Rosanna & Astrid

Rosanna & Astrid

With climbing rose vines in rose ebony and lichen shadow, this wallpaper is inspired by early stencil traditions in rural Scandinavia. The chalky paper texture recalls hand-applied pigments and subtle irregularities that signal artisanal craft. The repeat is narrow and vertical, ideal for kitchen nooks, bedrooms, and nostalgic country interiors.

Fits in

• Cottage kitchens
• Bedrooms
• Rustic dining rooms
• Traditional farmhouses
• Cozy reading nooks

Color palette

The colors are drawn from the countryside in late summer—wilted rose petals, lichen on stone, and faded cream textiles. The deep red holds a soft warmth, like powdered clay, while the green-grey carries the coolness of mossy wood. The background is a mellow chalk white, gently catching the light like whitewashed walls.

Complementing colors

rose ebony, rose taupe, lichen shadow, moss grey, chalk white

The surface resembles softly pressed handmade paper with visible fibers and light porosity. Pigment absorption is slightly uneven, especially in the inner folds of the roses, enhancing the feeling of brush and stencil work. The tactile depth, the dry matte finish, and the rhythmic pressure traces simulate historical application methods that emphasize the imperfect perfection of folk decoration.

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.