By ghosts of the past as well as lost visions of futures that never came to be. Derrida's post-structuralist concept is often used in order to criticise social structures, e.g. through Fisher's writings, and films by journalist Adam Curtis, which also has influenced the project.

I wanted to make a comic which operated on a somewhat theoretical and (at least for me) ambiguous level. The intention not being to argue for an opinion – but rather encourage reflection and causing recognition. At the same time I wanted to have a casual approach, leaving space for the illustrations – and the mystery.

Contact

hjortbergsofia@gmail.com
@sofiajohannah
Portfolio

Thanks

Josse
Martin Löfqvist

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Viktor
Nilsson
Visual
Communication

Pyramid

Pyramid is a physical sculpture of a class pyramid that shows the havoc of my lifestyle in 2021. Using satire it gives an account of how I create child labor and dictatorships using toothpaste and sneakers.

Infographic and simple graphic design that explain the world took it's revenge with the pandemic. As a visual expression, I attempt here to explain a complex economic system. My project deals with expressing the absurd events that appear in a social system in which few people have a great deal of power over many people. Through 12 little rooms I explain the cast in the social body in 2021. In my design process I always question the seriousness of our situation using satire which I have also done here.

Money as a design tool has always fascinated me and so I want to make an illustration of how economic distribution can express the world today in a progressive and humorous manner.

In my creative activity I often work with physical objects that can strengthen my message. Together with the designer Carl Folkesson the pyramid was made from MDF board and measures 125cm in height and 148cm in breadth. It weighs 48kg.

Contact

viktornilsson82@gmail.com
@Bon_le_grill
Portfolio

Thanks

Carl Folkesson
Eric Ericson

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Fashion Show

Filmed May 18
Kulturhuset Stadsteatern
Stockholm

Watch first cut here