Moge & Magne

Moge & Magne

A folk-inspired stripe wallpaper built from repeating floral medallions and whimsical borders. The muted tones recall traditional green-gray pigments used in Swedish interiors, with a surface that captures the irregular feel of handmade paper. The spacing is tight but airy, with a rhythm ideal for smaller rooms or wooden interiors.

Fits in

• Ideal for rustic kitchens
• Entryways
• Farmhouses
• Traditional guest rooms
• And wood-paneled halls.

Color palette

The wallpaper uses a palette of deep green-grays and faded chalk tones. The background leans toward soft sage and lichen hues, while the medallion pattern contrasts with darker stone green tones and misty pale dots. These colors are evocative of early mineral-based paints found in Scandinavian interiors.

Complementing colors

Lichen Grey, Deep Forest Dust, Sage Ash, Mossed Chalk, Iron Fern

The surface simulates coarse handmade paper, with visible irregularities, fibrous textures and soft pigment absorption. The edges of the pattern appear subtly broken, as if applied through stencil with a brush or sponge. This gives a chalky and dry finish that enhances the rustic quality.

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.