MEET SCANDINAVIA’S MUSICAL MASTERS FROM CLASSICAL TO FOLK AND BEYOND
STRONGER, LOUDER, FREER - SIGRID STEPS INTO HER POWER
Jewelry with a unique blend of sustainability and self-expression - celebrating life’s milestones with creations that are both timeless and daring.
Dear Reader,
Most people might head south when the temperature drops – we go north, but do not fear, it is not all about ice and Arctic stillness (though you really should read the bit that is).
We begin this issue slightly further south, with Norwegian pop powerhouse Sigrid, who is stepping into a new era of confidence and creative freedom. At just 28, she brings a groundedness and self-assurance that many artists take decades to grow into.
We follow that sense of renewal north into our Northern Norway and Svalbard theme, where ‘remote’ means really remote – the kind of landscape that rearranges your breathing before your mind has time to catch up and notice that a polar bear is sleeping next to your boat.
The same spirit flows into our special feature on Folktales, a soothing film about young people swapping phones for sled dogs and discovering that self-knowledge is easier to find when building a fire becomes more pressing than finding the next video on TikTok. And if watching other people reset their lives sparks the thought
that you might want a version of that yourself, our Norwegian folk high school theme is for you. It offers a host of inspiration for transformative experiences in places built on community, curiosity and a sense of adventure.
For those who prefer their transformation with nice fluffy robes and a massage rather than snow boots, the Swedish spa theme provides the gentler route to personal development – also valid.
On top of that, we explore the best of Scandinavian classical music, and a host of tempting design goodies, including Norwegian knitwear brand Lanullva, a family business on a mission to spread the sustainable warmth of wool.
As ever, we hope you enjoy reading this issue as much as we enjoyed making it.
Signe Hansen, Editor
6 S igrid on joy, heartbreak, and letting go Norwegian pop powerhouse Sigrid has already headlined festivals, topped charts and been an unmistakable voice of Scandinavian pop. With her third album, There’s Always More That I Could Say, she seems freer and more self-assured than ever.
10 Warm layers and Scandinavian Christmas tableware
On our Design pages, we embrace the beautiful autumn colours and cosy layers, to stay warm in the biting cold. And we take a peek at Scandinavian tableware for Christmas, which is bound to be the shining centre of your home during the festive period.
28 Ha sselback roasted celeriac and tea beer
This month, food columnist Katharina Kjeldgaard makes Hasselback roasted celeriac, wonderfully crispy on the outside and deliciously soft on the inside, whilst in-house beer expert Malin Norman is on the hunt for fragrant tea beer. We also get a taste of the Arctic, with intimate restaurant Hildr.
32 T he best of classical music in Scandinavia
In this special theme, we get inspired by ensembles and venues that are spreading musical joy. From string, fiddle and saxophone quartets to champion choirs and a praised conductor; find out who’s reshaping classical music in Scandinavia.
50 Top spas in Sweden, 2025
Are you yearning for a way to disconnect from screens and reconnect with yourself? Sweden’s leading spa hotels invite you to step offline and regain time, presence and a sense of quiet. 6
66 Disc over Northern Norway and Svalbard
We take a closer look at Scandinavia’s longestrunning art biennial in Lofoten, step into a world of aquaculture in Helgeland, discover the vast wilderness of the Arctic, and visit a jewellery and design store that has become a fixture in the Longyerbyen community on Svalbard.
74 L eading Norwegian folk high schools – sc hools that shape the future
In this section, we introduce leading folk high schools in Norway that are shaping the future –places where students can learn, grow and build confidence.
72 Folktales: the transformative effect of folk high schools
The documentary Folktales follows the daily lives of a group of young people as they trade classrooms and smartphones for sled dogs, frozen forests and a year at a traditional folk high school in northern Norway.
107 T he best new events, film and music in Scandinavia
In this month’s Culture section, music columnist Karl Batterbee recommends new Nordic pop numbers for November, and illustrator Maria Smedstad ponders on British sarcasm, and why Swedes are so extremely literal.
At just 28, Norwegian pop powerhouse Sigrid has already lived a career most musicians can only dream of – headlining festivals, topping charts and becoming an unmistakable voice of Scandinavian pop. Yet with her third album, There’s Always More That I Could Say, she sounds freer and more self-assured than ever.
By Celina Tran | Photos: Charlotte Alex
When Sigrid Solbakk Raabe first stormed into the spotlight with Don’t Kill My Vibe, she was just a 20-year-old from the small fishing town of Ålesund. Though harmless at first sight, make no mistake – her voice and talent could level a festival tent and send a message that resonated far beyond Norway’s borders.
Sucker Punch and How to Let Go – that turned her into one of Scandinavia’s most vital pop voices. Along the way came global tours, billions of streams and anthems that balanced both vulnerability and stadium-sized power. Now, in her late twenties, Sigrid stands at a different point in her journey.
The rise that followed was meteoric: a BBC Sound of 2018 winner, a Glastonbury highlight and two hit albums –
“It’s a little funny, because while I started playing music when I was a kid, it was never part of my plan to become a pop artist. I wanted to be a lawyer or a teacher and
started studying comparative politics for four weeks before I dropped out and began pursuing music. After that, I haven’t looked back, and now I’m about to release my third album,” says Sigrid.
No two songs are the same
The title, There’s Always More That I Could Say, speaks for itself. The singer explains that you can always say more and give nuance to a situation – whether romantic or otherwise – but in this album, what she says is exactly what we get. And while the lyrics are charged with tension and deeply rooted emotion, it is not quite what you would expect from a typical break-up album. “You’ve got all your life to write your first album because no one knows you yet, then your second often comes when you’re a little older, so it’s more serious and cohesive. My third one, while also
cohesive, is joyous, fun, energetic and eclectic. It’s real.”
With her third album, Sigrid leans into a sound that feels both nostalgic and refreshingly new. Drawing on the indie-leaning Scandi-pop she grew up listening to on her iPod, as well as early-2000s textures and flashes of French electronica, the record is playful and experimental while still anchored in her trademark sound.
Still, no two songs on the album are the same. The breezy lead single Jellyfish, written with long-time collaborator and friend Askjell, captures that free-spirited energy – chaotic, giddy and fun, like a Scandinavian summer fling. Fort Knox, however, is raw, unfiltered and angry. Built around a pulsing synth bass, it is a
thunderous, raspy outpouring of heartbreak and rage – a certified screamin-the-car banger. “The really exciting thing about the pop industry nowadays is how it’s less rigid in many ways. While it can be frustrating with so many different platforms, we’re also not limited to just making music for the radio – we can really experiment and try new things.”
Much of the album was written and recorded in fun, carefree studio sessions with friends and fellow musicians all over the world, and this newfound freedom really comes through in the new tracks. While writing, Sigrid found herself recording many of the vocals with a handheld microphone, particularly evident in the title track. Delicate and stripped back, it’s the only ballad on the album – a candid, slow reflection of the underlying melancholy that threads through an otherwise upbeat record.
“It’s a song about miscommunication, misunderstanding each other, saying or not saying the right thing at the right time. It’s everyone’s and no one’s fault, which can be very sad but also beautiful in a way,” she says. “I wrote it in London with producer Oli Bayston, and writer and good friend Will Taylor. Instead of a proper set-up for a pop song, we just sat down by the piano and allowed this train of thought. It’s funny because we tried to re-record the song but none of them beat the raw emotion in the original, so it’s an unchanged take from that day.”
Having toured internationally for nearly all of her career, life on the road has become second nature to Sigrid – even if it still feels a little surreal at times. “You just have to get used to travelling all the time, living out of a suitcase,” she says. “I rarely even unpack my toiletries anymore because I know I’ll just bring them with me again.”
It can be disorienting, never spending more than a week in one country, but she has learned to embrace the rhythm. Her flat in Oslo remains an anchor – the place she loves most – but the constant motion
of touring has become its own strange kind of home. Each stop along the way offers something different: the electrifying passion of South American crowds, the culture and humour she adores in Europe, the sense of adventure in Asia. If I’m in one place too long, I almost get restless,” she laughs. “It’s mental, but I’m used to it now and I’m grateful. It’s pretty amazing how far the music has taken me.”
Still, touring at such a scale comes with complications, especially around sustainability. Sigrid does not shy away from the tension of being both a frequent flyer and someone deeply concerned about the environment. “It’s not something I’m proud of,” she admits, “but it’s part of the job and something I rely on in order to tour. As a public figure, I try to use my voice to raise awareness, to vote and to push for regulations on industries that make the biggest impact, including airlines.”
Sigrid participated as both speaker and performer in Billie Eilish’s climate event Overheated in London in 2022, which saw artists from all over the world collaborate to raise awareness and promote activism around environmental issues –particularly focusing on combating food scarcity and climate change through plant-based food systems.
She is especially passionate about the role of politics in shaping real change, pointing to Norway’s Green Party gaining ground in parliament as a hopeful sign. “Individual choices matter, of course, but massive corporations can’t escape responsibility. That’s where the biggest difference has to come from. I’m hoping, with the new election results, there will be stricter regulations and that we can move away from the idea of deep-sea mining.”
As for what comes next, Sigrid hints at tour dates across Europe and Asia – with stops in Poland, Istanbul, Japan, Korea and China – though much remains under wraps. “It’s a very joyous album,” she says. “Fun, tongue-in-cheek, but also emotional. I think it’s my best one yet.”
There’s Always More That I Could Say is out now.
November sees autumn at its finest, with rusted leaves and that first frost shimmering in the landscape. Though we are delighted to welcome those beautiful colours and sights back, they also come with stuffy noses, short days, and a biting cold, so make sure to wrap up tight and stay warm!
By Celina Tran | Press photos
There’s no better time for corduroy trousers than when it’s cold outside. With their thick fabric and pleats, they’ll keep you cosy and warm, but even if you’re particularly sensitive to the weather, the loose fit leaves space to layer underneath. Pair them with anything from a simple t-shirt or hoodie to a tucked-in, formal Egyptian cotton shirt and loafers.
Loose fit corduroy trousers in black, EUR 69 www.arket.com
It can be easy to make less of an effort and reach for simpler, less colourful pieces now that it’s so cold, but don’t let the idea of wrapping up tight keep you from having fun! This mohair-wool blend cap from Acne Studios is crafted in a popping ribbed red and has fun pom-pom details at the end of the earflaps, which can easily double as a scarf.
Mohair cap with earflaps, EUR 420 www.acnestudios.com
Designed for the modern adventurer, the Tyri HalfZip is both comfortable and practical. Made from a soft and stretchy fabric that allows for movement, it’s a great year-round layer for hiking, running, and even skiing.
Men’s Tyri half-zip in 601 washed navy, EUR 80 www.hellyhansen.com
The Torrent II jacket from Scandinavian edition is fitted to follow the body’s natural lines without tapering. Wind-, water-, and snow-resistant, with natural down insulation, this jacket will keep you warm and dry through autumn and winter. Torrent II in after dark, EUR 699 www.scandinavianedition.com
The cold does not mean that you have to pack away all the pretty skirts and dresses. A pair of thick wool tights and you’re all set to wear this bias-cut satin skirt. Pair its lace detailing with black boots for a chic, metropolitan look – perfect for both the office and outside!
Lace detail satin skirt in dark brown, EUR 89 www.arket.com
There’s no autumn without a good coat. Made from 100 per cent organic cotton, Kamera Melton coat armours you against the harsh winds while looking elegant. It has an oversized, yet structured look and silhouette, making it the perfect capsule wardrobe piece. Kamera Melton coat, EUR 2,300 www.bitestudios.com
Bold, chic, and effortless, these cowboy-heeled high boots are a statement piece that’s bound to draw attention wherever they go!
Erve black leather high boots, EUR 750 www.atpatelier.com
Some might argue it’s too early, but November does witness the very first of Christmas dos and events, whether at work or with other social circles. Regardless, this cotton peplum piece from Cos is a reimagined take on the classic shirt, giving it a bit of flair. It works wonderfully for any formal-casual event, dinner, or work. If you want to really elevate the piece, accessorise with gold jewellery for a pop of colour! Peplum cotton shirt, EUR 79 www.cos.com
On Norway’s rugged north-west coast, three decades ago, Brit Vinje Lyngstad knitted a wool top for her husband. It was a small act of care – she just wanted to keep him warm during long, cold days spent working on the farm and out in the forest. But she created more than warmth – she laid the foundation for a unique knitwear brand. Brit named the breathable wool underwear LANULLVA, short for lanolin, wool, and warmth. Years later, her daughter revived the legacy, turning Lanullva into one of Norway’s fastestgrowing knitwear brands.
By Signe Hansen | Photos: Lanullva
After nearly coming to a halt in the early 2000s, Lanullva was brought back to life by Gunn Anne Vinje Lyngstad, who relaunched the brand in 2006 after she inherited her mother’s legacy. In the years since, what started as a small family venture has grown into one of Norway’s fastest-growing knitwear brands, with five concept stores and a steadily expanding following.
“When I came back, I was newly divorced with three kids and wanted to start again,” she recalls. “Back then, no retail chains wanted to take us in. So, I opened a shop in our tiny seaside village, close to my
parents’ farm, surrounded by the rugged coastal weather that inspired our unique knitting technique. That was the beginning – and from there, it just grew.”
Her decision to create her own concept stores proved visionary. What began as a single local shop is now a thriving retail network spanning Røros, Trondheim, Tromsø, and Averøy, where the head office sits beside the spectacular Atlantic Road, one of Norway’s most scenic tourist routes.
The steady rise in sales and loyal customer following led Lanullva to receive
the Gazelle Award for rapid growth three years in a row, and in 2014, Lyngstad herself was named Female Entrepreneur of the Year. “It has been a long journey, but I believed in what my mother had created,” she adds.
The foundation of Lanullva’s success lies in its unique open-knit structure, originally designed by founder Brit Vinje Lyngstad. The design allows air to circulate through the garment, keeping the wearer comfortably warm without overheating. “This knitting method gives the wool incredible ventilation,” explains Lyngstad. “It’s soft enough to wear directly on the skin and keeps its shape for years.”
To test the effect of the structure, the company turned to researchers at SINTEF, who assessed Lanullva garments under extreme conditions and confirmed their excellent thermal properties and breathability.
Behind the technical innovation lies a deep commitment to responsibility and animal welfare. Lanullva sources merino wool from certified farms in Uruguay, all 100 per cent mulesing-free and produced under the Responsible Wool Standard (RWS). Every link in the value chain –from the farm to the European production facilities – is certified and traceable.
“We pay extra to make sure animal welfare, working conditions, and environmental standards are upheld,” Lyngstad says. “This transparency and honesty are at the heart of everything we do. Our customers should always know where their garments come from.”
For Lyngstad, sustainability is not a marketing slogan, but a continuation of her parents’ ethos. “Lanullva has always been about care – for people, animals, and the environment,” she adds. Today, Lyngstad’s three children are also involved in the business and dedicated to continuing their family’s legacy.
Everyday luxury for every generation Lanullva’s collection reflects its belief that wool should be worn, lived in, and loved – from newborns to explorers. The brand’s range includes cosy babywear, everyday knitwear, and robust outdoor layers, all characterised by comfort, function, and an ambition that the wearer should feel and look well-dressed.
Among its recent designs is the Eilif sweater, named after Gunn Anne’s fa-
ther, a farmer. Eilif passed away five years ago, and the sweater, made in Norwegian wool, is inspired by the very first jumper her mother made for him. Lyngstad has even added her father’s signature to the Eilif sweater, making it a personal tribute. “My father stood for honesty, endurance, and quality – and that’s what this sweater represents,” she says. “Like his values, it’s meant to be passed down for generations.”
With natural elasticity, breathability, and durability, each piece embodies the brand’s mission to make wool a daily luxury. “Many of our customers tell us that they wear our sweaters every day now,” says Lyngstad. “They’re no longer just for hiking or outdoor life – they’ve become part of people’s everyday wardrobe.”
A brand ready for the world
Lanullva’s blend of authenticity and craftsmanship has earned it a devoted
following across Norway – and growing recognition abroad. Tourists visiting the Atlantic Road, Tromsø or Røros often leave with an armful of woollens and later want to order more online. “We see huge interest from customers in Germany, Denmark, France and the US,” says Lyngstad. “But our current online store isn’t set up for international orders yet.”
That is about to change. Lanullva has established a Danish subsidiary and is now preparing to expand its international presence. “We’re not just looking for investors,” Lyngstad emphasises. “We’re looking for a partner who shares our values and wants to grow with us. Our products are real, our story is real –and that authenticity is what connects with people.”
www.lanullva.com
Facebook: lanullva Instagram: @lanullva
Based in Norway, independent jewellery and clothing brand Secrets by B makes elegance, confidence and functional femininity easy and accessible in a fast-paced everyday life of hustle and bustle.
By Celina Tran | Photos: Secrets by B
Between meetings, messages and the endless lists that fill our days, the rush of modern life can make it easy to forget the simple joy of dressing up just for yourself: a pair of gold earrings that catch the light, a blouse that moves gracefully as you walk, or a delicate bracelet that sparkles when you move. These small gestures of self-care can transform even the most ordinary Tuesday into something that feels, well, a little extraordinary.
That is exactly the idea behind Secrets by B, the Norwegian jewellery and clothing
brand created by Benedikte Bruknapp. Her collections are a love letter to everyday elegance – pieces that bring a sense of confidence and subtle glamour to modern Scandinavian women.
Feminine, functional and full of detail
“Secrets by B was founded in 2011, when I began designing jewellery that combined gold, stones, colours and crystals in a way that added that little something extra. My pieces were meant to be timeless, feminine and of a quality that felt luxurious without having to cost a fortune,” says Bruknapp.
As time went on, Bruknapp began designing clothing as well as jewellery, and the Secrets by B clothing line now carries the same DNA as its accessory half
–a mix of classic Scandinavian design and romantic detailing. Each garment is designed to be both wearable and distinctive: blouses with thoughtful button work, fabrics that drape beautifully, and subtle textures that catch the eye without shouting for attention.
“In the design process, I sometimes collaborate with Yvonne Hammer, who contributes inspiration, idea development and a fresh perspective on form and expression. Together, we often find the balance between the timeless and the modern – a combination that has become a signature of Secrets by B,” she explains. “We also offer toiletry and makeup bags, which were a natural next step after creating jewellery. These products follow the same aesthetic as the rest of the collection.”
Everyday glam made easy
Regardless of item, each product is created with the intention of helping women embrace what Bruknapp calls everyday glam – a feeling of self-assured beauty in the midst of daily life. “What makes our clothing and jewellery unique is the strong focus on detail and durability. We love that our garments radiate femininity, and we deliberately use details such as buttons, lace and beautiful fabrics to enhance the feeling of each piece. Everything we design should not only look beautiful, it should also feel beautiful to wear.”
It takes so little to feel that bit of extra confidence, and Bruknapp explains that through Secrets by B, she wants to make that feeling even more accessible to everyone – as well as being transparent in that process. Because this is a Norwegian company with a warehouse in Norway, the brand can ensure that customers enjoy safe and straightforward shopping without hidden costs or unexpected fees.
“Our vision is to make it easier for Scandinavian women to shine in their everyday lives. We want to offer high-quality products at fair prices, so that everyone can treat themselves to something beautiful and lasting.”
www.secretsbyb.com
Facebook: Secrets by B
Instagram: @secrets.by.b
Norwegian artist Berit Barlaup has made a niche for herself, painting mountains. Scan Magazine explores how she decided to change paths and focus on the two things she loves most – painting and mountains.
By Eva-Kristin U. Pedersen | Photos: Berit Barlaup
“In the beginning, I was hesitant – I didn’t know if I could call myself an artist.”
Educated as a graphic designer Berit Barlaup didn’t immediately embark on an artistic career. But in 2013, after several years working as a graphic designer, she decided to focus on what she loves the most. “I love mountains and I spend a lot of time hiking. Painting what I see on
those trips is a natural choice and something I enjoy,” Barlaup says.
As soon as she started painting, she realised that she had hit a nerve. In her home region of Møre og Romsdal – a mountainous area where hiking and skiing are part of everyday life – Barlaup’s strikingly pure style had immediate appeal. “People here spend a lot of time outdoors.
Many of my clients are perhaps not as interested in art as they are in mountains,” Barlaup explains, smiling.
Snow-covered trails and mountain peaks
Her motifs, though always related to the mountains or to nature, vary – they can be images of the trail she needs to follow to reach the peak, the view from the peak itself, or images of snow-covered downhill slopes that she blazes through on the way back.
Often, she takes photos of motifs she would like to use, before returning to her atelier. “I’d love to bring the canvas
not only paints mountains but also birds, flowers, trees, animals and people. The puffin bird is particularly popular.
with me and paint outdoors, but my backpack is filled with gear and safety equipment that I actually need for hiking,” she explains.
Barlaup also likes to include people in her paintings, “painting them in.” It gives the painting an additional dimension, she explains. “With people in it, the painting tells a story,” she says, adding that it also makes it easier for the buyer to relate to their own hiking trip.
As she realised how many people were interested in her art, Barlaup started accepting orders from clients, and she often paints motifs that the recipient is particularly attached to. Partly for that reason, her paintings have become a popular gift, especially for anniversaries or important birthdays. “It’s a great thing to give people that have everything,” she smiles.
The feedback she receives is often overwhelming. “People often text or send me e-mails to thank me. It’s very rewarding; it’s made me realise that my paintings mean more to people than
mere decorations. They feel strongly about them,” she says.
Because she is an eager mountaineer herself, Barlaup understands their reaction. “Some hiking trips leave lasting memories. Reaching that summit is hard, you get tired, and you leave some
of yourself out there. People enjoy having paintings that remind them of their achievements and their connection to that mountain,” she says.
Another group of customers who show an increasing interest in Barlaup’s work are cabin owners. Barlaup’s motifs are a per-
view over the Geirangerfjord.
fect fit for logged cabins, and she is often contacted by people who want a painting of their cabin, of a particular peak near the cabin, or the surrounding areas.
While she has so far focused on motifs — and customers — from her home region of Møre og Romsdal, the popularity of her art among cabin owners looks set to open opportunities to depict mountain landscapes from other parts of Norway as well. A recent agreement with a distributor supplying gift stores could make this possible, and she hopes to build on this partnership in the time ahead.
An entrepreneurial approach
Barlaup’s background as a graphic designer has helped her develop an entrepreneurial approach to her art. She runs a combined gallery and gift shop in her home town, Molde, along with an online shop.
Each year she produces a calendar, making prints in three different sizes of each of the 12 motifs which are sold as limited
editions. Replicas of her paintings are also used on kitchen towels, washcloth, tote bags, thermos bottles, bathroom towels, t-shirts, trays, placemats, mugs and plates – and more recently on chocolate wrapping paper.
“The chocolate decoration has boomed recently,” she says and laughs, before adding in a more serious tone; “the fact that I can use my art for different purposes and in different ways makes it easier to live of it.”
And although she often spend evenings and weekends painting, she doesn’t regret choosing art as a career. “It doesn’t feel like a sacrifice because it’s what I love to do,” she says.
www.beritbarlaup.no www.artidesign.no
Facebook: Berit-Barlaup-Art-Gallery and ARTi design as | Molde
Instagram: @beritbarlaup.artgallery and @arti_design
Norwegian studio Volver explores the richness of contemporary Nordic creativity through the art of rug-making and design. Opened in 2018, Volver was born from a wish to redefine what a rug can be – not just for decoration or practicality, but an artistic and emotional anchor within a space.
By Molly McPharlin
Founded by designer and art director Ksenia Stanishevski, Volver is built on diversity and collaboration amongst its designers. “As art director, I invite them to express something deeply personal through the medium of rugs – their story, personality, and visual language,” says Stanishevski. “The result is a distinctive collection reflecting modern Norwegian design.” Pieces range from bold and sculptural to calm and minimal. “Each feels like an artistic statement,” she says. “A conversation between art and interior space.”
With a background in visual arts and industrial design, Stanishevski worked across various disciplines before founding Volver. The company is a fusion of art and function. “We create rugs that don’t just belong to a space but elevate it,” she says.
Volver’s rugs can be admired and enjoyed in spaces such as the Royal Palace in Oslo, the National Museum of Norway, and the Deichman Bjørvika Library. Volver also creates rugs for restaurants, hotels, and private residences.
“Each collaboration begins with dialogue – listening to the client’s story, visiting their space, and hearing about their ambitions,” Stanishevski says. “Volver manages the entire process, from initial concept and material selection to layout and delivery.”
Materials used include New Zealand wool, bamboo silk, and Tencel, chosen for beauty and durability. Designs are conceived in Norway and production takes place by master artisans in India, China, and
www.cosytimesceramics.dk
Instagram: @cosytimesceramics.kerteminde
Europe, each bringing generations of expertise in techniques such as hand-tufting and Axminster weaving.
Volver’s vision for the future is to assure its reputation globally as a studio known for artistic integrity, personal design, and impeccable craftsmanship.
www.volverstudios.com
Facebook: Volver Studio
Instagram: @Volver.studios
TikTok: @volverstudios
Pinterest: Volver Studios
Meet the Probaker, the kitchen machine redefining home baking. Developed by Wilfa in collaboration with the Norwegian National Baking Team, this award-winning appliance brings professional precision and Scandinavian design to everyone from your average home cook to top class bakers.
By Celina Tran | Photos: Wilfa
For more than 75 years, Wilfa has been a quiet force in Nordic homes. Founded in 1948, the Norwegian company has grown from a small local manufacturer into one of the region’s leading suppliers of kitchen appliances. From waffle makers to coffee machines, Wilfa has produced a long line of home staples, but few appliances have generated as much excitement as its Probaker Kitchen Machine.
Designed in collaboration with the Norwegian National Baking Team, this
kitchen machine combines precision engineering, Scandinavian design, and five years of development to deliver professional results in any kitchen. From kneading dough to whipping batter, Probaker is built to meet the needs of both home bakers and culinary experts.
“Probaker is our spearhead product,” says CEO Morten Hoff. “It represents everything we believe in – quality, function, and design. More than anything, it’s proof that we never take shortcuts.”
Professional power meets everyday usability
At first glance, the Probaker might just seem like every other kitchen machine – it has a big bowl, different rotating mixing equipment, and it comes with instructions that boast its many settings and motor stages. But this kitchen piece is anything but ordinary. In fact, it was a gap in the market that led the Wilfa team to start the creation of it.
The development of Probaker took five years, combining Wilfa’s internal engineering and design expertise with the insights of professionals like Knut Hammeren. Hammeren, a baker and pastry master with 35 years of experience, former leader of the Norwegian Baking Team, and Regal flour expert at
Lantmännen, was among those present when Wilfa reached out.
“The request we received was simple: if you could design the ultimate kneading machine, what would it look like?” he says. “We looked at everything, from the motor and internal mechanics to the design. It had to be powerful, easy to clean, practical, and flexible. You should be able to touch and feel the dough, adjust as needed, and trust that the machine follows your rhythm.”
From that collaboration came the dual-action kneading system, a standout feature of the Probaker. Both the hook and the bowl rotate, ensuring that even large or sticky doughs are fully incorporated. Specially designed hooks lift, fold, and knead the dough efficiently, eliminating blind spots and making the kneading process smoother and more precise.
“It was crucial to capture the entire dough,” he adds. “Other machines can leave blind spots. That’s why the bowl rotates. Together with the hook design, we achieved the perfect kneading solution.”
Home baking made sustainable and easy
The Probaker is designed to perform in professional kitchens but remains accessible to home bakers too. Its seven-litre bowl can handle up to five kilograms of dough, and the machine is remarkably stable even at full load. The compact head leaves plenty of light and visibility into the bowl, making it easy to monitor and adjust ingredients.
“The combination of all these features is just right. The hook sits close to the bowl,
the head is small, and there’s plenty of visibility,” Hammeren says. “Low speed is essential for gathering ingredients, but you also need high top speed for high-hydration doughs. The Probaker covers the full spectrum.”
With 20 variable speed settings, the Probaker can handle slow, gentle mixing for delicate ingredients as well as highspeed for bread dough. It is equally adept at whipping batters or kneading pizza dough, making it a truly all-purpose machine. “One of our biggest priorities when creating a new product is repairability, robust construction and high-quality materials. The most sustainable kitchen machine is one that lasts, and we’ll always make sure that we’re doing what we can to ensure longevity,” says Hoff.
So far, the Probaker has earned international recognition, including the Red Dot Design Award and the iF Design Award, as well as a particular interest from the Nordic pizza and artisan bread communities. Slowly but surely, this new Wilfa machine is becoming a staple in both professional kitchens and homes, transforming the way people approach baking, regardless of culinary or patisserie abilities.
www.wilfa.com
Key features
- Dual-action kneading system
- L arge capacity: 7-litre bowl can knead up to 5 kg of dough
- Quiet and stable: low centre of gravity and sensor control keep the machine steady and silent
- Precise speed control: 20 stepless speeds, from a hand-kneading tempo to full speed
- Motor protection system which prevents overloading
- 10-year motor warranty
- Includes accessories: spiral hook, flexible whisk, and sturdy double whisk
For handmade marzipan and chocolate confectionery, look no further than Marsipan Compagniet. With true craftsmanship, heaps of almonds and chocolate of the highest quality, the Oslo-based family business makes irresistible treats, such as the new range of Trend Bars.
By Malin Norman | Photo: Marsipan Compagniet
Marsipan Compagniet is a small family business that makes marzipan pigs and figurines as well as tasty chocolate confectionery at Rosenholm in Oslo Syd. For many, the artisan confectionery’s delicious treats are a must, especially for celebrations such as Christmas and Easter.
The business has a long tradition of producing marzipan pigs, a classic for many Norwegian families at Christmas. “My father has made the marzipan pigs for as long as I can remember,” says Elisabeth Rovde. When her father retired in 2016, she took over the business together with husband Nassim Ghassoul. In 2021, production was moved to a larger production site in Oslo.
Quality, authenticity and craftsmanship are at the forefront of Marsipan Compagniet, with natural ingredients and
a high almond content in its products. “We have a passion for tasty products and use only the best ingredients such as Norwegian marzipan with 52 per cent almonds and exclusive chocolate from Switzerland,” confirms Rovde. “But our customers know that we’re also innovative, always with something new in our line-up.”
Last year, the couple also launched the chocolate line Smelt Sjokolade, a playful and innovative chocolate concept with a focus on good ingredients and an alluring, colourful appearance. Beautiful design and packaging is important, but ultimately the marzipan and confectionery needs to be tasty.
The new series called Trend Bars sounds nothing but delicious, featuring surprising flavour combinations. “Creativity and innovation drive us to create delicious collections that reflect the seasons. From
weird to absolutely brilliant, you’ll get flavours you’ve never experienced before,” says Ghassoul. “With our big Trend Bars, we have the flexibility to fill them with lots of different flavour combination – anything that’s tasty really!”
Listen to this: handmade Dubai chocolate with rich pistachio cream praline, combined with crispy and crunchy katayfi (shredded filo pastry), encased in exclusive Swiss milk chocolate. Or how about Angel Hair, a bar with Belgian strawberry chocolate that tastes like strawberry ice cream, and a filling of pink chocolate with cotton candy threads. And Bueno Kinder is no doubt luxurious with light and velvety hazelnut cream, crunchy pancake pieces, surrounded by smooth milk chocolate. It is impossible to resist.
The classic one-kilogram marzipan pig
One of the best-sellers is the one-kilogram marzipan pig, which makes its way to the Christmas table every year and brings lots of joy and humour among guests. “Our big marzipan pig is a tradition and an obvious centrepiece at many Christmas lunches and dinners,” smiles Rovde. “This is also a great gift, as comes in a beautiful gift box with silk paper and a red ribbon. For many, it’s not Christmas without our marzipan pig.”
Marsipan Compagniet also offers corporate gifts and branded products, a sure delight for employees, customers and business partners. “Giving a locally produced gift that is a little out of the ordinary can do wonders for the employee and customer relationship. It’s nice to be able
to surprise with something that is unique and handmade in Norway,” adds Rovde.
marsipancompagniet.no
Facebook: Marsipan Compagniet Instagram: @marsipancompagniet
Marsipan Compagniet’s range of marzipan and chocolate confectionery is available in the web shop on marsipancompagniet.no, in selected interior boutiques and gift shops across Norway, as well as the Tax Free shop at Oslo’s airport Gardermoen. Customers are also welcome to the factory outlet on Rosenholmveien 22 in Oslo.
What began in a small blacksmith’s workshop in Rovaniemi in 1928 has grown into a global story of resilience, innovation and beautiful, intricate design. Nearly a century later, Marttiini’s Nordic knives are a testament to design that truly stands the test of time.
By Ndéla Faye | Photos: Joel Forsman
In the very heart of Finnish Lapland, where the winter nights are long and the summer sun barely sets, a blacksmith named Johan Henrik “Janne” Marttiini set up a small workshop in Rovaniemi in 1928. His vision was simple yet ambitious: to create knives that were as beautiful as they were functional. Nearly a century later, Marttiini remains synonymous with meticulous craftsmanship, endurance and the rugged beauty of the North.
“Janne Marttiini had one goal: to make people happy. That’s still the guiding principle of everything we do,” says Martin Luht, product development and brand
manager at Marttiini. “For us, making people happy means creating a sense of connection – between people, their craft and the stories they create. A Marttiini knife is often there when moments become memories, when traditions are passed on and life feels closest to nature. Our knives are a bridge between hand and heart,” he adds.
The Marttiini story is also one of innovation and courage. In the 1950s, exporting was rare in Finland, but Janne’s son Toivo saw an opportunity, and Marttiini brought his filleting knives to the Amer-
ican market, where they soon became an essential tool for anglers.
Today, Marttiini’s products are used by fishermen in Alaska, hikers in the Alps, and knife collectors around the world. The company has evolved, too: its manufacturing now takes place in Pärnu, Estonia, alongside its parent company Rapala VMC’s lure production.
“Here in Pärnu, we’ve combined tradition with modern technology,” Luht explains. “We’re adding automation, experimenting with new materials, and building an in-house team of designers, engineers, and material scientists, to name a few. At the same time, some of our traditional knives are still made using the same methods as in Janne’s time.”
He adds that the company’s success is also rooted in strong team spirit and
close collaboration. “There’s a real sense of synergy here. Everyone – from the office to the factory floor – works together towards a shared goal: building a better future for the Marttiini brand and its customers. Our product development team works hand in hand with manufacturing, and our customer support team rarely misses a reply. Teamwork really does make the dream work, and we hope that this positive energy reaches customers through every product we make.”
The puukko – the traditional Nordic knife – is at the heart of Marttiini’s craft. Recognisable by its sleek design, sturdy blade, and natural materials such as curly birch, leather, and reindeer antler, each knife is both a tool and a piece of cultural heritage.
“We’ve always worked with the same materials because we know them inside out. They’ve proven themselves for nearly 100 years. That said, we’re constantly researching new, modern materials. We want to stay rooted in tradition while also responding to what’s relevant today,” Luht says.
Sustainability is also a key focus for Marttiini’s future. The company is continuously optimising its production and exploring more sustainable materials and packaging solutions. “Since we create tools meant to be used in nature, it’s only natural that we also take responsibility for protecting that same environment.”
Quality remains a cornerstone for the company: every knife comes with a three-year product and material warranty, and Marttiini is developing new ways to help customers maintain its tools.
Designs that are still going strong, a century later
Among Marttiini’s wide range, a few stand out. The Ilves – the company’s very first model – is still in production, proving that the designs well and truly stand the test of time. The Classical Filleting Knife is a favourite among anglers, while oneof-a-kind handmade knives attract collectors worldwide.
Looking ahead, Marttiini will unveil its 2026 Annual Knife, Järvi, a filleting knife paying homage to the waters that inspired the brand’s legacy. Marttiini’s customers are as diverse as its knives: fishermen, hikers, hunters, scouts, collectors and nature enthusiasts. “Our knives are
for anyone who loves being outdoors. They’re tools, but also companions on adventures,” Luht says.
Visitors to Finland can explore the brand at its two flagship stores in Rovaniemi, the birthplace of the company, or in Helsinki. For those further afield, Marttiini ships worldwide through its online store and retail partners, with products available everywhere from Nordic outdoor shops to Walmart in the United States.
As the company approaches its centenary, Marttiini continues to honour its founder’s philosophy of authenticity and commitment, while embracing modern design and global reach. “That balance between our heritage and innovation is what makes us unique,” Luht concludes.
www.marttiini.fi
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Instagram: @marttiini.fi
It’s simple – when you live in a region where daylight is rarer than harmony during family board games, the Christmas table becomes the shining centre of the home. Plates, bowls, and candleholders aren’t just practical – they’re vessels for festive nostalgia, giving the indulgence an air of sophistication over comfort eating. Danish porcelain, Finnish glass, or Norwegian elves – Scandinavians know that Christmas provides an excuse for it all, even when the comforting hum of Last Christmas is played for the 47th time.
By Signe Hansen | Press photos
Festivo candleholder – Timo Sarpaneva
There are few things more Finnish than glass that looks like ice – and few brands that capture that spirit better than Iittala. Designed by Timo Sarpaneva in 1967, the Festivo candleholder is both retro and forever modern, a true icon of Finnish design. Whether stacked in clusters or shining solo, it turns candlelight into art. The textured glass catches light like frosted snow, though unlike the real stuff, it won’t melt before dessert.
Price: GBP 85 www.iittala.com
Julemorgen Water Glass – Wik & Walsøe
The Julemorgen water glass from Norwegian design studio Wik & Walsøe combines elegance and simplicity in true Scandinavian style. With its gently curved bell, slender stem and a small frozen-drop detail at the base, the glass is refined yet full of character. It’s part of the Julemorgen collection – a complete Christmas tableware series in fine bone china and glass designed for everyday use throughout the festive season. Since 2006, Wik & Walsøe has been known for creating long-lasting designs inspired by the purity and calm of Nordic nature – pieces made to accompany both grand Christmas dinners and quiet moments at the table.
Price: EUR 35 www.wik-walsoe.no
Star Fluted Christmas – Royal Copenhagen
Decked in wreaths of spruce, golden ribbons and tiny ornaments, Royal Copenhagen’s Star Fluted Christmas service has quickly become a classic at Danish family feasts since it was launched in 2006. The dinner plates glow softly in candlelight – preferably surrounded by enough gravy to make any designer sweat – and bring a touch of timeless elegance to the chaos of holiday cooking.
Dinner plate 27cm. Price: from DKK 479 www.royalcopenhagen.com
the charm of a traditional advent wreath – just without the messy pine needles. Crafted in stainless steel and plated with 18-carat gold, it’s designed to glow with understated luxury. Add ribbons and greenery, or leave it bare for a minimalist, purist look. Either way, it’s a staple in the Scandinavian Christmas survival kit.
Price: DKK 1,099 www.georgjensen.com
Hammershøi Christmas - Hans-Christian Bauer
When it comes to nostalgia, Kähler’s Hammershøi Christmas line hits all the right sentimental notes. The porcelain mugs, designed by Hans-Christian Bauer and illustrated by Rikke Jacobsen, invite you into a world of elves, cedar branches and handmade cookies – or, in real life, gløgg and whipped cream. This year’s version even hides a tiny elf inside the cup, ready to peek out mid-sip. Perfect for hot drinks and quiet moments after the Christmas marathon.
Price: from EUR 32 www.rosendahl.com
What’s amazing about judging international beer competitions is the chance to get a sense of the beers that people drink ‘over there’. Two places in particular have made an impression: Singapore last year, and Beijing, China, at the end of September. This is where I discovered how fantastic tea can be in beer.
When people talk about ‘local beer’, I’m curious as to what they actually mean. Do they refer to beer produced locally, or beer actually made with local ingredients? Anyhow, when I visited Asia last year and again this year, it dawned upon me how much brewers there need the beer to be local – in terms of flavour profile – for consumers to like, and ultimately, buy them again.
Before my travels, I had no idea how deeply rooted the tea culture is in Asia, and that brewers have made so called tea beers for over a decade. Judging both Asia Beer Championship in Singapore and China International Beer Challenge in Beijing, I’ve been lucky to taste and give feedback on a number of tea beers. What a privilege!
As some brewers and beer experts in Asia have told me, tea can be used in a similar
fashion as hops: for aroma, bitterness, and preservation. Tea ranges from white to yellow, green, red, dark, and black, and different types of tea suit different styles of beer, obviously. Sometimes tea beers are also infused with flowers, spices and fruits, just like with tea.
In every taproom I visited in Beijing, I was excited to find beer made with tea on the menu. My preferred style for tea beer seems to be Pilsner, Belgian Witbier or American Pale Ale – not surprising really as these styles work well with the addition of green tea, my favourite type, for a refreshing, bright and herbal character.
I’m already looking forward to my next trip to Asia, to discover more about the fascinating tea culture, which spans thousands of years, and to try more tasty tea beers.
By Malin Norman
I love root vegetables, and celeriac has quickly become one of my favourites. Beneath its gnarled surface hides a world of flavour.
By Katharina Kjeldgaard
In this hasselback version, it turns wonderfully crispy on the outside and soft and creamy on the inside. It’s the kind of dish that feels both simple enough for a weekday and special enough for guests. Serve it with a warm mushroom sauce, buttery kale or a hearty lentil stew.
Tip: You can also make hasselback-style vegetables with other roots. Try carrots for a touch of sweetness or parsnips for a mild nutty flavour. Sweet potatoes and butternut squash also turn out beautifully this way.
AMOUNT: 4 people
EASY TO MAKE TIME: 1 hour
INGREDIENTS:
1 celeriac
25 g butter
2 cloves garlic
1 tsp freshly ground black pepper
1 tsp sea salt flakes
2 tsp dried thyme
INSTRUCTIONS:
1. Preheat the oven to 200°C (fan). Halve the celeriac, trim off the skin with a sharp knife, and rinse it thoroughly.
2. Melt the butter in a small saucepan and pour into a small bowl. Finely chop the garlic and mix it with the butter, pepper, salt, and thyme.
3. Now it’s time to make lots of slices. A trick is to place two wooden spoons on either side of the celeriac while cutting. That way, you won’t slice all the way through. Make as many thin cuts as you can.
4. Spread the butter mixture over the top, making sure to work it down between the slices.
5. Bake for about 50 minutes or until it’s crispy on the outside and soft on the inside.
Katharina Kjeldgaard is a Danish food blogger, influencer and cookbook author from Copenhagen., Her blog is one of the most-read vegetarian food blogs in Denmark, always focused on locally sourced ingredients, full of delicious recipes and never boring. She has three little kids and loves going to markets, being in nature – and cooking with all kinds of vegetables and legumes.
Blog: beetrootbakery.dk Instagram: Beetrootbakery
Based in the beautiful polar city Tromsø, Hildr is an intimate restaurant with a charming library bar and an ever-evolving menu built on the best of locally sourced ingredients. Here, every guest is made to feel right at home.
By Maria Sødal Vole | Photos: Hildr
It is no secret that the Arctic capital of Tromsø offers excellent local produce, and making the most of what nature has to offer is central to Hildr’s philosophy. With its central location in Skippergata, one of the city’s oldest streets, the restaurant has become a true favourite among both locals and visitors.
Opened by husband and wife Marius and Gabriela Carlehed Jacobsen in 2015, Hildr recently celebrated its 10th anniversary. The milestone was celebrated in style with a two-day party, featuring a curated menu and special prices to mark the occasion, alongside live concerts by several local artists.
“It was a fantastic celebration – we had a full house and loved getting the chance to walk down memory lane with some of our regulars,” Gabriela says. “The last ten years have been so busy but incredibly rewarding!”
The unpretentious restaurant prides itself on being a friendly neighbourhood spot with a warm ambiance, where good food takes centre stage. “From the start, our goal was to create a restaurant we’d like to hang out in. The vibe at Hildr is easy-going and relaxed – we want people to feel comfortable and at home,” Gabriela says. “Marius and I both grew up with siblings and a steady stream of friends visiting, and we’ve always loved that kind of social atmosphere. No matter how you’re dressed and what your plans are for the day, you’re always welcome here for a bite to eat and a drink.”
The building that houses Hildr is steeped in history – first built in the 1880s, it has been home to several businesses and writers over the years. Now, it welcomes guests to enjoy unique dining experiences within an inviting space that pays homage to its rich heritage with whimsical decor and a cosy library bar. But according to Gabriela, the team contributes the most to the restaurant’s charm and atmosphere.
“It’s not just the place, but the people that create the great vibe we have here,” she says. “Our staff is fantastic; they’re always smiling and welcoming to everyone that steps through our doors. Having friendly faces and good service makes all the difference – guests feel looked after and at ease.”
Despite the casual vibe, the Hildr team values quality in every aspect of the operation. Service should be top-notch, and food should be beautifully presented – not to mention tasty and imaginative. Locally sourced produce forms the basis of the dishes, and they create a new menu several times a year to make the most of the ingredients that are in season.
“For us, it’s a given that our food should be as local as possible. We always follow the seasons and love to forage along the coast and in the forest – what we find is what goes into our dishes,” Gabriela says. “We have so much incredible pro-
duce in the area, including some of the best fish in the world, and we need to take advantage of that.”
Alongside harvesting the best of what nature has to offer in Tromsø and the surrounding areas, Hildr’s beloved kitchen garden provides herbs, edible flowers, berries and more to supplement the culinary delights. Tapping into the flavours of the fascinating Arctic landscape is important to the kitchen team, and the chefs are not afraid to get creative.
Head Chef Simen Wilhelmsen is a Hildr success story. With several years behind him in the food industry and a deep passion for good food, he had never pursued formal certification. “A couple of years ago, Marius came across his Instagram account and was impressed with his innovative approach to food. We offered him
a trainee position at Hildr, and he quickly became highly skilled,” Gabriela says. Wilhelmsen achieved his certification as a chef and within weeks was offered the role of Head Chef at Hildr. Today, he is a co-owner of the restaurant.
“He loves to experiment with new combinations and challenge taste buds, which is what we’re all about,” Gabriela says. “We don’t want to serve dishes that people feel they could make just as well at home – our dishes should surprise and inspire.”
Hildr is looking forward to a spectacular winter season. Every year, the team hosts Christmas parties and events with a carefully crafted menu – this year’s offering is lamb shoulder served family-style, perfect for a communal dining experience in a homey restaurant.
Hildr also offers exclusive three and five course menus for New Years celebrations, with two seatings throughout the evening. “We’ve designed an extra-special menu inspired by Christmas, and we look forward to welcoming everyone to celebrate with us,” Gabriela says. Guests are advised that spaces are limited and always sell out, so be sure to book in advance if you want to celebrate the holidays at Hildr.
www.hildr.no
Facebook: Hildr
Instagram: @hildrrestaurant
As the first ensemble ever to receive Denmark’s most prestigious classical music honour – the Léonie Sonning Music Prize 2025 – the Danish String Quartet has entered a new chapter. This recognition not only celebrates the artistic mastery but also the role they have come to play in inspiring the next generation of chamber musicians. Scan Magazine talks to violinist Rune Tonsgaard Sørensen about the prize, the road ahead and their educational project, DSQ Academy.
By Signe Hansen | Photos: Caroline Bittencourt
Catching up with Scan Magazine during his lunch break at DSQ Academy’s yearly five-day music camp, violinist Rune Tonsgaard Sørensen is still processing the recent honour bestowed on the ensemble. “We couldn’t believe it. This is a prize we’ve all grown up with; we’ve seen the names of all our heroes – great conductors, soloists, composers – on that list,” recalls Sørensen. “When we were told
we’d be receiving it, it just felt unreal. It’s still a bit unreal.”
For the four musicians – Rune Tonsgaard Sørensen, Frederik Øland, Asbjørn Nørgaard, and Fredrik Schøyen Sjölin – being awarded the Sonning Music Prize is more than a personal milestone. “This isn’t just recognition of our group,” Sørensen explains, “it’s recognition of
the genre. We’re part of a long Danish chamber music tradition, and hopefully this can inspire the younger groups coming up. That would be fantastic.”
Formed when the four were in their teens, the quartet is recognised as one of the world’s best, with reviewers in awe of their ability to turn even the most treasured classical pieces into unique experiences for the audience.
The DSQ Academy
On top of their own creative work, the Danish String Quartet works actively to help and inspire the next generation of chamber musicians. The DSQ Academy is one of the cornerstones in this work, drawing students from across the globe
to the scenic surroundings of Lundsgaard Gods in Kerteminde, Denmark.
At the Academy, young musicians receive not only technical training but also get to experience the social and creative space that defines the quartet’s own approach to music-making. “What we enjoy about chamber music isn’t just the great repertoire, but also the fact that we really have a good time doing it,” says Sørensen. “The atmosphere is important. Everyone should feel safe and inspired.”
The Academy attracts students in their 20s from as many as 20 countries – from the US and Australia to Palestine and Norway. With variations every year, the programme includes masterclasses, coaching, workshops in folk music or improvisation, folk dancing, football and talks with people from other art forms. “It’s about building a sense of community,” Sørensen notes. “Chamber music is a direct form of communication. In a strong quartet, you can sense the relationship between the players, and the audience can too.”
In that sense, teaching also reflects back on their own work. “Having played together for almost 25 years, we’re still very good friends. Creating a space where people can experience that connection is deeply meaningful to us,” he says. “The goal is to show that yes, of course, hard work and technical skills matter – but so does joy, humility, and curiosity.”
The DSQ Academy is part of the ensemble’s broader mission to make classical
music accessible, personal, and alive. As violist Asbjørn Nørgaard puts it: “Music has immense power, and it would be a tragedy if it all ended up being reduced to talent shows for kids. It’s important that someone keeps insisting on preserving this art form.”
That belief is reflected across various projects – the DSQ Festival in Copenhagen, which presents a serious repertoire in informal settings, the Series of Four, an international concert series in Copenhagen combining world-class music and cold beer, or the globally acclaimed albums that vary from Beethoven and Nordic folk to contemporary music with various collaborations. At the moment, they even have film music by Johnny Greenwood in the repertoire.
“There’s just so much we want to explore,” says Sørensen. “Of course, we’ve
played most of the mainstream repertoire by now, but there’s still a whole iceberg of possibilities out there. For me, it’s about testing the limits, seeing what hasn’t been done with a string quartet before, and also showing younger groups that anything is possible. It just takes creativity and imagination.”
And what lies ahead? For Sørensen and the quartet, the path remains full of joy and possibilities. “It would be super nice to grow old together with this quartet. The music is just something we have in common, but it’s also about being part of each other’s lives. That’s what keeps it real. And if we can open up new doors for others as we go, then that’s even better.”
www.danishquartet.com Facebook: danishquartet Instagram: @danishquartet
Over the years, the Danish String Quartet has received numerous prestigious accolades, including Musical America’s 2020 Ensemble of the Year, the Borletti-Buitoni Trust Award, and the Carl Nielsen Prize, Denmark’s highest cultural honour. They were also BBC Radio 3 New Generation Artists and members of The Bowers Program. In 2025, they became the first ensemble to receive the Léonie Sonning Music Prize.
national Festival, before flying to London to begin a three-year residency at Wigmore Hall.
By Ndéla Faye | Photos: O/Modernt
When violinist and conductor Hugo Ticciati takes to the stage, sound, philosophy and play intertwine. As the artistic director of O/Modernt (Swedish for Un/Modern), Ticciati has spent much of his career dismantling the boundaries of genre, epoch and geography. O/Modernt’s performances span an astonishing range – from Hildegard von Bingen and Beethoven’s Great Fugue to Philip Glass and Nirvana.
“I prefer to think of O/Modernt not as being anything, but as becoming,” Ticciati explains. “It’s not a final product with fixed characteristics, but a dynamic of change, without aiming for a particular goal or end state. Each O/Modernt concert or event is a unique production in a continual flow of transformations.”
Over the past decade, O/Modernt has gained an international reputation, performing to sold-out audiences at some of Europe’s most renowned venues. This year, it takes up a residency at SLOW, a new festival at Dortmund Konzerthaus, where it will perform alongside Tibetan monks as the monks create intricate sand mandalas.
The sound of interconnection
Movement, transformation and interconnection lie at the heart of both Ticciati’s musical philosophy and his life.
O/Modernt has just completed a tour that began at Bridgewater Hall in Manchester and continued to Denmark, where they were the resident ensemble at the Klassiske Dage Holstebro Inter-
Born in the United Kingdom to music-loving parents, Ticciati’s path to becoming one of Europe’s most inventive conductors was anything but straightforward. “I started on the piano at sixand-a-half, but soon became enchanted by the sounds of bowed strings,” he recalls. “By the end of school, my violin skills had plateaued, so I went to Cambridge to study musicology. But a chance meeting with the leader of the English Chamber Orchestra changed everything as he urged me to play again.”
That advice led Ticciati to Canada, where, after nine months of intense practice, he found himself struggling and on the verge of giving up his dream. Then came a brief but life-altering encounter: a 10-minute lesson with Russian violinist Nina Balabina that transformed his outlook completely.
“I was so inspired that I ended up cancelling my place at Cambridge and moving to Sweden. For four years, I lived almost like a hermit, in relative isolation, playing nothing but scales, exercises and studies. Those years freed me from the constraints of career and ambition; they taught me simply how to be,” he says. When he finally emerged from that self-imposed solitude, his path began to unfold naturally. The lessons from those years continue to shape his life and music to this day.
Ticciati founded O/Modernt in 2011, and he describes it as much more than an ensemble: it is a way of thinking about art and existence itself. Its motto, borrowed from the late American composer John Cage – “Invent the past. Revise the future.” – encapsulates Ticciati’s belief that music is an eternal conversation between what has been and what might yet become.
Through imaginative juxtapositions and genre-defying combinations, O/Modernt performances explore the connective tissue between seemingly disparate worlds. “What unites baroque and rock, Eastern and Western, minimalist and romantic is the celebration of interconnectivity and the threads that link all forms of expression,” he says.
Musical experiences in a spectacular setting
O/Modernt curates two annual festivals, one in summer and one in winter, at the spectacular Queen Silvia Concert Hall in central Stockholm. In close collaboration with Lilla Akademien, Scandinavia’s leading specialist music school, the festivals bring together world-class artists, established O/Modernt players and emerging talents in an imaginative mix of performances, workshops and masterclasses.
The Queen Silvia Concert Hall opened in 2022 as a “sounding room for an interconnected world.” Since then, it has rapidly become one of Sweden’s – and Europe’s –most vibrant and forward-thinking cultural spaces. Its striking architecture and
award-winning lighting design embody the spirit of openness, collaboration and inclusivity that defines both Lilla Akademien and O/Modernt.
With his bold, boundary-dissolving vision, Ticciati’s artistry blurs the lines between performance and philosophy. In the world he shares with fellow artists and audiences alike, music does not merely connect us to the past, but reminds us that the act of listening itself is a form of creation.
www.omodernt.com www.drottningsilviaskonsertsal.se www.lillaakademien.se
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Winners of multiple international prizes and newly selected as BBC New Generation Artists for 2025–27, NOVO Quartet has established itself among Europe’s most captivating young ensembles. From outreach school performances in Kenya to grand concert halls across Europe, the Danish quartet embraces diversity in every sense –and with the release of its first full-length album on 5 October, it has captured both its artistic range and unity of sound.
By Signe Hansen | Photos: Maya-Matsuura
Formed in Copenhagen in 2018, NOVO Quartet grew out of a friendship formed at the Royal Danish Academy of Music. “We were four people who really enjoyed spending time together and felt that we had something special musically,” says violinist Signe Bitsch. “It was never about trying to build a career –it just evolved naturally, one step at a time.” Within a few years, the quartet gained international recognition, winning the Carl Nielsen Chamber Music Competition and the Irene Steels-Wilsing Competition in Heidelberg.
That combination of groundedness and ambition defines the approach. While its training is firmly rooted in the classical tradition, NOVO Quartet brings a distinctly contemporary energy to its
music-making – a balance of technical precision and emotional directness that has drawn audiences across continents. “We want to show that classical music can still feel fresh, alive and relevant,” says Bitsch. “When we play for schoolchildren in Kenya or Greenland, it’s amazing to see how they respond – it reminds us why we started making music in the first place.”
The album TRACK 1, released on 5 October, features Shostakovich’s String Quartet No. 8, Matias Vestergård’s Hjerteblad (2024), and Carl Nielsen’s String Quartet No. 1, Op. 13, a programme that reflects the quartet’s blend of emotional intensity and Scandinavian roots. “For us, this album is a kind of musical portrait,” Bitsch explains. “It’s not
just about showing what we can do, but about sharing who we are – four individuals who found each other and grew together through music.”
With its first album released, NOVO Quartet is firmly establishing itself as one of Europe’s most exciting young ensembles. For anyone curious about the next generation of chamber music, it is well worth seeking out the quartet’s recordings or catching them live.
www.novoquartet.com
Facebook: novoquartet
Instagram: @novoquartet
Based in Aarhus and shaped by a spirit of experimentation, Ensemble Hermes is redefining what a chamber ensemble can be. From bold collaborations that fuse music and theatre to reimagined interpretations of classical works, the seven-member group is carving out a distinctive space within Denmark’s vibrant chamber music scene.
By Signe Hansen | Photos: Ensemble Hermes
Formed by a group of friends from the Royal Academy of Music in Aarhus, Ensemble Hermes began as an 11-piece string orchestra before finding its ideal format as a seven-member chamber ensemble. “Playing in a smaller chamber music format is much more fun for us,” says double bassist Malte Schmidt-Hemmet. “With fewer people, there’s more dialogue, more space to react and listen to each other – and to play the way we want to.”
That spirit of freedom runs through everything Ensemble Hermes does. The group experiments with new concert formats that reimagine how classical music
can be experienced. One recent project, the critically acclaimed Stilhed blended theatre, music, and lighting, featuring an actor and musicians sharing the stage. “We didn’t want two art forms just placed side by side,” Schmidt-Hemmet explains. “We wanted them to melt together.”
Now officially artist-in-residence at Musikhuset Aarhus, Hermes has found a creative home that matches its ambition. The residency gives access to technical support, performance spaces and the kind of resources needed to realise large, multidisciplinary projects. “It means a lot to have Musikhuset behind us,” says cellist Gabriella
de Carvalho e Silva Fuglsig. “Our ideas often need more than just a stage – they need space, sound and collaboration.”
www.ensemblehermes.dk
Instagram: @ensemblehermes
Raised and trained in Britain but forged on Finnish podiums, James Sherlock has found his creative home in the North. Now living and thriving in Denmark, the conductor is about to embark on an extraordinary year that will take him across the region – from the Danish National Opera and the Norwegian National Opera, to the Finnish National Opera and the Baltic countries – culminating in a daring production of Die Walküre, performed inside a Viking longhouse.
Sherlock’s mental move northwards began with a simple realisation: time matters. “In London, the pressure on musicians is immense,” he explains. “The schedules are relentless, and you are constantly pushed into fight-or-flight mode. You rehearse for just a few hours and are expected to deliver miracles. Here, in the North, you start on Monday and perform on Thursday – there’s room to breathe, to listen, to live.” That difference in tempo, he believes, transforms not only the sound of the orchestra but also the way musicians interact. The culture of rehearsal in Scandinavia allows for refinement rather than rescue – a chance to shape ideas instead of merely surviving the clock.
Copenhagen now provides the anchor to a schedule that stretches across the Nordic and Baltic regions. Life in the Danish capital, with his wife, celebrated Danish operatic soprano Sofie Elkjær Jensen and their kids, brings balance to the international pace of his career. The coming year will have a distinctly northern arc: new productions with the national opera companies of Denmark, Norway and Finland, with guest symphonic engagements across the Nordic/Baltic region as well as further south. “The North has a rhythm that makes sense to me,” Sherlock reflects. “The level in London is extraordinary, but the nervous system runs hot. Here, the pace allows for depth, for detail, and for a kind of honesty that only comes when you’re not rushing.”
The Finnish method
If Denmark has offered Sherlock the space to live, Finland has provided the means to grow. Sherlock’s time studying at the prestigious Sibelius Academy in Helsinki reshaped his understanding of the conductor’s craft, not only technically but philosophically. “You can’t truly learn conducting without an orchestra –and hiring one is expensive,” he says. “That’s why I compare it to pilot training: you need thousands of flying miles.” In Helsinki, that metaphor became literal. Students work with a full orchestra week after week, every session video recorded with successes and failures analysed afterwards. “You crash the plane, then you
go into a room and study the flight footage. Next week, you fly again,” he laughs.
The Finnish system is unique, treating time with the orchestra as a necessity rather than a luxury. No other conservatory offers young students as much podium time in front of an orchestra. It is demanding, expensive (though covered by the state), and brutally honest – yet it produces conductors with individuality who can speak through gesture. Here, Sherlock studied with some of the biggest names
in the business: Jorma Panula, Sakari Oramo, Susanna Mälkki, and in particular Hannu Lintu, whose combined influence shaped not only his technique but also his musical philosophy. “Players read intention instantly,” Sherlock explains. “You have to say more by doing less. If your eyes and hands aren’t clear, no amount of talking will save you.”
Roots, setbacks, and a new direction Before the North, there was England –and a foundation steeped in tradition.
Sherlock’s formative years were spent in choirs and conservatoire corridors: piano and organ at Chetham’s, choral rigour at Eton, and later Trinity College, Cambridge, where keyboard fluency and musicological training shaped the discipline that still underpins his work today.
Completing his training as a pianist at the Guildhall School of Music & Drama, Sherlock had a flourishing performing career before life intervened. “In late
2016, I was mugged in London,” he says, without drama. “I spent several months recovering, unable to play the piano, and something shifted in me.” The incident accelerated a shift that had been brewing for years. Conducting, once a distant idea, became the obvious path, and his acceptance into the Sibelius Academy – which admits only one student to its conducting programme each year – confirmed that he had chosen the right one.
Sound, space, and the year ahead Sherlock’s approach to conducting is grounded in communication and trust – to help the musicians feel confident and unified, not constrained. “A conductor’s job is to enable the orchestra to give its best,” he says. “You can’t force anything; you can only create the conditions for good playing.” For him, that balance of passion, precision and space is what allows the music to live and breathe.
The upcoming season reflects this philosophy. Alongside his renewed collaborations across Scandinavia and the Baltic, Sherlock is developing a production of Wagner’s Die Walküre at Lejre’s Viking hall, Kongehallen. In this exceptional place, Wagner’s Norse-inspired mythical vision fuses with real Nordic history and traditional craftsmanship. With scenery and costumes made on site using traditional methods, and performed in-the-round, “it’s about forging connections – bringing the community and the audience up close to this universal music and epic drama.”
Between opera projects, a busy schedule of symphonic concerts takes him
across Northern Europe and further afield. He feels a special connection to Latvia, with annual visits in recent years as both a soloist and a conductor with the Latvian National Symphony. “Music is such a part of the life-blood, in the nation of singers, where almost everybody’s life is somehow touched by the act of making music.” This is reflected in the nation’s outstanding concert halls, internationally renowned orchestra and state choir, and passionate audiences.
The harmony he has found in the Nordic way of life and music seems to have become a source of creative strength – a rhythm that shapes both his art and his outlook. “I was never the child prodigy, more a slow-burner,” he reflects. “But people felt the power that came from loving what I was doing. Finding that flame within is our daily search as artists: to move beyond what you need to learn technically, beyond being seen as good, and sharing what is alive inside you.”
Full calendar can be found at www.jamessherlock.me Instagram: @sherlockconducts
The next 12 months: highlights from James Sherlock’s programme in the Nordics/Baltics
Danish National Opera – La Traviata (tour continues throughout November 2025)
Danish Chamber OrchestraChristmas Tour (18 concerts around Denmark, December 2025)
Royal Danish Opera / Athelas Sinfonietta – Lisbon Floor (January 2026) and L’Heure Espagnole (March 2026)
Seinajöki Orchestra – Piano soloist & conductor, Beethoven’s Piano Concerto No. 4 (February 2026)
Latvian National Symphony Orchestra – Piano soloist & conductor, Rhapsody in Blue and Enigma Variations (February 2026)
Norwegian National Opera – The Rape of Lucretia (June 2026)
Wagner in a Viking hall @ Lejre Kongehallen – Die Walküre (June 2026)
Finnish National Opera – title to be announced (October/November 2026)
Lahti Symphony Orchestra – programme to be announced (November 2026)
By Malin Norman
Formed in 1969, Stockholm Saxophone Quartet specialises in chamber music for saxophones as well as advanced electroacoustic music, from Sweden and abroad. A common thread in its activities is working in close collaboration with Swedish and foreign composers, both established and up-and-coming, which has resulted in over 800 works composed for the quartet.
The ensemble’s current line-up consists of Mathias Karlsen Björnstad, Jörgen Pettersson, Theo Hillborg, and Linn Persson Kornhammar – a quartet that combines technical brilliance with artistic passion.
“Whether we perform a newly written work or an interpretation of a classic,
the goal is always the same: to touch, challenge, inspire and spread the joy of music,” says Linn Persson Kornhammar, who has been a member of the quartet since 2015.
With four saxophones – from soprano to baritone – and an insatiable curiosity, the quartet is challenging the norm and redefining what the saxophone can express, from intricate rhythms to lush soundscapes.
This desire for constant development has remained since the quartet’s founding. The musicians’ way of working has developed their style and skill, placing them at the forefront of their field.
“In the ensemble, we’re driven by an unbridled desire to explore and push the boundaries of what is said to be artistically possible,” says Persson Kornhammar. “We’re always looking at what we can do next. When we meet composers for future music collaborations, we give them freedom and encourage them to let their inspiration shine.”
Stockholm Saxophone Quartet is an important voice for Swedish music internationally, while bringing musical impressions home to the Swedish audience.
The quartet is well-travelled and has toured extensively throughout Europe, including the Baltics, France, Germany, Italy and Greece, as well as Asia, North and South America, and Africa. They frequently appear at international festivals such as Warsaw Autumn Festival, as well as opera houses and concert halls around the world.
Their ability to spark interest in contemporary music continues to benefit more and more people. In addition to concerts and festival performances, the ensemble is involved in educational projects, seminars and workshops, to inspire the next generation of musicians and composers to explore the potential of the saxophone and contemporary music.
They often collaborate with composers in the countries they visit to create meaningful cultural exchanges and build long-term relationships. By working with composers on location, their projects become gateways to new artistic perspectives and networks.
Recently, the quartet has been in London, recording the new album PSALMS of DOUBT and WONDERMENT, with music by Mårten Jansson and lyrics by Tony Silvestri. “We recorded with the VOCES8 Foundation, with wonderful VOCES8 Scholars and conductor Ragnar Bohlin –it’s guaranteed to be something truly special,” promises Persson Kornhammar. The album is due to be released in the summer of 2026.
Since 2016, Stockholm Saxophone Quartet has also been the driving force behind Swedish Spring Music, a weeklong festival that presents Swedish music at some of Stockholm’s leading cultural venues. “The festival has become a unique manifesto for contemporary music in Sweden and is an important forum for established and new composers, supported by Sweden’s largest cultural institutions,” adds Persson Kornhammar.
www.stockholmsax.com
Facebook: Stockholm Saxophone Quartet
Instagram: @stockholmsaxophonequartet
Selected appearances:
February 2026, Unerhörte Musik, Berlin
March 2026, Swedish Spring Music, Stockholm
July 2026, Korsholm Music Festival, Vaasa
Still a young ensemble on the Nordic music scene, the Danish Fiddle Quartet has already earned enthusiastic reviews and a nomination for Årets Nye Rootsnavn at the Danish Music Awards Roots. Formed by two experienced folk musicians and two elite classical players, the quartet brings together the rhythmic grounding of traditional fiddle music and the tone, balance and precision of chamber performance – a contemporary form of new Nordic chamber-folk with a bow in both worlds.
By Signe Hansen
The group consists of violinists Jørgen Dickmeiss and Ditte Fromseier Hockings, both widely recognised on the Danish and international folk scene, together with violist Bruno Sanches and cellist Mathilde Helding from the younger Danish classical elite. Since releasing their debut album at Tønder Festival in 2023, the quartet has performed at Windros Festival in Germany, Davinde Festival and, most recently, SPOT Festival in Aarhus, as well
as a number of churches, small halls and local classical music societies.
“It is pure folk music,” says Dickmeiss, who composed and arranged the music. “But in some pieces, I have tried to move a little away from the usual way of thinking and arranging it. It is still folk at its core, and it still has to swing like fiddle music, but it is performed in a more classical tradition.”
That same curiosity led him from Irish folk music into the Danish tradition, where he completed his studies in 2002. Since then, he has lived entirely from music, performing widely across Denmark and abroad, often in duo with his wife.
From COVID to concerts
Though highly successful in his genre, the wish to build a string-based folk quartet had played on Dickmeiss’ mind for years. “It is an old dream,” he explains. “I have made a living from folk music for many years, but I had long dreamt of playing with a string group because it is a fantastic format. It rings in a different way, and you can really dig into detail together.”
The first sketches for the project appeared just before the pandemic, and when live
performance paused, Dickmeiss, in his own words, got through COVID by composing and arranging music.
The next step was to find the right people. Dickmeiss wanted musicians who were not merely genre-curious but deeply grounded in their respective traditions. Fromseier brought the shared rhythmic instinct and vocabulary of folk playing; Helding, already known to Dickmeiss through earlier collaborations, had the sensitivity and flexibility needed to integrate that feel; and Sanches, originally from Brazil but based on Funen, completed the balance of timbre the music required. With touring on hold, rehearsals became long-form workshops – not rushed preparation but a gradual building of ensemble identity. The debut album followed soon after.
The real transition lay not in repertoire but in feel. “That was something we had to play our way into,” he says. “Bruno and Mathilde are classically trained, but they have played a lot of rhythmic music, so it was easy to work together – but we still had to find out exactly where the emphasis lies in the bowing to get the right swing and the right colour.”
In folk playing, notation is typically an optional reference rather than a command. In this quartet, however, everything is written down – though
not fixed in spirit. “In all the years I have played folk music, it has never been about notation,” Dickmeiss explains. “Here everything is written down, but there is still the same kind of freedom you have when you play by ear. I often carry the melody, and I take small liberties – not to change the piece, but to respond to how the music wants to breathe in the moment.”
At times, however, the framework of the string quartet opens up entirely, when the two violinists switch to mandolin, guitar or vocal lines, woven seamlessly into the texture of the music.
That open approach also defines other aspects of performances. The quartet aims to keep the communication of folk music intact, even when the format resembles chamber repertoire. “It is very different from the classical world,” Dickmeiss says. “In folk music, we are used to being at eye level with the audience – not separated by the stage. You feel where people are, and that closeness is part of the music. We bring that into the church or the concert hall as well.”
Recently, this approach has also been tested in more classical chamber music settings and with great success. “They were extremely happy with us,” Dickmeiss recalls of a recent performance in a local chamber music society. “It was
“It is a superb ensemble, matched by an album of the same calibre. Blending chamber music with contemporary folk, it moves so fluidly between the two that the boundaries all but dissolve,” wrote one international reviewer of the quartet’s debut album, Nattens Favn. Photo: Ard Jongsma
a good feeling to see that it also works in practice – playing for a classical audience, in a room almost made for string quartet sound.”
Looking ahead, Dickmeiss concludes; “the long-term hope is to cross into the classical world, and at the same time open the door for the audience standing on the other side of it.”
www.danishfiddlequartet.dk
Facebook: Danish Fiddle Quartet
Instagram: @danishfiddlequartet
Based in Århus, SORA has swiftly established itself among Europe’s most exciting choirs. With imaginative performances, an expressive stage language, and a series of international successes – including European championship titles in folklore and adult choir at the European Choir Games – the ensemble stands out for its ambitious, forward-thinking conductor and singers who approach amateur music with professional dedication.
By Signe Hansen | Photos: ©INTERKULTUR / Jonas Persson
Defined by movement, emotion and surprise, SORA’s concerts aim to break with preconceptions of choir music with unconventional staging and choreography. “We want to give audiences a complete experience – one that combines voice, expression and body,” says conductor Birgitte Næslund Madsen. “Once we did a performance where everyone lay down while singing, and another time they moved in circles around me. It’s about experimenting, creating moments that people haven’t seen before.”
The 50-member ensemble was formed in 2023 through the merger of two of Århus’ finest choirs, Aarhus Pigekor and EVE. Both had evolved from girls’ choirs into women’s ensembles as their singers matured, and with SORA, they joined forces to create a new musical home – and to pursue a shared ambition of becoming Denmark’s leading women’s choir.
That same curiosity guides the repertoire, which ranges from new international works to reimagined Danish folk songs. “We want to rediscover our musical roots and present them in fresh ways,” says Næslund Madsen. “It’s amazing to see how our arrangements travel – hearing choirs in the US sing Danish folk songs is both surreal and incredibly fun.”
In particular, the choir has gained attention for its award-winning video production, Elements, in which music, movement, and visuals merge to form a complete artistic expression, reaching new audiences and listeners around the world.
The choir’s growing recognition has opened doors to collaborations with composers worldwide, invitations to major stages, and a growing number of bookings for corporate events. Still, ambitions are expanding. Having been ranked in the
top ten of all male and female choirs on Interkultur’s international list, it is now preparing to participate in the World Choir Games in August next year.
www.koretsora.com
Instagram: @koretsora
YouTube: @koretsora
Upcoming performances: Musikhuset, Århus
Christmas concert: SORA, Maestra og Aarhus Pigekor.
13 December 2025, 7.30pm
Skt. Michaelis, Hamburg
Nordic Christmas concert
15 December 2025, with performances at 2pm, 5pm, and 8pm
Ikast Kirke
Christmas concert
Saturday 20 December 2025, at 3.30pm
Carl-Henning Pedersen & Else Alfelts Museum is one of a small number of artist museums in Denmark. The iconic museum building opened in 1976 and was designed by the renowned C. F. Møller Architects.
The circular main building blends harmoniously into the area’s geometric landscape laid out by the landscape architect C. Th. Sørensen.
C.F. Møller Architects has overseen several expansions of the museum since it opened –most recently in 2015, when the museum was linked to the circular “Angli” building, originally built in 1965 as a textile factory by the same practice.
Carl-Henning Pedersen & Else Alfelts Museum www.chpeamuseum.dk
By Signe Hansen
Whether you are looking to shop for handmade gifts, ice skate, or savour traditional Norwegian Christmas treats, you will find what you are looking for in the Christmas city of Kristiansand in Southern Norway. Here, children meet Father Christmas, couples skate hand in hand, and families gather around the food stalls serving comforting winter fare.
“The whole city is decorated for Christmas,” says Mona Konuralp at Visit Southern Norway. “It’s not just the market – it’s the lights, the trees, the atmosphere. Everything is close by, and it feels intimate, authentic, and very Norwegian.”
Located at the centre of Kristiansand, the main market is at the heart of the experience, transforming the city’s main square,
Torvet, into a lively Christmas village throughout the festive season
Christmas for all the senses
Attracting a host of local producers, the Christmas market offers a mix of handmade crafts, textiles and ornaments, while food stalls tempt visitors with grilled sausages, creamy hot chocolate,
and the region’s traditional shortbread, kakemenn.
“In the big market on the square, you’ll find genuine local products that make for the perfect Christmas gifts. People come from all over Sørlandet with knitted blankets, ceramics and beautiful decorations,” explains Konuralp. “Moreover, with the current valuta, guests from outside Norway can buy some extra nice presents.”
The market also celebrates regional flavours, offering a chance to try the world’s best cheese, Rødlin from Tjamsland Gård – gold winner of the World Cheese Awards – alongside other Norwegian cheeses and cured meats. “You can even buy what will probably be the longest grilled sausage you’ve ever had – fifty centimetres - if you’re really hungry,” she adds with a laugh.
As evening falls, Torvet glows beneath a spectacular 3D light show projected onto the façade of Kristiansand Cathedral.
Families gather in the crisp winter air to watch colours and music transform the church into a living canvas.
Nearby, the ice rink remains one of the season’s highlights. Open daily throughout the winter, it welcomes skaters of all ages – and those without skates can borrow a pair for free. “It’s wonderful to see people who haven’t skated for years trying again,” says Konuralp. “It becomes a meeting place for the whole city.”
While the main market is open throughout December, a number of smaller markets pop up for shorter periods during the festive season. In Posebyen, the city’s historic quarter of white wooden houses, the Posebyhaven Christmas Market fills courtyards and workshops with the scent of marzipan, sourdough bread and mulled wine. Local artisans –from hatmakers to ceramicists – open their studios for a single day, creating a unique village-like atmosphere.
For those travelling with little ones, the Christmas market at Kristiansand Museum may also be just the thing. Here, visitors step into a traditional Christmas scene among old timber houses in the open-air heritage park, where crafts, folk music and children’s activities recreate the celebrations of earlier centuries.
Finally, at Kunstsilo, the Designernes Julemarked showcases regional designers and artists selling ceramics, jewellery and textiles – perfect for finding a one-ofa-kind gift. Originally an enormous grain
silo, the art museum itself is a must-visit attraction in Kristiansand. It opened in 2024 and has already gained international attention, even being listed by Time Magazine as one of the world’s must-see destinations that year.
A musical waterfront Christmas
Defined by its stunning waterfront, Kristiansand also offers visitors a maritime Christmas vibe, with the festive spirit continuing into the picturesque harbour district Fiskebrygga. Here, fishmongers sell fresh seafood to take away or enjoy by the quay – from traditional fishcakes to delicately smoked trout and warm-smoked salmon, both local specialities.
Visitors can also extend their culinary adventure by dining at one of the city’s many restaurants, where festive menus feature juletorsk (Christmas cod) and roast pork with soured cabbage – classic Norwegian Christmas dishes served in warm, cosy surroundings.
Another key ingredient in the Christmas magic is Kristiansand’s many cultural and music events. The Kilden Performing Arts Centre presents an extensive Christmas programme each year, from orchestral concerts to festive theatre. In Kristiansand Cathedral, Handel’s Messiah and traditional carols fill the vaulted space with sound and light.
“It’s a wonderful time to experience culture in Kristiansand,” says Konuralp. “The concerts, the lights, the food – everything comes together to create a truly special Christmas feeling.”
Highlights from the 2025 Christmas programme
Kristiansand Christmas Market and ice rink (Torvet) Market open 29 November – 22 December
Ice rink open throughout the winter.
Designernes Julemarked (Kunstsilo), 29 – 30 November
Regional designers and makers offering jewellery, ceramics and contemporary Norwegian design.
Kristiansand Museum Christmas Market, 30 November
Traditional outdoor market among historical buildings with crafts, music and family activities.
Posebyhaven Christmas Market (Posebyen), 29 – 30 November
A two-day market in the old city’s courtyards and workshops featuring handmade goods and festive treats.
www.visitsorlandet.com
Facebook: visitsorlandet
Instagram: @visitsorlandet
A visit to one of Sweden’s 54 leading spa hotels is an invitation to disconnect from screens and reconnect with yourself. Stepping offline, even for a short stay, can feel like a luxury – not because it is extravagant, but because it gives back time, presence and quiet.
By Sara Hellgren, head of marketing, Svenska Spahotell
We are almost always connected, which makes it feel like a true luxury to switch off for a while. At Sweden’s leading spa hotels, your phone can rest in the room while you enjoy a cup of tea by the fireplace, a soothing massage, or a warm sauna with time simply for yourself. Exclusivity here is not about glitter or glamour, it is about calm, care, and the feeling that life suddenly slows down.
Some spa hotels are beautifully surrounded by lakes and forests, others are located in charming towns or along the coast, but all share the same focus: creating space for rest and recovery. When combined with hot and cold baths, beneficial treatments, and delicious, nourishing food, the experience becomes something truly memorable.
A visit to a Swedish spa hotel is more than just a break from everyday life – it is a reset, a chance to restore balance, recharge your energy, and return home refreshed, present, and inspired.
Svenska Spahotell – the 54 leading spa hotels of Sweden. Svenska Spahotell is an association for high-quality facilities with spa operations in Sweden. For membership, criteria within four cornerstones need to be fulfilled; physical activity, relaxation, nourishing nutrition, and beneficial spa treatments – in the right balance. For guests, a facility’s membership is a guarantee for a highclass range of treatments and activities carried out by well-trained staff.
Frösö Park Hotel welcomes guests with an atmosphere inspired by the nature of Jämtland. With a stunning view of the mountains, you can lower your heart rate in the modern spa and find recovery from the hustle and bustle of everyday life, or raise your pulse with the fun activities on offer.
By Malin Norman | Photos: Frösö Park Hotel
Idyllically located on the island of Frösön outside Östersund, next to Lake Storsjön and framed by the striking mountain range Oviksfjällen, the feel-good Frösö Park Hotel embodies the perfect destination for nature and spa lovers.
The key words are pulse and pause – to find relaxation in your own way, as explained by Jeanette Jansson, Spa and Hotel manager. “Some of us need to wind down in order to find relaxation, others relax through pulse-raising activities –this is why we offer both for our guests.”
The spa concept takes inspiration from the mythical Scandinavian nature of
Jämtland county, evoking the soothing sensations of flowing rivers and misty lakeside mornings. Locally produced music is present in the spa, with ele -
ments from the area such as yoiking, singing birds and other sounds of nature. “Through scents, sounds, temperature and feelings, you will experience Jämtland’s nature and ancient health traditions,” says Jansson.
The theme of Jämtland runs through everything in the spa, from the organic smoothie menu with names written in Jamtlandic, the local language, to the thought behind the spa rituals. On the treatment menu, you will find products based on blueberries, cloudberries and lingonberries, the three signature berries from Jämtland, and to find a whole berry in a body scrub is not unusual.
An appreciative guest praises the concept, which also features locally-produced furniture and fabrics; “The power of the land where we live, together with the tranquillity of nature and the mountains that are ever-present, makes Frösö Park a magical place.”
At the award-winning spa, you will find the latest in modern spa treatments manifested together with local health traditions, magnificent nature and of course also the Jämtland climate that both tests and seduces you.
The 1200-square-metre spa is spread across two floors. The spa shop and lounge area are located on the first floor, where you can relax in comfortable armchairs in front of the open fire and buy something delicious to eat from the spa menu. Take the stairs or the lift to the second floor to access the spa area, and discover all sensations of Jämtland through hot baths and cold dips, four types of saunas, and treatments with organic products from c/o Gerd and Èminence Organics.
This spa is designed to help body and soul find their balance. One guest says: “When checking out, I have replenished the reserves in my body, soul and mind. It’s like stopping in the middle of everyday life and taking a deep breath of fresh air.”
Luxurious getaways and top-notch cuisine
If you need a break from everyday life, or a pause before the Christmas celebrations, the hotel offers several affordable packages and concepts with elements of spa, exercise, and culinary experiences at Restaurang Frösö Park.
“The Overnight Spa Deluxe Package is a luxurious getaway for those who want to take the pleasure all the way, let your body rest and recover, alone or with someone you love,” says Jansson.
“You get to experience the best that the hotel has to offer, as well as a complete spa experience with treatment and spa ritual.”
The hotel offers plenty of opportunities for exercise and activity too. For something beyond your usual gym session, try the outdoor gym, an obstacle course, yoga, meditation, disc golf, running on nature trails or cycling in the forest and terrain. The mountains are just around the corner, offering even more opportunities for adventure. Within two hours, you can reach Åre, Vemdalen, Bydalen and Storhogna – some of Jämtland’s most beloved destinations.
www.frosoparkhotel.se
Facebook: Frösö Park Hotel
Instagram: @frosoparkhotel
In the heart of Stockholm’s Vasastan district, beneath the elegant façade of Elite Palace Hotel, lies Vana Spa – a tranquil urban escape where time seems to slow. With its soothing pools, refined design, and tailored treatments, the spa offers a haven for guests seeking balance, rest and renewal amid the city’s pulse.
By Signe Hansen | Photos: Elite Palace Hotel
Vana Spa opened in 2020 as part of a vision to create a modern oasis within the capital. “From the moment our guests step inside, we want them to feel how the tempo softens and the world outside fades away,” says Pernille Lagerkvist,
spa director, Vana Spa. “The feeling we strive for is a harmonious blend of elegance, serenity, and recovery – so that every visitor leaves both physically and mentally restored.”
The atmosphere is built through thoughtful detail. Natural materials, muted tones, gentle lighting, and carefully selected scents and music combine to create what Lagerkvist calls an elegant environment. “It’s not just about design,” she explains. “It’s about the total experience – how every sense is engaged to create exclusivity and balance.”
Guests can unwind in the tranquil pool or hydromassage Jacuzzi, breathe deeply in the steam and dry saunas, or retreat to the
quiet zone – a dimly lit space for still meditation. A 300-square-metre gym invites those seeking to complement relaxation with movement, while five treatment rooms offer Vana’s signature rituals for face and body.
Among the most popular experiences are the Duo Spa Retreat, a romantic escape for two featuring a joint treatment, and the Family Get Away, where parents enjoy the spa while children play at the nearby Palace Playground – a combination Lagerkvist describes as “relaxation and joy for the whole family.”
Together with Elite Palace Hotel’s 382 rooms, two popular restaurants, and warm hospitality, Vana Spa Vasastan forms a complete experience of urban well-being – where calm, care, and contemporary elegance meet in perfect harmony.
www.elite.se/en/vana-spa/stockholm/ vana-spa-vasastan
The award-winning spa hotel Vadstena Klosterhotel is an oasis of tranquillity, for body and soul. This is a retreat-like destination where you can switch off and relax, and also explore the culture, history and beautiful surroundings of Vadstena. New this year is a yoga and wellness studio, where guests can find inspiration, relaxation and community.
By Malin Norman | Photos: Vadstena Klosterhotel
Vadstena Klosterhotel is a meeting place as well as a sanctuary for relaxation and inner peace, with an award-winning spa. “This is a place to stay for a bit longer and enjoy the tranquillity, whilst exploring the surroundings,” says Sofia Lindholm, spa manager. “Vadstena has a rich history and an elaborate cultural programme, in a beautiful setting – we call it the city of experiences.”
This year, Vadstena Klosterhotel opens a wellness and yoga studio. “The studio is an extension of our spa and hotel, designed as a welcoming retreat where guests can find inspiration, relaxation and community,” says Lindholm. “You can enjoy peace and quiet with us, and combine it with exciting experiences for all the senses. When you leave, you will have gained something to bring home, something a bit deeper.”
40th anniversary and celebrated wine cellar
This spa hotel is very much a family affair, with the Milton family running the business for the past 40 years. In celebration of its 40th anniversary, Vadstena Klosterhotel offers a not-to-be-missed anniversary package: a weekend filled with history, culinary surprises, and relaxation. Another fabulous weekend awaits with the spa package called Kura Skymning, which includes luxurious treatments for mind and soul, a must for all spa lovers, and an amazing evening concert in the monastery church.
Many guests are drawn to the hotel because of its outstanding wine cellar, which dates back to 1384. Impressively, the cellar has been awarded a red star in Star Wine List. “Our wines are carefully selected by experts, and we are delighted to be
part of this prestigious network of wine bars and wine restaurants worldwide,” smiles Lindholm.
The Milton family focuses on relaxing, meaningful experiences for guests, a time for contemplation if you will. Earlier this year, the family also opened a small boutique hotel nearby, which will be refurbished in phases, with a restaurant, a catering kitchen, and a bakery. Another highlight to explore in Vadstena, no doubt.
www.klosterhotel.se
Facebook: Vadstena Klosterhotel & SPA
Instagram: @klosterhotellet
MARIA ÅKERBERG has been redefining skincare through a holistic approach to beauty and well-being for more than 30 years, long before sustainability became a global concern. The Swedish brand is pioneering cleaner formulas, transparency and natural ingredients with products that enhance the natural defences of the skin – for a healthier, happier and more luminous self.
By Nina Bressler | Photos: Maria Åkerberg
When Maria Åkerberg, founder and CEO of MARIA ÅKERBERG, embarked on her skincare journey, the beauty landscape looked very different from today: ingredients were hidden and most products relied heavily on synthetic chemicals. Inspired by her grandmother, who crafted homemade natural beauty and health remedies, Maria set out to prove that true beauty comes from nature itself. “My grandmother’s ethos is infused into the brand, using plants and herbs with qualities that have real effects. Our products are made to help the skin help itself with ingredients that nourish, moisturise and restore its natural protective barrier,” says Åkerberg.
Today, the brand offers a complete range of facial, body, hair and baby care to makeup and men’s grooming products. Each formula combines vitamins, anti-
oxidants, salts, lactic acids and natural preservatives from ingredients commonly found in nature: red clover, nettle, juniper berry, horse-chestnut, honey, beeswax, algae, clay, sunflower oil – researched and refined for skincare with visible, lasting results.
With deep roots in the Scandinavian climate, MARIA ÅKERBERG developed its own philosophy and method, Deepskin Organics®, to address the change in seasons. The skin consists of different layers and the method is adapted to nourish accordingly when temperatures drop to freezing – from the right cleanser, exfoliation, face mask, serum, day and night creams, and sun protection.
“Skincare should change just as we adapt our clothing to the seasons. While serums and creams provide summer skin
with essential moisture, oils and thick balms protect it against cold and wind during winter. Our products are designed to work together – to soothe, protect and strengthen the skin, reflecting our belief in the holistic connection between body, mind and nature,” says Åkerberg.
MARIA ÅKERBERG continues to trailblaze the market for conscious beauty with skincare powered by nature, science and a true belief in making a positive impact on both people and the planet.
www.mariaakerberg.com
Instagram: @mariaakerbergsweden
With a focus on wild herbs and berries from Swedish Lapland, c/o Gerd creates outstanding natural and organic beauty products. Its award-winning aluminium chloride-free deodorant is a sure hit, as well as the acclaimed serums and face oils –all made sustainably in Jokkmokk.
By Malin Norman | Photos: c/o Gerd
Established by Anna-Lena Wiklund Rippert and Johan Wiklund in 2008, the philosophy behind beauty brand c/o Gerd is to inspire a healthier way of living. The active ingredients in its products derive from berry seed oils, mainly from blueberries, lingonberries and cloudberries – picked deep in Lapland’s forests.
Named after the sibling’s mother, Gerd, the brand was founded out of a love for nature and a desire to make the beauty industry more sustainable. Since then, c/o Gerd has been developing beauty products of the highest quality – to make a difference, for real. “Born and raised in Jokkmokk, we grew up surrounded by nature, and we’re used to being one with
nature, long before circular thinking became a thing,” says co-founder Johan, who is also the company’s CEO.
Today, c/o Gerd is one of Sweden’s leading organic beauty brands, with its production based in Jokkmokk. “Our vision has remained the same since the beginning,” says Johan. “Our work is guided by the core values of protecting nature, animals and people. These values guide our decisions regarding raw materials, product development, and production.”
The siblings behind c/o Gerd both have a background in skincare. Anna-Lena is a certified skin and spa therapist, massage therapist, and medical foot care specialist, while Johan is a hairdresser. They have also studied chemistry with a focus on cosmetic formulation. “All products are made from a therapist’s point of view with functionality at the core,” explains Johan.
The brand’s most well-known product is the aluminium chloride-free deodorant, which was awarded Best Made in Scandinavia at the Organic Beauty Awards in 2024. “This recognition confirms our commitment to quality and sustainability in our product development,” says Johan. Other awards include Best Beauty Product by Amelia Magazine, Product of the Year Runner-Up at the Organic Beauty Awards, and Best Deodorant by Aftonbladet
A natural aluminium-free deodorant contains only natural ingredients that are not harmful to people, animals, or nature. Common ingredients in aluminium-free deodorants include minerals, essential oils, and vegetable oils. The deodorant is also free from alcohol and parabens, and offers long-lasting protection without compromising on freshness.
The deodorant by c/o Gerd is currently available in the scents Unisex, inspired
by walks in the forest, the fresh Cloudberry, and the fragrance-free 24/7 Neutral. Two different concepts are offered: the popular sugar cane tubes, and the refillable deodorants.
The founders believe in a holistic approach to beauty, wellness on the inside as well as the outside. “Ultimately, it’s about having a healthy lifestyle – taking care of yourself, getting enough sleep, eating nutritious food, and of course using great beauty products,” believes Johan.
When asked about other top products in the line-up, the CEO recommends Hyaluronic Serum Skin Boost and Night Elixir Bio-Retinol. “Our organic hyaluronic serum is a deeply hydrating serum that reduces fine lines and increases skin elasticity,” he says. “Various factors such as age, stress, and excessive UV exposure can affect our skin’s ability to produce its own hyaluronic acid. Therefore, we need
to include it in our skincare routine to maintain the skin’s vitality.”
The night serum formulated with bakuchiol, lingonberry seed oil and squalane provides an even skin tone and reduced pores, without irritation. Johan explains: “The ingredients work together to visibly improve skin texture, reduce fine lines, minimise large pores, and provide a calming and balancing effect, leaving your skin feeling healthy, hydrated, and radiant every morning.”
Whilst Sweden is the main market, closely followed by Japan, c/o Gerd also has a big presence in the rest of Scandinavia, Belgium and the Netherlands, as well as Germany and the US. The brand’s vision for the future is to align with the digital revolution by introducing new technology, and continuing to produce relevant products made with ingredients from the Nordic nature.
Production still takes place in Jokkmokk, in one of the world’s northernmost beauty factories. “Some people raise their eyebrows when we tell them that our factory is located in the heart of Swedish Lapland,” smiles Johan. “We’re proud to have helped put Jokkmokk on the map.”
careofgerd.se
Facebook: Care of Gerd
Instagram: @careofgerd
Born from a passion for colour, design, and self-expression, FACE Stockholm has spent over four decades redefining what beauty can feel like – warm, human, and playfully personal. Founded by Swedish visionary Gun Nowak and now led alongside her daughter Martina Arfwidson, the brand continues to celebrate individuality through creativity and connection.
By Malin Norman | Photos: FACE Stockholm
When Gun opened the first FACE Stockholm store in 1982, the beauty landscape was surprisingly beige. The bold fashion and expressive spirit of the 1980s were not reflected in makeup – so she decided to create her own. With an instinct for style and an entrepreneurial spark, Gun filled her shop with an unprecedented spectrum of shades, transforming her passion for fashion and design into something entirely new.
“It was unheard of then for an individual to open a standalone makeup store,” says Martina. “My mother was an innovator –she saw what was missing and created a space that reflected her joy in colour, expression and beauty.”
From that first boutique in Stockholm, FACE Stockholm quickly became known for its vibrant palettes, playful spirit, and welcoming atmosphere. Customers were
encouraged to touch, test, and explore –an unusually generous concept at the time that remains central to the brand today.
A creative partnership built on connection
In the early 1990s, Martina joined her mother in the business after pursuing a career in music in New York. What began as a collaboration between generations has since become a lifelong creative partnership – one rooted in shared curiosity, humour, and deep respect.
“We’ve grown together through this brand,” says Martina. “It’s taken us all over the world. We’ve had so many adventures and we’ve met so many incredible people!”
Together, Gun and Martina have built FACE Stockholm around a simple belief: beauty is not something you perform – it is something you live. The brand reflects the Swedish approach to design and life itself – elegant, intentional, and infused with warmth.
More than makeup – an experience
At FACE Stockholm, makeup is not about masking; it is about presence and play. The brand’s philosophy honours real skin, real colour, and the emotional shift that happens when you swipe on a lipstick or let a makeup artist show you something new.
“Our stores have always been places to linger,” says Martina. “People come in to try something, and they end up having a conversation, a laugh, or a little transformation. That sense of connection — that’s what FACE has always been about.”
Today, FACE Stockholm’s in-store services are a cornerstone of that experience. From everyday applications to bridal makeup, events, and private group classes, the artistry remains as personal as ever. Each appointment is an invitation to experiment and rediscover the joy of colour – guided by expert hands and a generous spirit.
Rooted in Sweden, thriving globally
Once known for its 85 stores worldwide, FACE Stockholm has evolved into a modern, dynamic brand with a refined retail presence and a rapidly expanding online business. By focusing on direct connection with customers through digital channels and curated in-person experiences, the company has turned transformation into growth.
With flagship locations in Hudson, New York, and Stockholm, FACE Stockholm continues to reflect the founders’ love of design and detail – where modern Scandinavian minimalism meets warmth, art, and light. The same thoughtful aesthetic extends to the brand’s online world, where storytelling, seasonal collections, and lifestyle content engage a global audience and celebrate the beauty of individuality.
A family, a team, a lifelong journey
After more than 40 years, FACE Stockholm remains proudly family-owned and guided by the same creative force that began it all. Gun and Martina continue to lead with instinct and passion, supported by a close-knit team who share their commitment to beauty, service, and authenticity.
“It’s been a life journey for both of us,” says Martina. “Working together as mother and daughter – and with a team that feels like family – has been such a privilege.”
As FACE Stockholm looks toward the future, the vision is simple: to keep doing what brings joy. Thoughtful collaborations, curated, one of a kind selection of lifestyle goods, and new product lines are in the works. “If we could do anything, it would still be this,” says Martina. “FACE Stockholm has never just been a business – it’s a way of life, an expression of who we are.”
eu.facestockholm.com
Facebook: FACE Stockholm Instagram: @facestockholm
From a small hillside farm in Western Norway, Vossabia has spent two decades quietly pioneering a natural skincare rooted in a holistic approach to health, with beehives, flower meadows and hand-picked herbs forming the basis of every recipe. Last year, its commitment was recognised when Vossabia received the Excellence Award at the European Natural Beauty Awards, honouring not only its innovation but also its endurance.
By Signe Hansen
Vossabia’s story is inseparable from its landscape. The company is centred on an old farm in Voss, ringed by meadows and forest, where bees, herbs and agricultural traditions still form part of a living ecological cycle. “We use what already thrives around us,” explains founder and CEO Renate Lunde. “We keep bees, harvest wild plants, grow organic herbs and maintain meadows with high biodiversity –all of this becomes part of our skin and hair products.”
The work is rooted in a holistic approach to health, and every recipe is built on the nutritional power of medicinal plants, beeswax and honey. “It’s about nourishing and strengthening people while using nature with care,” she adds.
About health and nourishment
The business grew out of a deep personal shift. After returning to the farm to support her mother, who not long after passed away from cancer, Lunde soon
faced her own health challenges. Those years prompted a rethinking of how she lived and worked, and slowly the farm became both refuge and resource. What began as making healthy, plant-based products for her family evolved organically into a livelihood.
In the early days, she sold honey at local markets; skincare emerged not from a commercial plan but from exploration. “It wasn’t about branding,” she recalls, “but necessity and curiosity.” Reading studies on honey, beeswax and herbal medicine convinced her she could draw on the farm’s ecology to improve health. As she tended the hives and restored the meadows, she began to notice how quickly people responded to the products. “Customers told me how well they worked for skin issues,” she says, and
the hobby steadily transformed into a company.
What continued to surprise her was the relief people experienced. Clients reported improvement not only in eczema, rosacea and psoriasis, but also pain, children’s growing aches, sore baby skin, menopausal discomfort, and even increased sexual wellbeing and confidence. Amongst numerous raving reviews, one customer suffering from rosacea writes: “Thanks to the Tindved and Nesle salve, I now go without foundation for the first time in my adult life and actually feel fresh. I get compliments on my natural glow, and my skin is calmer, stronger and more resilient day by day.”
“Their feedback is a huge part of the motivation,” Lunde says. “It reminds me why it matters to get ‘nature on the skin’ in a deep and nourishing way.” That philosophy still shapes the formulations today as products are never diluted with water, but only based on plants prepared in different ways together with beeswax. “I see our products as food – food that works from the outside in,” Lunde says.
Taking care of nature
The approach to sustainability is similarly grounded. Rather than treating it as a label, Vossabia works from the premise that long-term care for human health and ecological health are the same task. “For me, it’s about strengthening people while also protecting nature,” Lunde ex-
plains. By sourcing external ingredients only from certified organic producers, the brand maintains soil stewardship as a guiding principle.
Sharing knowledge is central to this idea. Education, she believes, is part of ecological impact: “If we combine care for biodiversity with awareness, our impact becomes much larger than if we worked quietly on our own.”
The bees at the centre
The bees remain at the heart of the company. “This hard gold from the hive is perfectly composed,” Lunde says of beeswax. “It protects, breathes and keeps moisture without clogging the skin.” For the first decade, all wax came from her own hives; even now, external sourcing is limited to trusted organic beekeepers.
Honey keeps the brand tied to place, as do the botanicals that give each product its character. Nettle is especially meaningful to Lunde – resilient, mineral-rich, and growing freely without intervention. It is at the core of one of Vossabia’s
most-loved products. “Our Shampoo with Wild Herbs is a favourite. We walk outside, gather nettle and horsetail just 100 metres from the house, brew a strong herbal infusion and turn it into a shampoo that people become loyal to.”
The meadow plants – red clover, yarrow, St John’s wort, meadowsweet and roses –alongside juniper from the forest and Rhodiola from the mountains, illustrate the same guiding belief: what grows in ecological harmony nourishes in ecological harmony.
www.vossabia.no
Facebook: hudpleie
Instagram: @vossabia
Vossabia’s guide to winter skincare
Strengthen the skin barrier with rich, plant-based protection.
Choose un-watered formulations that nourish rather than dilute.
Use Tindved & Nesle daily as a face cream for a strong, resilient barrier.
On cold, windy days switch to Kuldekrem, which also contains a natural sun filter.
For winter haircare, combine Rosmarin Hair Serum with Shampoo with Wild Herbs to soothe and protect scalp and hair.
Let seasonal nourishment work from the outside in, using the plants the body recognise.
Combining world-leading Korean biotechnology with Scandinavian values of transparency and quality, QKorean Cosmetics is redefining what premium skincare means in Norway and beyond.
By Maria Sødal Vole | Photos: Christian Trustrup
Bringing world-class Korean innovation to Scandinavia, QKorean Cosmetics stands out as one of Norway’s leading skincare brands – a trusted name known for uncompromising quality, visible results, and a heartfelt dedication to skin health. Founded by husband-andwife team Alexandra and Robin Matei Amundsen, the brand bridges the gap between advanced Korean biotechnology and Nordic values of purity, transparency, and trust.
Since launching four years ago, QKorean Cosmetics has redefined what quality skincare means in the Nordics. Built from scratch, without investors but with passion, integrity, and deep respect for its customers, the brand has grown into a community built on results and relationships – not fleeting trends or empty promises.
“Our philosophy has always been about trust, quality, and authenticity,” Alexandra says. “We don’t chase hype. We focus on what truly works, what’s scientifically
proven, and what helps people feel confident in their own skin.”
The intersection of science and soul With a carefully curated range of 87 products, QKorean Cosmetics focuses on depth, not volume – ensuring that every product is thoroughly researched, tested, and selected for its efficacy. Combining cutting-edge research with clean, gentle ingredients, each formula is designed to restore skin balance, strengthen the barrier, and deliver long-term results.
“Our focus has always been on quality over quantity. We’re very precise in our approach to skincare,” Alexandra says. “Every customer is unique, and they deserve individual guidance and solutions that are tailored to their skin type, their current concerns and long-term goals. We believe that this personal touch sets us apart and has built loyal customers who trust us and our products.”
The brand benefits from an exclusive relationship with the prestigious Korean producer HLB Global/HLB Life & Health-
care, known for developing medical innovations, including cancer treatments. This gives the brand a distinctively scientific and trustworthy foundation within skincare. A firm scientific foundation sets QKorean Cosmetics apart from traditional beauty brands, combining medical-grade innovation with a philosophy of gentle, natural care.
Among QKC’s most celebrated innovations is Cellvane, a high-performance anti-aging line powered by PDRN, a molecule derived from salmon DNA known for its ability to repair, regenerate, and rejuvenate the skin on a cellular level.
“South Korea is at least 20 years ahead of Europe when it comes to skincare innovation,” Alexandra says. “Working closely with such a reputable producer gives us full confidence in the safety, effectiveness, and long-term benefits of every product we offer.”
Perhaps it comes as no surprise that Korean skincare would be such a hit on the Scandinavian market. K-beauty products are known for their efficacy and gentleness, and many Nordic consumers value pure and natural products that provide results without relying on harmful or unnecessary additives.
“These products are simply the best on the market – the results speak for themselves,” Alexandra says. “The feedback
we get from our customers is so motivating to us. We get people of all ages raving about how our products have improved the look and feel of their skin.”
A brand with a purpose
Beyond science, QKorean Cosmetics is driven by purpose. The company champions skin confidence over perfection and promotes realistic, healthy beauty standards in an industry often dominated by filters and quick fixes.
“We believe that real beauty is about healthy skin, not flawless skin,” says Alexandra. “As a mother of daughters, it’s important to me that we shift the conversation away from unattainable ideals. True skincare should nurture, protect, and empower.”
The family-run business has seen remarkable growth over the past few years. In fact, Alexandra was honoured as a finalist in the Growth Business of the Year category at HER Awards 2025, which celebrates female entrepreneurs igniting change.
“Since the start, we have aspired to be a source of inspiration for those who want to feel good in their own skin. We encourage people to embrace and celebrate their natural skin,” she says. “Our goals as a business aren’t just about supplying our products – our vision is to inspire, to share knowledge, and to be a force for good within the skincare industry.”
Every product from QKorean Cosmetics is vegan, cruelty-free, and eco-conscious, featuring clean formulations and sustainable packaging made from soy rice materials. The brand’s commitment to sustainability runs through every decision – from ingredient sourcing to customer education.
“From the very beginning, we wanted to build something that would last,” Alexandra adds. “Not just a brand, but a movement for better skincare, built on trust, transparency, and love for what we do.”
www.qkoreancosmetics.no
Facebook: QKoreanCosmetics.no
Instagram: @qkoreancosmetics.no
Remote, still, and starkly beautiful, Svalbard sits at the edge of the inhabitable world. Here, glaciers meet sea ice, polar bears patrol the floes, and silence stretches for miles. Founded by a professional wildlife photographer, Arctic Wildlife Tours allows visitors to explore and capture this haven in the safe, expert hands of its guides.
By Signe Hansen | Photos: Svein Wik/Arctic Wildlife Tours
As a recognised wildlife photographer, Svein Wik, founder of Arctic Wildlife Tours, has spent two decades exploring and becoming familiar with the landscape of Svalbard. He and his team run small, respectful tours that help guests experience – and preserve – the Arctic’s wildlife and wild places.
“We do everything on the wildlife’s terms,” says Wik. “We often stop the engine and drift so it’s completely quiet. If we’re patient and respectful, the moments come to us.” Through this approach, Wik has
given guests from all over the world oncein-a-lifetime experiences.
From photographer to expedition leader Wik first travelled to Svalbard in 2005, drawn by its remoteness, stunning wildlife, and unique photo opportunities. A Norwegian raised with hunting and hiking, he brought practical field skills with him – the ability to read terrain and weather, to handle a rifle for polar-bear safety, and to move in wildlife habitats without causing stress. Later, the tour organisation began, almost by accident:
a few photo trips in 2012, with articles and images sold on the side, and then, by 2016, a full commitment to building a company with a clear philosophy.
Today, based in mainland Norway with a subsidiary in Svalbard, Arctic Wildlife Tours focuses on the high Arctic, mainly Svalbard, with additional expeditions to Greenland and the Canadian Arctic. The groups are deliberately small – typically a maximum of 12 guests – which is essential for both photography and low-impact wildlife viewing. “When working with wildlife, there are a lot of things you can’t do with big groups,” Wik explains. “Small numbers mean that we can keep it exclusive, safe and considerate.”
The focus on safety is also reflected in the tour programme. Guests receive de-
tailed briefings on behaviour on deck and ashore, how to move around wildlife, and what to do in the unlikely event that a polar bear approaches. The team supplies outer layers and flotation suits, uses life vests in the zodiacs, and plans operations with conservative margins. “Security is a high priority,” Wik notes. “If you take precautions, the chance of a dangerous situation is very small. I only ever had to scare off a polar bear once, on land.”
Life on board – exploring Svalbard respectfully
Arctic Wildlife Tours runs around 15 Svalbard voyages each year, with a similar programme planned for next year. The tours vary with the seasons. April offers the full wonder of Arctic winter, everything frozen and still. May–June still feels like winter: sea ice lingers, light swings through sunrise and sunset, and wildlife activity builds day by day. July–August opens routes into the pack ice, a different world altogether, while late September–October brings fewer animals but dramatic light, fresh snow and new ice forming.
No matter the season, the tours are characterised by an unhurried respectful pace. Most exploration happens from the ship and by zodiac, with occasional landings at safe, permitted sites. Routes are chosen with input from local guides and longtime Arctic specialists, avoiding sensitive nesting and denning areas. Encounters are never staged or chased. “We’re in their habitat,” says Wik. “We want good
pictures, but we don’t push animals. If you spend time, you’ll get the picture.”
Guests range from committed photographers – including professionals – to travellers with only a phone camera, who simply want to be close to the elements. Either way, the experience is the same: long, quiet hours among ice and coastline, learning how wildlife responds to respectful distance, and how sound – even a door slam – can change behaviour. The aim is not just to show Svalbard, but to teach how to be in it.
Moments you never forget
Wik is clear that the most powerful memories are often the quietest. One night, the crew shut down the engine and drifted in the ice. By morning, a polar bear was sleeping on the floe beside the ship – undisturbed and unthreatening. As guests woke and came onto the deck, they watched in awe and silence until the animal woke and walked calmly back into the pack ice. “It’s their world,” he says. “If we behave well, we can be there without changing it.”
He is equally candid about the effects of climate change. Over many seasons, he has watched glaciers retreat and ice patterns shift, while wildlife adapts. The message on board balances wonder with context: how the ice moves, why bears and birds follow it, and what visitors can do to reduce disturbance. The principle is consistent across all destinations – Svalbard, Greenland, or the Canadian Arctic:
small groups, patient observation, and expertise that keep both guests and animals comfortable.
For those drawn to space, silence and authentic wildlife encounters, Arctic Wildlife Tours offers a considered way to experience the far north. To learn more – or to join a small-group voyage – visit the channels below.
www.arcticwildlifetours.com
Facebook: arcticwildlifetours
Instagram: @arcticwildlifetours
Lofoten International Art Festival, an award-winning biennial for contemporary art in Northern Norway, is a vibrant meeting place for artists, curators, and audiences. The next edition will take place in 2027, with an extensive programme yet to be announced.
By Malin Norman | Photos: North Norwegian Art Centre / Kjell Ove Storvik
The varied programme, which is free to attend for everyone, includes exhibitions, performances, artist talks and lectures, concerts and workshops. Over the years, Lofoten International Art Festival ‒ LIAF has presented artists such as Gillian Wearing, Olafur Eliasson, Tori Wrånes, Mari Slaattelid, Kanwar, David Horvitz, Mahmoud Khaled, Karl Larsson, Shilpa Gupta, Lisa Tan, and many more.
“LIAF is the longest-running art biennial in Scandinavia,” says Karolin Tampere,
artist, curator and chair of the festival’s steering committee. “It’s an ongoing collaborative process of artistic expression, creativity and human connection – an influential international festival yet with an intimate atmosphere.”
Founded in 1991, LIAF has become a key event in the Norwegian art calendar. Since 2009, the festival has been produced by North Norwegian Art Centre, based in Svolvær, Lofoten.
An open and experimental meeting place for local and international artists, contributors, collaborators and audiences, LIAF takes place at different locations in Lofoten each time it is held.
“LIAF has a contextual connection to Lofoten. It’s not only placed here; this is where it all started, and the festival has grown from here,” says Tampere. “It’s exciting and perhaps unexpected to discover a place and feel connected to it through contemporary art.”
Lofoten and its connection to the world
The 2024 edition, titled SPARKS and curated by Kjersti Solbakken, was inspired by the history of the Lofoten Line: a large-scale national initiative from 1861 which sought to make the Lofoten fishery more efficient. The programme brought together over 25 international artists.
“The biennial delves into Lofoten’s location, nature and history while emphasising the need to connect with the rest of the world,” says Hanne Hammer Stien, curator and professor in art history at the Art Academy, UiT The Arctic University of Norway. “Each edition is developed by invited curators with distinct backgrounds, ideas, and approaches.”
LIAF has recently announced the 2027 edition of the festival as well as a new steering committee, which carries the artistic responsibility for the festival’s overall direction and appoints the curator for each edition. This biennial has certainly made its mark on the international art scene, and will no doubt continue to do so.
www.liaf.no
Instagram: @LofotenLiaf
On the Helgeland coast, Norsk Havbrukssenter combines learning, adventure, and good food to tell the story of the sea. Set against one of the country’s most beautiful backdrops, it offers a true taste of Norwegian aquaculture heritage.
By Celina Tran | Photos: Norsk Havbrukssenter
First opening its doors in 2008, Norsk Havbrukssenter was among the first aquaculture visitor centres in the country. It has gradually built and developed over time, and today, it offers a fascinating, hands-on look into the Norwegian salmon industry, helping visitors learn about the sustainable production methods that are shaping the future of both seafood and the sea itself. “Visitors can join guided tours, see how salmon are raised, and explore the salmon’s full life cycle from tiny roe to full grown fish,” says general manager Conny Gustavsson.
The site offers interactive exhibits, underwater cameras, and feeding demonstrations with a rare glimpse into life below the surface. While the fish might be interesting to some, it is not the sole reason for the centre’s 40,000 visitors annually. At Norsk Havbrukssenter, there is an array of opportunities, from culinary to adventurous ones.
Here, the ocean is not just a backdrop, but an open invitation to explore, with a wide range of outdoor activities that bring them closer to nature. “You can try fishing trips by yacht, kayaking among the islands, or stand-up paddleboarding on the calm waters of Toftsundet,” adds Gustavsson.
For those who prefer to stay on land, the centre offers bike rentals, coastal foraging experiences, and culinary experiences. “Our on-site restaurant, SMAK, serves fresh local seafood and other local specialities, and has beautiful panoramic views from the winter garden. It’s a way for visitors to taste the sea, as well as learn about it,” says Gustavsson.
If you would like to linger and explore the area’s many offerings at your own pace, Norsk Havbrukssenter offers modern, stylish rorbuer (traditional-style fisherman’s cabins) right on the water. “In winter, the experience is particularly magical.
We have one of Helgeland’s finest spots to see the Northern Lights, far away from city noise and light pollution. You can sit in the sauna, on the pier or out on a boat and watch the lights above.”
From guided tours and educational programmes to corporate retreats and culinary experiences, Norsk Havbrukssenter has something for everyone. “We aim to be the best visitor centre for aquaculture in Norway. Our vision is to create memorable experiences by the sea.”
www.havbrukssenter.no
Inside Lompensenteret, at the centre of Longyearbyen on Svalbard, lies Gullgruva Arctic Design, a jewellery and design store that has become a fixture in the local community.
By Celina Tran | Photos: Gullgruva Arctic Design
Gullgruva Arctic Design is a jewellery, watches and gift shop in Longyearbyen that offers a broad selection of Nordic brands, such as Bruvik Time, Noor, Embla, Arne Nordlie’s Greetings from Norway, and more. The store also carries pieces from selected Svalbard designs in both gold and silver, along with its own exclusive designs.
“Whether you want everyday accessories or engagement rings, wedding rings, or traditional bunad silver, we offer jewellery in gold, silver and precious stones at good prices since we don’t have VAT up here,” says Merete Alstad-Jensen, who owns and runs the shop with her husband, Steinar. “We’ve also got everything from Maui Jim sunglasses, to watches from the Norwegian Bruvik Time, which has a special Svalbard watch and Navy Seal-worn watches from Luminox.”
Initially established in 2002, Gullgruva was taken over by the couple in 2012, a decision that was both exciting and daunting. “Buying the shop was partly a way to create my own workplace,” Merete explains. “At the time, the alternative was to move south to the mainland.”
Over time, the business expanded, and in 2016, the shop expanded from 50 to 150 square metres. Today, Gullgruva employs several full- and part-time staff, plus extra summer help during the busy tourist season.
In addition to jewellery, watches and Svalbard souvenirs, the store showcases its own creations – some designed in-house, others made in collaboration with Scandinavian designers such as ByBiehl. “We work to offer unique designs
and therefore have quite a few self-designed jewellery pieces and souvenirs. The Svalbard map pendant in 18k gold with a small diamond marking Longyearbyen, along with the Polarbear ring in white and yellow gold, are probably my favourites.”
With pieces named Midnight Sun, Polar Night, Northern Light and Icicle, it is clear that Gullgruva’s designs are inspired by the dramatic Arctic landscape that surrounds them. For visitors, Merete explains that Gullgruva Arctic Design offers the chance to bring home something truly special.
“We want as many people as possible to have the chance to come to Svalbard and experience the real, raw, and unique Arctic part of the world, here at the top of the globe. When they leave, we hope that in addition to many beautiful memories and photos, they’ve also bought something special – something that will always remind them of this remarkable and unique place on Earth.”
Facebook: Gullgruva Arctic Design Instagram: @gullgruva.longyearbyen
Visit Gullgruva Arctic Design Lompesenteret 9170 Longyearbyen Svalbard
Right next to Odense railway station is the Danish Railway Museum – a living museum filled with trains, stories and experiences for both children and adults. Here you can explore historic locomotives and carriages, take a ride on the mini train and learn how the railway has shaped Denmark.
The museum is housed in a authentic engine shed and features atmospheric exhibitions, fun activities and plenty of space for curiosity and play. It is easy to find – just a few minutes’ walk from Odense Railway Station.
Open every day all year round.
High above the Arctic Circle, a group of young people trade classrooms and smartphones for sled dogs, frozen forests and a year at a traditional folk high school in northern Norway. The moving vérité documentary, Folktales, follows their daily lives as they learn to mush, care for the huskies and navigate the demands of the wilderness –and their own emotional response to it. Scan Magazine speaks with co-director Rachel Grady before its December release in the UK.
By Signe Hansen
Immersed in a landscape where silence dominates, daylight is a luxury, and soft dunes of snow drop suddenly from trees, Folktales needs no artificial drama. For Grady, the setting was itself a reason to make the film: “Finnmark is beautiful and brutal and pure magic. When you sleep there, it’s dead quiet –no noise pollution – and it resets your nervous system.” The stillness is not decorative; it shapes the students’ daily lives, asking for patience, steadiness and a new attention to the present.
That shift in tempo is central to the film’s emotional world. As Grady explains; “the
whole point of it is to slow down and focus on doing one thing at a time. If you’re making a fire in a snowstorm, you can’t think about anything else, and you can’t skip steps. It’s the opposite of that instant brain-zap hit you get from a phone. The work is deep and grounded.” The result is a form of testing that has nothing to do with achievement and everything to do with inhabiting each moment fully.
Along with the landscape, the unique constellation of the Norwegian folk high school was one of the driving motivations behind the film.
Although the students arrive from different backgrounds, they share a willingness to step outside conventional expectations of teenage life. Instead of performance and speed, they meet repetition and responsibility. Folk high schools offer a pause rather than a programme.
“We were struck with the idea that the folk high school could be a uniquely compelling way to capture that fleeting moment between childhood and adulthood.” In this particular instance, growth arrives through tending to animals, navigating weather and sharing labour, rather than deadlines,” explains Grady’s co-director Heidi Ewing at a Q&A.
The directors visited several northern folk high schools before choosing to film in Pasvik, drawn by its remoteness and its deep integration of outdoor life. Rather than foregrounding the school as an institution, the film first invites viewers to inhabit its rhythm: feeding at dawn,
harnesses rattling in the cold air, a hand buried in warm fur before steam clouds vanish into the dark.
As the film progresses, students gradually adapt to the long dark, the physical labour of trail work, and the quiet bonds that form through care. Dogs become not only companions but co-participants in their own transformation.
Capturing this learning process without intruding on it required a different cinematographic approach. “This generation is very used to cameras – but they’re used to controlling them,” Grady says. “We had to make ourselves invisible. We used enormous lenses and filmed from far away so they would stop performing and just be.” That invisibility gives the film its intimacy: emotion surfaces without prompting, shaped by the environment rather than the frame.
Sound, too, becomes part of the storytelling – breath, wind, paws on snow, the compressed hush of deep winter. The absence of commentary makes space for atmosphere to work on the viewer in the same way it works on the students.
As the year unfolds, inner change becomes visible through outward practice: steadier hands, easier laughter, a deeper readiness for connection. By graduation, the shift is unmistakable – not dramatic, but grown-in. Screenings have been unexpectedly emotional. “People are crying a lot afterwards,” Grady says. “They just want to hug each other. It’s very tender. I think audiences are starved for this kind of connection, and the film gives them a reprieve from everything that feels heavy.”
Premiered at Sundance to warm acclaim, Folktales will be released in UK and Irish cinemas on 5 December. Leaving an oddly nostalgic longing for quietude, it is a film likely to linger quietly with viewers. Do not be surprised if, somewhere between the huskies, the polar dusk and the soft crunch of snow, you find yourself idly imagining a year of your own on the dog trail.
What if education was about becoming, not just achieving? At Ringerike Folkehøgskole, students spend a transformative year discovering the world and their place in it. With strong values, urban energy, and global reach, the school combines creativity, sustainability, and community into an experience that lingers long after the year is over.
By Celina Tran | Photos: Maria Saxegaard / Kevin Nûno Godtfredsen
In Norway, folk high schools represent a distinct Nordic educational tradition. Born from 19th century ideals of enlightenment and civic participation, the schools offer a year of learning without exams or grades. Instead of competing for marks, students explore creativity, reflection, and community. For many young Norwegians, it is a year to grow, gain perspective, and prepare for what comes next.
One of these is Ringerike Folkehøgskole, located in the lively town of Hønefoss, just an hour northwest of Oslo. Approaching
its 150th anniversary in 2026, Ringerike has evolved from its historic roots into a dynamic, forward-looking institution.
“There is this myth going around that a year in folk high school is simply a gap year, but that’s not the case at all,” says Morten Eikenes, principal at Ringerike Folkehøgskole. “Our students participate more actively here than they ever have before. We are a professional school with a high academic standard and dedicated staff. This is a place where students mature, find direction,
and build what I like to call existential preparedness.”
Ringerike offers nine main programmes and more than thirty electives. Students can dive deep into subjects such as stand-up and comedy, dance, music performance, design and fashion, fine arts, global solidarity, multisport, musical theatre, and OUT-experience-change-care.
Each program combines practical learning with creative collaboration, giving students real projects, performances, and experiences. Many of the teachers are active professionals – actors, musicians, designers and artists – who bring the industry directly into the classroom.
The main subject, however, is personal development and formation, a concept
rooted in the Nordic idea of holistic education, emphasising moral, cognitive, aesthetic, and social growth toward autonomy and critical reflection.
“For us, formation means the ability to be attentive to yourself, to others, and to the world. It’s about asking: Who am I? Who are the others? And who am I in meeting them?” says Eikenes. “Formation isn’t just about acquiring knowledge, but about developing a sense of judgment, empathy, and the ability to see oneself in relation to others and the world. This happens through open dialogue between different perspectives and experiences.”
Open arms and open doors Ringerike offers the best of two worlds. From its modern buildings in the heart of Hønefoss, students can walk to cafés and concert venues in five minutes. Five minutes the other way, they are met by quiet woodland trails. The campus includes three performance stages, dance studios, music rooms, a large gym, workshops and a modern Mac lab, reflecting sustained investment in facilities. “We want to be a
school where everyone feels welcome,” Eikenes says. “A place that’s safe, good to be in, and good to learn in.”
This focus on belonging and well-being is at the core of the school’s identity. This is a school rooted in humanist values such as
tolerance, equality, and respect, as well as being independent of any religious affiliation. Here, students encounter people different from themselves and learn from those encounters.
“Meeting people who are not like you is a vital part of learning. We believe in the value of a diverse community, and we know that when everyone can contribute, people thrive,” says Eikenes. “A safe and warm community doesn’t appear by itself. Rather, it’s a conscious choice we make every day. We invest in people, in competence, and in facilities. When we invest in the community, we counteract exclusion. That’s part of our contribution to society’s existential preparedness.”
Learning is, however, not limited to classrooms and campus, as the school is also deeply integrated with the local community, sharing partnerships, facilities, and projects with the surrounding region. Ringerike collaborates with the local municipality on refugee resettlement and integration projects, and students regularly take part in voluntary and solidarity initiatives both locally and globally.
For a long time, Ringerike Folkehøgskole has been a pioneering school within sus-
tainability and social responsibility. This is an Eco-Lighthouse certified institution and Norway’s first Fairtrade folk high school, plus its kitchen operates with a commitment to sustainable food production and reduced waste.
Every year, around 135 students leave Ringerike with hands-on experience in sustainable and democratic practices, whether through reducing energy use on campus, tackling food waste, or engaging in global solidarity work.
Sustainability is woven into the fabric of school life, and in 2024, the school received the national Folkehøgskolene’s Sustainability Award, recognising its holistic and long-term efforts.
“We see sustainability as both environmental responsibility and social justice. It’s about small actions that make a big difference, and about inspiring both our students and our community to do the same,” says Eikenes. “Through conversations in the classroom, in the dorms, around the dinner table, and on study trips to Ghana, Porto, Dublin or elsewhere, we try to see
the world from different perspectives. Similarly, classes and solidarity projects teach the students to use dialogue as a tool to create change.”
As it approaches its 150th anniversary, the school remains both proud of its heritage and restless for what comes next.
Eikenes hopes that as it moves forward, it can continue to be “a school that never sleeps,” one where learning takes place all hours of the day.
www.ringerikefhs.no
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Located in Trøndelag – often called the heart of Norway – and just south of the city of Trondheim, Trøndertun Folkhøgskole is a folk high school for both Norwegian and international students. Founded in 1919, Trøndertun was the first school in Norway to teach a rock music course. Today it offers a variety of programmes in music and theatre arts, and is the only folk high school where students can immerse themselves in dance at a pre-university level.
By Molly McPharlin | Photos: Arne Hauge
Many people are unfamiliar with what a Norwegian folk high school is. Folk high schools are one year boarding schools that offer both traditional and non-traditional academic subjects, with no exams or grades. The idea is to learn for life, giving students the chance to develop socially and academically as individuals. Students integrate into small learning communities as they live on campus and interact closely with both students and staff. The philosophy of the school is that learning for life happens all day long, as you go about your day.
Folk high schools are not high schools. They are designed for people of all ages, but most participate between the ages of 18-25, after they have finished sec-
ondary school and before higher education. There are no tuition fees at folk high schools, even for international students. Everyone pays for their room, board, study trips, and teaching materials.
Throughout the country, there are over 70 folk high schools, each with their own specialties and expertise. For people from abroad, many schools offer Norwegian classes, and by living in a Norwegian-speaking environment, the idea is that international students should understand and speak Norwegian reasonably well by the end of the academic year.
At Trøndertun Folkehøgskole, there is a strong emphasis placed on both academic teaching and creating a safe, generous, and inclusive learning community.
“Good education begins with providing a place where students feel comfortable to be bold and stretch beyond their limits,” says Tormod Gjersvold, principal at Trøndertun. “We create a community where students know it’s safe to make mistakes, that they’ll be accepted even if they stumble.”
Exploring the world outside of school Trøndertun organises different events and trips that run throughout the school year alongside the ordinary weekly schedule. Excursions to Norwegian cabins take place at the beginning of the school year, when the students are getting to know each other. Every year the school goes on a week-long cultural trip to Berlin. In Germany, dance students take classes at professional studios, and the school rents the legendary Hansa Studios where musicians can record their own music in the same venue as Bowie, U2, and Simple Minds once did.
In the autumn, students create their own projects and bands, culminating in the Family Day Festival before the Christmas holidays, when family and friends are invited to view student achievements. “It’s a packed celebration with live music and dance the entire day,” says Gjersvold. “One of Trøndertun’s great strengths is that everyone is here for music or dance. This provides endless opportunities to be creative and expressive.” At the end of the school year, the music and dance students create a live show in two of Trondheim’s
main cultural venues; the Rosendal theatre and the Rockheim Museum of Music.
Gjersvold believes that students enjoy their time at Trøndertun for a variety of reasons. “Everyone comes to us because they want to immerse themselves in music or dance. They have great access to rehearsal rooms, studios, instruments. At the same time, students say the social aspects, the friendships they’ve made, and learning so much about themselves, are what they remember most.”
Sam Balhorn came to Trøndertun from his home in Berlin, Germany after a childhood trip to Norway made him feel that
the country was a place where he would like to study, especially after connecting with Norwegian music. For him, Trøndertun has been the ideal place to develop as an individual. “I really enjoy my jazz class. So far, I’ve learned so much about music and my instrument. It’s been the perfect place to discover myself, but it’s not just about school,” says Balhorn. “At Trøndertun, I’m learning how to really be alive.”
Asta Vidarsdottir came from Iceland and is studying dance at Trøndertun. “We learn so many different dance styles,” she says. “We’re lucky to have the chance to meet many professional dancers. We get advice from them and that’s been really helpful.”
The most important part of the folk high school system is the creation of a functioning group and finding your own voice inside it as a person and, at Trøndertun at least, as an artist. “We’re constantly in dialogue with our students,” says Gjersvold. “Developing as a person and artist is not something that can be measured. It’s a deeply personal matter. The individual knows his own growth and development and must evaluate himself. As a school, we’re here to support that process.”
www.trondertun.no
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For many international students, the idea of a Norwegian folk high school may be entirely new: a school without grades, but rich in experiences, community, and personal development. At Follo Folkehøgskole, this tradition is alive and thriving, offering a year where students live, learn, and grow together, surrounded by nature yet just a 20-minute train ride from Norway’s capital.
By Celina Tran
Based in the charming small town of Vestby, only a stone’s throw away from the Norwegian capital, Follo Folkehøgskole offers a breather from the stress and overstimulation of both everyday life and coming of age. A year here is more than just classes – students get the chance to explore a wide variety of passions from dance and music to film and sports, while developing independence, social skills, and real-world experience.
“Our mission is to help young people develop independence and life skills while exploring their passions,” says principal Anja Helene Stidahl. “Living together, participating in school life, and engaging in meaningful projects are all part of the learning process.”
Independent of any religious affiliation, it is the perfect chance for anyone to take a year to learn about themselves in peaceful surroundings. You do not speak Norwegian? Not to worry, Follo Folkehøgskole has got you covered.
“Our course Norwegian – Culture and Language is designed specifically for international students who want to experience Norway fully. Weekly sessions focus on language, traditions, role-play, Oslo excursions, and nature exploration, allowing students to learn while integrating into the school community,” says Stidahl. “This course gives students a chance to combine a professional interest with learning Norwegian. They become part of a vibrant community while discovering Norwegian culture in depth.”
When you study in Vestby, you are always near a woodland walk or a stroll on the beach. If that is what you are looking for, kayaking, forest hikes, or winter walks along snow-dusted trails can
easily become everyday adventures. That is not to say that the metropolitan experience is out of reach – Oslo is only a short trip away.
“We want students to experience both the quiet rural surroundings and the city, and we provide students with monthly passes, which open doors to theatres, museums, concert halls, libraries, football matches and more,” Stidahl says. “With our proximity to the capital, it only makes sense to turn Oslo into a living classroom, and students can expect trips and outings to the Opera House, the National Theatre, and different museums. They are all lessons in culture, observation, and shared experience.”
Living and learning together
Living at Follo is as much a part of the curriculum as the classes themselves.
The six dormitories house 70-90 students, mostly in double rooms, with shared lounges, kitchens, and laundry facilities. Students navigate the small but significant challenges of communal life, from cleaning to learning to compromise, all while building trust and independence.
Everyday tasks teach responsibility, teamwork, and sustainability, which are all focal points in the school’s teachings. This is an Eco-Lighthouse certified school that aims to use as much organic and local ingredients as possible, minimise waste,
and emphasise practical environmental stewardship. Further, it accommodates most diets, whether vegetarian, halal, or anything else.
“The experience of living together is central. It teaches empathy, cooperation, and resilience. It’s practical learning that you carry with you for the rest of your life,” Stidahl says. “We want to be a school where students feel safe, included, and empowered. Students should view the folk high school experience as an investment in themselves, one where they can develop as citizens, all while exploring their passions in a community that nurtures growth and courage.”
All of these aspects of self-development and becoming are implemented through the lived experience on campus, but also through the long list of classes and electives available. The backbone of the curriculum is formed by subjects
like dance, music, drama, film, sports, and fitness, and supported by facilities available around the clock. Think topclass dance studios, gyms, band rooms, music and film houses, and a Blackbox theatre fit for concerts, performances, and other projects.
Of course, the learning is not limited to the classrooms, the area, or even the country. While the school emphasises local learning, travel is central to its approach. Every year, students take school-wide study trips – with the options of either discovering more of Norway or the shiny Big Apple – combining cultural exploration, training, and experiences that expand perspectives across all lines of study.
“Our goal is to prepare young people for life. Through mastery of a craft, shared experiences, and reflection, students acquire skills and confidence that carry them forward into further studies, work, and life,” adds Stidahl.
Follo Folkehøgskole’s motto, “The stage is yours – the world is ours,” captures the spirit of the school: students are invited to step into their own spotlight while learning to navigate, contribute to, and engage with the wider world.
www.follofhs.no
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At Valdres Folkehøgskole, students can try exciting activities, maybe discover a whole new passion, and make valuable connections for the future. Here, around 140 students live together and develop a democratic mindset. The acclaimed school believes that this is the best way to learn, develop and build self-confidence.
By Malin Norman | Photos: Valdres Folkehøgskole
Beautifully located at the foot of Northern Europe’s highest mountain range, Jotunheimen, Valdres Folkehøgskole offers access to one of Norway’s most beautiful regions – a world of natural wonders that keeps on giving.
The area provides excellent opportunities for outdoor activities such as ski touring, alpine skiing and snowboarding, as well as 1,200 kilometres of groomed cross-country trails, plus mountain biking, trail biking and cycling at 1,100 metres above sea level. Do you dare to study here, step outside your comfort zone, and discover what you are capable of?
“Being daring is not always about jumping the furthest, climbing the highest or running the fastest. Mostly it’s about daring to challenge yourself – to say yes to the unknown, testing boundaries and discovering new sides of who you are. With us, it’s safe to try – and with room to fail,” says Jens Rindal, principal. “During a gap year here after mandatory school, our students have the freedom to choose. What they want are new experiences, to meet new people and grow stronger.”
From freeriding to outdoor adventures
One of the popular educational programmes is Freeride, intended for winter
enthusiasts who love thrilling activities such as skiing and ski touring, as well as surfing. The year includes trips to Morocco, a surfer’s paradise, and Japan with its high mountains and enchanting forests.
Outdoor Life is another programme, with focus on mountains and fjords, forests and glaciers. Students will also have
the chance to climb Kilimanjaro, Africa’s highest mountain. “In Tanzania, you will experience both nature and culture, and meet one of the exciting local communities,” says Rindal.
For some students, a year at Valdres Folkehøgskole might also be an opportunity to reach the basecamp at Mount Everest. “The goal for this particular programme is Everest Basecamp and the mountain Patar,” explains Rindal. “A trip like this is a unique opportunity to experience the thin air, to glance up on the world’s highest mountain, and to see the culture of the Sherpas up close!”
With plenty of programmes, Valdres Folkehøgskole offers a window to sports and outdoor adventures, and some former students have become successful in their respective field. However, the principle points out that this is not an elite school. “Above all, this is a place where personal development is at the centre.”
Great atmosphere for lifelong learning
The school can accommodate around 140 students and has an even mix of male and
female students from around the world. The principal explains the school’s approach: “You are welcome as you are, regardless of background, political affiliation, gender identity, worldview or beliefs. We focus on authentic encounters between people who have the courage to be themselves.”
According to EPSI Norway’s national survey of folk high schools, Valdres Folkehøgskole has been voted number one in well-being and product quality, and the school with the highest expectations. One
student says: “It’s simply magical! Who would say no to what is most likely going to be the best year of their life?”
Over the years, more than 10,000 students have attended the school. “Most of our students are between 19 and 23, which are some of the most formative years,” says Rindal. “Studying at Valdres gives opportunities for amazing wildlife experiences, but also teaches you about values. We’re proud to offer a great environment and a positive experience to kick start adult life.”
Courage, authenticity, love and growth
The values of Valdres Folkehøgskole are based around four pillars: courage, authenticity, love and growth. “Courage means standing up for yourself and others, even when it’s uncomfortable and challenging. When you embrace courage, you bring out the best in yourself,” believes Rindal.
Many students find that they become mentally stronger and healthier by being their authentic self, reflecting the second pillar. And love, the third value, is one of the most powerful emotions that exists. The principal reflects on the fourth pillar, growth: “The feeling of personal, social and academic achievement helps your self-esteem and self-confidence grow. Knowledge and understanding make life more meaningful. You’re never alone – in a real community, you can be who you are.”
Valdres Folkehøgskole provides the opportunity to unfold and explore new possibilities. The school creates an environment where students can develop –to become a more creative, empow-
ered and open-minded person. Do you dare to apply?
www.vintereventyr.no
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Instagram: @valdresfhs
“A folk high school is a free school with no grades, curriculums or exams. We believe in your ability to learn without pressure.”
Source: www.folkehogskole.no
Ever since opening in 1928, Elverum Folkehøgskole, located in central Norway near the city of Hamar, has been an important part of the local community. In 1940, it became the centre for government resistance after Nazi occupation of the country. From day one, the school’s mission has been to give young people time and space to develop both professionally and personally.
By Molly McPharlin | Photos: Elverum Folk High School
Elverum offers ten programmes. These include African culture and aid, music, Norwegian culture, extreme sports, backpacking, ceramics, snowboarding, and weightlifting and functional fitness. In addition, students can choose from over thirty different electives – from creative crafts and photography to sports and outdoor activities. Trips are a central part of the school year, too. “They provide academic depth, unity, experiential learning, and memories for life. All programmes have their own study trips, and we also arrange a joint getting-to-know-you trip,” says Kristian Wessel Finstad, assistant principal at Elverum. Experiences include travelling around Norway, further into Europe, and, for some, to Africa.
Students live in campus dormitories and can choose between rooms with private or shared bathrooms. The dormitories are organised into house groups, and
social activities such as competitions and social events create strong communities. Facilities include art and music studios, a darkroom, gym, and outdoor areas with a beach, soccer field, and sand pit for volleyball.
Daily Norwegian lessons are part of the Norwegian cultural programme, but English-speaking students can choose from any of the study programmes. Teachers use both Norwegian and English and boarding life naturally immerses students in the language. “Families can be confident that their children are being looked after academically and socially, learning Norwegian in an inclusive environment,” says Wessel Finstad. International students enrich the school environment. “Their culture, languages, and different perspectives on life bring a broader horizon and more global understanding to campus,” he says. Normally, over a
quarter of the student body comes from outside of Norway, giving Elverum a truly multicultural outlook.
Elverum’s students speak highly of the keen sense of community they find at the school. They also enjoy trying activities they have never before experienced and are happy to be encouraged to develop courage, flexibility, and self-development. “Students say that the teachers are always cheering you on here,” says Wessel Finstad. What students like best – community, mastery, security – are the same things that give them the competence and confidence that they carry with them into study, work and life beyond school.
www.elverumfhs.no
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For more than a century, Buskerud Folkhøgskole has been a gathering place for young people to explore art, culture and life, together. Opening its doors in 1909, Buskerud has been a home for creativity, curiosity, and community.
By Molly McPharlin | Photos: Buskerud Folkhøgskole
Located in Buskerud municipality in Eastern Norway just west of the capital, Oslo, Buskerud Folkhøgskole has a long and proud tradition in the folk high school system. Focusing on art and culture, Buskerud offers subjects such as film production, writing, comic art, and game design. The school even has courses in areas such as cosplay and e-sports. “Students are encouraged to collaborate across curriculum and develop their own projects, from short films and games, to books, concerts, and exhibitions,” says Melissa Hernandez, information advisor at Buskerud.
The school’s teaching body is made up of professionals in their field – filmmakers, authors, illustrators, and designers –many of them actively working in the creative industries. They combine solid artistic experience and a genuine passion for teaching, mentoring, and inspiring young people.
Students live on campus in comfortable, recently renovated dormitories. Living together is an integral part of the folk high school experience, in line with its learning for life philosophy, which holds that you learn just as much outside the classroom as inside it. “The atmosphere in the dorms is friendly, social, and inclusive,” says Hernandez. “Buskerud puts a lot of effort into creating a welcoming environment.”
The school values its international students. “They bring diversity, new ideas, and fresh perspectives that enrich the entire community,” says Hernandez. In recent years Buskerud has welcomed stu-
dents from such diverse places as the US, Iceland, Ukraine, Spain, and Sweden, and hopes to attract even more nationalities in the future.
International students can join Norwegian language classes, both one-on-one and in small groups. Each class is tailored to the participant’s level and learning goals, helping them progress at their own pace. Folk high schools are tuition-free and international students, like Norwegian ones, pay only for accommodation, board, school materials, and trips.
At Buskerud there are no exams, grades, or tests. This is part of the folk high school philosophy. Instead, students work on their own creative projects and measure success through learning and a sense of accomplishment. Hernandez adds: “Our main goal over the year is personal growth. We want our students to develop as individuals and not compare themselves with others.”
www.buskerud.fhs.no
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Founded in 1949, Lundheim Folk High School is the first adapted folk high school in Scandinavia. Located in the southwest of the country, the school has inclusion and accessibility for students with different support needs at the forefront of its philosophy.
By Molly McPharlin | Photos: Lundheim Folk High School
Lundheim’s entire campus is universally designed, making it physically accessible for all students. Today, it is one of Norway’s most inclusive schools, both physically and socially, offering a supportive learning environment for everyone. The mix of students makes the community unique, with many students without the need for accommodation choosing Lundheim precisely because of its environment.
The school offers a wide range of courses, from creative computing to sports and outdoor life, photography and film to global studies, with study trips to Africa and Asia. “Students have the opportunity to combine two courses during the school year, giving them flexibility and variety,” says Julia Rachel Frøytland, communications manager at Lundheim.
Lundheim’s teachers come from diverse backgrounds and have extensive practical experience in their fields. Staff also have experience working
with people with special support needs. There is a strong emphasis on relationship-building and adaptive teaching, with teachers closely following student progress throughout the year. As with other schools in the Norwegian folk high school system, there are no exams or grades. Instead, Lundheim focuses on personal development, both academically and socially. At the end of the year, each graduate receives a vitenmål, or diploma, which includes a written evaluation of personal development and learning goals achieved.
Student housing is located on campus and is fully inclusive, with Lundheim placing great emphasis on safety, comfort and a strong sense of community. International students become part of school life from day one, learning the language naturally through daily use, social activities and classroom participation. “We provide support and guidance along the way, and most students experience rapid language develop-
ment through immersion in the school’s social and academic environment,” says Frøytland.
The academic year runs from August to May, with many opportunities for student travel. Lundheim organises a trip to the winter sports village of Rauland, and optional international trips to New York and Seoul. Within Norway, several shorter excursions take students to mountains, fjords, cities and the coastline. Students can also join a football trip to England and a design and music trip to London.
Reflecting on their experiences, students often highlight the inclusive community, the safe environment, and the sense of belonging and confidence they gain. Many describe it as the first time they have been able to be fully themselves. As Frøytland explains; “The freedom to learn without pressure and the ability to explore their interests are what students remember most from their time here.”
www.lundheim.fhs.no
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Trolls play a significant role in Norwegian fairy tales. All over the country, troll-like rock formations have inspired local legends that have lived on for centuries. The Troll Museum in Tromsø - a cosy museum dedicated to the mythical creatures – was conceived after its founder spotted a troll-like shape in the waters near Tromsø. As the first of its kind, it opened its doors in 2021.
By Molly McPharlin | Photos: Valeri Belov © Troll Museum Tromsø.
Stories of trolls have been part of Norwegian culture since the Viking age, when they came in the form of jötnar, or ice giants. Over time, these myths turned into the characters we know today: magical creatures in different shapes and sizes, living in a variety of natural habitats. “Historically, these stories have explained different phenomena that science at the time could not,” says Maria Stancic, manager of Troll Museum in Tromsø. “They gave meaning, for example, to the deaths of sailors and foresters doing dangerous work in harsh conditions.”
Trolls also once served a practical purpose: they warned children to steer away
from dangerous, desolate places. Later, as Christianity spread through Norway, the trolls – tied to older pagan beliefs –
became convenient villains, embodying the old faith in contrast to the new. Storytelling about them became a beloved pastime, a way to entertain and connect. And in the 19th century, these same figures found renewed importance, helping to fuel Norway’s Romantic Nationalist movement and shaping a sense of cultural identity as the country moved toward independence.
The museum’s exhibitions include a combination of art, stories, history, and technology. Diverse types of trolls and fairytale creatures are included. “We follow the journey of trolls through Norse mythology, folklore, and into their modern depictions,” says Stancic. “We also make our exhibitions interactive, using Augmented Reality technology (AR), touch screens, and games.”
The use of AR is a big draw for the museum, adding a level of immersion and inter-
activity to the stories told. Visitors can see animated trolls, watch them move and listen to them. Stancic believes that AR gives a richer connection to the exhibitions.
“We use it to include more information for those visitors who want access to finer details. It’s also a fantastic way to get children involved in the experience. Younger guests don’t always have the patience to read everything, but they love playing around with trolls on our tablets.”
The Troll Museum maintains a permanent exhibition and decorates its space for major holidays, adding a bit of variety throughout the year. It runs two tours around the city and the museum – Mystical Tromsø, available year-round and focusing on local tales and legends, and Mystical Halloween in Tromsø (October), which concentrates on ghost stories and spooky urban myths in the city. In the past, the museum has organised a Halloween lantern painting and a story hour in December. It also houses a souvenir shop which includes books, some of which are the museum’s own design, plus mementos such as postcards, mugs, and magnets.
The Troll Museum is a popular tourist destination. Located in the centre of Tromsø, it is easily accessible from most major hotels as well as the cruise ship pier, and many people fit in a visit on their way in or
out of the city. Foreign-language visitors can access the exhibitions using translations and audio guides in major European languages, English, or Norwegian. “In the future we plan to add other languages as well,” says Stancic.
The Troll Museum has recently expanded with a new branch in Bergen, on Norway’s west coast. This location highlights the trolls and folktales unique to the region, featuring even more innovative and interactive technology. A renovation project is planned for the original site in Tromsø where the exhibitions will go through an expansion. New trolls will soon join the exhibition, while the existing displays are being reimagined to offer an even more immersive experience.
Staff will also offer more themed evenings and seasonal events, working in conjunction with special-interest groups. In the past, they held a drum journey with the Shamanic Union in Tromsø during Sami culture week. Stancic says: “We’d like to start organising lectures on mythology and history so that guests can learn more about Norwegian culture through these lenses. Not only do we want to be a centre for trolls, but also a museum that explores numerous areas of folklore.”
www.trollmuseum.no
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Instagram: @trollmuseum
Nestled in the picturesque valley of Vinje in Vest-Telemark, Vinjesenteret has, since opening in 2021, established itself as an important cultural hub dedicated to literature, journalism, and the enduring power of storytelling.
By Celina Tran | Photos: Andre Hustoft Nesheim
Telemark is famous for its contrasting scenery, from the sweeping Hardangervidda plateau and enchanting fjord landscapes to its coastal idyll and historic hotels. But beyond the natural beauty, the region has long been a fertile ground for another treasure – stories. Generations of writers and poets from Telemark have left a profound mark, not only on Norwegian culture but also on the wider international literary world. Vinjesenteret was created to safeguard this remarkable legacy.
“Vinjesenteret is a museum and national centre for literature and journalism,
rooted in the works of Aasmund Olavsson Vinje, as well as the works of Aslaug Vaa, Tarjei Vesaas, and Halldis Moren Vesaas,” says Yngve Knausgård, author and manager at the centre. “Through their voices, visitors discover how literature reflects
society and how journalism continues to raise important questions.”
Since its inauguration, Vinjesenteret has become a dynamic meeting place for literature lovers. Alongside permanent exhibitions, it hosts author talks, a popular literature festival, and serves as a space for dialogue about the written word and the role of media in modern society.
A literary landscape that stretches beyond Vinje
Born in Vinje in 1818, Aasmund Olavsson Vinje is one of Norway’s most celebrated cultural figures. A poet, journalist, and passionate advocate for the Nynorsk written language, he captured rural life in his lyrical works while also shaping national identity through his journalism. His legacy includes the founding of Dølen, a news-
paper where he explored politics, philosophy, and everyday issues with both sharp insight and poetic flair.
Vinjesenteret, located in his birthplace, pays homage to his legacy. Exhibits at the centre not only celebrate his literary achievements, but also emphasise his role as an early voice in Norwegian journalism.
“What we showcase here at the museum is not something physical, but a literary and journalistic tradition and heritage that is important not only to Norway, but also the entire world,” says Knausgård.
While Vinje’s legacy is at the heart of the museum, Vinjesenteret also honours other influential Norwegian writers such as Tarjei Vesaas, Halldis Moren Vesaas, and Aslaug Vaa. Together, their works reflect the breadth and richness of Norway’s literary tradition. Many of these authors
played a key role in shaping Nynorsk literature, a tradition celebrated jointly with Haugesenteret in Hardanger and Aasentunet in Sunnmøre, as part of the Norwegian Museums of Written Culture. “We want people to experience Telemark as the literary treasure it truly is,” says Knausgård. “Names like Vinje and Vesaas should be familiar to everyone.”
In addition to its exhibitions and events, Vinjesenteret offers visitors the chance to experience Diktarheimen Midtbø, the former home of literary couple Halldis Moren Vesaas (1907–1995) and Tarjei Vesaas (1897–1970). The pair moved to Midtbø in 1934, where they lived and worked for the rest of their lives. It was here that they raised their two children, welcomed fellow writers and international guests, and wrote many of their most renowned works, with many of Tarjei Vesaas’ works having been translated into numerous languages.
The house remains much as it was during their lifetime, offering an intimate glimpse into the environment that inspired two of Norway’s greatest literary voices. “We work closely with the Vesaas family to make tours of Midtbø possible,” Knausgård explains. “The home is still owned by the family, and together we want to share its history with visitors in a way that honours both the place and their incredible legacy.”
A literary legacy for the future
Vinjesenteret is not only about celebrating the past, but also about nurturing future generations of readers and writers. With exhibitions designed for all ages, including interactive spaces for children, the centre encourages exploration and engagement. Outreach programmes extend its reach into schools across the country, inspiring young people to discover literature and journalism for themselves.
In parallel, the museum highlights the enduring importance of journalism in shaping Norwegian society, exploring its evolution and its role in politics, culture, and public debate. This dual focus makes Vinjesenteret more than a museum – it is a space where literature and journalism meet, offering a vital reflection on how stories, past and present, continue to shape the world we live in.
www.nynorsk.no/vinjesenteret
Facebook: Vinjesenteret
Instagram: @vinjesenteret
When you think of Helsinki, design, saunas and coastal views likely come to mind first. But for those seeking a different kind of experience, UMO Helsinki Jazz Orchestra offers something truly distinctive: a world-class Finnish big band that has been redefining jazz for 50 years.
By Ndéla Faye
Founded in 1975, UMO Helsinki Jazz Orchestra has grown into an internationally recognised ensemble and Helsinki’s official big band. Throughout its history, one thing has remained constant: UMO’s devotion to new music, innovation and collaboration.
Employing full-time jazz orchestra musicians, UMO is a nationally significant and unique ensemble, considered one of the cornerstones of Finland’s jazz scene. As a cultural institution dedicated to jazz and contemporary rhythm music, it performs around 80 concerts and events each year, and holds a special place in Finland’s music landscape as the country’s only state-funded jazz orchestra.
The orchestra has recorded more than 60 albums and shared the stage with international jazz legends such as Dizzy Gillespie, Natalie Cole, The Manhattan Transfer and Gregory Porter, alongside top Finnish artists. Each year, UMO collaborates with over 150 music and event professionals, making it one of Finland’s most important artistic employers in the jazz field.
As it celebrates its 50th anniversary season, running until spring 2026, UMO presents a programme that honours its long history while embracing the future.
“For half a century, UMO has shaped the sound of Finnish jazz, and we’re celebrating its past achievements while keeping our gaze firmly fixed on the future. UMO remains a vital force in Finnish jazz,” explains CEO Henriika Steidel-Luoto.
This landmark season highlights UMO’s distinctive sound, developed collabora-
tively with its musicians, staff and guest artists. While reflecting on its rich history, the orchestra remains adventurous and curious.
For a more intimate experience, UMO is launching a club concert series at Musiikkitalo Black Box in central Helsinki, exploring the orchestra’s history through performances by world-class soloists from Finland and abroad.
For those visiting Helsinki, a UMO performance offers far more than a concert: it is a window into Finland’s musical identity, where history, innovation and collaboration meet in perfect harmony. Whether for a festival, an intimate club night or a cross-genre show, UMO promises a cultural encounter unlike any other in the city.
With a loyal following that returns time and again, UMO also welcomes newcomers to discover jazz. No knowledge of Finnish is needed to enjoy the performances: jazz is a universal language, a melting pot of sounds and emotions that transcends borders. “Wherever you are, the soul of big band music is instantly recognisable, although no two performances are ever the same,” says Steidel-Luoto.
“Part of the magic of big band music lies in its spontaneity – the unexpected turns and bursts of creativity that improvisation brings. The musicians and audience cre-
ate the atmosphere together, feeding off each other’s energy. The result is playful, joyful and full of surprises,” adds the CEO.
This season also features international and cross-genre collaborations. In November, UMO reunites with big band legend Maria Schneider, whose previous appearances with the orchestra date back decades. Other performances will push genre boundaries, including a collaboration with a Finnish rap artist alongside UMO’s sixteen-piece ensemble.
UMO’s performances capture the essence of Finland’s musical landscape: a blend of history, innovation and collaboration, delivered with remarkable skill. While some audience members attend regularly, the orchestra’s wide-ranging programmes
also invite jazz newcomers to dip their toes in and experience the music.
“UMO’s story is not just about music; it’s about people, perseverance, talent and creativity,” reflects Steidel-Luoto. “50 years in, we’re brimming with creativity and energy, and we invite everyone to join the celebration.”
www.umohelsinki.fi
Facebook: UMO Helsinki Jazz Orchestra
Instagram: @umojazz
Thursday 13 November – Savoy Theatre, Helsinki
Maria Schneider (US) & UMO Helsinki Jazz Orchestra
Thursday 27 November – Vuotalo, Helsinki
Friday 28 November – Siltasali, Jyväskylä
Frigg 25 + UMO 50: Double Party!
Saturday 13 December – Musiikkitalo, Helsinki
UMO Club: Lighthouse, feat. Vuokko Hovatta
Saturday 17 January 2026
– Musiikkitalo, Helsinki
UMO Club: From America, feat. Aili Ikonen & Henna-Maija Kuki
Wednesday 11 February 2026
– G Livelab, Tampere
Thursday 12 February 2026
– Savoy Theatre, Helsinki
Aaron Parks (US) & UMO Helsinki Jazz Orchestra
At the Swedish History Museum, you will experience dramatic life stories including power struggles, love, celebration and everyday life, from the Stone Age to the present day.
By Malin Norman | Photos: Historiska Museet
Across 4,600 square metres, the Swedish History Museum in Stockholm showcases objects from the Stone Age until modern times – a period spanning more than ten thousand years. “We’re passionate about the history of Sweden and how history affects society,” says Åsa Marnell, museum director. “Knowledge of history provides keys to other worlds. Our aim is to provide new perspectives on history, to unite through time and space.”
The Swedish History Museum welcomes around 200,000 visitors per year. A mustsee for many is the Viking World, one of the world’s largest Viking exhibitions. “The myth of the violent, plundering Vikings has spread around the world. But archaeological discoveries and research have changed our view of life in Scandina-
via a thousand years ago,” explains Marnell. “With almost 1,000 square metres of thrilling stories, interactive stations for all the senses and 2,500 original objects, we delve into who the Vikings really were.”
The vast collections at the museum also contain a total of 52 kilos of gold and over 200 kilos of silver – much of it on display in the Gold Room. “Sweden has one of Europe’s richest collections of prehistoric gold and silver. Nearly 3,000 gold objects are kept here, including gold collars from the migration period, silver pendants from the Viking period, reliquaries decorated with gemstones from the Middle Ages, and other amazing objects.”
Last year, the Swedish History Museum opened Medieval Fashion in collaboration
with the Medieval Museum. “Available to view until 1 November 2026, this not-tobe-missed exhibition showcases newly sewn women’s garments, recreated from the 1100s to the early 1500s, including both simpler garments and more elaborate ones,” says the museum director. There is plenty more going on, with a total of 12 exhibitions and events such as live music, after work events, and a language exchange café.
If you are short on time, a handy highlights audio guide takes you through five of the Swedish History Museum’s must-see exhibitions in just one hour. Marnell adds; “With over ten million objects in our collections, we’ve handpicked 16 of our absolute favourites. Visitors at the museum can also check out our excellent souvenir shop and our fantastic restaurant, with a range of culinary experiences.”
www.historiska.se
Facebook: Historiska museet
Instagram: @historiska
Tucked away along the banks of Akerselva, just a stone’s throw from central Oslo, Månefisken offers some of the city’s best-located event venues. From dreamy weddings and stylish company parties to conferences, product launches and live performances, Månefisken can make your events run seamlessly.
By Celina Tran | Photos: Månefisken
Since 1989, Månefisken has welcomed guests for everything from intimate gatherings and elegant weddings to largescale corporate events and press conferences. “Our strength lies in our flexibility and experience, and we tailor every event to our guests’ needs, whether it’s a conference for 20 or a party for 300,” says manager Margrethe Cannistraci.
When Månefisken took over the premises of the former State Technological Institute in 1989, it embraced the site’s rich heritage while reimagining it for a new purpose. What began as a cultural workshop, hosting concerts, art exhibitions, and performances, has over time evolved into one of Oslo’s most sought-after event venues. “Today, we offer three different spaces – Månefisken, Månehallen,
and Café Månefisken – each with its own character and capacity, depending on what you need,” says Cannistraci.
The main hall, Månefisken, boasts a large stage and a fully licensed bar, making it ideal for grand celebrations, conferences, and concerts. With high ceilings, rustic brick walls, and traces of an industrial past, the space exudes historic charm while offering state-ofthe-art facilities.
For more intimate gatherings, Månehallen provides a warm, cosy atmosphere, perfectly suited for private dinners, workshops, and medium-sized parties. Meanwhile, Café Månefisken, which is open seasonally, invites guests to enjoy simple dishes and refreshing drinks by the river,
with one of Oslo’s most picturesque outdoor terraces as its backdrop.
In addition to the extensive experience, what sets the team at Månefisken apart is their personal approach. The team handles everything from planning and décor to catering, technical setup and entertainment. Whether looking for a full-service package or if you want to bring your own creative concept to life, Månefisken provides the flexibility and expertise to make it happen. “Our job is to make every occasion effortless for our clients, whether that means designing a full-scale wedding or hosting a creative company retreat in an unconventional setting.”
From the first meeting of the day to the last song of the night, look to Månefisken to ensure that your next event is fun, seamless, and successful.
www.manefisken.no
Facebook: Månefisken / Cáfe Månefisken
Instagram: @manefisken
Located on Finland’s western coast, Ahlström Noormarkku in Pori is one of the country’s most fascinating estates; a place where design, architecture and industry converge. Once the beating heart of Finnish enterprise, it now stands as a living testament to the nation’s architectural and cultural legacy.
By Ndéla Faye | Photos: Ahlströmin ruukki
Just a short drive from the city of Pori, this charming town beautifully illustrates how industrial heritage and contemporary life can coexist. The picturesque estate, complete with accommodation, a restaurant and cultural attractions, showcases some of Finland’s most remarkable examples of architecture and design, including works by the legendary architects Alvar and Aino Aalto.
The historical industrial area is one of the largest and best-preserved in Finland and has been declared a site of national significance by the Finnish Herit-
age Agency. Over centuries, the estate changed hands many times until the Ahlström family settled there in 1870, ushering in an era that would shape both Finnish industry and architecture.
Villa Mairea – the jewel of modernist art and architecture
In the decades that followed, a number of notable buildings were constructed on the estate – none more famous than Villa Mairea, designed by Alvar and Aino Aalto. Commissioned by Maire and Harry Gullichsen and completed in 1939, it is widely regarded as one of the crowning achievements of 20th-century modernist architecture.
Progressive patrons of art and design, the Gullichsens were close friends of the Aaltos. They granted the architects extraordinary creative freedom, resulting in a residence that perfectly blends design, craftsmanship and experimentation. Aino Aalto’s interior work infuses the home with timeless elegance where wood, light and organic forms intertwine
to create a sense of harmony that feels just as contemporary today as it did over eighty years ago.
Beyond its architectural brilliance, Villa Mairea was also a vibrant gathering place. Artists, musicians and architects from around the world passed through its doors, drawn by the Gullichsens’ hospitality and the home’s creative spirit.
Today, many of the estate’s buildings serve new purposes. Havulinna provides a unique and beautiful backdrop for companies wishing to blend luxury, history and contemporary comfort. Dating back to 1901, the building infuses every meeting and event with an air of heritage and sophistication.
While Villa Mairea attracts visitors from across the globe, Noormarkku’s story extends well beyond its architectural treasures. The Makkarakoski sawmill offers a glimpse into the early days of Finnish industry. Nearby, the Ahlström Voyage exhibition in the old workshop traces 175 years of Ahlström history through Finland’s industrial, artistic and design evolution.
The estate offers 31 hotel rooms across five beautifully restored guest houses, all within walking distance of the restaurant and nearby cultural attractions. Among them is Vainiola, whose rooms are furnished with classic Artek pieces, featuring
several items that highlight the timeless mastery of Finnish design.
At the heart of the estate stands the Noormarkku Club House, whose Chaîne des Rôtisseurs plaque attests to its culinary excellence. The kitchen pays homage to Finnish gastronomy, serving seasonal and local delicacies, from wild game sourced in nearby forests to carefully selected regional ingredients. “Favouring local ingredients is important to us and it aligns with our commitment to sustainability,” says Milla Laurila, sales manager at A. Ahlström Kiinteistöt.
In keeping with this ethos, the estate produces its own clean energy through the Makkarakoski hydroelectric power plant, a woodchip heating plant and solar panels.
“Environmental considerations guide everything from event planning to energy use; a modern continuation of the respect for nature that has defined the estate since its earliest days,” Laurila adds.
The Club’s banquet hall, equipped with modern meeting technology, accommodates up to one hundred guests, perfect for gatherings that combine business with pleasure. For a more relaxed experience, the riverside saunas offer a serene retreat by the tranquil banks of the Noormarkunjoki River.
Noormarkku offers outdoor activities for every season – from hiking, biking, fishing and exploring nature trails to guided excursions. Just a short distance away are golf courses and the beautiful sandy dunes of Yyteri in Pori.
In winter, visitors can enjoy ice-fishing trips on a private wilderness lake, complete with local guides, traditional picnic lunches and the chance to enjoy freshly caught fish. Ahlström Noormarkku is a popular travel destination and a unique venue for celebrations, corporate events and unforgettable holidays. “This is an ideal place to experience the best of Finland: design, architecture, great local food and nature, all year round,” Laurila concludes.
www.ahlstrominruukki.fi
Facebook: Ahlströmin ruukki
Instagram: @ahlstrominruukki
Talking to Scan Magazine, the Norwegian artist Bente Tømmerås shares her thoughts on what inspires her, and why she is better with paint than words.
By Eva-Kristin U. Pedersen | Photos: Bente Tømmerås
“I’m not so good with words. Perhaps that’s why I paint?” says Tømmerås when asked what inspires her.
Tømmerås has been an active artist for some 15 years. She has studied at several art schools in Norway, as well as the Angel Art Academy in Florence. A member of several Norwegian art associations, including Landsforeningen Norske Malere (the National Association of Norwegian Painters), she has an extensive exhibition history, with both solo and group shows to her name.
This year, her work has been featured in the London Art Biennale and in Anonyme Zeichner in Hamburg, Germany. In addition, two of her pieces were selected for the project Askers historie i kunst – an artistic exploration of the history of Asker, a municipality just outside Oslo.
Difficult not to look at
Tømmerås works both figuratively and abstractly and her art, which includes both paintings and drawings, is often colourful and with a vibrant expression. It has an almost strikingly immediate
appeal; it is simply difficult not to look at it. Yet Tømmerås admits that she sometimes struggles to describe her own art in words. When asked what drives her, what inspires her, she has to pause to think.
“My art is spontaneous and intuitive. But the inspiration has to come from something I’ve experienced, something that made an impression on me,” she says after a while. “It’s what appears in front of me while working, not the history of how it got there, that matters, I think,” she adds.
Impressions from a vernissage
Take Vernissage, one of Tømmerås’ paintings from a few years back. This is the scene: people, or more or less distinguishable shapes of people, mingle and
look at paintings. It is abstract but real, so real that you can almost hear the buzz of the small talk which is occasionally interrupted by outbursts of convivial laughter.
The painting oozes with that distant yet intimate atmosphere that characterises vernissages. “I painted it after the opening of my first solo exhibition – I started drawing immediately after I came home in the evening,” Tømmerås explains when asked about the background of the painting.
Letting the colours lead
Tømmerås enjoys working in an abstract style, allowing colours and shapes to guide the process, with the motif emerging only toward the end. One such piece is Såmannen, a painting she did in 2020. “In the beginning, it was purely abstract, then the figure appeared after a while,” she explains. It is not important to her that the viewer sees what she sees. “I don’t want to dictate what other people see in my art,” she stresses.
One technique she likes to employ is blind contour drawing, where the artist looks only at the motif, not the paper. The result looks almost like cartoons. “It creates a very true, yet somewhat distorted shape. I find it very interesting,” Tømmerås says.
Another technique Tømmerås uses is free compositions in large formats, using markers. When working on these, Tømmerås explains that she just starts somewhere, and then works her way towards a composition. In order to do that, it is important for her to work without restrictions. “It needs to be spontaneous; the
artistic liberty is an objective in its own right,” she explains.
It has to matter
To achieve that liberty, Tømmerås says, she needs to be what you would call in the zone; she needs to feel that the flow is natural and not forced. To get to that point, she not only has to be able to work without interruptions; she has to feel strongly about what she is trying to express. “I need to have an opinion, to feel that something is important. That’s what produces a good result,” she says.
www.bentetommeras.no Instagram: @bentetommeras
Mod Architects has developed the concept and interior design for a new chain of climate-smart roadside hotels in Sweden. Stopover is focused on travellers on the roads – from business travellers to families and sports teams – who value comfort and accessibility. The first of around 20 hotels opened in Falkenberg at the end of October.
By Malin Norman | Photos: Mod Architects
Founded in 2016, Stockholm-based architecture firm Mod Architects has broad knowledge working on projects with requirements for function, sustainability and economy, as well as user experience. Regardless of location, type of project and end user, the team at Mod carry out designs that are full of life.
“In all our projects, whether it’s developing new hotels or restaurants, or reimagining historical buildings, we focus on context as well as detail,” explains architect Marie Ebersdotter. “The primary function of architecture is to make life possible. Good architecture is spaces and interiors in which we feel comfortable, environments we come back to and that make us want to stay.”
This autumn sees the launch of Stopover, a brand new chain of climate smart hotels with concept and interior design by Mod. Initiated by Strawberry Hotels and real estate equity firm Slättö, the chain’s focus is on those who travel by car and value comfort and accessibility, from business travellers to families with children and sports teams, but also those
who need temporary housing during a transitional period.
“Domestic and intra-Nordic travel has increased significantly since 2019, and there was a place in the market for a new roadside hotel concept,” says Ebersdotter. “Stopover will be a place to stay well and conveniently on the way to and from the destination, with efficient solutions and superb services for guests, including children and four-legged family members.”
The first of around 20 hotels in the chain, the 151-room pilot hotel in Falkenberg features a restaurant, a gym, a playroom for the young ones, a laundry room, a convenient meeting room and phone booths, a dog park, as well as parking and charging stations for electric vehicles.
Wooden modules made in Värmland Stopover is a hotel chain developed for a new era, with new requirements
for infrastructure and technology, and increasing demands for sustainability. For instance, the hotels will integrate renewable energy production with solar panels and geothermal heating.
Like the pilot in Falkenberg, future hotels in the chain will also be built out of wooden modules made in Värmland, which are to be assembled on site.
“Working with rooms as modules is complex but also a lot of fun, and it’s fascinating to see how the modules come together to form a whole,” explains the architect. “As we’ve been bound by a small space, we’ve worked a lot with layers, colours and patterns to create an attractive design.”
Flirting with the American motel and diner vibe of the 1960s, Mod has integrated playful details into the design of Stopover. “We’ve asked ourselves,
how can we create more from less?
Similarly to how architects work with compact living, the answer is to make something functional and durable, but also aesthetically pleasing.”
With a high number of guests, hotels tend to face plenty of wear and tear. Ultimately, the design should last over time, with a variety of textures and materials used to entice guests. “With Stopover, we want to challenge the image that stops along the way are merely boring necessities. Instead, we see it as an opportunity for travellers to recharge and enjoy,” adds Ebersdotter.
Within the next 10 years, at least 20 hotels are planned for the new hotel chain – at strategic locations, with high quality and sustainability at the core. The goal is for Stopover to become a common sight along Nordic roads.
About Mod Architects
Established: 2016
Location: Stockholm, Sweden
Area of specialty: over 30 years of national and International experience in hospitality, restaurant and public spaces
Upcoming project: Quality Hotel
SkyWalker at Arlanda Airport, Stockholm to be opened Q1 2029
Design philosophy: to create environments with impact – where design, function and feeling work together to enhance the overall experience
Mod Architects strives for personal, functional and aesthetically sustainable environments that strengthen the brand and guest experience.
www.modarkitekter.se
Instagram: @modarkitekter
Far above the Arctic Circle, where glittering mountains rise from icy fjords, lies Uummannaq – a place that feels both untouched and unforgettable. Here, AVANI Homes offers guests the rare chance to experience Greenland away from the usual tourist routes, where silence, community, and vast nature define daily life.
By Signe Hansen | Photos: Anton Overballe/AVANI
What began as simple rental houses for visiting workers has transformed into a hospitality venture offering authentic Arctic stays in modern hotel apartments with stunning views. “For a long time, our guests looked after themselves,” says director Anton Overballe. “Now we’re focusing more on experiences and to give visitors more of what they come here for.”
AVANI Homes’ story stretches back over 50 years, beginning with Anton Overballe’s grandparents, who ran a small local shop before expanding into several family businesses. When Anton returned home in 2017, after years spent abroad and in Nuuk, he took over from his parents. Today, he runs the company together with his wife and his brother. “For many years, I was doing much of it myself,” says Overballe. “But now we’re
more people involved and entering a new phase where we can focus more on what we can offer our guests and show our daily life as locals.”
Once simple houses for rent, AVANI’s modernised apartments now provide the comforts of home – underfloor heating, fully equipped kitchens, and balconies overlooking the ice-strewn fjord. From next year, guests will also be able to prebook a locally sourced ready-to-cook dinner and breakfast. “Many arrive after several flights and a helicopter ride,” Overballe explains. “We want them to feel at home from the moment they step inside –with a dish with fresh local fish waiting for them, ready to put in the oven.”
With a population of just around 1,400, life in Uummannaq moves to a different
rhythm. There are no restaurants or tourist hotspots, only a single café serving simple meals and warm drinks, but visitors quickly discover that this is part of the town’s quiet charm. Guests are drawn into the quiet pace of the Arctic – watching the ice float by or fishermen head out in their small boats in the summer and snowmobiles or dog sleds in the wintertime.
For those wanting to explore the area further, AVANI connects guests with the wild Arctic – from Greenlandic dog sledding and nights in an ice cabin. “We have more and more guests who come here on photography expeditions as well,” explains Overballe. “We’ve even had a film crew stay here and some heliskiing groups.”
www.avani.gl
In the heart of Oslo’s financial district, The Salmon is not just a restaurant – it is a celebration of Norwegian seafood and a window into one of the country’s most important industries. Here, the journey from ocean to mouth is more than a phrase – it is the foundation of the experience.
By Signe Hansen | Photos: The Salmon
While The salmon has its own in-house knowledge centre offering fascinating insight into salmon farming, the restaurant is a destination in itself. Serving worldclass dishes crafted from exclusively Norwegian seafood, it invites guests to taste the legacy of over 50 years of aquaculture along Norway’s pristine western coast.
The menu features both traditional and modern preparations: gravlax and coldsmoked salmon made using time-honoured methods in the restaurant’s own smoker, as well as fresh sushi and warm plates from the kitchen.
The fish used is always of the highest quality and delivered fresh daily. “We get our smoked salmon from our own smokery Fredriks Røkeri,” says general manager Camilla Bredesen. “Only the best
salmon is used.” Alongside salmon, the kitchen serves oysters, scallops, halibut and more – sourced from Norwegian waters and prepared by head chef Harry Kristoffer Hermosa – “he’s fantastic,” Bredesen adds.
But what truly sets The Salmon apart for the curious visitor is the insight it gives –and the role it plays – in the bigger picture. Having farmed salmon for over 50 years, Norway is the world’s leading producer of Atlantic salmon, responsible for over half of the global production. As pressure grows on land-based food systems, seafood – particularly farmed salmon – is seen as a key part of a sustainable future.
“Only 2–5 per cent of the food we eat comes from the ocean, even though it
covers 70 per cent of the Earth,” Bredesen explains. “But food from the ocean is important for a sustainable future with a growing population – it uses little land, freshwater, or energy, and relies on renewable resources.”
The restaurant’s knowledge centre offers visitors a chance to explore these themes further through interactive exhibits, historical insights, and live streaming from a salmon farm on the Helgeland coast. “We are very much about showing the full picture – from the sea to your plate,” says Bredesen. “You can see where the salmon comes from and how it’s produced – and then enjoy it.”
The Salmon is open every day of the year from 11.30am to 10pm (except for a short break over Christmas). It is advisable to book a table in advance, especially during busy periods.
www.thesalmon.no
Facebook: thesalmonoslo
Instagram: @thesalmon_oslo
Top chef Daniel Berlin’s new masterpiece Vyn Restaurant has received two stars in the prestigious MICHELIN Guide, a testament to his world-class gastronomy. But there is more awaiting guests at this culinary destination, including the intimate Food & Wine Bar, the chambre séparée Atelier, and the cosy boutique hotel.
By Malin Norman | Photos: Jimmy Linus (@jimmylinus)
On the south-eastern tip of Sweden, a former farmhouse has quickly become one of the world’s top restaurants. Opened at the end of 2023 by one of Sweden’s most prominent chefs, Daniel Berlin, Vyn Restaurant is a thrilling fine dining experience with the best that the Scandinavian pantry has to offer.
Just six months after its opening, Vyn received two stars by MICHELIN Guide. It has since also been awarded Opening of the Year by La Liste, and featured in “World’s Greatest Places of 2024 – 100 extraordinary destinations to explore” by TIME Magazine. Impressively, Vyn has
also reached 47th place on The World’s 50 Best Restaurants list, with part of the motivation reading; “It’s a place to relax, immerse yourself in the beauty of nature, and enjoy life.”
A world-class culinary experience awaits, no doubt. But Berlin strives for Vyn to be something more; a gastronomic destination, a magical meeting between the location and the food. “Vyn reflects our DNA, something that you will feel when you come and eat here,” he says. “It’s a presence, of the location mixed with our experience and culinary expression.”
The menu reflects the setting, featuring local produce, game and seafood from Skåne and Scandinavia, paired with the best ingredients of the season. “We take inspiration from the surroundings – the
forests, the fields, the sea. It’s a larder we know like the back of our hand,” says Berlin. “Many ingredients are grown onsite in our garden, others are sourced from Skåne’s great farmers and producers, or foraged and hunted by myself and the team.”
The winter menu embraces the season’s richness, with root vegetables, orchard fruit, game, and the first frost-kissed greens taking centre stage – an invitation to gather, pause, and celebrate the closing of the year. “As always, we want our guests to feel the seasons on the plate,” says Berlin. “One of our signature dishes is scallops, served steaming hot and freezing cold – two worlds assembled on a plate.”
Perched on a hill with a view of the sea, the renovated farmhouse has been transformed into a restaurant with a luxurious but tasteful ambience. With the help of local designers and true craftsmanship, the result is a beautiful and serene environment with natural colours and materials reflecting what is outside the window. The restaurant is in fact named after its panoramic views, vyn meaning the view in Swedish.
Österlen is where sea meets land, an area ideal for peaceful exploration. You can go hiking along the coastline, relax on white sandy beaches, and discover quaint villages. “The location is fantastic. Grounded in rural roots, yet open to the horizon, this place holds something quietly powerful. The salty air, rich soil,
and shifting winds made it easy for us to imagine a future here,” says Berlin. “Now we want our guests to get a sense of that unique setting.”
Food & Wine Bar, Atelier and Hotel
In addition to the signature restaurant, Vyn houses the intimate Food & Wine Bar, which tempts with lighter seasonal dishes. “In our Food & Wine Bar, we serve food made with the same ingredients as in the restaurant, often with a seasonal theme, but prepared in a slightly different way,” says Berlin. With a more casual vibe, the Food & Wine Bar is also more accessible, often with tables available for drop-in.
Guests can also pay a visit to the greenhouse turned cocktail bar. The Greenhouse (Växthuset) is the perfect place to enjoy a cocktail or two before the meal, or savour a final glass as the evening winds down.
Upstairs, under the eaves in the old farmhouse, is the elegant chambre séparée Atelier. Here, guests can indulge in a bespoke dining experience. The private dining room seats up to 25 guests, ideal for companies or groups looking to host inspirational meetings and conferences, memorable celebrations and family gatherings, events, tastings, and more.
Next to Vyn sits a small boutique hotel with 15 rooms including two suites, where
guests can enjoy a peaceful stay whilst exploring the area. “We’re happy to be able to offer our guests the chance to stay the night, not only making Vyn about the food but about the whole experience,” adds Berlin. “Here, you can pause and catch your breath, it’s a place you’ll want to come back to.”
www.vynrestaurant.se
Facebook: Daniel Berlin Restaurant Instagram: @danielberlinrestaurant
If you are looking for a bit of weekend escapism this winter, the team at Vyn has put together a number of package deals that include overnight stays at the hotel, paired with dinner at the Food & Wine Bar, featuring themed menus with lobster, traditional Skånsk goose, and Christmas dinner.
In October 2025, Restaurant Stella Nova opened in Rovaniemi, Finland, bringing refined Nordic gastronomy and a venue for local culture and art – all showcased in an inviting space of natural timber and broad glass windows overlooking the surrounding forest and sky.
By Molly McPharlin
Located in a calm, woodland-fringed part of the city, Stella Nova occupies space within the Nova Skyland Hotel. Initially a more traditional restaurant, Stella Nova has now reclaimed its original locale, providing a new dimension to the culture and restaurant scene of Lapland. With gracious rooms, an impressive open fireplace, and local art adorning the walls, it promises to become a favourite destination for both locals and visitors to Lapland.
The kitchen’s concept is modern Nordic, combining freshness and simplicity of Scandinavian flavours with classic French techniques. Traditional ingredients such
as forest mushrooms, reindeer, and pike perch are re-imagined into modern versions of Finnish cuisine. The dishes are like works of art, surprising with their appearance, yet always containing recognisable elements on the palate.
Though a gourmet restaurant, Stella Nova is also a gallery space for local Lappish artists. Artists such as Pirkko Mäkelä-Haapalinna and Eliina Hurtig can be enjoyed by diners or marvelled over with afternoon coffee or tea. Stella Nova works in conjunction with the Finnish art association Lapin Taitelijaseura to promote regional art and artists throughout the year.
Stella Nova aims high. The team hopes to establish it as a destination restaurant in Finland, where the culinary scene is both diverse and vibrant. There is every indication that this star will find its place in the northern sky.
www.restaurantstellanova.com
Facebook: Restaurant Stella Nova
Instagram: @restaurantstellanova
Trip Advisor: Restaurant Stella Nova
Surrounded by breathtaking views and close to some of Iceland’s most iconic attractions and winter activities, Heiðin combines convenience with a sense of escape.
Just six minutes from the centre of Akureyri, in the Eyjafjörður valley of northern Iceland, Heiðin offers a modern and comfortable base for exploring the region. “Here, guests can relax and enjoy having a base while exploring all the things northern Iceland has to offer,” says Ágústa Kristjánsdóttir, host at Heiðin.
Heiðin sleeps up to eight guests across four spacious bedrooms, two of which are en-suite. Ideal for families or two to three couples to share, the rooms are light and airy, with large windows framing the valley. The kitchen is fully equipped, which makes it easy to cook and enjoy meals together. Guests can also relax and unwind in their own private outdoor hot tub or on the outside patio.
One of the biggest draws nearby is the iconic Forest Lagoon with its geothermal spa, located only minutes from Heiðin. Akureyri, Iceland’s capital of the north, is just a short drive away.
For winter sports enthusiasts, the Hlíðarfjall ski resort is also nearby. Often considered Iceland’s best ski resort, it of-
By Ndéla Faye | Photos: Heiðin
fers 24 slopes of varying difficulty – and during summer, the slopes become mountain biking trails.
On-site staff are nearby if needed, and practical amenities such as a washing machine, dryer and a dedicated ski storage cupboard for skis, snowboards and golf equipment make staying at Heiðin easy and hassle-free.
With minimal light pollution, it is also one of the best spots in the area for catching sight of the Northern Lights.
Ideally located close to the airport and northern Iceland’s key attractions, Heiðin offers guests the opportunity to experience the region’s landscapes, spas and slopes at their own pace.
www.heidin.is
Facebook: Heiðin
Instagram: @heidin.homes
My Scandipop recommendations this month come from a quartet of queens who are propping up the pop scene across the Nordics right now.
By Karl Batterbee
Danish artist EMI WIDE sings of being a small fish in a big pond and wanting to keep up with all the sharks out there. But with an electropop gem that is sparkling as bright as her latest single, I hope she continues swimming in this lane for a great deal more time to come. Big Shark Club is the name of her current hit, and it’s also well worth checking out her new collaboration with German artist Laura Nahr, Delusional Her previous release Come Over made a late bid for my Song of the Summer, now the Norwegian newcomer May is back with the follow-up, and with Closure she’s gone and made another top-tier ten-out-of-ten for all of us! This is a break-up ballad that comes with some bang – from the subtle build in production to the storytelling that
It took me a good ten years to understand British sarcasm. I thought perhaps it was just me, but recently I became addicted to a Swedish crime podcast, which has made me suspect it might be a national issue.
Maybe you can blame it on the long, gloomy winters, but when Swedes go dark, they go DARK. However, it’s not just the particularly grim nature of the crimes in this podcast that sends a chill down the spine. It’s the way the cases are presented. In pure black and white, with not a single forgiving shade of grey. Because Swedes, like myself, can be extremely literal.
‘That sounds like a good thing,’ you may wish to argue, before hearing a Swedish person discuss their heinous crimes, much like they might tell you what they had for breakfast. It’s as if it doesn’t even occur to them to gloss things over slightly or – arguably even better – lie. Want more
will have you hanging on every word from the beginning.
Swedish artist Nea has taken the melody of one of Tokio Hotel’s signature hits Monsoon and interpolated it into the chorus of her brand-new single Unaffected It’s a stunner of a soft-tempo song about an unrequited break-up. And regardless of whether you’re familiar with the original by the German rock legends or not, you won’t be able to listen to Unaffected and remain, well, unaffected… Those lyrics hit hard. It was released by Norwegian artist Trine Rein in 1996 before being made famous by Natalia Imbruglia in 1997, so it’s nice to see Torn make its way back to Norway three decades on. Ingrid Vårvik is the latest singer to release a version of the
details? Just ask and they will walk you through it, horribly and monotonously. There is little space for the kind of fanciful, figurative wordsmithery so favoured by the Brits, where language serves as good-natured sparring and has so many layers that you can blissfully lose yourself in the folds, until you forget there even was a crime.
classic, though she puts a different spin on it for 2025 – recording the song in Norwegian! Delt i To is a whole new chapter enabling you to fall in love with this story all over again. www.scandipop.co.uk
By Maria Smedstad
In Sweden, there is no such mercy. Things just are what they are, which is why you shouldn’t attempt sarcasm on a Swede without first checking that they do sarcasm. If you tell a Swede that a stormy day is perfect for a picnic, or that you love the way they ruin a good cup of tea, don’t be surprised to find yourself served exactly that in the pouring rain shortly thereafter.
Maria Smedstad moved to the UK from Sweden in 1994. She received a degree in Illustration in 2001, before settling in the capital as a freelance cartoonist, creating the autobiographical cartoon Em. Maria writes a column on the trials and tribulations of life as a Swede in the UK.
The Nordic countries are not immune to the shifting trends in how people consume and watch content. In a battle to retain the under-30 audiences, several Nordic broadcasters are finally adopting YouTube as a streaming platform.
By Anders Lorenzen
Despite concerns about YouTube’s role in unhealthy viewing habits and exposure to inappropriate content for children, SVT, NRK and DR are expanding their presence on the world’s largest streaming platform. Even the Danish commercial but free-toair broadcaster, TV 2 Denmark, is planning to expand its YouTube presence.
The move by the broadcasters is not without risks or concerns as YouTube retains control over user data.
Moreover, the way YouTube’s algorithm rewards engagement and virality can sit uneasily with the core objective of public service broadcasting – to educate its audiences and reach diverse groups. But on the flipside, like in the case when the same broadcasters sold content to streaming giants such as Netflix, Amazon
Prime, Disney, and Apple – it can attract huge global audiences that would never have found the content otherwise.
DR has shed some light on the type of content it will be making available on YouTube, as on 1 October 2025, it launched a natural science channel on the platform, aimed to educate the 9-14-year-old audience about nature and science.
DR seems to be ahead of the other Nordic national broadcasters in specifically tailoring and producing content for YouTube, with the others, for now, using the platform as a marketing platform as well as cross-posting specific short-form content on the platform.
The recent move by the Nordic broadcasters reflects a growing concern that public
service broadcasting is drifting towards irrelevance or even extinction. In that perspective, digital technologies are seen as vital, not just to attract new audiences but to stay alive. What form that reinvention will ultimately take, however, is still uncertain, as new platforms such as Snapchat and TikTok increase concerns about the marriage of public-service values and platform-based logic.
We’ve got music, we’ve got comedy… We’ve even got comedy-driven music! If you’re in the Nordics, this November you’ve got no excuse not to be exercising those vocal chords; whether that’s singing along to your favourite star or laughing at the top of your voice to award-winning funnymen.
By Karl Batterbee
Swedish Short Film Festival (15 October – 4 December)
Short films are returning to Swedish cinemas during the autumn of 2025! Svensk Kortfilm c/o Folkets Bio offers audiences some of the best short films that have already made their mark at film festivals around the world. For six Wednesdays that started in mid-October, Zita Folkets Bio will host exclusive premiere screenings with both director talks and postshow minges on offer. All premiere events are free to attend.
Art House cinema Zita is the oldest cinema in Stockholm and one of the most important venues in the Swedish capital. It houses a wide range of films from all over the world and for all ages, specialising in documentaries, children’s movies, short films and feature films that normally wouldn’t be screened in Stockholm. Stockholm, Sweden www.zita.se/svensk-kortfilm
Blue Christmas with Royal Copenhagen (2 November – 4 January)
To mark the 250th anniversary of the Royal Danish Porcelain Manufactory, Frederiksborg is presenting a very special installation, where Royal Copenha-
gen’s Christmas plates – from 1908 to the present day – are being staged in a grand setting at the Great Hall. Visitors can explore more than 100 of the iconic Christmas plates, ranging from the very first edition from 1908 to contemporary designs. For generations, the plates have been beloved collector’s items and symbols of Danish Christmas tradition. The exhibition therefore offers a fascinating snapshot in time, appealing to both children and adults while encouraging reflection and aesthetic enjoyment in beautiful, historic surroundings. Hillerød, Denmark www.frederiksborg.dk
The Tommy Cash Tour (throughout November)
Known for both his bold visuals and sounds, Estonia’s biggest name in music, Tommy Cash, secured an impressive
For the first time, visitors to Frederiksborg can now explore more than 100 of Royal Copenhagen’s iconic Christmas plates.
Royal Copenhagen/ Frederiksborg
third-place finish at the Eurovision Song Contest earlier in 2025 with the viral hit Espresso Macchiato. Not only a musician, Tommy is an accomplished visual artist, consuming and repackaging global trends through his own gaze and sense of humour. After rising to the top of the Estonian entertainment scene, Tommy Cash’s success has quickly spread internationally, too. He has toured the US & Europe and performed at some of the biggest festivals, such as Glastonbury, Sziget and Roskilde. Now, he’s headed to the Scandinavian capitals across three nights!
Stockholm (11 Nov) Oslo (13 Nov), Copenhagen (16 Nov) www.livenation.com
Russell Kane: HyperActive Tour (throughout November)
British comedian Russell Kane is taking his popular new show HyperActive
around Europe. With his unique mix of razor-sharp observational humour and high-energy physical comedy, he delivers an evening where laughter is at the very top of the agenda. Everyone’s favourite Essex boy also drops in his ever-popular online rants, known as ‘Kaneings’. True to form, the show is defined by Kane’s hyperkinetic performance energising the room. For example, he must do his 10,000 daily steps in an hour… To great comic effect, of course!
Oslo (6 Nov), Stockholm (7 Nov), Bergen (23 Nov), Stavanger (26 Nov) www.russellkane.co.uk
Baltic Circle Theatre Festival 2025 (21 November – 6 December)
The Baltic Circle festival has been organised in Helsinki since 2000. Throughout its history, the festival has consistently been attuned to contemporary issues,
addressing societal injustices and shining a light on hidden power structures. Baltic Circle has grown to become a central organisation in the field of theatre and performing arts, and it has become an important place for networking to theatre professionals and audiences. This year’s festival programme highlights artists whose work challenges prevailing norms and paves the way for a more diverse future. The programme will feature premieres, workshops, discussions, and much more.
Helsinki, Finland
www.balticcircle.fi
Larsson: Midnight Sun Tour (throughout November)
Zara Larsson released her new album Midnight Sun in September and will now follow it up with an extensive European tour, including six stops in the Nordics at the end of the month. The tour comes after Zara recently supported Tate McRae on her US tour, with the Swedish pop icon arguably stealing the American artist’s thunder; it was videos of Zara’s top-notch choreography going viral on TikTok, rather than those of the headliner. On her own tour, audiences can expect all of the hits plus a complete dive into her critically-acclaimed new album Midnight Sun. Zara’s tour support
for the shows is former Scan Magazine cover star Omar Rudberg. Copenhagen (18 Nov), Malmö (19 Nov), Oslo (21 Nov), Gothenburg (22 Nov), Helsinki (26 (Nov), Stockholm (28 Nov) www.zaralarssonofficial.com
Moomin Music from the ‘90s TV Series (25 – 30 November)
The iconic Moomin soundtrack is now being brought to life in a major way – performed by a live orchestra at the Helsinki Music Centre. The Moomin music of Sumio Shiratori has been the definitive soundtrack for Finnish fans since the 1990s. The orchestra consists of over 20 young professionals, who all have a special place for the Moomins in their hearts. The legendary pieces will be performed as brand-new arrangements, rich in sound and deeply respectful to the originals. The beloved music of the ‘90s TV series Moomin is an inseparable part of Finland’s shared memory. This concert is crafted especially for those who have fond childhood memories of Moominvalley and who, through music, wish to return there for a moment. The musical experience will be complemented by familiar scenes from the Moomin series projected onto the screen.
Helsinki, Finland www.musiikkitalo.fi
Scan Magazine Issue 184
November 2025
Published 11.2025
ISSN 1757-9589
Published by Scan Client Publishing
Stibo Complete
Executive Editor
Thomas Winther
Creative Director
Mads E. Petersen
Editor
Signe Hansen
Copy-editor
Malin Norman
Graphic Designer
Mercedes Moulia
Cover Photo
Charlotte Alex
Contributors
Anders Lorenzen
Celina Tran
Eva-Kristin Urestad Pedersen
Karl Batterbee
Katharina Kjeldgaard
Malin Norman
Maria Smedstad
Maria Sødal Vole
Molly McPharlin
Ndéla Faye
Sara Hellgren
Signe Hansen
Sales & Key Account Managers
Emma Fabritius Nørregaard
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Mette Tonnessen
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