The idea came on a normal evening. We had the new knits, we needed a campaign, and Gotland kept coming back to us. We booked it that night, and four days later we were on our way.

We had a rough idea of where to go and almost no plan for what to shoot. Looking back, that was probably the reason it worked.

The first day we stayed in Visby, inside the old town. The city wall has been standing since the Middle Ages, and the streets inside it have barely changed since. Walking around with the knits in that setting, we noticed how well they fit there.

On the second day we drove south toward Tofta and stopped wherever something looked right. A stone wall, a gravel road, a field with sheep watching us from a distance. Gotland is like that. You don’t need to look for the right place, because there is one around almost every corner.

The third day was Fårö. On the way, we drove past a field with an old abandoned windmill in the middle of it. Nobody had told us it was there, and we would never have found it if we had been looking. We pulled over and stayed for a long time. Some of our favourite pictures of SCNDI were taken in that field, and none of them were planned.

It’s hard to explain what Gotland does, but the pace changes as soon as you get there. Things take longer, and nobody seems to mind. The fields are open, the buildings are older than anything you’re used to, and most days feel the same in a good way. It’s the kind of life people imagine when they think of Scandinavia. To us, it is the heart of Sweden.

A few months earlier, we had left graphic streetwear behind to build something slower and more lasting. Gotland was the first time we saw that idea outside our own heads. The garments, the location and the pace all said the same thing.

It’s the most accurate campaign we have made so far. It began as a decision we made in one evening, and it ended up showing what SCNDI was meant to be from the start.
-
SCNDI