Gustav & Vake

Gustav & Vake

A striped stencil pattern in muted indigo and linen blue, gently blending into the textured surface. Inspired by Gustavian interiors, this pattern evokes the look of hand-painted textiles softened by time. Gustav & Vake balances ornamental rhythm with handcrafted authenticity. Each fleur-de-lis is arranged in a strict vertical repeat, yet slight variations in their form suggest the use of stencils—hand-cut and reapplied with subtle shifts

Fits in

• Ideal for dining rooms
• Bedrooms
• Entryways or reading nooks where a sense of understated historical charm is desired. pairs beautifully with muted textiles
• Aged wood and gustavian furniture.

Color palette

The palette blends deep slate and muted indigo with soft linen blue, evoking the look of natural mineral pigments on sun-faded fabric. Together, the colors suggest both formality and softness.

Complementing colors

Slate Indigo, Dusty Navy, Ink Blue, Chalked Linen

The surface evokes the tactility of a finely woven textile, where soft fibers and subtle irregularities catch the light. It mimics the quiet depth of traditional stencil techniques on aged fabric, resulting in a surface that feels both graphic and gentle.

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. Think Madicken’s bedroom wallpaper, or something glimpsed in a hallway in Bullerbyn. 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.