Inspire 40 in English - PDF

A MAGAZINE FROM Iggesund paperboard ISSUE 40 2012
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QUALITY WITHIN SPORTS
The stars and legends who inspire us in our lives today are found in the world
of sports. We see it in the business world, where former athletes are recruited
to provide companies with people who demonstrate endurance, can face challenges and won’t fold under pressure. We see it on television, where the number
of specialised sports channels keeps growing. We see it in retail, where for every
electronics store that opens there’s also an outdoor or sporting goods store.
We see it in fashion, where Stella McCartney designs for Adidas and David
Beckham releases a line of underwear for h&m.
And the kids of today don’t worship Madonna or Robbie Williams, but
Usain Bolt, Serena Williams and Lionel Messi.
To find the legends of tomorrow, just take a look at the world of sports today.
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06
BRAND OLYMPICS. “The
Look of the Games” is the
core graphic identity and
thematic essence of the
Olympic brand for each
Olympiad, seen by 4 billion
people.
Contents #
THE SPORTS ISSUE
05
10
11
12
16
SPORTS ICON. From the
mountains to the sea, the sporting
bunch behind the French sunglasses
brand want to make every day
“a Vuarnet day”.
COLUMN BY DAN JONES. The
sports columnist and former editor
of men’s fashion magazine GQ sees
the natural connections between
sports and fashion.
PROFILE – HELEN FRIEL. From
toilet paper tubes and Post-it notes
to pop-up books and Babylonian
hepatomancy, paper has always
been this artist’s material of choice,
whatever the project.
THE NEW MUSE. We travelled the
world to meet with three creatives
in London, Stockholm and Shanghai
and discuss the link between sport
and design.
WOW! Futuristic magazine covers,
compostable lamps and the newly
retired rockers R.E.M. – they’re all
part of the fantastic world
of paperboard.
18
19
23
24
27
PROFILE – YULIA BRODSKAYA.
Once she switched from drawing to paper artwork, she
never looked back. This
uncompromising approach
has made her a design darling
for Nokia, Hermès and Oprah.
Bobsleigh
THE CHANGING FACE OF SPORTS.
Bobsleigh
From Puma’s jumping cat to RUN
DMC’s Adidas sneakers, the look of
sports has changed a lot in the last
century, thanks to graphic design,
architecture and advertising.
PROFILE – WRAP. Imagine a design
magazine that could easily be turned
into wrapping paper. That’s exactly
what Polly Glass and Chris Harrison
imagined, created and launched under
the name Wrap.
A NEW OLYMPIC RECORD. As London
gears up for the big summer event, sustainability is at the top of the agenda
for organisers in their efforts to reduce
the energy and carbon footprint of the
Games.
FINAL TEN – Q&A WITH SAM HECHT.
The founder of the Industrial Facility
studio describes the concept behind his
latest design project — a cycling shirt.
WHAT’S ON AT
IGGESUND?
More secrets of the
Black Box project
revealed.
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2012-02-07 08.41
Inspire, a source of inspiration,
provided by Iggesund Paperboard,
home of Invercote and Incada.
Address
Iggesund Paperboard
SE-825 80 Iggesund, Sweden
phone: +46 650 280 00
[email protected]
www.iggesund.com
editorial
It’s the winning
that counts
ELISABETH ÖSTLIN
Editor in Chief,
Iggesund Paperboard
IN THIS ISSUE of Inspire we venture into the world
of sports. Not that we have become sports reporters
— rather, we take a look at some of the phenomena
surrounding sports. The founder of the modern Olympics, Baron Pierre de Coubertin, once said it is more
important to fight well than to conquer. Whether
many top-level athletes share that view today is, of
course, open to question.
In the world of packaging, there is no doubt that the
good baron’s words do not apply. It is rarely enough
to fight well. It’s the winning, not the taking part, that
counts. The product with the striking design, in terms
of both function and message, captures the consumer’s
eye and can expect to be richly rewarded. Mediocre
packaging is left in the pack fighting for leftovers.
To continue with the sporting metaphor, it is clear
that Invercote from Iggesund is a typical decathlon
winner — perhaps not the best in all the disciplines,
but good enough to be the winner when the final
scores are counted. ■
Publisher
Carlo Einarsson
(responsible under Swedish press law)
Editor in Chief
Elisabeth Östlin
[email protected]
Editorial committee
Winnie Halpin, Lydia Lippmann,
Véronique Lafrance, Ian Harris,
Staffan Sjöberg, Elisabeth Östlin
Publishing Agency
OTW Communication
PO Box 3265, SE-103 65 Stockholm
Editor and project manager
Rikard Samuelsson
[email protected]
Art Director
Karin Löwencrantz
Contributors
Sam Eichblatt, Tsemaye Opubor
Hambraeus, Dan Jones, Anders Modig
and Jonna Dagliden, Michael Dee,
Henrik Emilson, Cari Simmons,
Karin Ström
Photos
Chris Turner, Anders Modig, Oliver
Martin, Daniel Roos, Michael Leznik,
Rolf Andersson, Kjell Persson
Illustrations
Charlie Sheppard, Helen Friel,
Sam Brewster
Translations
Comactiva
Prepress
Done
Printing
Strokirk-Landströms,
Lidköping, Sweden
CO12001E
Seismografics JK GmbH,
Unterschleißheim, Germany (Cover)
A MAGAZINE FROM Iggesund paperboard ISSUE 40 2012
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1
Illustrated by Charlie
Sheppard.
2012-02-10 09.18
THE COVER OF Inspire has gleaned
inspiration from one of the biggest
events in the sporting calendar –
the Summer Olympic Games.
The cover is scratch-resistant matt
laminated, and the offset printed red
on the tracks is subsequently screen
printed with a soft touch varnish. The
white lines are screen printed with
a matt structure varnish, while the
yellow and blue lines and the Inspire
logo are screen printed with a shiny
UV relief varnish. The cover is printed
on Invercote Creato 260 g/m2.
ISSN
1404-2436
Inspire is printed in English, Chinese,
French, German and Swedish
Inspire aims to inform and entertain
with stories and photos that are not
restricted to the scope of Iggesund's
own business. As its name suggests,
the idea is to be inspirational and not
to infringe on a company's or person's
image rights or intellectual property.
Products that are made with Invercote,
Incada and other paperboard from
Iggesund are marked in the text.
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2012-02-13 10.31
Vuarnet
From the
Mountains
to the Sea
Text SAM EICHBLATT PHOTO CHRIS TURNER
ILLUSTRATOR HELEN FRIEL,
read more about Helen on page 11.

It’s hardly surprising that the men be­
hind sporty French brand Vuarnet are a similarly
sporting bunch. Jean Vuarnet, patriarch and
company founder, won the gold medal in 1960
for Olympic downhill skiing — a discipline that
involves the highest speeds, and greatest risk,
of any Alpine event. Still, it wasn’t fast enough
for Vuarnet. To become more aerodynamic, he
had developed the profile d’un oeuf or “egg
position”, to which he attributed the win.
A year later he launched the first highperformance Vuarnet sunglasses, followed
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in short order by the outdoorsy, masculine
products that established the brand glo­
bally — watches, yacht- and skiwear, footwear,
pens and sports luggage. His sons followed in
his footsteps, with the eldest, Alain, eventually
becoming Vuarnet’s CEO.
In recognition of Jean Vuarnet’s lifetime
commitment to skiing, on the 50th anniversary
of the day he took the gold, his Alpine home­
town of Morzine-Avoriaz unveiled a 4.5-metre
sculpture by Gilles Chabrier depicting the
famous egg position. ■
☞
invercote Brushprint
(gold) 240+47 g/m2,
Invercote Metalprint.
Incada Exel + HD PE Black
240+20 g/m2
FACTBOX
•The company slogan, “It’s a
Vuarnet day today,” was coined
in the 1970s by a Californian
weatherman forecasting sunny
skies, after the brand become
fashionable stateside.
•The brand is particularly big in
Brazil, where it has a range of
flagship stores and boutiques.
•2005 it launched Vuarnet
Femme, its first range for
women, which was created by
young Brazilian designers.
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THE MAKING OF
BRAND
O L Y M P I C S
TEXT TSEMAYE OPUBOR HAMBRAEUS
Imagine a project that involves the world’s largest sporting event
– a project estimated to be seen by 4 billion people
that must bear the weight of expectation to “inspire and engage
with a global audience”. That is the starting point for developing the brand
identity for each Olympic and Paralympic Games.
It’s not every day that a graphic design-
er gets the chance to contribute to the development of an iconic brand that encompasses
an ideal, an emblem, a symbol, a logo and
national identity all in the same product.
The graphic identity project for the Olympic and Paralympic Games is also unique because the brand has to live for several years
before the actual sporting events take place.
The core graphic identity and thematic
essentials of the Olympic brand for each
Olympiad contribute to what is known as
”the Look of the Games”.
The London 2012 Olympics and Paralympics brand and vision were launched in 2007,
signalling the start of the creation of 2012’s
Look of the Games.
Wolff Olins, the agency responsible
for creating the London 2012 brand and
graphic identity, gave the Olympic Games
and Paralympic Games a unified look and
a new approach. For the first time, the em-
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Wolff Olins, the agency responsible for creating
the London 2012 brand and graphic identity, gave
the Olympic Games and Paralympic Games a
unified look.
50,000 Britons signed a “Change the London
2012 Logo” petition in an online campaign
to demand a change of logo. As they put
it, “It is an embarrassment and portrays our
country in the worst possible way.”
Since then, public dislike has quieted, the
logo is unchanged, and at the London 2012
Opening Ceremony it will be displayed in its
many forms.
Ben Hulse was the design manager
blems for both Games are based on the same
core shape — a highly stylised number 2012
displaying the Olympic Rings and the name
of the host city, London.
“The brand we created will shape the
experience of 2012,” Wolff Olins says. “It will
take the Games beyond sport, creating wider
interest and even greater inspiration. It will
create an event for everyone.”
The 2007 launch of the London 2012
brand did generate wider interest in graphic
design, but not without controversy. Nearly
for the 2010 Winter Olympics held in Vancouver, Canada.
The 32-year-old creative director, multidisciplinary designer, photographer and
musician worked for three years on the
Vancouver 2010 brand identity project prior
to the start of the Games.
He has been watching the development of
the London 2012 Look of the Games with
interest.
“The Olympic Look of the Games is
considered by many to be one of the most Ò
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2012-02-07 07.54
Ben Hulse and his
colleagues on the
Vancouver 2010
creative team
embraced regional
and national ico­
nography “with a
playful twist” in
their work to create
the Look of the
Games identity
system. The work
to develop the
brand identity for
Vancouver 2010
took three and
a half years.
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The challenge in the work for
Vancouver 2010 was how to
present Canada’s unique inter­
section of urban and natural
environments, the diversity of its
citizens and the aesthetics of the
West Coast of North America.
This image (cropped) was made
by Ben Hulse for the Olympic
poster concept.
Ò complex branding exercises in the world,”
Hulse says. ”It tells a unique story about
the host region and requires applications
of incredible proportions.”
The London 2012 creative team is approaching the branding exercise from a
different starting point than was used in
Vancouver, he says.
“In the design work for London, it appears
that they wanted to shed cliché or preconceived notions about the country by developing a more abstract, progressive identity,”
Hulse says.
The challenge in the work for Vancouver
2010 was how to present Canada’s unique
intersection of urban and natural environments, the diversity of its citizens and
the aesthetics of the West Coast of North
America.
“We are by comparison a new country,”
Hulse says. “We were looking to help shape
and create an identity for Canada with our
branding work.”
The process to determine how to represent Canada had already begun in 2004, well
before Hulse joined the team.
“When I came on board in 2007 a number
of things were in place, such as the emblem,
which was based on a Canadian Inuit symbol,” he says. ”It set the dna for our project
and was a backdrop for the work ahead.
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It was a good time to join.”
“I had no previous Games experience, and many on the creative
team hadn’t been involved in earlier Games
either,” Hulse says. ”We needed to develop
a graphic system which would tell our story
with a consistent yet flexible aesthetic for
countless applications and mediums.”
Hulse and his colleagues on the Vancouver 2010 creative team embraced regional
and national iconography “with a playful
twist” in their work to create the Look of the
Games identity system.
”We were given an overwhelming but
strong creative brief from Ali Gardiner, the
director of the brand, and Leo Obstbaum,
our design director, and we started from
there. It was a very interesting process.”
Development began with ethnographic field
trips, library research and consultation with
former Olympic design directors.
HULSe SAyS THe BRIefS prompted the
team to “explore history while remembering
that we are representing a specific time and
place, pull from influences that will make
the work feel fresh and current, and strive to
balance a youthful approach with a timeless
view of Canada”.
The 2010 Look of the Games was apparent throughout Vancouver on banners,
fences and buildings, as well as
the Olympic venues.
The brand was featured on everything from pens, posters, apparel and
sporting equipment to airplanes, ferries
and thousands of vehicles. There were also
applications for a new media generation,
with the Look of the Games translated to
small-screen handheld devices, as well as
television and the Web.
The size of the creative department varied
at different stages in the project.
“We went from a small group of 10
people — six designers, two product designers and a small video team — to around 30
people at our largest,” Hulse says. “Most
of the other members who joined us were
involved with project management, which
gives an idea of the scale of this process.”
The team worked on thousands of unique
“dockets” created to organize and track the
immense workload in the computer system.
Apart from delivering on key games icons
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2012-02-07 07.55
including the Olympic medals,
podiums, torch and mascots, the creative
team was used as an in-house agency servicing 50 different departments within the
organisation.
Because of the size of the operation and
the different layers of approval, Hulse and
his colleagues “challenged each other a lot”
to make sure they approached solutions
from conceptual, aesthetic and practical perspectives before presenting ideas to senior
management.
THe WORk TO deveLOP the brand iden-
tity took three and a half years. Hulse says it
also involved “a very long graphic standards
manual” that was to be followed to the letter.
“The manual was almost too long and
complicated to use,” he says. “It needed to
be adhered to by so many different types
of users — partners, producers and so on.”
Most of the brand identity work was
carried out as group work.
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“When I was contributing art direction on
the Olympic Torch, there were three people
in the room with me, each adding something
to the process, it was very collaborative”
Hulse says. “Projects have become much
more interdisciplinary in general, and this
was certainly the case with Vancouver 2010.”
One of the only solo pieces of work
by Ben Hulse during the Vancouver 2010
branding process was the creation of the
official Olympic poster.
An InTeRnAL deSIgn competition for the
Olympic poster concept was held with the
director of design and judges from internal
senior management and licensing. It was
one of the few times that the design team
did not work collaboratively.
“I pitched my idea for the poster, and it
was selected as the winning concept,” Hulse
says. “I had done my sketches 100 percent
digitally, and our late design director
Leo Obstbaum, who was from Spain, told
me that he needed to ’smell the ink’ – that
the poster concept was right, but it needed
to feel more like a Warhol, like it had lived
in the world before being reproduced.”
Over several weeks, Hulse stencilled and
inked each element of the design by hand at
a 1:1 ratio (61 mm x 91 mm) before digital
assembly of the piece.
“It was a long process,” he says. “I’m really grateful Leo suggested doing the work
by hand, because the final result became so
much better as a result.”
Hulse says the best Olympic designs are
ones that are executed in a timeless and
restrained manner. For him, simplicity in
communicating is essential.
“The London 2012 emblem is very clean,
with everything in one mark and nothing
hanging out,” he says. “From a functional
point of view, this simplicity will make
things easier in multiple applications.”
As the final touches are being put in place
for London 2012, graphic designers around
the world will be watching with interest to
see which design elements from this Olympics will stand the test of time.
“Overall, I feel like the key pieces we
did for Vancouver 2010 are very good and
will retain an element of iconic timelessness,” Hulse says. “The medals, the Olympic
Torch, the podiums and the official poster
all took elements from the Look
of the Games and expanded on them.
I think these particular pieces will age
gracefully.” ■
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S
cOLUMN BY Dan Jones
☞
an Jones is a sports columnist and former
D
editor at GQ, a men’s fashion and style
magazine.
port and fashion have not always seemed like natural wardrobe-mates, and their
meetings have sometimes produced some real disasters — think footballer bling,
golfers’ trousers or hooligan hoodies.
But sport and fashion are growing closer, sharing influences, technologies and
personnel. Iconic sporting garments are now staples of fashion. Ralph Lauren
Polo shirts and Barbour jackets have moved from the country club to urban
streetwear.
Every big sports line has a fashion connection, and vice versa. Stella McCartney
designs for Adidas, and Alexander McQueen designed for Puma. Prada and
Gucci have sporty lines. The North Face, which began as functional outdoor
sports brand, has become virtually a fashion label.
And then there’s the tech: Japanese brands like Uniqlo increasingly carry
everyday clothes made from fibres and fabrics developed for sportswear: sweatwicking T-shirts, odour-resistant socks and ultra-lightweight synthetic fibre
parkas.
Flick through the pages of a magazine and you’ll see everyone from Usain
Bolt to Uma Thurman advertising expensive Swiss watches designed for motor
racing (tag Heuer), sailing (iwc) or diving (Omega). But their brilliant engineering and precision make them desirable fashion items.
As sport and fashion become mature, globalised industries, it is only natural that they should start to share
their resources. Most obviously, it is sports
figures who are adopted as the faces of fashion
brands.
The world leader in the field is David Beckham, a sportsman who has been embraced by
the fashion world. Beckham earns four times as
much every year endorsing products in America, Europe and the Far East as he does playing
football.
His sponsors have included Armani and Police sunglasses. He has his own range of aftershave, and in early
2012 he will release a line of underwear with the global fashion giant h&m.
What values, then, do sport and fashion share?
The first is the pre-eminence of aesthetics. The greatest sportsmen have always understood that sport, like
haute couture, is a branch of the arts. There is a pure beauty to a Rafael Nadal forehand or a Cristiano Ronaldo
goal that is almost impossible to define but is intoxicating to millions. No surprise, then, that Armani has used
Nadal and Ronaldo as its last two underwear models.
There is also the matter of physique. As fashion moves slowly away from the size-zero aesthetic, a generation
of supermodels like Rosie Huntington-Whitely, Bar Rafaeli and Adriana Lima are celebrated for a more athletic
body shape, rather than the starvation look of their 1990s counterparts. David Gandy, currently the world’s biggest male model, looks more like a rugby player than a heroin addict.
The sporting scene attracts as many fashionistas as the catwalk front row draws athletes. Whether you’re courtside at an la Lakers game, in the front row at a Milanese menswear show or in the pit lane during a Grand Prix
weekend, many of the same faces will crop up.
Sport and fashion are two of the world’s biggest industries. They contain some of the world’s best-loved
brands. As globalisation marches on, these two once-disparate worlds will move ever closer. May it be a long and
happy marriage. ■
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“The world leader in the field
is David Beckham, a sportsman
who has been embraced by the
fashion world.”
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1
Helen Friel
Text SAM EICHBLATT photo LOUISE HALL, chris turner
Name: Helen Friel. Age: 25. Profession: Paper engineer. Based in: London. Brands on CV:
Vanity Fair, Harrods Magazine, Tatler UK, Tatler Asia, Stylist Magazine, Nicole Farhi, Boodles
Jewellery. Years in profession: 2. Education: BA in graphic design, specialising in illustration,
Central St Martins College of Art & Design, 2009. Web: www.helenfriel.com
For paper engineer and illustrator Helen
Friel, it all began with her childhood pop-up
books. “I had a lot of them, and I always loved
making things,” she says. “My mum used to
have a big box of toilet paper tubes and card­
board, and if we were bored she’d put it on the
table and I’d make models out of it.”
After graduating, she spent a year at a
greeting card company designing (natu­
rally) pop-up cards, before the freelance
world beckoned with a first commission
from Tatler. Today, she freelances for a range
of clients from her studio at the Papered
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inspire1201_Master.indd 11
Parlour in south London, an art space inhabited by a group of like-minded artists
and designers.
Friel’s personal book projects play with
our relationship with everyday paper. For
example, The Imp of the Perverse requires
its readers to tear and fold pages to reveal
sections of the text — the things you were
always told not to do to a book. Her most
recent, For Matters of Life and Death, is a
well-designed series of cashier’s dockets and
entry tickets for surreal situations.
“I like the precision of working with pa­
One of Friel's personal
projects, in collaboration
with photographer Chris
Turner, is a series of im­
ages exploring the art of
hepatomancy — predict­
ing the future by studying
animal entrails — first prac­
tised by the Babylonians
over 4,000 years ago.
per,” Friel says. “My process varies job to job,
but generally I have to see a finished product
in my head before I can start anything.” She
sketches on Post-it notes and moves them
around to build up her images. For editorial
work she also collaborates regularly with
photographer Chris Turner. “A lot of my stuff
doesn’t really ‘exist’ until it’s photographed,”
she says. “Things like lighting are really
important. By the time I see it in a magazine,
it’s quite surreal because it’s so glossy and
removed from the time I’ve spent in a studio
cutting up paper.” ■
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2012-02-07 07.55
muse
THE NEW
TexT ANDERS MODIG AND JONNA DAGLIDEN PHOTO ANDERS MODIG, OLIVER MARTIN, DANIEL ROOS
What’s the link between sport and design? To find out,
Inspire travelled around the world to catch up with three
creatives in London, Stockholm and Shanghai. We wanted
to find out why their work wouldn’t be the same if it
weren’t for sport, but we didn’t realise just how
important sport is in their daily lives.
The people we met are not extreme athletes, but
their interest in sport is extreme. It turns out sport
involves a lot more than just letting off steam
and clearing your head. It is, it seems,
the new muse of design.
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shanghai
“When I go swimming
I think of different pictures”
“I love the feeling of floating in the water,” says illustrator and graphic designer Duck Power. “Everything is
lighter. Fallen leaves and rubber ducks are floating,
fishes swim by – it is an energizing world of freedom
that gives me inspiration.”
Inspire met Duck in the happening, gallery-packed,
Shanghai quarter of Moganshan 50, where she works
for Ray International Cultural Communication, a
communications agency involved in fashion and brand
building.
“Design is not only about looks, but also about
tactility,” she says. “Therefore, the expression through
different papers is extremely important. You have to
find the right texture. I love smooth and shiny paper
for fashion-related projects, and for artistic expression
a soft and elegant paper is often the best choice.
Different metals and plastics are also interesting to
work with.
“I come from a very athletic family with several professional athletes. When my mother realized I like water,
she took me to the Shanghai synchronised swimming
team, but in the end it became only a hobby. When
I go swimming I think of different pictures — the look
of dissolving, floating people. Sometimes I use these
shapes in my work.”
Does swimming make you a better designer?
“Oh, yes, and it is also good for my health!”
Duck Power, illustrator and graphic designer at Ray
International Cultural Communication, www.rayicc.com
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2012-02-07 07.56
“The packaging has to be
pared down, reduced and
clean. It can’t scream with
pictures.”
london
“Even the packaging
derives from cycling”
Graeme Raeburn always thought of his bicycle as a “ticket
to freedom” when he lived in the English countryside.
Today he lives and breathes that freedom in London,
working as a product designer at Rapha, the cycling
accessories company that produces everything from
jerseys and jackets to luggage, caps and skincare. “They
come wrapped in pink tissue paper, which is a reference
to the pink jersey in the Giro d’Italia race,” he says.
In the 2012 collection, even the packaging derives
from cycling – the product will come in a musette bag
similar to the ones cyclists used to receive during a race,
so it will have a lifespan way beyond just holding the
product.
“We are inspired by the classic days and national
cycling heroes,” he says. “Our clothes are for more
extreme races but also for cycling in the city.”
This urban look can also be seen in your Paul
Smith range?
“Yes, Paul Smith has a really big passion for cycling,
and he was able to give us his sharp style input and
attention to details, from the dimensions of cuffs to the
finish of a button.”
What is the best part about your job?
“There is nothing better than going to races in Europe,
riding with customers. I really have a dream job.”
Graeme Raeburn, designer at Rapha, www.rapha.cc
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sToCKholM
“Form follows
performance”
When Stefan Ytterborn accepted that he was not
going to be the new Ingemar Stenmark, he decided
that skiing was not for him. Instead, Stefan parked
his skis and turned to design and marketing. In 2005,
after working with the likes of Ikea, Iittala and Saab,
he started poc,, a Swedish company with a global mission: to save lives and reduce injuries in action gravity
sports. The idea for this niche came, naturally, from
skiing.
“When I went back to the ski slopes with my two
sons I could see that the sport had become more
dangerous, which meant that people needed more
protection,” he says. “At the same time, I saw the
trend across society where security was, and still is,
at the top of the agenda.
“The natural physical laws determine the design solutions. Our protection must perform at its maximum
all the time.”
This is also reflected in the clean and crisp aesthetics of poc products.
“Lots of our research is done in the lab. We work
with material specialists, industrial and graphic
designers, neurologists and back specialists. This has
to be conveyed in the products we sell. We can’t just
say they are well made – it has to be built in to the
expression.”
drawing from this, how would you package
the sport?
“The packaging has to be pared down, reduced and
clean. It can’t scream with pictures. The packaging is
our stage where we can reinforce the message that we
can’t activate directly in the actual product.”
How has your career benefited from skiing?
“I have learnt lots from skiing: the importance of
establishing a clear goal and understanding this goal.
When I want to achieve something I invest time, training and thought into it. I want to add meaning to the
products I develop. To me, this is equal to performance
in sports – those little moments of excellence.”
15
Stefan Ytterborn, founder and CEO of POC,
www.pocsports.com
www.iggesund.com
inspire1201_Master.indd 15
15
2012-02-07 07.56
from Iggesund
Wow!
Have you designed or made exciting packaging or a graphic design product using material from Iggesund
Paperboard? Or perhaps you have some tips for these pages? Don’t hesitate to contact us with samples
and information: Inspire, Iggesund Paperboard, SE­825 80, Sweden.

Invercote G 260 g/m2
+ Metalprint 29 g/m2
novum October 2010 issue
Company: Stiebner Verlag/novum
Magazine Design: Christin Bacher
Material: Invercote G 260 g/m2 +
Metalprint 29 g/m2 Print technique:
UV­offset hybrid Printer: Kessler
Druck + Medien
novum November 2011 issue
Invercote Creato 280 g/m2

Company: Stiebner Verlag/
novum Magazine Idea and design:
Paperlux (Hamburg), Carolin
Rauen and Max Kuehne Material:
Invercote Creato 280 g/m2 Print
technique: Offset and die­cut
Printer: Printarena – Eurodruck
Lamination: EMAG Papierverede­
lungs GmbH Die-cut mold: Jürgen
Jeurink Stanzformtechnik
Keep on fascinating
■ Each month the highly regarded and innovative
German design magazine novum uses a different
material or unusual finishing technique for its
cover. The October 2010 issue saw a foldout cover
printed on Invercote Metalprint.
“Metalprint was ideal for a foldout cover,” says
Bettina Schulz, novum’s editor in chief. “It is easy
to process, and the colours give a superbly
brilliant finish. The material is like a
chameleon — it blends in perfectly
with the design and fits in with all
kinds of graphic design solu­
tions.”
For the Novem­
ber 2011 issue,
novum pushed
the boundaries
of imagination
even further
with a cover
16
inspire1201_Master.indd 16
inspired by the American designer, inventor and
futurist Buckminster Fuller.
“We always try to touch people with our cover,”
Schulz says. “It should not only look nice, it
should also be something you can feel and play
with. We think this last cover is a wonderful
example of the fact that paperboard can be much
more than a flat thing.”
The magazine needed a flexible yet stable
paperboard to be able to do the die­cuts in such
a way that the material didn’t break. The editorial
team and designers made a “making­of” video
of the creation of the cover to document the
process.
“It’s amazing — 184,000 people have seen the
video so far,” Schulz says. “The only conclusion
we can draw from this is that despite all the digital
things in life, paper and paperboard still fascinate
people.”
See the video here: vimeo.com
www.iggesund.com
2012-02-07 07.57
TEXT HENRIK EMILSON photo kjell persson
The hottest
ticket in town
■ The Canadian Film Centre is Canada’s leading institution for
advanced training in film, television and new media. A pioneer in
the rapidly changing entertainment landscape, the centre promises
students an innovative education, creative industry partnerships
and cutting-edge production experience. The invitation for a
fundraising gala dinner and auction in February naturally took its
inspiration from the cinema world, combining a strip of film and
a red theatre curtain with the word “Filmology” cut out on the
cover.
Invercote Creato 240 g/m2

Customer: Canadian Film Centre Material: Invercote Creato 240 g/m2 Printing technique: Four-colour process, specially mixed metallic red ink, matte
dispersion varnish and offline gloss spot UV varnish Printer: C.J. Graphics, Canada Sponsor: Iggesund Paperboard
■ “To our Fans and Friends: As R.E.M.,
and as lifelong friends and coconspir­
ators, we have decided to call it a day
as a band.” On September 21, 2011,
the successful band announced their
retirement after a 31-year career. Fans
and friends who want to remember
the band can turn to Norwegian
photographer Øyvind Svele’s blackand-white pictures of Michael Stipe,
the colourful lead singer. Packaged in
a set of six, the R.E.M. postcards show
the importance of choosing quality
paperboard to get an impressive print
result. The pictures can now be seen
at the Rock and Roll Hall of Fame,
the world’s biggest rock museum, in
Cleveland, Ohio.
Photographs: Øyvind Svele Design:
Ensign, Norway; Platzer, USA; and Øyvind
Svele Material: Invercote Albato 350 g/m2
Printing technique: Offset with faderesistant ink, dispersion varnish Printer:
Haugaland Offset, Norway
Let there
be light
■ With inspiration from the furniture fair in Milan, Japa­
nese origami and a deep-rooted respect for the environ­
ment, Swedish art director and designer Olof Nauclér
has created a series of lamps made out of paperboard
and LED lamps. Not only does the paperboard make
the Urbanero lamps lighter in weight, but since it’s a
local resource from Iggesund it also means
fewer emissions from transportation.
“The LED lamps need a minimum of
electricity and have an extremely
long durability,” Nauclér says. “And
if someone, for whatever reason,
wants to discard the lamp, the
paperboard can be com­
posted.”
Invercote 350 g/m2


Shiny happy
postcards
Invercote 350 g/m2

Company: Urbanero Design:
Olof Nauclér White lamp
material: Invercote G, from
350 g/m2 Lamp packaging
material: Invercote Duo
670 g/m2 Production
technique: Paperboard is
punched and embossed with
logo in relief and glued with
LED lamp wire Production:
Elitha Kartong and Urbanero
Stockholm
Invercote Albato 350 g/m2
www.iggesund.com
inspire1201_Master.indd 17
17
2012-02-07 07.57
Text Anders Modig PHOTO Michael Leznik
Name: Yulia Brodskaya. Age: 28. Profession: Illustrator and artist. Based in: London.
Brands on CV: New York Times, Wired, Washington Post, Starbucks, Nokia, Hermès,
Cadbury, Penguin Press. About packaging: I don’t throw away good packaging. I always
try to find another use for it. I give it a second life. Web: www.artyulia.com
The image is cropped.
2
Yulia Brodskaya
DollarHead was made in
2011 for ESPN magazine.
Oprah loves her. So does Nokia. And
Hermès. Yulia Brodskaya’s “paper graphic”
technique fits hand-in-glove with the experi­
mental paper trend that has swept the globe
in the past few years. What is, in fact, an
adaptation of an upper-class ladies’ pastime
dating from the late 1800s has, in Yulia’s
hands, become a professional expression
of contemporary typography and graphic
design — in three dimensions.
“I always had a special fascination with
paper, but this technique really felt like me
when I started to shape the paper strips,” she
18
inspire1201_Master.indd 18
says. “I used it for the first time in 2008, and
ever since that moment I have completely
switched from drawing to paper artwork.
I never looked back.”
So how does she do it? Initially, Yulia
pencils a sketch of the motif, which she
transfers onto firm paperboard. This is
followed by gluing strips of heavy paper
(250–350 gsm), thus creating the image.
Sometimes the strips form an outline in a
straightforward way, but most of the time
they are used in a more mosaic or curly
fashion. A logical next step, it seems, is to
apply this technique to packaging.
“Sure, why not?” she says. “I am just wait­
ing for a perfect brief. I am discussing some
packaging projects for 2012, but everything
is still at an early stage.”
Yulia also collects different kinds of paper.
“It is extremely difficult to explain why you
love something you love. Paper is so diverse,
so versatile, and so flexible yet firm. I sup­
pose it is an obsession of mine. Paper allows
an endless number of treatments, and you
can use it for an infinite number of things.
Paper is just amazing!” ■
www.iggesund.com
2012-02-07 07.57
1979
Sportsmen have been a
constant theme in sports­
wear advertising. In 1979
Puma took another route,
by making their famous
logo come alive, thereby
emphasising the strength
of their products.
/Courtesy of Puma
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www.iggesund.com
inspire1201_Master.indd 19
19
2012-02-07 07.57
1900
There wasn’t even a post­
er made when the first
modern Olympics were
held in Athens in 1896.
The French, who were
masters at poster design,
made up for it four years
later when the games
were held in Paris. The
city was plastered with
posters showing fencing,
rowing, cycling and gym­
nastics.
/ Courtesy of International
Olympic Committee
A HUndRed yeARS ago or so, the design
element in sport was pretty minimal by
today’s standards. Clubs had logos, but the
designs that were most prominent were the
posters for the Olympics. The first Olympics in modern times were held in 1896
in Athens and didn’t even have an official
poster. Four years later, the games were held
in Paris and the French, masters of poster
design, created several posters portraying
fencing, gymnastics, rowing and cycling.
As the posters show, sportswear and
20
inspire1201_Master.indd 20
kit were often basic, not to say cumbersome. That began to change in 1920s when a
number of newly established manufacturers,
among them Adidas and Puma, rethought
and redesigned sportswear for greater performance and comfort.
The new style wasn’t limited to the
arenas but had a profound effect on high
and mainstream fashion as sport became
an increasingly popular leisure activity.
Quite simply, sport signaled modernity, and
it gained even more visibility through the
explosion of picture magazines
in the mid 1920s, says photography historian Gerry Badger.
He explains why the magazines had such an impact.
“In France there was
Vu magazine, in Germany
Berliner Illustrierte Zeitung,”
he says. “The magazines
were enormously popular,
and sports were a major part
of their content. The editors hired a new generation
of photographers such as Martin Muncasi,
who had fresh ideas and made use of the
new handheld cameras that made it possible
to capture the excitement in their photographs.”
This had no small part in the sportsmen
becoming folk heroes, and their style was
widely imitated. The French tennis player
René Lacoste set up his own clothing
company in 1933. His tennis shirt with its
embroidered alligator was all the rage and
has become a design classic.
www.iggesund.com
2012-02-07 07.58
1980
1930
Cover of the French picture
magazine Vu from 1930,
showing the cyclist Leducq
nursing his wounds after a
gruelling stage of the Tour
de France.
Sportswear gained an even
higher profile in the 1980s
thanks to rap and hip hop,
where the artists embraced
sportswear as their fashion
of choice. None more so
than Run DMC, who even
penned an anthem to their
favourite shoes, “My
Adidas”. This later led to a
Run DMC/Adidas clothing
range with shoes, track­
suits, hats and T­shirts.
/Courtesy of Adidas
1958
A trawl through the
archives of Puma, show­
ing advertisements from
1958 and 1979 (see page
19). Following the design
revolution of the 1980s
that took in everything
from furniture to style
magazines, sports adver­
tising became ever more
style­conscious.
/Courtesy of Puma
Lacoste’s matches were filmed along with
other important sporting events included
in newsreels shown at the cinema, but the
approach rarely conveyed the excitement of
sport.
It took a genius to capture sport on film.
Leni Riefenstahl remains a controversial
name but “Olympia”, her film of the 1936
Berlin Olympics, set a new standard for
capturing sport on film, by combining sequences of tension, excitement and beauty
to dramatic effect.
THe 1936 gAmeS were highly embroiled in
international politics, and sport increasingly
came to be seen as a way of promoting the
national profile, leading governments to allocate ever higher budgets to promote it.
After World War Two, money poured in
from another source, commercial sponsorships, and the visibility of brands increased
drastically with the advent of television.
The 1970s have been described by author
Tracey Turner and others as “the decade
that style forgot”. The sports advertising and
www.iggesund.com
inspire1201_Master.indd 21
graphic design of that era seems not only
quaint but somehow in its own sphere and
untouched by outside impulses.
THAT WOULd cHAnge in the 1980s. The
decade was swept up in a design revolution
and a new wave of sport. Skating, freestyle
skiing and extreme sports made their presence felt and brought in a visual sensibility
and design. In music, rap culture embraced
sportswear as its fashion of choice, with
Run dmc penning an anthem “My Adidas”
to their favourite sneakers. Rap swept the
music charts, resulting in even higher visibility for sportswear.
Gradually the world of high fashion took
note, says Ligaya Salazar. She curated the
exhibition “Fashion vs Sport” at the Victoria
and Albert Museum in London in 2008.
“Towards the end of the 1990s the
strict divisions that had existed between
high fashion, sportswear and street style
began to break down,” she says. “Leading
fashion designers such as Marc Jacobs and
Stella McCartney have designed sportswear
collections, and increasingly there have been
cross-fertilisations between high fashion,
sportswear brands and street style. The late
Alexander McQueen designed a shoe collection for Puma, and the company’s new
creative director is none other than Hussein
Chalayan, acclaimed for his avant-garde
designs.”
Street style designers have found ever Ò
21
21
2012-02-07 07.58
2006
Sports is big business,
and the leading players
spend enormous amounts
of money on ever more
sophisticated advertising
and marketing. But the
look of sport is also chang­
ing through the efforts
of the fans. Rouleur is an
independently published
cycling magazine based in
London. Although it has
a small print run of 6,000
copies, it has set a new
standard for cycling
magazines through
exquisite design and
hiring the best photogra­
phers around.
/Courtesy of Rouleur
Ò newer ways to transform and customise
sportswear. Dr. Romanelli, whose firm cannibalises existing sportswear to make new
garments, might take the sleeves from one
jacket and combine them with the front and
back from another.
IndePendenT PUBLISHIng IS flourishing
as well. The London-based cycling magazine Rouleur was founded by fans who were
fed up with what they saw as pedestrian
mainstream cycling magazines. Rouleur
has a print run of 6,000 copies but has set
a new standard through exquisite design
and hiring the best photographers around.
Others choose to publish on the Web, and
www.extreme.com is one of many sites that
continue to explore new ways of conveying
excitement through design.
Sports advertising, more than a little
conservative in the past, is moving forward
as well. The British advertising photographer David Clerihew, who originally trained
22
inspire1201_Master.indd 22
as a painter, specialises in sports campaigns
for leading brands such as Adidas, Nike and
Red Bull. His images are never less than
spectacular, and they signify a complete
break with the way sportsmen were depicted in advertising in the past.
In a campaign for Nike he photographed
Juventus, Celtic, Barcelona and Inter Milan
in their new kit. The images are full of
drama, as in history paintings.
“The idea was basically to combine the
Italian Baroque painter Caravaggio’s style,
dramatic, almost 3-D compositions and light
and shadow effects, with Russian Constructivism from the 1920s,” he says.
“The Constructivists used text to dramatic effect in their designs, and I have done
the same in these images with the teams’
names,” he says.
In one of most dramatic images, Inter
Milan are seen walking through the corridor
up to the arena, and you can almost hear
the roar of the crowd.
The arenas and stadiums have themselves
become stars, due in no small part to the international avant-garde of architecture. For
the 2008 Olympics in Beijing, China enlisted
the Swiss architects Herzog & de Meuron,
who were well known for their conceptual
approach to architecture, to design the main
stadium. The result was spectacular. The
design of Olympic stadium, often called
“The Bird’s Nest”, originated from a study
of Chinese ceramics and caused a sensation
around the world, resulting in an ocean of
publicity.
THe 2012 LOndOn Olympics will be no
less spectacular architecturally. Among the
wonders is the London Aquatics Centre,
designed by Zaha Hadid, along with Herzog
& de Meuron one of the world’s leading
“starchitects”. It is shaped like a sensual
wave that seems to defy gravity — a symbol
of how far sport has come. ■
www.iggesund.com
2012-02-07 07.58
3
Wrap
TexT HENRIk EMILSON
Names: Polly Glass and Chris Harrison. Ages: 27 and 32. Profession: Editors in chief.
Based: Between Oxford and London, UK. Background: Various roles within the design
industry. The pair met whilst working as fashion jewellery designers at Simon Harrison
Ltd in London. Years in production: Wrap was first published during London Design
Festival 2010. Availability: Wrap is on sale in the UK, Sweden, Germany, Italy, France,
Singapore, Australia, USA, Canada and Lebanon. Web: www.thewrappaper.com
HOW
PEOPLE USE WRAP
“Lots of people talk of
framing the prints from Wrap
and putting them up on their
walls, which is a great idea,
and we’ve even done this
ourselves. Other people have
talked about
using the prints to make cards,
and to cover notebooks, but
mainly they either save the
magazine as a whole or use it
for wrapping paper.”
Read, wrap — wrap
and read. Wrap both
showcases new de­
sign talents and can
be used as wrapping
paper. It’s published
three times a year
and each copy is
numbered by hand.
When desIgner polly glass and her
boyfriend Chris Harrison wanted to create
a platform for other designers to show­
case their material, they hit on the idea of a
magazine without staples or stitching that
can immediately be recycled into beautiful
wrapping paper.
“We knew we wanted to work on a project
together that harnessed our design skills, and
one that offered others the chance to have
their work published and out in shops being
seen and used by other people,” Glass says.
Having completed design degrees at
university and gone on to work for other
people in the industry, the couple saw how
www.iggesund.com
inspire1201_Master.indd 23
hard it is to get one’s own work on display.
“We thought how cool it would be to
create something where designers’ and illus­
trators’ work was published on a really large
scale, so they could really show off their
skills and talent,” Glass says. “The idea of a
magazine that could be used as wrapping
paper seemed like a good way to combine
all these ideas — a product with a double
purpose, read and wrap, and one that high­
lights great design and illustration.”
In each issue, a handful of designers or
illustrators are described on one side of a
sheet of paper. When you turn the page,
their artwork is showcased on the other side.
“Some of the people we have showcased
have gone on to get new work and projects
through having been seen in Wrap,” Glass
says. “So that, as well as being seen by read­
ers around the world, is certainly a bonus for
them.”
The duo would like to further the “Wrap
experience” and have begun to work on
other products. Reactions to the magazine
have been very positive so far.
“We hope lots of people go on to use it as
wrapping paper, but some have said it seems
too good to take it all apart and use it — in
which case we suggest it might be a good
idea to buy two copies,” Glass says. ■
23
2012-02-07 07.58
24
inspire1201_Master.indd 24
www.iggesund.com
2012-02-07 07.58
Topical
from Iggesund
A NEW Olympic
record
Ensuring that no waste ends up in landfills is just one of the sustainability
objectives of the London 2012 Olympic Games.
TEXT CARI SIMMONS illustration SAM BREWSTER
Sports and athletes are not the only
focus of the London 2012 Games. As the
city gears up for the big summer event,
sustainability is at the top of the agenda
for organisers in their efforts to reduce the
energy and carbon footprint of the games.
All aspects of sustainability are
being taken into consideration, including
climate change, waste, biodiversity, healthy
living and inclusion. Inclusion aims to,
among other things, involve diverse groups
from local communities.
Many targets have already been achieved.
For example, more than 90 percent of the
construction waste has been diverted from
landfills and has been either reused or
recycled. There has also been a 50 percent
carbon footprint reduction for construction
of the park. Additionally, the Olympics has
led to the regeneration of economically disadvantaged East London, where the games
are being held, and to a much improved
local employment situation as half of all
employees come from the neighbourhood.
Shaun McCarthy is chair of the Commission for a Sustainable London 2012,
an independent body that reports to the
Olympic board. He says the biggest hurdle
to overcome is not related to cost or
technology, but rather a willingness to do
things differently.
“What this Olympics has already demonstrated is that you can deliver sustainable solutions at lower cost, but changing
people’s behaviours is the biggest challenge,” says McCarthy.
The sustainability push has prompted
suppliers to find new solutions, a trend that
McCarthy sees continuing. “Using a global
event like London 2012 to showcase what
can be done gives sponsors the brand recognition they desire, and it provides an opportunity to show what can be done from a
sustainable point of view,” he says.
For example, no waste is to be sent to
landfill. To achieve this target, all products
and packaging must be reusable, recyclable
or recovered, and material coming into and
out of the park is controlled. An estimated
3,300 tonnes of packaging waste will be
generated over the 17-day period, according to the London 2012 Organising Committee.
“We are looking into all kinds of packaging,
from pvc bottles for recycling to compostable
packaging which doesn’t need to be segregated,” McCarthy says. “Six and a half million
people will be fed in a short period of time.
Only war is a bigger logistical challenge!”
Compostable packaging that is used
on site will be processed through anaerobic
digestion and turned into renewable energy.
Whether for composting or recycling,
McCarthy says paperboard is the most
sustainable packaging material. “Paper and
paperboard are the best possible examples
of compostable materials that can be
used,” he says. “They are natural products
and particularly good as they come from
recyclable resources.” ■
What does it mean?
Carefree paperboard
All of Iggesund's products are fibre-based and
have a high recycling value, are compostable
and work for all types of disposal as men­
tioned in the EU Directive on Packaging and
Packaging Waste (EC 94/62). “This is a really
good packaging material because it enables
you to choose the waste-handling route you
want,” says Jonas Adler, business development
manager at Iggesund Paperboard. “You can
recycle, compost or incinerate it for fuel. Pa­
perboard gives you all of these options, while
metal or glass only cover one or two of these
options. Paperboard is a carefree solution.
“In order to maintain high standards of food
www.iggesund.com
inspire1201_Master.indd 25
Reuse: Where products, materials or packag­
ing can be used for a second or subsequent
Iggesund
safety, it’s best to use virgin fibre paperboard
for food packaging, rather than recycled board
with the risk of migration, Adler says. “People
sometimes wonder why recycled paperboard
isn’t used more in our food packaging, but in
addition to the food safety aspect, virgin fibre
packaging acts as much-needed raw material,
supplying a steady stream of virgin fibres to
the recycling industry.
“After use, recycling is the best option for
clean paperboard," says Adler, ”but for paper­
board that is contaminated with food, composting is the better option.”
time for the same or similar purpose without
requiring any reprocessing.
Recycling: The reprocessing, in a production
process, of waste materials. This occurs
at the point at which the materials are put
back into productive use.
Recovery: Includes recycling, energy from
waste recovery and composting.
Composting: Process by which waste is bio­
degraded by micro-organisms.
Compostable packaging: Includes natural fibres,
such as plain paperboard and paper, or timber
and timber-derived materials that are free of
preservatives, paint and other non-compostable
layers.
25
2012-02-07 07.58
News
from Iggesund
With a thorough
Lust FOr LiFe
The Iggesund campaign “Invercote your design” invites top designers to
fill a little black box with a unique idea. In response, Sebastian Onufszak,
a 33-year-old graphic designer in germany, made a surrealistic short movie
about creativity, life and death.
SeBASTIAn OnUfSZAk mAde his first
countries: the Polish lust for life and the
German Gründlichkeit, or thoroughness.
Graphic design is my passion, and my goal
is to continue with the same excitement I
felt about graphic design as a kid, to create
new styles and keep pushing forward.”
“The Black
Box Project is
a fantastic idea that
allows designers to expand
their horizons and create something
really unique,” he says.
“Nowadays graphic design is not only
print, it's much more. New media like the
Internet and interactive installations have
brought a lot of changes for commercial artists, and I tried to combine all these media:
print, motion and installation.” ■
design attempts in 1989
as an 11-year-old boy
sitting in front of his
Commodore Amiga
500, pushing pixels
around on the screen
SeBASTIAn’S BLAck BOx PROJecT idea
in Deluxe Paint. Today
is a surrealistic short movie called “Still Life
he works in his home studio in Augsburg,
in a Circle” about the renaissance of creaGermany, on an Apple iMac, two MacBook
tivity — about hope and desperation, life and
Pros, additional displays, a Wacom tablet
death, light and darkness, and the history of
and an iPad, surrounded by design books, a
Iggesund.
TexT kARIN STRÖM PHOTO ROLF ANdERSSON
Darth Vader mask and neat stacks of paper.
His work has been featured in numerous exhibitions and design publications worldwide,
The Black Box Project is a stage on which
Iggesund presented contributions by New York­
and his clients include
companies
such as
designers
can perform
their art with no
based Marc Benhamou and Italian design bureau
aBOut
THE
BLACK
BOX
Adidas, Audi, Ray-Ban,
Bacardi
and
bmw.
limitations
apart
from
the size of the
box and
Brunazzi
& Associati
in Torino.PROJECT
On November 15,
use my
of Invercote.
first two Black Box
Sebastian Onufszak’s film was presented at
“At the time I wasthe
born,
dad wasThe
study–
The Black Box Project is a stage on which
Iggesund presented contributions by New York­
Projects, created by Dutch designer Frans van
an event at the Prototyp Museum in Hamburg.
designers can perform their art with no
based Marc Benhamou and Italian design bureau
ing applied arts at the
Academy of Breslau
Heertum in Tilburg and Paris­based design
Further events are planned in 2012.
limitations apart from the size of the box and
Brunazzi & Associati in Torino. On November 15,
in Poland, and I always
knew
I
wanted
to
bureau Landor, were introduced in 2010. In 2011
the use of Invercote. The first two Black Box
Sebastian Onufszak’s film was presented at
become a graphic designer,” Sebastian says.
Projects, created by Dutch designer Frans van
an event at the Prototyp Museum in Hamburg.
“When I was three years old my parents
Heertum in Tilburg and Paris­based design
Further events are planned in 2012.
bureau Landor, were introduced in 2010. In 2011
moved from Poland to Germany, providing me with attitudes from both
Iggesund supports sports clubs
When you think of Olympic sport, what automatically
comes to mind is probably this summer’s Olympics in
London. But a couple of sportsmen with links to Iggesund
are already focused on the 2014 Winter Olympics in
Sochi, on Russia’s Black Sea coast.
Daniel Richardsson from Iggesund, an established skier on the
Swedish national team, helped Sweden take gold in the ski relay
in Vancouver 2010. During the winter season 2011, Daniel man­
aged to come third in the overall Cross Country World Cup.
Over the years Iggesund has supported Daniel’s club,
Hudiksvalls IF, with contributions both to sports facilities and
to youth activities.
26
inspire1201_Master.indd 26
Another Swedish medallist at the Vancouver Olympics
was slalom specialist André Myhrer, who took the bronze in
the Men’s Slalom. His club, Bergjsö­Hassela Alpina, has also
received support for both investments and activities.
Two funds linked to Iggesund Paperboard have been set
up to support societies and clubs in the area around the mill
in Iggesund. Some 2 million Swedish kronor (225,000 euros)
is awarded from the funds each year to clubs and youth
societies. Clubs focusing on everything from rabbit jumping
and ice hockey to downhill and cross­country skiing receive
much­needed support in their efforts to foster meaningful lei­
sure time. Based on this ongoing support, Iggesund is hoping
for new medals in winter 2014. ■
www.iggesund.com
2012-02-07 07.58
FINAL TEN WITH...
Sam
Hecht
...
TexT MICHAEL DEE
Sam Hecht and his partner Kim Colin founded the studio
Industrial Facility in 2002 to explore the junction between industrial
design and the world around us. The duo are respected throughout
the design world for their thoughtful, elegant yet rigorous approach
to design, whether it be furniture, a cycling shirt or a hard drive.
1What’s your favourite sport or outdoor activity?
2 What’s the concept behind the cycle shirt?
“I cycle every day, and I’m a very keen squash player.”
“It’s a shirt for urban cycling, with pockets on the back for
maps, diaries, mobile phones and such.”
3describe your design philosophy.
“Design that is simple and doesn’t frustrate you. That has
character and is transcendental so that it lasts.”
4 do you get involved in the packaging of your products?
“Packaging has an important role, but it’s not one I’m an
expert at.”
5 What’s your favourite form of packaging?
“Packaging that is light, very limited and can be recycled
easily — like Muji’s.”
6 Your least favourite?
“I dislike packaging for toys. It has as much plastic as the
toys themselves.”
You and Kim Colin recently published a book titled
7
usefulness in small Th ings: Items from the under
a Fiver Collection . What’s it about?
“
”
“It’s about low-cost and mass-produced items from around the
world — toothbrushes, gloves, sweets — showcasing innovative
design.”
8What are the most important issues in the design world today?
“There is too much choice and no real commitment to
values. We need to get back to the idea of creating things that
are in equilibrium, within themselves and with the world they
are going into.”
9What are you working on at the moment?
“More projects for Muji and furniture for Herman Miller and
a few projects I can’t discuss, I’m afraid.”
10 Your dream project?
“Something to do with cycling or transport would be
very exciting.”
www.iggesund.com
inspire1201_Master.indd 27
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2012-02-07 07.58
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