Art, paper, scissors
Bea Szenfeld, has always felt an urge to express herself through different types of mediums and materials. She is a trained potter, cutter and fashion designer and has done her trainee at Stella McCartney’s. But she felt out of place working with fashion, and experienced that she came too far away from what she actually loved.
– After my training and education in fashion and design, I started my own brand of clothes, says Bea Szenfeld. But I noticed after some time that the majority of my time was spent on dealing and trading with textiles, or with marketing – and that was not my forte. I love design, and I love the human body. So I started doing some small projects on the side, where I had a more artistic approach to the human form and figure. That is when I began to do clothes in other material than fabric. And I noticed that when I did a dress out of salad or pasta, the focus shifted from “can I get this in another size?” to “oh, this is design – a new way of dressing the body and contouring silhouettes!”.
During this period, Szenfeld describes, she did many trials and errors with different materials, but quite soon discovered the simplicity with paper.
– I did some tests in paper, and thought “this is too good to be true!”, Bea Szenfeld laughs. It was incredibly simple, and paper is such a beautiful material. It's such an easy job, once you play in its league. Once you have learned paper, it is truly so gratifying!
Heavy light-weight
Even though Szenfeld has found her core material, it is still an explorational journey for her creations. Most often, it is the practical conditions that limits the creative possibilities in her work. Despite the light weight material, Szenfeld’s creation are surprisingly heavy, and sometimes hard to transport. Therefore, the garment is shipped in disassembled pieces – and then reassembled on a model when in use.
– The garments I make can often break in shipping or handling, and many of my pieces weigh over 20 kg, Szenfeld explains. So I have found a way to store and transport these creations in small pieces, where I instead dress on every single garment. I build these sculptures and assemble them one by one. Paper can withstand quite a lot, but not too much. Therefore, you need to trick the eye, and also the paper, a little. If I cut a little cardboard and a little tissue paper in between, I can trick the eye into thinking "this feels fragile", but still it is a support in the form of the solid cardboard.
Szenfeld has, with her experimental creations and unusual concepts, proven that sometimes you don’t need to label what you do. You just need to do. Her pieces really leaves no one unimpressed, and that is the intention. A common denominator in her work is emotions – and humor.
– Yes, humor is very important! Szenfeld laughs. I really try to be serious, but despite that, when I had my fashion show in 2015, people laughed when my models came out. Because "here comes the model carrying a 200-kilo gorilla like a handbag". I believe that fashion needs to be paused a bit, because it gets ridiculous when it gets too cool.
"I believe my strength has been that I have never been still. I am constantly testing my way forward." Bea Szenfeld, artist & designer
Sustainable fashion
As recent times have shown, we need to rethink and challenge given frameworks to find a more durable way forward. Even though the art pieces requires a lot of material, the resources used are environmentally friendly, and most definitely circular.
– I work with plain paper, no special treatments on it or anything, Szenfeld explains. Plain paper, directly from the paper mill here in Sweden. The great thing about paper is that we have been producing and recycling paper for so, so many years. It is one of the oldest materials we reuse, which means that it is not rocket science - we know this, we know how to manage this resource.
All surplus and waste pieces from the art objects can be put straight in the paper recycling. Since no materials are mixed, everything can be pulled apart and recycled or reused. When the lifespan of a garment is finished, the threads are removed and the glass/plastic beads are reused. The paper is just put in the recycling bin. It really is circular art. And for the garments that still lives on, depending on the storage and treatment it can really be long lasting.
– My paper sculptures can be stored and kept for as long as you like, it all depends on how you handle them, Szenfeld explains. They cannot be exhibited in direct sunlight or in a humid room, but if they are handled by me or museum staff, they last for decades.
Different target groups
Apart from exhibiting her art at museums and in fashion magazines, Szenfeld is also a recurrent feature in one of Swedish Televisions most watched TV-magazines, Go’kväll (Good Evening). There she has a standing mission on a reoccurring basis, a DIY-project that is either recycled or upcycled.
– I love those projects, Szenfeld smiles. I have about 7 minutes to show a DIY-craft that people can do themselves at home. In those projects, I find that lamps and luminaires are among the best things to use. You can do simple things and it is always needed at home. And especially now with LED lighting, when the light source does not get hot, the possibilities are so much more and vivid! It really enables you to work with more recycled materials than previously.
Yet another aspect regarding the material is that people from so many different target groups can relate to it. Everyone from pre-schoolers, craftsmen, designers or engineers – they all enjoy the magic and illusions created with regular paper.
– That is truly one of the things I love about my paper clothes, that I can float out without a straight horizon, Bea Szenfeld says. If you like art, you may like my stuff. If you like fashion, you can like my stuff. When I exhibit in cities with paper or forest industry, there are usually visitors who work with paper - who have never seen it used like this. They might work with cardboard and large sheets, and so all of a sudden they see how their material can become something completely different. And those who love crafts, the same thing. You can do so much with paper, scissors, a ruler and some time - it's completely crazy! It's really lovely to find entrances to so many different audiences.
Tabula rasa
So, how does the future looks like for art in general, and more sustainable art in particular? Is there a visible trend for designers and artists to work more circular?
– Yes absolutely! Szenfeld states. I am part of the jury in Ung Svensk Form (Young Swedish Form) and at least half of all projects that contribute are about recycling and reusing. Either they reuse materials or create designs that are easy to reuse.
Not only is sustainability a high awareness among the upcoming artists and designers, so is also the love for crafts and handmade work.
– I love that, but we craftsmen must never relax and think that “this is good, now crafts are in", Szenfeld says with emphasis. We must always fight for recognition, and the time we spend. What we do is not a quick fix, a craft takes time to learn. That's something we need to explain to the new generation, that you have to take time with things. Now we have a world that spins so incredibly fast. From one day as unknown, to another day as world-famous on TikTok. That was not the case before, then you had the chance to grow up a little cautiously. Crafts are really slow techniques, and that is the way it must be.
Fact on Bea Szenfeld:
- She is trained potter and cutter, as well as graduated from Beckmans School of Design.
- After participating in Project Runway, she earned her internship at Stella McCartney.
- Has dressed celebrities such as Lady Gaga, Björk and Loreen.
- Designed the Swedish minister of Culture Alice Bah-Kunkhe’s dress for the Noble Dinner.
- Has explored other materials as well, and made a dress out of pasta for Barilla and clothes entirely of PVC.
Related News
Reused printing plates in Fagerhult’s new cardboard luminaires
A used printing plate can be given a new lease of life as a component in a luminaire. This is exactly what happens in the Wrapped corner and ceiling luminaires, where used printing plates are reused and become an integral part of the design. Reusing printing plates perfectly encapsulates the concept of industrial symbiosis – where a residual product from one operation becomes a valuable input product in another. The idea took shape at a kitchen table in Lund, when Fagerhult’s Sustainability Manager, Niclas Thulin, was visiting his parents.“They asked how things were going at work, and I told them about Kvisten, which we were in the final stages of at the time. We were reusing reflectors from old TV sets for that product, and I mentioned that we were looking for more residual materials to reuse.” Niclas went on to explain that the company needed a steady flow and consistent quality over time – and, ideally, the same format as well. “And then my Dad, who’s worked in the printing industry his whole life, suddenly says, ‘What the heck, we’ve got loads of printing plates. They’re of the highest quality, always the same format – and they’re recycled.’ The next day, he brought home a couple of printing plates, which I then took to work and gave to my colleagues in the development department. “I could tell right away that they were similar to the materials we use in many of our luminaires. In addition, there were a large number of them, the quality was high and consistent, and they were roughly the same size. All the qualities we were looking for were there.” Quote Niclas From printing works to luminaire When the printing plates arrived at Fagerhult’s development department, they quickly attracted a lot of interest – could they be used in the new Wrapped luminaires?“I was in touch with the printing works about Wrapped and how we could use paper for the actual luminaire body. The printing plates were in the back of my mind at the time, so I raised the issue with them. They jumped at it immediately,” says Jonathan Levinsson, Design Engineer at Fagerhult.The printing works uses a great many printing plates, and some of these are now being used for Wrapped Corner and Wrapped Surface (ceiling). The sheet metal is installed on the inside, as part of the structure. Here it contributes to electrical safety, for example, by acting as an insulation and earthing layer. It also provides stability and can be used to secure cables and other components, for instance. Circular flow. Waste from one industry creates value in another. “The fact that the plates maintain the same dimensions and specifications over time ensures a stable material flow and makes it possible to plan production. This is a major advantage for us,” says Jonathan. Start with the material – not the product The work also highlights an important principle when it comes to industrial symbiosis. It is often easier to find a use for a residual product than to first decide what product you want to make and then try to find suitable recycled material.“I think you have to start with the raw material and then design the component based on that. If you design a component first and then try to find a suitable material, it can be really difficult,” says Niclas.The printing plates are a clear example. If Fagerhult had instead started by asking itself, ‘Where can we find sheet metal as a residual product?’ the search would probably have focused on the metal industry.“We might have been looking for a business that bends or punches sheet metal. We would never have thought about printing works, which are a completely different kind of business. That’s what makes industrial symbiosis so interesting.”At the same time, finding new connections is not easy.“It’s hard to know what residual products other businesses have, especially when you don’t always know exactly what you’re looking for yourself. I think we need more forums where people can gain an insight into other industries and businesses, and where we can discuss industrial symbiosis with a more open mind,” says Niclas. By sharing and developing ideas, Niclas and Jonathan enable new and innovative collaborations. Ideas that roam between departments At Fagerhult, there is already a way of working that fosters this kind of exchange of ideas. Niclas and Jonathan continually bounce ideas off each other, and a small group of people from Sustainability and R&D meet from time to time in order to brainstorm new ideas.“We share a lot of ideas with each other. It’s fun to see what grabs Jonathan’s interest and what doesn’t. At times, someone will have stumbled upon something that we can then build on,” says Niclas.In the case of the printing plates, the solution came from an unexpected source.“It was really just luck. My Dad wasn’t sitting around wondering how he could solve a problem for Fagerhult. But when I told him what we needed, he saw the opportunity right away. He’s clever and often comes up with his own solutions,” says Niclas. “I’m almost a little annoyed that I didn’t think of it myself.” A solution that links multiple workflows So far, we have not performed any calculations regarding the exact climate benefits. The principle is clear, however: when existing materials can be used rather than virgin raw materials, the potential exists to reduce the need for new resources. “We need to be open throughout the entire chain and to dare to look beyond our own industry. The right materials might be found in a place we’d never even have thought of looking,” concludes Niclas Thulin.
Fagerhult halves CO₂ emissions – 49% reduction since 2021
Material choices, product innovations, reuse initiatives, and a systematic analytical approach underpin Fagerhult’s reduced climate impact. Over five years, total CO₂ emissions have decreased by 49 per cent – far exceeding the company’s own targets. Using resources wisely has been a cornerstone throughout Fagerhult’s 80-year history, and it continues to shape the business today. Since 2021, this work has gained even sharper focus and direction, with clear carbon-emission targets, long-term plans, and a comprehensive sustainability programme based on life-cycle assessments (LCA).“A reduction of this magnitude in such a short time shows that systematic work truly makes a difference. It is the result of many large – and small – initiatives, where every improvement contributes to the whole,” says Josefin Carlsson, Sustainability Specialist at Fagerhult. Fagerhult's total CO₂ emissions have decreased by 49 per cent compared to 2021 levels. Many initiatives – one shared direction The success is underpinned by a series of strategic decisions in product development and processes. The work has been carried out across several parallel tracks, following the principle many small streams together create significant impact.“Innovation and sustainable solutions make a real difference for our customers and reduce emissions across the entire value chain – not just in our own production,” adds Josefin Carlsson. Josefin Carlsson, Sustainability Specialist at Fagerhult, Habo. The greatest impact is in the use phase, where emissions since 2021 have been steadily reduced by around 200,000 tonnes of CO₂e – a 49 per cent decrease. At the same time, emissions in Scope 1 and 2 have been reduced by 60 per cent compared with the base year. Sustainability in practice A decisive factor behind this progress is the many parallel initiatives, with material choices playing a central role.Since 2025, the majority of luminaires with housings made from extruded aluminium profiles contain up to 75 per cent recycled material. This contributes to an annual climate saving of approximately 225 tonnes of CO₂e.In 2025, Fagerhult reused more than one hundred luminaires per working day through the ReLight initiative. By upgrading existing luminaires with new technology and extending their life cycle, the climate impact from materials and production is significantly reduced. In total, more than 50,000 products have been given a new lease of life through reuse.Product development is also a key driver of the transition, and several innovations have both reduced climate impact and increased energy efficiency: Multilume Re:Think has reduced Scope 3 emissions by over 320 tonnes of CO₂e through smart design and environmentally sustainable material choices since its launch in 2021. This is equivalent to planting and growing 1,300 trees for ten years. Twin Dual Driver has reduced the climate impact of control gear by 49 per cent through more efficient electronics and improved material composition. Wrapped’s Solid Board housing has up to 89 per cent lower climate impact per kilogram compared with virgin aluminium. Gallery - products At the same time, more than one in ten luminaires sold today includes an integrated sensor, helping to reduce energy consumption during operation. A key factor behind the success is the long-term, fact-based approach.“Based on life cycle assessments, we have identified where and when climate impact occurs – and which actions have the greatest impact. We’re now carrying that knowledge forward in our continued efforts to further reduce our climate impact,” concludes Josefin Carlsson.