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Kånken Art ‘22 by Tekla


Tekla所設計的Kånken Art ‘22

Kånken Art happens when renowned artists, like Tekla Evelina Severin, express their relationship to nature while using Kånken as their canvas.

Kånken Art的誕生,是由Tekla Evelina Severin等知名藝術家將Kånken包當作畫布,傳達他們與大自然的關係。

For the 2022 edition of Kånken Art, Fjällräven teamed up with Swedish colourist, multi-disciplinary designer and photographer Tekla Evelina Severin. Working with various materials and media, including textiles, installations and imagery, colour is always her starting point. As she says, “Colour is fundamental to everything I do, and I’m forever fascinated by its strong power. Colour is never absolute, and its meaning changes relative to what you put next to it.”

Delve into the thinking and the process behind her Kånken Art ‘22 design Free Horizon.

Fjällräven與瑞典的調色師、跨領域設計師暨攝影師Tekla Evelina Severin聯手打造2022年的Kånken Art。面對各種不同的材料和媒介,包含紡織品、裝置和影像,色彩永遠是她的出發點。Tekla說:「我做的一切離不開色彩,它的強大力量讓我著迷。色彩沒有絕對,你的配色決定它的意義。」

以下深入了解她為Kånken Art ‘22所做的設計Free Horizon(自由地平線),背後的思維和過程。

How did you approach the project Kånken Art ‘22?

I started like I always do: with an analysis and visual deconstruction.

First, of nature itself and my relationship with it. I’m an out-door enthusiast in the sense that I appreciate spending time in nature for relaxation, walking, and wondering. Also for getting inspired. Nobody does colour like nature.

Then, I thought about Kånken. Especially its design. The shape, composition and details are so iconic. Throughout my lifetime, I’ve almost always had one.

你是用什麼方法進行Kånken Art ‘22的計畫?




What inspired you to choose the horizon theme?

The straightforward design of Kånken inspired me to seek out similar compositions in nature. I found very strong visual connections in their natural lines, pattern repetitions and symmetries.

Soon enough, an idea about colour blocking in nature took shape, and I decided that I wanted to work with colour on the same scales as nature does. That’s when the horizon theme came about, because what is bigger and more splendid than a straight and open horizon line?




How did the design process unfold?

The experience combined elements that were familiar to me, as well as those that were entirely new. For example, it was both quicker and longer than I am used to. The design ideation and concept phase were pretty fast – a few weeks of back-and-forth – which is typical. The product development and sample processes, however, took some months.

I also regularly work between the 2D and 3D worlds to explore different ways of using colour, and this was no exception. I am, however, used to being in-control of the colour processes and this time I had to leave testing and adjustments to Fjällräven.

The best part was working on an entirely new level of detail on buttons, trim and zippers. That was a dream!





Describe the collaboration between Fjällräven and yourself.

I was first approached because of how I work visually with composition and colour as a photographer. I was delighted, because Fjällräven and I have similar values about the importance of nature. We are all a part of it and need to take strong actions to protect it. We have a shared belief that design plays a big role in product longevity and sustainability. Not just in terms of its functionality and durability, but in the timeless quality of its visual appearance.

During the process I learned a lot about Fjällräven as a brand, including its heritage and vision. I also learned a lot on a practical level about product development, production timelines and colouring processes for specific materials.




What do you hope the effect will be of your Kånken Art?

I hope Kånken Art ‘22 will get people out into nature to discover all its colours, and hopefully inspire them too.

你期待你設計的Kånken Art能產生什麼效應?

我希望Kånken Art ‘22能帶領人們走進大自然,探索大自然的色彩,也希望能給他們帶來啟發。

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