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

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

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.

“I see a scenario where kids have access to a club framework for esports a little like the one they’ve had for a while in Denmark. There you see a healthy infrastructure and ecosystem supporting young aspiring players,” says Sandgren.

We switch tack to focus on merchandise for a spell. If you’ve ever watched an esports contest, you’ll have seen that players, teams and fans are often heavily branded. Does Godsent have a similar stance?

“Merch is a part of our branding strategy to use merchandise and an important part of our brand extension. Everyone within our organisation represents us. And the merch plays a vital part in projecting who we are,” explains Wansland.

Looking at Godsent’s merchandise line, there’s more of a subtle and contemporary edge than other organisations – less of the logos and more contemporary in regards to its artwork. A conscious decision, perhaps?

“On average, we have a pretty young audience, and clothing is a perfect way to connect with them. We deliberately make relevant merchandise and apparel that people want to wear casually, regardless of the situation. We want to make it contemporary and encapsulate the identity of Godsent but also speak to anyone who connects with our vibe. We have, I think, the most sophisticated merch collection in the Nordics. There’s a level of fashion awareness that other brands don’t have,” he concludes.

With time running out, we return to Godsent’s younger members – many of them younger girls, creating and streaming content across multiple platforms. Sandgren explains that Godsent has just completed a manifesto for the gaming industry to smash down barriers of gender, race and social status. Having seen a copy, we can attest to the document’s progressive stance – something other sports, businesses, groups or individuals could learn much from. Refreshing and positive, hopeful and warm.

Before we go AFK and log out, we ask how new players can take things to the next level. Wandsland says gaming is one of the only sports where the stats don’t lie. Unless you’re hacking, your skills and numbers say everything an organisation like Godsent needs to know, with dedication and sportsmanship coming a close second.

Sandgren concludes with a smile; “If you dream to be a professional player and strive to achieve that with skill and sophistication, then never give up. Unless you suck – then definitely give up!”

THE CREATORS PIONEERING MERCH – GODSENT

Merch From the Esport Gods

We’re Valerie and Tim – The Nomads Family. We like to do many things to keep ourselves busy, but most things are driven by the essence of nomadism – a fluid, curious way of thinking. We gave ourselves the Nomad name before we even had kids. We started as Let’s Be Nomads. We sold everything we had and travelled around Europe and Central America. We decided that wherever we lived, we’d be nomads forever. It’s something in your heart; you’re always exploring and trying new things. Then we got two kids, changed our name and became The Nomads Family. The kids grew up in a home on wheels; an American school bus which we had converted into a hostel on wheels,, then a few years later in a camper, followed by a house in Åre. At the moment we are mostly working on our clothing brand, guest house and guiding company.

We love Scandinavia, especially Norway and spent years going up and down this beautiful country in our school bus. But at some point our oldest daughter started to need a more stable place in life, as basecamp as you could call it, so it was time to find the perfect place to settle down in. We knew we wanted the beauty of Scandinavia, the open-minded people, the nature and open spaces. I was the ambassador for Eivy (an Åre-based skiing apparel brand) and wondered whether Åre – somewhere we had heard great things about — was the place. We did more research, asked some contacts, and there it was – Åre was it. We didn’t want to be off the grid but wanted the balance of social and nature, which you get in Åre.

What was the transition like? From constantly moving to setting down roots in Åre?


We like it here – we have lots to do. If you’re not active, then it might be more challenging.
We like the opposites and have done many seasons in the Alps, so we’re not newcomers to more extreme contrasts of seasons. In that respect, it wasn’t a huge adjustment.


We arrived with the camper, followed our gut feeling and found our footing quickly. That was two years ago. The kids were enrolled in school nice and quickly. They have their base and their friends. If you have kids, you automatically meet people. But up here, you also meet people through the sports we do and try to be social. If you work for it, Swedes are super welcoming.

Which season up there is your favourite?


We moved for the winter but discovered mountain biking during the summers - a fantastic experience. Snowboarding and skiing have always been the red thread through our lives. We actually met at an after-ski bar, and winter sports remain our primary focus. Autumn is beautiful as well, biking through the orange and red trees.

Let’s talk merch – how did your little merch journey begin?


Someone called Frida from Creator Studio sent us a message on Instagram and said, ‘You should do this.’ She said she’s been following our account for years and has a cabin up here, so it felt genuine. We had some experience from the Nomad Bus, so it’s not our first time doing merch, but it’s so easy to overstock. Right now, we have no budget to set something like this up, so this way is so much better; you don’t have to invest anything other than time.


Are there specific themes you’re exploring with your artwork?


Things we’re interested in, or ideas that push us. There’s meaning in the things we’re making, and we discuss the ideas for each design on the webstore.

We feed off each other. Valerie makes most of the women’s garments, and Tim does most of the men’s. We have separate projects, but we’re so used to working together that this was a fun project to collaborate on. We wanted to make the merch line unique, so we’ve been careful in the blanks and colourways we’re working with. We might drop a new collection for the winter, and the process and collaboration between us and Creator Studio has been great. We’ve always felt heard and are a part of the process. It’s been excellent.

THE CREATORS PIONEERING MERCH – THE NOMADS FAMILY

Always a Nomad

“When I first moved to Amsterdam from New York in 2017, I went to a few meetups and networking events, and they were horrible,” laughs Sam Wolfson, demonstrating from the off that no punches will be pulled in the conversations that followed.

These days, like many ex-pats, Wolfson is still struck by the initial gut feel of her newfound home. “I was amazed by how much it felt like home. And the feeling never left. It’s a place that feels communal, even though it’s just a city. You’re cycling along every day, and you’ll have these random touchpoints where you see numerous friends. You just know it will happen. It’s warming to know you’ll experience connections every day,” she explains.

Switching careers to advertising on her arrival, Wolfson felt like the only people she was integrating with at first were others within the industry. So, she did as many do and looked for meetups to try and connect with women outside advertising. Her experiences were largely negative, and it kickstarted thoughts about starting an alternative way for women to meet in a safe, open, authentic environment.

“The dinner table has always been a sacred place for me,” says Sam. “It wasn’t just about the food. Even growing up, the gathering for nourishment fostered the notion that the dinner table is the catalyst for meeting and conversing with people. So, I thought, maybe I’ll start something like that, where I can bring people along.”

& the Table is a simple premise. A dinner hosted by a woman and five guests, also women. Nobody knows each other and the gatherings always have a theme and a ‘question’, so that there’s a sense of direction from the outset. Nobody is coming in blind or feeling like they’re being led into a theoretical ambush. Wolfson says that, since & the Table began, she’s experimented with the number of guests and found six to be the sweet spot. “I tried more people but didn’t like it. It felt network and cold,” she says.

Today & the Table has an established formula for success, and Wolfson believes that the structure is perfect for her original intentions. “The secret sauce is never more than six women. You need one cohesive conversational theme as a foundation to give the gathering purpose. You need an equal playing field.”

Throughout our conversation, the topic of connection as an adult emerges. We asked Sam whether her experiences at the table have given her an insight into what that means today for women.

“This whole thing of seeking to make friends as an adult has a sort of negative stigma. With & the Table, we try never to actively refer to the term ‘friendship’ or ‘community’, as it’s used too much and loses its meaning. This is about fostering and nurturing connections that are honest and real. It’s also about being able to explore topics that you don’t get the chance to discuss in other social settings. For example, one popular & the Table theme is ‘not wanting to have kids’. There aren’t many places where you can talk to other women about the subjects we lift without feeling like you’re going to be judged. I’ll say that I haven’t created anything new, but & the Table is responding to a symptom of society now,” she notes.

At the time of our interview, & the Table now has 89 hosts in 12 countries, and Sam is releasing a merch line for the first time. In the same way that she’s careful and selective about accepting new hosts and the guests that join the tables, she’s approaching the merch with the same level of care.

“The design is something I’ve worked on with Amadine at Atelier Partagé. It’s got six wine glasses to represent the six women at the table. I know what I want but do need the help of a designer to bring that out into the artwork. We work well together, and Amadine is great as she picks out the details and nuances that I miss. At the same time, I want it to feel fresh and new, which is the great thing with Creator Studio – you can just keep creating without worrying whether you can afford the next capsule release. And the quality is great – I’m really happy I came across you guys.”

There are many parallels between the world of merch and Sam Wolfson’s & the Table. The right kind of merch artwork can bring together individuals of different backgrounds, beliefs and social viewpoints and give them an unspoken bond. And when six women with no prior connections gather at an & the Table dinner, there are connections forged that can run on long after the meal is over.

“We’ve been trying to capture and describe the way that these women who go to our events experience a connection that goes beyond the food and the conversation. But it’s hard. One thing is for sure, there are people who you’ll meet at our dinners who will become lifelong friends. It’s about giving them the choice and the space in which to do so organically, without external pressure,” concludes Wolfson.

You can grab a piece of & the Table merch now at Sam’s store. Hit 

 for more information on how to attend a & the Table dinner and how to apply to host one yourself.

THE CREATORS PIONEERING MERCH – & THE TABLE

& the Table

Benson, introduce yourself to those who don’t yet know you.


My name is Benson Boone. I am a cliff jumping, rope swinging, rollerblading, snowboarding, surfing, rock climbing, skiing, scuba diving, scootering, flipping dude that happens to write songs and sing too.

In your own words, you’ve said that you didn’t really discover your voice until quite late during a battle of the bands. How was it stepping up to sing for the first time in front of an audience?


It was crazy! I didn’t know that I could sing until pretty late in my life. I think I was seventeen. So, it was wild for me to try and go for something that I had just recently discovered when I kinda grew up playing sports and being outdoors. Trying singing was very new for me, but it was a wild experience.

What about now, your performances are charged with energy and there’s a connection between you and the fans – has that emerged organically?


Yeah, I think I genuinely just love my fans more than anything. Everything I really do is for them. Especially when I’m performing, I feel the most connected to them because that’s when people can actually see my talents in person and my passion for music – so I would say it’s very organic!

n terms of live performers, who does it for you on stage? 


I’ve only seen two people in concert: Harry Styles and Jon Bellion. They do it for me. When I went to Jon Bellion’s concert he just made me feel like I was the only person in the room, and I think that that’s a very rare talent. So, Jon Bellion is very personal with his crowd. And Harry Styles is just freakin’ wack on stage - which makes it so cool.

In the studio, you’ve noted that your artistry and songwriting has evolved. Is this a constant state of flux, do you have goals in mind when penning tracks?


My music is always evolving, my style is evolving, the way I write is always getting better and my melodies are always improving. It always changes. I mean I’m not always gonna like the same music and I’m not always going to write the same style of music. I am letting my music show how my emotions are changing and they just flow with my emotions. [When penning tracks] I just do my best every time.

We read that it’s important for you to have a piano on stage. Care to elaborate?


Yes. Most of my songs have a piano in them so I like to bring a piano onstage, so my songs are able to be sung live. Because that’s what a concert is.

Before you took this path, you were on your way to study architecture. Whose work do you admire and why?


I don’t think that there’s specifically someone’s work that I admire, I think it’s more just I enjoy the satisfaction of looking at a building that’s aesthetically pleasing. I think it would be a very satisfying feeling to look at a building you’ve just constructed, and it looks cool.

Can you see a link between the two disciplines? Writing songs and drafting architecture / the legacy of the built environment and the finished song …


I really think the only link between the two - well I guess there are two links between the two - is that they’re both forms of art. Building and constructing a physical sculpture or a building is a form of art just as writing a song and constructing melodies and putting them in the right place is a form of art. But I think the feeling you get afterwards is a mutual feeling where - when you finish creating a building or creating a structure and you get to look at it for the first time when it’s finished - you’re proud of it. And you get that same feeling when you finish a song. When I’m done writing a song and spending hours and hours just portraying emotions onto paper, it pays off.

Let’s go merch. How does that slot into the music these days?


I create all my own merch. So, it’s nice to see people at my shows wearing merch that I designed and knowing that I can use one of my skills to help people feel a little bit more personable towards me. Kind of like walking away with a part of me.

How involved are you in the designs and artwork?


I am very involved in the designs and artwork. I create them all myself and I design them all myself. I think it’s fun to go to a concert and come back with something to remember it by, and especially when that’s created by the artist. I think it makes it more personal.

Creator studio

everything merch

Remixing the Format

Pure Gold

Hardcore Creativity

Small Steps from Brazil’s Big Streets

Hosting: Creative Community Talks in Berlin

Oscar Worthy Merch

True Romance

Huston's got your back

Merch From the Esport Gods

Always a Nomad

& the Table

Finger On the Pulse

Picture Perfect Merch

Experiencing the Wonder of Merch with Disney

Disruption from within

Deeper Community Connections

Jung at Heart

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