Sten & Laven

Sten & Laven

A delicate interplay of stencil motifs on a linen-textured surface, evoking a sense of craftsmanship. The muted green-gray tones resemble weathered stone, while the softer pale green hints at lichen-covered surfaces. The pattern blends Gustavian elegance with folk-art influences, creating a balanced, nostalgic atmosphere.

Fits in

• Historical homes
• Countryside cottages
• Scandinavian interiors
• Classic kitchens
• Nostalgic bedrooms

Color palette

The background features a muted **stone green-gray** with a subtle chalky depth, evoking the look of aged, weathered surfaces. The motifs are printed in a **lichen pale green**, creating an organic interplay between structure and nature. A soft **chalk white** enhances the details, balancing the composition with a delicate contrast.

Complementing colors

stone green-gray, lichen pale green, chalk white

The surface mimics linen fabric, with a fine weave structure that subtly interacts with the pattern. The print appears softly absorbed into the material, with natural variations that enhance the hand-painted aesthetic. The slightly uneven distribution of color creates the impression of age and authenticity.

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.