We are Lucas (DJ name CRYME) and Glenn. We live in Berlin and are co-founders of the Berlin record label SEVEN. Glenn is from the UK, Lucas comes from Berlin, and we are boyfriends and label partners.

We’ve been working together for a couple of years, with Glenn being manager and booker and CRYME being the artist. As CRYME started producing more of his own tracks, we realised we wanted to build a label to showcase and release music within our musical vision. CRYME’s musical journey started in techno and then moved to house, so his style is house music but with a techno edge. That same musical vision became the vision for SEVEN, which sits at the intersection of House and Techno. We love working with artists known for techno who show their hidden house music side through us and we love mixing things – having house tracks remixed by techno artists.

Your approach to how you run the label is unique. Can you first tell us how you’re curating your roster with a focus on queer and FLINTA artists?

The underground scene has developed in recent years, but it is still, at its core, run and controlled by mostly straight white men. And there is nothing wrong with straight white men at all, but we wanted to make a label which recognises that sometimes amazing artists from other groups can get a little less attention or even be overlooked. But rather than creating a Queer or FLINTA* only label, we wanted to build something open to everyone that lets them come together, make friends, collaborate and make great music.

So we describe the label as “Queer and FLINTA* leaning”, which means we are open to everyone, but we are mindful of the artists we represent, and we want at least half of our work to be from Queer and FLINTA* identifying artists.

It’s not easy as there are a lot fewer female artists producing in our music niche than we would like, so we have to work and hunt hard to find artists to work with, but I guess that’s the whole point. We need to invest and work hard to encourage and provide an outlet for these talented people who sometimes struggle to find a great label to work with.

Tell us about your decision to be progressive in how you reimburse artists

We were really inspired by the pioneering work Aslice did in their short life. They pointed out to everyone that the scene isn’t healthy because performing DJ’s get paid for their sets but none of that money flows back to the producers that made the tracks that they play. Aslice closed last year but they left a legacy of people being more aware of this.

When we wrote the SEVEN business plan, we thought about how to be a “Producer First” label and what things we wanted to change in our small corner of the scene. So, we start with a 70/30 royalty split in favour of the artist. We pay a small advance to every artist for their work, and we commit to honest, transparent and regular royalty reporting. This might not sound like a big deal but if you work in the underground music scene you realise that these things are rare. For many of our artists, we are the first label that has ever paid them anything.

Define the sound of SEVEN for the uninitiated.

We love that sweet spot between house and techno, where you can’t quite place the genre. We want happy, love-filled, smiling dancefloors, so our sound is upbeat and full of positive vibes. Techno can have a lot of darkness and black, and that’s fine if you want that, but our place is more colourful.

We are six months in, three EPs out, and our first VA (Various Artists Compilation) will be launched in February. Starting anything is hard; it’s always most challenging to get moving rather than improve and grow once you are in motion. It’s a real struggle finding and signing FLINTA* producers, for example; that is our biggest problem. But being conscious of that makes us work even harder on it – we need to win the trust of the artists out there. But our music is getting a great reaction; we are building a community around what we do, and the feedback from the artists we work with is great. Several of them have said we are the most professional label they have worked with, and that’s wonderful feedback.

How important is the sense of community for you, your audience, and what you’re doing in a wider sense?

Building a sense of community and investing early in that community is hugely important. Most of the people who we want to be listening to our music don’t have a lot of money, and we are super mindful of that when setting prices for music, merch and events, for example. We try to be as kind, supportive and understanding of our community as possible. Running a label like this is not a get-rich-quick scheme, but it is truly a labour of love and hugely rewarding when it goes well.

Having Berlin as your base must be a bonus?

Berlin definitely helps us as a base. It has an excellent reputation for being at the forefront of dance music, and we are super lucky to be surrounded by many talented artists and people working in the industry. Lots of our artists are from outside Berlin and Germany, but they all know and respect what goes on in Berlin, so yes, it helps.


The city’s status as a bastion of techno is the stuff of legend. Are there other strands of Berlin’s music culture that you feel are worth checking out?

Berlin is full of bubbles.When you’re in the Techno bubble all you see and hear are techno parties and techno labels. But right next to it there’s a house music bubble, an R&B bubble and loads more. And that’s one of our main points of focus – to build bridges between communities and link these bubbles together.

Now you’re making merch, what are your influences for the collection? And how do you want the wearer to feel?

We didn’t want to do cheap, trashy, normal merch. We wanted your SEVEN t-shirt or hoodie to be your favourite, your go-to. That’s how we fell in love with Creator Studio because the quality of the blanks was next-level. We want people to buy a SEVEN shirt and still wear it in three years.

We have the most incredible designer called Milla Barbanera who designs everything for us – our brand, release artwork, website, everything. Our first merch range we kept simple with just various uses of our logo and strapline Smile When You Dance. Our 2025 collection will have even more creative designs by Milla and we can’t wait. We also want to collaborate with other Berlin artists on special collections, which is super exciting.


Can you run us through the garments you’ve selected from our True Blanks range?

Sure. The blanks we use the most are the Boxy Tee, Boxy Hoodie.

Finally, where can we listen to SEVEN online and IRL

IRL we have our first big party at ELSE in Berlin on Sunday 25th May. It is a super special daytime and nighttime event with a whole timetable of DJs playing back-to-back, so every slot has two DJs playing together. That’s us bringing people together again with unexpected artist combinations.

Online we are on all the major streaming platforms. To find out what is being released check out our website at 

 and you can find all of our releases for sale on Bandcamp 

. All of our music and our DJ Mix series is on SoundCloud 

Remixing the Format

Hanna is Golden (real name Hanna Min-Jung Herbertson) has used her love of dancehall and dancing to charm the infamous TikTok algorithm and spread her passion to over 225k followers. This is a story of energy, defying norms and cultural immersion that began in her laundry room.

Tell us, who are you and what do you do?


I usually call myself a multi-hyphenate and have a host of different interests. My passion job is as a dancer, and it’s become a vehicle for me that’s taken me across the world. I grew up on the Swedish island of Gotland, but dance and travel have united to take me across the world to immerse myself in cultures and forms of expressive dance and music.

Tell us about your journey to where you are today as Hanna is Golden.


The love of music and dance is where it all started. I moved to New York to dance, there I also learned how to DJ. And the golden came in because my DJ teacher said I needed a name – and I like gold! My dance crew in NY was named Blackgold so it’s always sort of followed me around. ‘Hanna is Golden’ seemed to have a better tone than my surname, so it’s been with me ever since.

You clearly know your way around Social Media.


As a creator, dancer, and teacher, coming to NY, I needed to step out of my shy Swedish persona and find a way to self-promote and amplify my qualities. As I enjoyed social media, branding and editing social media content, it became a vehicle for me to promote what I was doing. As what I was doing gained traction, brands and companies came to me and asked for help, so I consult now in marketing and strategy, alongside the dancing.

Yeah, when I moved back to Sweden, I thought I was done. But the dance has continued. It’s in my soul, part of my DNA. I felt I needed to learn TikTok to help develop my consultancy, so I started posting videos mainly to get the hang of it as a platform.

I used to dance while doing the laundry, in the laundry room in the basement of my apartment building and that started to take off. I was just shooting in the app, using TikTok’s tools. I feel most at home doing the Jamaican dancehall dances. The algorithm helped to amplify the content!A lot of people were surprised to see an Asian woman doing dancehall. But the films connected with people – they felt and shared the joy I get when I dance and hear that kind of music.

You’re a dancer not just to dancehall but other forms of music and dance forms as well?


I love the Afrobeats, R’n’B and Hip Hop. But the algorithms pigeonhole you, so I’m classed as dancehall. In the beginning, it was ballet and all that sort of stuff. But I was (and still am) a dancehall nerd. When I was in New York, I’d travel to parties late at night, going from borough to borough.

Dancehall is one of those genres of music that feels like a sub-genre but is kind of always present in many forms, how would you class dancehall?


People were confused when I moved to NY and said I loved dancehall and taught dancehall dance. It’s known but not so much on a deep level unless you’re involved in it. But there’s a deep cultural side to it, and a more commercial side of it. They meet in the middle; you can have a foot in Jamaica and one in the mainstream. That said, the raw side stays mainly in the party.

Describe dancehall for someone who has no idea of what it is.


The music and the dance reflect life and the way you’re feeling. There are spiritual songs, sensual sexual songs, and angry songs. It can be fast or slow. The dance and the live dancehall experience are intertwined. Sometimes, the music draws its creativity from the dancers; a singer will pick up on a dance and write a song about it, and sometimes, the dancer will interpret the song and amplify it. The dancers go to be seen; you dress up. You can be paid to go to a party as a dancer. There’s not like an audition system for a stage role; you get spotted at a club and asked to dance at clubs to lock in the vibe. Or you do something like I’m doing nowadays; go viral online and book gigs that way instead.

And now you’re making merchandise! What messages or themes do you want to explore on your garments? 


I did some merch for my clients and brands and suddenly realised that I don’t have merch for Hanna is Golden. One of my friends pushed me and said I should try it, and I felt it was time, so here we are. I’ve always been about having fun with what I’m doing on Social Media though. Along the way, people have said they want to support me, but I didn’t just want to take money and give nothing in return. This way, they can support me and express support for the culture as well, which feels more like ‘me’. The little messages align with what I post on TikTok and seem to resonate with people. The ‘I got places to go but I love dancehall’ line for example. The response has been cool. I want to try different things and messages because it’s so easy to create the products.

Before we let you go, give us a few artists or DJs we can check out to give our summer some proper flavour this year.


Artists that I recommend checking out include Ding Dong, Shenseea, Busy Signal, and also Spice. This is also one of my favourite sets by 

Pure Gold

Marc UÅ enters the screen from his apartment in Stockholm, a space filled with colourful illustrations in neat rows corralled around the walls. Before we even exchange ‘hellos,’ he’s holding up a new commission currently underway. Swirls of bold colour fill the canvas, and he explains he’s working on the lines and how this particular piece will be really detailed when it’s complete. He’s a presence for sure, a positive energy, an honest and authentic soul.

Born in Umeå in the north of Sweden in ’86, he alludes to the fact that it would always be illustration; “Drawing has always been my main occupation since I was a kid. Every kid lays on their stomach and draws. When I started, I just never stopped! If I’m honest, my style hasn’t really evolved that much since I was a kid!”

With a style that blends bold use of colour with pop culture references, intricately drawn characters, and a host of motifs, his work morphs, pops and vibrates with the same energy as the individual who crafts them. We talk about his style and how it’s evolved.


“I always prefer drawing as big as possible. I started doing everything by hand, but then when I scanned it and people started wanting vectors, it messed everything up. To this day, I’ve resisted going full digital. Most illustrators draw directly into the computer with e-pencils on the screen. But there’s some kind of stubborn pride that I want to do things by hand. This childish, bold, wobbly style benefits from the drawing. The imperfections make things interesting, and you lose that when you draw digitally,” he says.

He explains that the process fluctuates on occasion. When it’s something big, he works the colour first and adds outlines at the end, a little like a graffiti artist might. If it’s something that might end up being digitally printed—merch or something printed—he switches tack, doing outlines by hand and adding colour with software to achieve consistency and tonal pop.

Marc went to his first hardcore gig at the age of ten. Already a listener of grunge and bands like The Cure, and based in Umeå during its most influential hardcore music era, it was almost inevitable as a transition.

“I gravitated towards aggressive, darker music. The hardcore scene up in Umeå is really open and spurs you to do things yourself. The bands I was in all did fanzines, printed shirts, produced 7 inches, and did everything ourselves. When you’re allowed to do that, you reach a high level quickly and can experiment and put your ideas into people’s lines of view to determine their views on your output. I’m still in the scene as much now as I was then. It’s a big part of my life. Today, I juggle music and art, but visual art has always been my number one priority,” he says.


The subject of Umeå’s role in the punk and hardcore equation has always been a topic of discussion in punk and hardcore fanzines across the globe. The city’s most significant contribution to the genre, Refused, is cited not only as a seminal band by fans of the genre but wider in more mainstream circles as well. As creative musically as it is politically and socially, its emergence from this northern location was and is something of an anomaly for outsiders. Maybe Marc would be able to shed some light on the scene.

“I think the reason Umeå is important is that it’s a small city. You don’t get the big bands travelling so far up, so you sort of end up having to make the scene yourself. You have a chance to be at home – to work and develop your creative output. That’s how it felt to me growing up there.”

One of Marc’s recent projects is HARDOES-Superheroes of Hardcore. Marc’s way of paying homage to his heroes of the scene, it now numbers around 200 individual illustrations of the bands and artists from the hardcore, punk, metal and pop music scene that he holds so dear.

“It’s been a way to give back to the hardcore scene and connect with the bands I really like. I put the images up, and the artists are free to use them however they want. People can enjoy them and have fun with them. I don’t contact them and actively ask them if they want an illustration but I think I’ve done about 200 of them so far. If you, as a fan, want a physical experience, you can buy a print or a book, but it’s important that these are free,” explains Marc.

Hardcore music is a small subculture, and like its forefather, Punk, it’s a scene that has always been self-sufficient. “What you learn growing up in a small subculture is that you create stuff just for the cause – to push the culture and support the scene. If the culture feels good, it’s for the benefit of everyone. I never expect anything back from it; hardcore is deep in my soul. I’ll do anything for the scene,” he beams.


While his passion is the scene, he notes that he doesn’t have a specific audience in mind when creating. Unlike many artists who might sit on their work, Marc finds joy in the sharing and connection between his ideas and the viewer, whomever that may be. “An illustration is meaningless to me unless I share it,” he says.

We explore merch and how it slots into scenes like his, bouncing theories about how physical experiences reinforce the scene community. Whether it’s the feel of the limited runs of 7-inch Eps or collecting fanzines, flyers, band pins or badges, the physical connection between the band, fan and the group at large is human to human. The merch is the connection.

“I still walk up to every person I see in a hardcore shirt. It happens more often in Stockholm, but there’s a pride in wearing a ‘badge’ that shows this bond within the subculture. The smaller the culture, the more pride you might have,” he says.

Marc has recently switched to Creator Studio to bring his merch to life, and it doesn’t take much to get him animated on our take on enabling creativity; “Creator Studio is a dream come true. Not having to send stuff to people. Not having to do bulk. To have some professionals handle everything. No waste. I’ve been searching for this for years. As a creator, I need to create, and I need the pros to handle the rest. So now, I can cook up the design today. And tomorrow, I can get it up in the webshop; it’s perfect!

Alongside the new merch from Marc hitting his store, we chat about the forthcoming months and what we can expect from him. He explains that one of his clients is Bastard Burgers, a ‘boutique’ burger chain from northern Sweden. Each time they open a new restaurant, he’s given free rein to create new artwork concepts for the walls and décor. The collaborative creative output doesn’t end at murals, though, and Marc continues to explain their projects as he rummages off-screen for something. Returning with a can of soda in his hand, he tells us more; “A while ago, I made a burger based on a cloudberry soda that I make. It was a limited edition that Bastard Burger occasionally had on its menu. We will bring it back this Autumn: the BBQ burger, release a bunch of shirts, sell the sauce, do a bunch of events, and they’ll sell the soda as well. My art, the merch and the food… Oh, and we’re doing a chill bag that looks like the can!”

If we’re honest, a chill bag has never been on our hitlist of must-haves until our interview with Marc UÅ. And now we must have one. Creators like Marc are fresh shots of energy and inspiration – his varied portfolio is a testament to how the subculture DIY ethos instils a unique creative work ethic. There are no obstacles or blocks to how he expresses himself; everything feeds back into the scene he loves, and it’s a joy to experience.


Hardcore Creativity

I’ve got a 12-year-old kid and two cats, so I like working at home. Having an old computer at home forces you to be a bit more analogue but also gives you a different pace.

Everyone has their own methods but for me, I like this flex between home and studio. However, I can only really be in the zone when I’m at home. In the studio, there are distractions – email, meetings, and there are always people around. It feels like there’s some sort of invisible pressure to perform when I’m there.


Do you work best from home or the studio? 

Where or how do I work best? I’ve been thinking about this my whole professional life, whether freelancing or otherwise. I work best in small groups but also sometimes need to lock myself into the zone. But I get restless and have to get out when I’m on my own for too long – I need the inspiration of group dynamics and outside forces.

Right now, I really enjoy the opportunity to be away from the conventional workplace. My studio, at the Omnipollo Church – our base, is great but it’s nice to be away from that and get the vibe going in my own home.

I’m in a good place right now. My whole working life I’ve been told I’m too unconventional – I’m too all over the place for advertising and don’t really fit the white cube art scenario. But these days I’m in a place where I don’t have to conform to either of those stereotypes as a creator.

We should probably let you do a proper intro, right? 

For the last few years, I’ve been pretty autonomous. And every day, when I wake up, things can go anywhere. In terms of Omnipollo today, we’re bound by certain business considerations and have monetary responsibilities but it’s still a creative project. It’s a creative vessel.

Outside of Omnipollo, I’m still doing things for exhibitions or collaborations with other artists and craftspeople. I’m leaning towards being an artist or visual artist these days, but when I was younger, I wouldn’t have called myself that.

I became a graphic designer because it was the only thing I knew. I thought being an artist was the reserve of super-talented people. But I always wanted to make drawings. But it’s hard to make a living from making comics. So, I transitioned into graphic design in the 90s when everything in Sweden at that time was focused on the advertising industry. Now, things are more aware and politicised but you were automatically put in a box back then. At that time, I got a lot of backlash for not following conventions. Back in the 90s, it was important to have a defined portfolio.

Graphic design was about selling stuff, and I didn’t know how to get out of the box. But I was aware of other parts of Europe that were much looser and more open, like the Netherlands. And there you could use graphic design to express yourself more spiritually and politically.

I always snuck drawings into my work. And in the end, my style became more about the images, like the work of Milton Glaser, one of my biggest influences. He called himself a graphic designer from very early on. In the 90s, many graphic designers hated being called an artist. These days, there is no divide between graphic design and art.

Blurring disciplinary lines is important for me personally. Why decide how to approach a thing in a specific way before you begin? That’s how I approach things like Omnipollo – I ask myself how I want to do this thing rather than question how someone else might do it.

There are lots of cliches built into these explanation models within creative industries. I’m all for blurring borders… It’s way more interesting to look into the theme or attitude of a project rather than examining how it has to be technically or finding the right way to do things.

Tobias Lund & Karl Grandin from Omnipollo

Has your father ever said anything about you following him into graphic design and art? 

My dad is a calligrapher and typographer so he works with text. When I was growing up, he worked a lot with political left-wing newspapers. When he studied at Konstfack in the late '60s, it wasn’t visual or fine arts that were the most popular among his peers – they all wanted to study to become art teachers, to influence the next generation. Maybe in the future, everyone will want to return to that place and devote their lives to teaching 12-year-olds about art?

As a kid, I spent a lot of time at my dad’s different workplaces including newspapers, magazines and printing houses. I saw creative things coming together. Even though a lot of the work wasn’t that interesting for a young kid, I was fascinated by all the technical aspects of what they were doing. Noisy offset printing presses, how to work a wax machine, the process camera in a darkroom and stuff like that.

They’d put me in the corner while they were having their editorial meetings with a Fritz the Cat comic by Robert Crumb. It blew my mind as a 6-year-old. It’s still inspiring me today - these American underground comics from the 60s and 70s. I still study these and try to work out how they combine graphics and images to create messages.

Omnipollo is a creative force. And an unlikely meeting of two really different industries – brewing and art. 

I don’t think it matters what you do, it’s about how you channel your ideas and get your voice out there. I try to look at everything in front of me as a canvas for expression – whether it’s a newspaper, fashion or a beer can. People only see a certain perspective of themselves wearing garments – from a mirror or a photo or from a top-down perspective when they look down at themselves. But a beer can is something people pick up and examine. The can is a captive art form where your hand is the frame for the art on the can or label. When we started Omnipollo, and even now, it’s cool to see someone studying my art on cans.

As a canvas a can is interesting. It’s always going to be a cylindrical shape. It’s a bit like a record cover – it has a set format. Even with this restriction, using it right can enhance your experience, provoke your thoughts, or even change your mind about something and suggest a new perspective on a subject. I always liked album covers that give me a reward for the time I spend looking at them, and I think what we try and do with Omnipollo as a brand is similar to that.

When we began, I told Henok (the other co-founder of Omnipollo) I didn’t want any text on the bottle; I wanted the name to be weird and the artwork silk screen printed instead of using a printed paper label. The idea I had in mind was high quality but relatable. But it was definitely not straightforward. I wanted it to be an image that said something about what may have gone on in Henok’s head. It was a keyhole with lots of stuff in it a visual metaphor for what was going on inside his head – his vision – and we were looking into it from our perspective as viewers.

It resonated with him – this risk of failing while doing something you really love. But weighed against that, there's the chance of really succeeding while doing something you love.

Almost immediately I knew Omnipollo was going to be different. Not groundbreaking, as there were and still are lots of craft beer brands doing interesting things, but certainly different.

Early in the development of the brand, Henok took me to a craft beer bar so I could see the care and passion in the industry but also the fans of the beer. But back then it was a weird crowd. Everything looked basically the same and, for me, it was kind of boring. Lots of the brands had this little steampunk/fanziney feel, which is fine – but I didn’t want to do that. On the flipside you had this classic Belgian style, all gold labels and stuff. Again, fine but I didn’t want to do that either. So, I did what I wanted to. I wanted to be thought-provoking but also maybe provocative.

Me and Henok are big fans of the beer scene. But we thought, what if we could mutate that experience and sell it to even more people who can be inspired by how the drink looks, smells and tastes? And package that in a way that almost everyone could appreciate if they wanted. I started to put a little humour in my Omnipollo work, but also, sometimes, I added some element of pretension or politics or social issues into the work.

Today, Omnipollo is a balancing act. It’s easy in the beginning, to fail doing something you love. But as you grow and be more successful, there’s more responsibility. We’re quite a fast, slim organisation and make quick, radical decisions, which is a great strength. But we want to try and preserve this initial original attitude. We still trust each other 100%, which is very important – I’m Henok’s biggest fan. We are good at maintaining the vibe we have had from the start. And we try to always do what we’re best at.

If there is an aspect of my work I’d like to explore more, it’s words. I sometimes wish I was better with words; to be able to add more words and messages to my work. But I’m mainly a visual artist. I keep the number of words on our cans to a minimum and let the art do the talking.

At one time, we had an online store where we sold beer. And to sell beer to people in Sweden wasn’t a profitable idea as it's a government-run monopoly with loads of restrictions. You can do it from outside Sweden. But it’s hard to sell beer online if you’re based here. The online store was called the Omniopllo Vending Machine. And someone said, ‘What if we did an actual vending machine at the church?’

Personally, I’ve never been a fan of a craft beer shop having its own gift shop. It’s pretty uninspiring most of the time. It’s just a logo on a t-shirt and it’s unnecessary.

If we’re going to make an Omnipollo t-shirt, let’s try to at least make it interesting. Not something typical of the craft beer scene. So we did a few and put those in the vending machine. We sometimes have cassettes of bands for sale. We just did a Christmas market in the machine with different artists, that was great.

It’s not as romantic as it sounds because you need to program the machine and clean it a lot, or it stops working. But we wanted this thing to ooze creativity and resonate with people. We’re constantly exploring how to use it.

A lot of the creativity for me as an artist comes from a set of limitations. Whether it’s the framework you get given by having to fit something into the vending machine, like a pair of jeans or a beer bottle. I’m always inspired when I explore an odd solution to a problem, and it seems to work.

I want our merchandise to have a certain feeling that gives everything about us a wider dimension that inspires people. The new merch we’re making with Creator Studio is going to enhance people’s perception of the brand and the things we do but in expected forms. We want to turn a normal object into something amazing.

If you work in this industry, you have to stay on your toes and keep developing all the time or you’ll become obsolete. With Omnipollo we’re looking for things that don’t exist, things that are not there but make sense when they do.

Sadly, everything that goes into beer is super expensive now because of global economics and turbulence. Again, another restriction to push against! It’ll force us to be better and make super interesting things. But if we go under, at least we had fun doing it. Fail doing something you love…

THE CREATORS PIONEERING MERCH – OMNIPOLLO

Creativity on Tap

Energetic flow, passion, and expression combine in the heat of the Brazilian streets as we meet Tropassinho, the Swedish dance group, who brings the dance and music of Passinho to Scandianvia.

Hey there! I’m Carolina Ekman, a passionate lifelong dancer whose heart beats to the rhythm of Brazilian music. I'm the leader of the amazing dance group Tropassinho, based in Stockholm, Sweden.

How did you all meet and how did it all begin?

It all started when I was on maternity leave with my second child, after a difficult HG pregnancy. I’d been dancing my whole life and wanted to get back into it. That’s when I discovered Passinho on YouTube – a new dance style from Brazil. The dancers were fast, the music was amazing, and they were dancing in flip-flops in their backyard. It looked so fun and free. Before that, I had mostly danced in high heels, especially carnival samba. I immediately wanted to throw on some sneakers and start dancing, so I reached out to my dance friends to see if they were interested in learning too, and that’s how it all began.

Passinho, which means “small steps” in Portuguese, started in 2008 when a group of young guys from Rio did a few dance steps for fun, posted the video on Youtube, and went viral. Now the style is well-established, and professional dancers from Brazil travel the world teaching it.

Passinho is a really unique sound. How would you explain it to someone that’s never heard it before?

Fast, quirky, fun, vibrant and with a unique sound that you can recognise by the rhythm: “Dum tcha tcha, dumdum tcha, dum tcha tcha, dumdum tcha”.

The same could be said of the dance style – how would you describe it.

Fast footwork and lots of hip movements. My personal take on it is that Passinho is a blend of street, funk, hip hop, and traditional Brazilian dances like frevo and samba, but lately also introducing other styles like vogueing... Passinho is all about creativity and freedom, constructing and reconstructing, with dancers mixing sharp, energetic moves and smooth, playful steps.

There are some dance companies and clubs spinning Brazilian funk, which is a pretty broad scene. But Passinho? That’s still underground for now. We’re hoping it blows up though—there’s so much energy and style in it!

Tropassinho has a very distinctive style. What’s the intention behind it, and how does it make you feel when you’re in costume dancing?

The idea was to learn Passinho and just have fun. A few of us in the group had danced Brazilian samba together, so trying Passinho felt like a natural step. But over time, we grew into a larger group of women, where a strong sense of community and sisterhood emerged. We give each other courage and strength. In our show costumes, we step into an elevated reality – half woman, half mystical being. And we absolutely love seeing the audience’s reactions when we hit the stage!

Passinho is an important cultural movement in Brazil and was recently recognised as part of the cultural heritage by the city of Rio de Janeiro. Through Passinho, young people from historically marginalised communities have gained recognition, showcasing their creativity and resilience while celebrating their vibrant cultural identity. This growing movement is not just about dance; it’s a powerful platform for empowerment and connection, inspiring a brighter future for the next generation.

You’ve started taking Tropassinho outside of Sweden now, how’s the reception been?

The Danes love us! ;) We’re always eager to take our dance around the world and meet others who share our passion. So far, we’ve been to Brazil and Denmark, and we’re looking forward to more international adventures. Maybe Portugal, the UK, or Germany – each has fantastic dance festivals. We can’t wait to see where our steps will take us next!

Tropassinho’s been appearing with artists as well. Tell us a little about that and why you think people want that energy you bring.

A few years ago, when we performed with the choreography and music of our idols, Dream Team Do Passinho, at the Uppsala Festival of Cultures, we then shared some clips from the show on social media and tagged them. It turned out that they reshared our clips. We were beyond thrilled! 1-2 years later, when we went to Rio, we contacted them and had the opportunity to learn with them and even do a dance video together with some of the members. This was a magical experience!

Merch is happening… What was the catalyst for creating merch?

We’ve got to have a sleek cover-up ready to throw on as soon as we step off stage. It keeps our costumes protected and us warm, but it also makes us stand out and creates a strong sense of unity within the group.

Word on the street is you’re big fans of our new Zip Hoodie. How come?

Honestly, these hoodies are the real deal! Super comfy, killer fit, and quality you can trust. Plus, they’re perfect for those “I just danced my heart out” moments, allowing us to chill in style while we plan our next epic performance. And let’s not forget how easy it is to order them – smooth and hassle-free, just like our moves on stage!

What kinds of themes or artworks are you using and who’s behind the designs?

The Tropassinho logo features an upside-down heart, a design that playfully illustrates the “goddess portal” and has naturally evolved within our group. The final design of this symbol was crafted by Åsa Thomander, bringing our vision to life.

How can we experience Tropassinho and the Passinho sound? Any tips for artists, DJs or club nights?

Give us a shout, and we’ll ignite the dance floor like it’s a Carnaval bloco! Get ready for a night of pure ritmo and energy!

Small Steps from Big Streets

Small Steps from Brazil’s Big Streets

We linked with local agency deadHYPE for a series of talks examining community, digital activation and merch as a vehicle for scaling and extending brands. Joining us were panellists 

, who bounced ideas with our guests from across Berlin’s creative scenes. Berlin’s creative commerce is a currency in a class of its own. An ever-changing city blending countless sub-cultures, it’s a launchpad for progressive thoughts, visual manifestations, and ideas. 

“To meet creatives in a city that’s a beacon for original creative movements and forms is very special. The synergies between what we’re doing at Creator Studio and True Blanks, and the expressions of the creators who joined us are clear and strong. Berlin and Creator Studio are a close-to-perfect match; two entities that breathe innovation and authenticity.”
Carl Malmgren, Creative Director, Creator Studio & True Blanks.

In addition to the discussions, our guests seized the chance to go hands-on and create with our CREATE:KIOSK and CREATE:AR live experiences. There’s so much to gain from these physical meetings and exchanges of ideas and feedback, so huge thanks to everyone who showed up and shared their perspectives.

"The future of merch is one that we shape together, with insight and direction from the people who are using the platform and tools we're developing."
Nasrin Iranfar, Head of Commercial, Creator Studio

Hosting: Creative Community Talks in Berlin

“I’m a 27-year-old guy who’s worked with music for ten years, but these days, I do as many different kinds of performances as I can,” says Zia, gazing around his living room. Given that, for now, Zia sings in Swedish, we wanted to begin with his music – particularly how he’d describe it.

“I’ve always done quite romantic music. Music, for me, is everything at different times. Sometimes therapeutic. Sometimes, exploring a feeling I’m missing in my life. But it’s always an extension of me. I am in my music. It’s very personal to me,” he explains. Pushed a bit more, he offers a more visual metaphor; “Explosive pop!” with a laugh.

During his decade in the business, Zia has formed a strong bond with his fanbase. We asked whether he felt his fans would agree with his synopsis of his sound. “I don’t know. My thing with music is that it moves me; I have to feel it for others to feel it, too. But hopefully, the fans connect through this as well. When I play live, they should feel some trauma or experience and go through all these feelings with me. The music connects the audience and me as a performer somewhere in the middle. I’m always exploring new sides of my personality through my music that they might not know as well to capture a freshness.”

Like many creative souls, Zia has been very open about his struggle with stage fright. For many performers and artists, this is a crippling infliction but, if approached with care, can lift a performance to new levels. Sensing the answer already, we ask regardless – how does his stage fright affect his showmanship and craft?

“My stage fright comes from when I question what I’m doing. I’m always myself on stage, but a different version, perhaps. Everything has to be right, you know, and then I feel some sense of assurance. But then there’s the flip side, like that dream you have when you’re doing something before an audience and you’re not prepared as you should be,” says Zia.

We continue along this track, asking: Are you a perfectionist? “Yeah, but I don’t know what my definition of perfect is, so I don’t know if I’m happy even if something was perfect,” he continues with a smile, his eyes resting in a corner of the room.

With so many years of gigs under his belt, in so many shapes and constellations, Zia has a chameleon-like way of shifting energies to the size of his audience. Keen to find out if he has a favoured type of gig and how he tailors his performance, we ask if he has a preference. “Think of it a bit like this. If you’re a lion in a zoo, you’re restricted in how far you can run and at what speed. But on the savannah, you run faster with more energy and freedom. When a gig is intimate, you have more connection with the audience, but I’m the kind of artist triggered by more energy. It’s a powerful feeling to be in front of the audience and use your voice, tone and words to create a feeling. It’s cool.”

Many sources and interviews over the years point out Zia’s drive and sense of direction in his career. As an integral part of being creative, self-drive is hard to maintain. We wonder where Oscar’s comes from.

“There’s still a sense that I must prove myself to everyone who might have doubted me. This is only from my perspective. But I have such a huge love for standing on stage and working with music. No matter how hard it is, it’s worth it. That’s where the drive comes in,” he says.

Now that he’s acting as well as performing, does his performance technique differ from stage to screen? He explains that Oscar Zia, the artist, is larger, more free, and fantasy-driven. Oscar Zia, the actor, allows the emotions to evolve more naturally. Both are still driven by his emotions and places of personal reference but are given different energy levels to resonate with the audience.


Moving to merch and his collaboration with Creator Studio, we discuss his relationship with merch as a performer and a fan. “I buy a lot of merch, actually. It’s like a tattoo; you’re part of the family. It’s nice and warm to see fans in my merchandise,” he says, explaining that, while he buys lots, the only piece of merchandise in his closet is a Beyonce t-shirt. “My friends steal all my stuff,” he cackles. “Seriously, they borrow my stuff, and I never see it again.”

For Oscar’s forthcoming tour, fans will not only be able to buy from his merch store but create their own pieces of unique merch using Creator Studio’s Create:Kiosks. If his fans are anything like Zia’s own friends, they’d probably best buy two, just in case!

THE CREATORS PIONEERING MERCH – OSCAR ZIA

Oscar Worthy Merch

It’s hard to imagine the heightened emotions of fronting a band in front of thousands of people before you’ve even hit your 16th birthday. And yet, that’s where Linda Sundblad’s storied musical career began. Truthfully, she doesn’t feel much of a limelight-hogging songstress when we start talking. She’s relaxed and honest, with a visible authenticity about her. A person who earns a wage from her voice and stagecraft, but it feels like it has an on/off switch.

“I’m a singer, but being an artist is something I have a love/hate relationship with. Music and performing are all I’ve ever done, but I’m not a narcissistic person, so for me to talk about myself and what I’ve done is very tough. It exhausts me,” she explains, cupping a coffee cup.

Despite this, Sundblad is six weeks into a new career phase as a solo artist, recording under her own name. “This time, it’s all about me. By that, I mean I’m making the decisions about who to work with, how I want to appear, taking control of my publicity, social channels,” she explains.

So, if it’s not an overwhelming desire for recognition or adoration, what is it that’s promoted a return to recording? She smiles: “I still have this ‘talent’ if you want to call it that. I still go on stage and connect with the audience. It’s like an old familiar habit; I don’t know anything else. This is what I do. Obviously, I do other stuff; I became a mother, etc., but this is in my blood.”

Sundblad explains that the industry is almost unrecognisable in the decades that have passed since her Lambretta days. In her youth, bands and artists were put in a box similar to other creative pursuits. Someone would tell you who you were and what your sound was and emphasise that you don’t deviate from the path. When she veered off her course and collaborated outside of the rock scene, she was called a sell-out. Today, she uses the word freedom as an umbrella term for the music business. 

She smiles again. “But going back to it, I don’t think you have to be a narcissist to be an artist. I have a talent and a level of experience, but I’m also always evolving and honing my craft,” she says.

As with many creatives who enjoy renewed interest in their work, Sundblad is bringing the experience and wisdom of age to the table this time. “When you stop making excuses and just commit to who you are, what you do now, and accept what you used to do… when you have worked those pieces out, you have a clear vision. You and your work become more truthful,” she notes.

Looking back, Sundblad feels annoyed that she allowed herself as a person to be forced to conform to preordained ideals. Today, she doesn’t feel like she’s ‘acting’ anymore – she’s the authentic Linda Sundblad. Handling almost every aspect of her career as an artist has already resulted in a sense of pride in her achievements. She feels empowered and more creative and can see the results of her passion and craft. “It’s nice to build this virtually from scratch, without a safety net,” she says, adding, “I’ve not worked like this before – it’s exciting and rewarding. Worst case: I get another job. I’m not scared!”

Casting her mind back to her entrance into the industry at 15, Sundblad reckons that if she had her current level of knowledge, she’d be rich. As it was, she admits to having made costly mistakes. Unsigned contracts or collaboration vocals with artists she bumped into in studio corridors and a lot of expensive stage costumes. Linda laughs, noting that she’s still trying to unravel publishing deals and credits to this day, some twenty years on. We talk through royalties owed, legal wranglings and private jets with such openness it’s easy to sit back and let the industry tales flow. She’s enjoying the detective work, though, and feels that the investment in solidifying her musical ownership gives her back a sense of freedom.

We tap into some of her memories from Lambretta to understand what it must have been like to ride a massive wave of success.

“Lambretta was fun! We had good success from ‘01 to ‘06 and worked with amazing producers. We went to this festival called Bizarre in Germany, just about the Bimbo came out. It was 11 in the morning, and 15,000 people sang our song at our first proper gig in Germany! In your home country, you have love, but when you’re in a different country, that’s very special. That day, we saw No Doubt, and Gwen Stefani was in the dining area next to me. I was pinching myself to check I was awake.”

Off-stage, Sundblad also enjoyed her share of acclaim as a style icon, working as a model during the early 00s. As someone comfortable in her skin, she wanted this experience. “When you do that, you’re a chameleon. You wear what you’re given. You get used to being a different sort of you,” she says.

Her current stylist has encouraged Sundblad to select three words, or drivers, to work towards a style that fits her personality. She tells us she’s landed on ‘Riviera’, ‘Italy’ and ‘punk’!

So, a new creative adventure, singles and albums are incoming, three-word style in the bag and, with it, new merch!

“I did a first merch collection, which was the album cover. But now I want to try out new stuff. I’m exploring the concept of True Romance quite a lot. It’s a challenge, but it’s an ethos I’m promoting. I am a true romantic, and I hope other people are too. I still believe in this. So, I have two lyrics on the shirts, ‘And then you grab my hand and call me babe and isn’t that romantic’. The other is ‘I will dance you through a crowded room’. I wanted those two lines in the merch. These are some of the things I’d do to show you I’m a true romantic. Both those sentences are meaningful to me.”

Like many artists and music lovers, merch holds a special place in Linda’s heart. Her take is that putting part of the music into the merch takes on a new life and meaning. “Merch is cool like that,” she says, continuing, “It connects you with people. Even if the merch and the message are subtle – you get them; you know a bit about them. You share a connection, something on a subconscious level. It’s like you say hello without even opening your mouth.”

We say our goodbyes, from our perspective, a little wiser after being immersed in the world of Linda Sundblad. Talented, undoubtably. However, the savviness from working in the music industry through many of its most significant changes over the decades hits home the most. The confidence to create that comes from those attributes is compelling and inspirational.

THE CREATORS PIONEERING MERCH – LINDA SUNDBLAD

True Romance

Hot on the heels of our True Blanks Caps drop comes our take on the iconic Tote Bag. We’ve thrown everything at these designs to create two formats that level up the details of the classic format.

The small and large totes are constructed in durable 100% organic twill, in Black or Off White. They can be printed on demand, embroidered or screen printed.

”The most classic accessories when it comes to merch are caps & totes. We wanted to bring these archetypes into the future by elevating styles and qualities to serve as the perfect canvas for your artwork. Both caps and totes come in two variations for versatile use. Attention to detail, organic cotton and craftmanship signify this small but well-curated drop.”

- Carl Malmgren, Creative Director, True Blanks

Introducing: Tote Bags

Hi Anna, introduce yourself and tell us about your role at True Blanks and Creator Studio.


I have been a fashion designer for over seven years and typically call myself a fashion creative. I have a diverse background in startups and also commercial design! As a designer for True Blanks, I create the best garments for our creators. We spend weeks selecting and comparing the best quality options for every collection. Attention to detail and perfect fit are crucial for each collection, so that is a big part of my day. It’s also really important to point out that, with True Blanks, everything starts with the fibre.

What are the key trends we’re seeing emerge for the season ahead?


For Spring/Summer 2024 we see the return of vintage band tee aesthetic and the oversized fit that you can find in the True Blanks Contemporary collection. The forthcoming season is very 90’s nostalgia driven. The perfect combination to capture this aesthetic is mixing our Contemporary Boxy Tee in combination with the Essentials Long Sleeve, to create this layering feel and really embody that 90’s aesthetic. Think grunge in its heyday and you’re on right track.


Back to Spring, which colourways in the True Blanks collection should we be considering for Menswear and Womenswear?


We are coming out of few months of darkness and what feels like a really long winter, especially here in Northern Europe. So, for the Spring / Summer collection, creators and their audiences are always looking for more white or light grey tones, people are also more open to bright colours that complement the base of your assortment. I would check out our men's and women's 

, and also the Contemporary collection pieces in 

In terms of artwork (visual and in terms of text), is there anything from the catwalks and streets that we could lift up?


As for trend for print and a graphic inspiration, I want to highlight two of my favourites. First one I’m calling ‘Plant Power’. This trend covers naive hand drawn flowers or has this plant study aesthetic. It’s easy to look for inspiration all around us in nature and our essential collection will be the best canvas for this trend. My personal favourite is a graphical direction I’d call ‘Main Character Energy’. This one offers a play between bold colours and text with this sort of motivation quote vibe. I think this trend is an amazing way to express yourself and offer your customers the same freedom. Aesthetically, it’s very bold but I feel like we all deserve to feel like main character of our life – so I believe that it’s for everyone. You’d probably use our Contemporary collection of blanks for this trend.

Looking through the True Blanks Collections, give us three garments from Essentials and Contemporary that are great starting points for a collection.


If we’re talking about Spring/Summer 2024 collections, I’d say the absolute must-have for every creator to be working with is our Essentials Tee. I would always offer 

From our Contemporary collection, I would suggest the men’s 

Building Your Spring 2024 Collection

True Blanks new caps are live. We’ve scrutinised every detail to refine our first two caps and created new textiles to bring them to life. Select from the sleek silhouette of our Cotton Twill Cap or the fuller fit of the Cotton Twill Baseball Cap.

The Cotton Twill Cap has a six-panel design, with key details including a hard brim, single needle topstitching and stitched eyelets with an adjustable strap. Colourways for the drop are Washed Black, Washed Blue and Washed Oatmeal, constructed from 100% organic twill in our custom blend.

The Cotton Twill Baseball cap also gets a six-panel design, in a durable 100% organic cotton twill. The cap features a hard brim, single needle topstitch and stitched eyelets with a velcro band adjustment. It has a ridged hand feel and comes in Off Black, Midnight Blue and Off White.

Caps on Lock

Introduce yourselves and tell us a little about what you do.


Huston is two guys who spent many years working in the design and ad industry on both the client and agency side. When I was on the client side, I was confused about what I was getting in terms of value from the agencies we worked with – it’s complicated to equate the output and expensive. So, I thought, ‘Maybe it’s just me. I’m a bad client!’ So, I decided to go to the agency side instead. I realised then that there are great agencies and loads of talented creatives, but the problem I saw was that the agencies were still living in the old school. There are loads of employees, and you need a lot of moving parts to try and attract the big clients, but then you have to pay all the people during the times when you don’t have those big clients so the people turnover is harsh. Something felt wrong, so I left the big agencies behind me and went out as a freelancer. A friend with a small agency had an opening, so I joined and was there for six years. There, I met a guy called Richard, and we just clicked. We spoke the same creative language. I had all these ideas, he got all those ideas and then realised them perfectly. We started talking about our next step – I tend to think more business often, he thinks more creatively so we began Huston. We each do what we do best and apply that to brands to give them value and be more active, empathetic partners. That’s us! Two guys will soon be three – with a talented girl joining the team, and we are in a really sweet spot. The clients trust us to build their brands, and the work that comes our way is from client references, which is fantastic. Our clients see us as a collaborator, which is a beautiful thing.

I started my career at H&M as a visual merchandiser. It’s such a great place to work, the culture is super strong. I’ve always been drawn to fashion and communication. Then I moved to a place called Sail Racing, which is where I realised that clothes can be more than just trends – they can be more technical, and performance-focused as well. So, this merch was just because we wanted the agency to be our playground for creativity in all senses. We started Huston on a creative rather than profit level, time and happiness are more valuable to us, and profit comes to us by thinking this way. I said to Richard one day, ‘It would be fun to do this and get it out of my system.’

Richard and I started sketching these old hamburger joint graphics. We didn’t even have a brand identity for our own agency, so we couldn’t do anything brand-related in the beginning. We took a three-day break to Richard’s cabin, and I said that we should have this merch as a physical way to experience our new agency. We mocked it up, more ideas started flowing. We made it wore it to work, people started noticing and asking for them.

We had the ideas but did not have the capital to lock down the MOQ stock from other places, so we landed at print on demand as a solution. But the first samples from other printers were horrid. The garments and blanks were rubbish, or the print was bad. So, we were pretty depressed for a while after that. We need the stuff to represent the brand and what we stand for. It has to match the levels of quality and expectation that we have when we do something for our clients, it has to be a representation of us.

You know immediately if you’ve hit the sweet spot. Seriously – if you’re thinking of doing something like this, invest in good merchandise. If the quality isn’t there, no one will wear it.

When did Creator Studio step into the picture?


I read a Linkedin post by one of the Creator Studio founders and got an account sorted. The tool was good but still beta, but I started engaging with the team and building from two sides. Even then, you could feel that everyone was super engaged and open to the feedback and listened to our needs. We tried it, ordered loads of samples, probably went a bit wild trying everything. But then realised it’s sometimes best to curate carefully and be in control.

Talking about the quality, do you think merch has a stigma attached to it when it comes to quality?


I guess so. It’s hard to make people understand that merch can be good quality. It’s also hard to convey the level of quality to people who are buying our stuff. They need a point of reference so we reference some pretty premium brands so people have a point of context. But it’s safe to say, we’re super happy with the Creator Studio blanks. For me the word ‘merch’ can sound bad, and there are these personal experiences that someone might have had in the apst that have tainted their experiences. But it’s like everything else, if you put the time and love into it, you can break down those experiences.

Launching in a wider scale. We’ve had a slow soft launch, did a shoot down at a local restaurant to keep things nice and local, set up the store, did a quick mention and have an idea of how we will put the word out. At first, you always hope all your mates will buy it, but they just want it for free! Instead, we might go through the back door and do small gift packs for our clients with bespoke artwork. We’re doing this merch to canonise our own creativity. If we love it, then I think someone else will as well.

THE CREATORS PIONEERING MERCH – HUSTON AGENCY

Huston's got your back

Globally, gaming is by far the world’s largest publishing entertainment form. Need proof? October 2023 saw the ink finally dry on Microsoft’s acquisition of game producers Activision at the sum of 69 billion dollars – 22 million more than Musk paid for X! What’s more astonishing is that this takeover makes Microsoft’s gaming division only the third largest in the world.

Unsurprisingly, merch plays an integral part in contemporary esports. So, we were keen to go deep when we hopped on a video call with Swedish esport organisation Godsent’s Head of E-Commerce and Merchandise, Anthon Wansland and its CEO Ludwig Sandgren. The hour that followed was a lively and passionate discussion on merchandise, Godsent, the gaming climate, and how it's pushing the sport forward.

Arriving at the lobby, Wansland is already readied up, and soon, we’re joined by Sandgren, striding purposefully through the streets to Godsent’s HQ, already projecting a sage-like presence. We begin at the beginning and ask Sandgren for a quick background check on Godsent.

“We’re a gaming organisation with a legacy forged in Counter Strike. Godsent has been in the top 20 of competitive Counter Strike since we began in 2016. Our vision is to become the best organisation in the history of the world!” he says with absolute conviction.

Based in Malmö, Wansland and Sandgren explain that Sweden has always been a strong gaming force, particularly in Counter Strike. “Sweden is a strong force in Counter Strike, one of the world's finest gaming titles. Counter Strike is one of the legacy esports games with a place in gaming history. It’s very close to our hearts and where we found our footing. We’ve tried to play and be active in other games, but Counter Strike is where our brand roots lie.”

According to Sandgren, Counter Strike is the most established game in esports, alongside League of Legends. Godsent’s own Head of Esports holds a very special place within the Counter Strike community. “If you ask ChatGPT who the best Counter Strike player is of all time, one of the names guaranteed to come up is HeatoN. Retired from professional gaming, he’s our Head of Esports and an 8-time world champ back in the day.”

We ask Wansland and Sandgren to walk us through the structure of Godsent as an esports organisation. The parallels with other professional sports soon become abundantly clear. The pair describe Godsent as a specialist organisation compared to other organisations that might have 20+ individual teams in regular competition. “Including players, we number around 40-50 people, comprising players, coaches, academy players and content makers,” notes Sandgren.

At Godsent, each team has its own coach, and three teams are currently operating. There are plans to add many more as part of a push to onboard younger players to its academy. A significant development within the past 12 months in Sweden has seen esports recognised by the country’s national sporting board as a legitimate professional sport.

“Having this recognition adds a huge legitimacy to what we do and validates the dedication and skill of our players,” says Sandgren.

We’re keen to know his thoughts on how it might impact the esports framework in Sweden and its accessibility to players from all walks of life.

Creator studio

everything merch

Remixing the Format

Pure Gold

Hardcore Creativity

Creativity on Tap

Small Steps from Brazil’s Big Streets

Hosting: Creative Community Talks in Berlin

Oscar Worthy Merch

True Romance

Introducing: Tote Bags

Building Your Spring 2024 Collection

Caps on Lock

Huston's got your back

Merch From the Esport Gods

Always a Nomad

& the Table

Finger On the Pulse

Picture Perfect Merch

New True Blanks Colourway Drop

Experiencing the Wonder of Merch with Disney

New True Blanks Garment: Womens Oversized Tee

Which True Blank is right for your merch?

What is True Blanks?

Disruption from within

Deeper Community Connections

Jung at Heart

The future (of merch) is in your hands

Dream Big

Powerful Outspoken Words

Take a Joyride

Bringing Freedom of Expression to Independent Artists

Communicating Beyond Life and Death

Me and My Dolls

Redefining the Italian Sound