This interview appears in A PASSION THING Issue No. 10

Tyler Brûlé and I are meeting on a sunny day in Zurich’s Monocle Café. Tyler’s assistant welcomes me warmly and excuses his delay. He’s on stage speaking in front of Swiss marketers. I take the time to enjoy the sun and the memories that come up from 17 years ago, when I worked in Zurich.

I met Tyler for the first time in Merano, South Tyrol, where Monocle runs a shop. It was seven or eight years ago and my first time in South Tyrol. I arrived at the shop for their Christmas party with my host, Martin Kirchlechner, from Ottmanngut. After a warm welcome hug from Linda, the shop manager, Tyler approached me with a tray of cookies and introduced himself. I remember thinking, “I know who you are. You’re one of the most inspiring people in the industry of communication and design, my industry.” We chatted and quickly connected the many threads we had in common.

Tyler is a journalist at heart and seemingly just happened to build very successful media brands Wallpaper and Monocle.

He is deeply curious, driven, and interested in what’s going on at all times. What I noticed the first time we met was that he is a present and focused person, a characteristic that sticks out in a world of constant chatter and distraction. And that presence is probably one of the ingredients of his success. Beyond that, his stories and experiences make for an engaging afternoon, or an inspiring read.

After being shot in Afghanistan reporting for FOCUS, the German magazine, you created Wallpaper. It sounds like the thing that would throw others completely off track was what gave you the momentum to create something outstanding. How do you tell that story?

Tyler It was in the early nineties and at the beginning of my time as a freelance writer. I started in journalism because I wanted to tell stories and I had a deep interest in witnessing places and events, and diving into the background. I also had a side passion. I had a black cellophane binder where I collected pages from magazines that I loved to look at. New York Times Magazine, Tempo, New Yorker, Sky Magazine, Face, Blitz, Sunday Supplements of British Newspapers and French Glamour Magazines. The pages I collected followed a certain rhythm and pace. It was either the layout of a page that I liked, or the photography, or the article itself. I thought they could come in handy, in case I might one day run a section of a magazine, or even become an editor. Founding my magazine was not on the horizon, yet. When I got out of the hospital, I was convalescing and thinking about what to do next. Of course, questions about what is important in life, and what influences our personal quality of life, like the built environment, infrastructure, etc., were in my head. The black binder, always in the back of my mind, came back into the picture, and I wanted to make this happen. Those threads started to weave together and became broadly what we know as Wallpaper magazine today. Which is not the same as it used to be back in 1996. I had to go back to work, and I did freelance work for both print and television. All while keeping the idea of creating this magazine in the back of my mind. Having something that I wanted to do kept me on course.

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A PASSION THING is a magazine dedicated to telling the stories of people from around the world who are driven by the wonderful force we call passion. We’re excited to take these conversations beyond the page and into the digital world, with Substack as our new home.

This interview appears in A PASSION THING Issue No. 04

“I was just sick of sitting in front of excel all day.” that’s how Jeppe opens our conversation about his background, quitting his last job and founding Reform Kitchen. We meet Jeppe Christensen and Michael Andersen, founder of a company with over 140 employees based in Norway, Germany and the US on a sunny afternoon in February. All online of course. Behind Michael you can see the ocean in the distance. He is traveling from Berlin to Copenhagen by boat to visit his family.

Jeppe makes fun of Michaels Outfit as we proceed to talk about how they built a global brand in just a few years – not knowing each other that well, when they decided to go into business together. “Actually I was friends with Jeppe’s brother.”, Michael says “So we did only know each other from a couple of parties when we were young. One day Jeppe just approached me with this idea of revolutionizing the kitchen market and I, always wanting to be an entrepreneur, said yes.”

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Welcome to Fridays from the Studio, a weekly format from A PASSION THING creative studio. We’re here to unfold strong narratives for brands through strategy, design, and communication. And we’re here to share our knowledge, experience, and observations with you.

I write from a very different place. Mentally. My brain is well rested. It was allowed to sleep long hours, enjoy cool nights, dive into beautiful stories told by books and artists, take in views of mountains and endless green woods, get plenty of oxygen from movement, feel the sensation of swimming in a lake, and move through warm air outside.

I am on Sommerfrische. A summer break where you get out of the city, into nature. Best: somewhere at a higher altitude, for fresher, cooler air.

A week into my break, I realized that my dreams had changed; the pictures that arose while falling asleep or waking up came from different regions within myself.

I imagine that we have layers inside of us. Layers of memories, people, encounters, emotions, sensations, and pictures. And the more relaxed we become, the deeper we can dive into them. The information that arises from these deeper layers is like forgotten things we thought lost long ago, suddenly appearing behind a book we pull off the shelf. Some of them are a pleasure, some quite surprising, some are tough and challenging, and some feel like a pleasant breeze, just coming and going.

The luxury of this state, of not being busy crossing things off today’s to-do list, is the rare feeling of boredom slipping in. Having no plans allows the days to develop out of moments, whatever the day and the situation offer. But having no plan can also be frightening, as we’re most likely not used to it. Can we sit with having no plan and just be, and see what the day brings?

Being bored is a rare thing nowadays, a shy animal. It’s like a door to rooms we didn’t know were there, letting us experience ourselves and life in a new way. I have this wonderful friend who used to tell his son, when he was whining about being bored, that he was really happy for him to experience this sensation. He also gave him some more context by explaining how precious boredom is, as a lot of great inventions, ideas, and experiments were born in exactly this state.

How can we create boredom? Distractions are everywhere. We have to discipline ourselves not to pull out the phone, listen to the next podcast, or even grab a book. No books, no phone, no news, just staring at the water of the lake. Waiting for what comes, what appears, which impulse arises. Do I want to get into the water, do I want to close my eyes, do I feel empty or full and rich? Just observing what is there without putting a label on it.

Another luxury that goes hand in hand with having time that seems endless on such summer days is that conversations about anything get a chance to develop. We talk about thoughts, ideas, what’s in our head. About fears, emotions. And most importantly, we take the time and make the effort to try to really understand and make ourselves understood. Something we often don’t have the energy for while handling laundry, cooking, and meetings.

Real conversations, the feeling of working things out together and overcoming obstacles, or just the possibility to better understand the person next to us or learn something new about our long-time friend, are very satisfying. They leave us feeling connected, instead of isolated and alone with our feelings, sensations, and ideas.

The result of taking a break is a rested mind. And a rested mind has access to more options.

More ideas. Better understanding. Clearer scope. And more kindness.

Mental note: make sure to rest well.

This interview appears in A PASSION THING Issue No. 14

Merz b. Schwanen is a German brand rooted in a century-old textile tradition from the Swabian Alps. Reestablished in 2011 by husband-and-wife co-founders Gitta and Peter Plotnicki, the label has redefined what wardrobe “essentials” can be, placing quality, craftsmanship, and heritage at the center of every collection in an era dominated by fast fashion and fleeting trends.

Understanding Merz b. Schwanen requires a return to its origins, a place where craftsmanship and tradition were once inseparable from each other. In the early 1900s, the Swabian Alps were home to a cluster of small knitting workshops that represented the textile industry of Southern Germany. Generations of craftspeople worked on slow, circular loopwheel machines that produced fabric unlike anything seen in production today. When Gitta and Peter rediscovered one of these forgotten shirts nearly a century later, they not only found a piece of clothing but a fragment of cultural history. What began as an appreciation for its texture and quality soon became an effort to revive the craftsmanship that defined it.

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This interview appears in A PASSION THING Issue No. 14

What if getting older didn’t mean retreating from life, but stepping into its most exciting chapter? Jan Garde, co-founder and CEO of THE EMBASSIES, is challenging everything we thought we knew about aging and where we choose to live as we grow older.

Founded in Switzerland, THE EMBASSIES represents a radical departure from traditional senior living. It’s not a retirement home—it’s an international hospitality concept that celebrates intergenerational living, self-determination, and the belief that quality of life is truly ageless. With the first location opening in Hamburg’s historic Hindenburghaus in early 2025, Garde and his team are creating spaces where a 46-year-old professional and an 81-year-old retiree can both feel equally at home—sharing lounges, courtyard gardens, cultural events, and meaningful connections.

At its heart, THE EMBASSIES addresses a question we’ll all face: How do we want to live as we age? Garde’s answer rejects the choice between isolation and institutional care, offering instead a third way—one that prioritizes autonomy, community, and continued growth. With serviced apartments, wellness facilities, co-working spaces, and a vibrant ground-floor café open to the wider neighborhood, THE EMBASSIES blurs the lines between residence, club, and cultural hub.

In our conversation, Jan shares the journey that led him to reimagine later living, the challenges of bringing such an unconventional idea to life, and why he believes we need to set high standards for every stage of life—not just our younger years. It’s a vision where life never gets old, and where becoming an “Ambassador for the good life” isn’t about age, but about attitude.

How did the idea for The Embassies come about, and where does your passion for this topic stem from?

Jan When I was a kid, I spent a lot of time with my grandparents. When the time came and they moved into a senior living facility. That was not a good experience. I remember them saying, „Once we’re old, you’ll take care of us the way we take care of you now.” Unfortunately, this didn’t work out as planned.

And it kept me thinking about how these facilities are designed and how this could be done differently. How you could enter this stage of your life with dignity, keep on exploring, and continue living your life

.

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Welcome to Fridays from the Studio, a weekly format from A PASSION THING creative studio. We’re here to unfold strong narratives for brands through strategy, design, and communication. And we’re here to share our knowledge, experience, and observations with you.

Before I share what was on my mind lately, an explanation is due, as we were absent from our weekly writing last week. In case you missed our weekly newsletter, and we hope you did, here’s what we were up to. First and foremost, we were busy crossing the finish line with two projects, sending some 250 pages into print. This needs our attention, last adjustments, and focus, as do new projects coming in. Second, it was just too hot in Vienna to find the energy to do more than necessary. We moved slowly and gave our thoughts the freedom to slow down as well.

While I was trying to unwind from work to prepare for my vacation, two different thoughts formed into streams by being discussed with friends, moving on as parallels that meet at some point. Here.

The first was me seeing a beautiful letterhead with matching envelopes in a magazine. Small, fresh, and perfect for summer. I was imagining being back into writing real letters. Something I loved to do in my teens. The lack of smartphones and email made this a beautiful practice to stay in touch, exchange perspectives, and share thoughts and feelings alike. Letters held the luxury of stepping out of a stream of to-do’s into choosing paper, ink and sitting down to address someone. Thoughts were formed into sentences and put down on paper. You chose a stamp and sent the envelope on its journey without knowing when and how it will arrive at the person’s home.

The moment you opened your post box to find an envelope with your address written on it, the handwriting already allowing you to guess who the sender was, was a delicious one. What followed was the joy of choosing the right moment to open what you held in your hand. Sometimes you teared up on your way up to the apartment, sometimes after pouring yourself a glass of water and sitting down to read in silence.

I went to the beautifully traditional shop in Vienna to purchase the letterhead with a yellow frame and envelopes with a yellow inside as well as a matching sealing wax.

I started with three very brief letters and am curious where this will lead me. I love to sit down anticipating the surprise of my friends finding something in their postbox they surely didn’t expect. A small surprise, a luxury of holding something in your hand that you can touch, sense, unfold, read and store in a shoebox. Which also gives the shoebox an afterlife and makes it worth keeping.

The second thought that I was wrapping my head around was about writing articles with AI. The topic seems to be everywhere; there are plenty of opinions discussed with clients, friends, colleagues, and in newspaper articles.

We as a studio are using AI where it helps us get rid of tasks that just eat our time. We see it as another tool, like writing on a computer and not on a typewriter anymore. So we were and still are quite open and encourage our colleagues in using AI. So did I, testing apps and tools to save time.

And then, it could also be that I just needed this vacation more than I knew, or it was really what I felt, but I felt empty. I was using an app that summarized meetings into perfect reports. I was getting help to write articles or find the right phrasings.

I was getting things done easily, without the struggle of writing (sometimes writing an article feels like giving birth). And I felt empty. I was investigating and then I told Sandra: „You know I am using these tools. And it’s amazing how it works, but I feel disconnected from the work we do. I will stop using some of it and keep an eye on how it feels.“ Sandra smiled her knowing smile.

We both come from a practice of taking notes by hand. I did it in school, my studies and at all the meetings I attended. She did as well. We never needed these notes later on, but we internalized what we heard by taking them.

And both thought trajectories and practices come to the same conclusion for me: technology is developing fast; our body is not. Our senses are an incredible tool to help us make sense of the world. If we stop using our senses, we disable ourselves from being human. To not only get information on a rational level, but also to be touched by touching paper, smelling the sealing wax closing the envelope, seeing the handwriting and listening to the sound of the paper between your fingers.

I believe this is a luxury worth pursuing further. Taking time, sitting down. Not thinking about efficiency and saving time, but taking time and diving deeper. To touch and be touched, to connect and stay connected to what we do and who we are.

This interview appears in A PASSION THING Issue No. 09

I have worked in the creative industry since I was 15 years old, and although I still love what I do, I don’t often get as excited about things as I used to. This interview was different. It pushed me towards a high I am always striving for when working on a project, interviewing people, or publishing stories to inspire others.

I don’t recall how I found out about Caralarga, but I remember very well that the raw cotton threads, tightly bound and woven into forms, caught my eye, and I knew right away that I wanted to talk to the people behind the brand. Soon after, I found out that the company is led by two women, each a force to be reckoned with. I reached out immediately.

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Welcome to Fridays from the Studio, which sometimes turns into any other weekdays from the studio, a weekly format from A PASSION THING creative studio. We’re here to unfold strong narratives for brands through strategy, design, and communication. And we’re here to share our knowledge, experience, and observations with you.

When I was sitting in Vienna’s Burgtheater this week, before the incredible performance of Tao Dance Theater from Beijing began, I noticed something I know from the boarding procedure of airplanes: people seemingly lost, tickets in their hands, entering rows only to leave them briefly after, arguing with each other, comparing tickets, switching places. Not lost in translation but lost between numbers and letters printed on a piece of paper that don’t make sense or fail to deliver orientation.

What they all had in common: they seemed stressed and overwhelmed, not calm.

I remember one of my teachers saying: start slow — if something is new to you, go slow; you can always add speed later. And the title of a great Feldenkrais-related book I read: Slow down to speed up.

So why is it that we rush into new situations instead of approaching them slowly, knowingly, thoughtfully, with all our senses alert? Did rushing in ever help anyone find their place?

Because when a situation is unfamiliar, we need time to find orientation in these new circumstances. This can be a city, a new workplace, a new task, a movement pattern. Anything. But most people rush into these things. I don’t know the psychology behind it, but I’ve never seen anybody succeed by doing so.

I was lucky to learn to slow down, and it offered a completely new quality to my life. The quality of taking my time to orient myself, to understand the task at hand, to gather all the information I need to fulfill it, to reflect, and to start slowly, if it was something new. The understanding that I can and should decide the tempo of what I do took a lot of pressure off me. I understood that I can always transparently state what is possible and what is not to also make others’ planning easier.

This is not failure; it’s clarity.

It’s the same quality I try to bring into every branding project — taking the time to orient before jumping to conclusions, gathering everything relevant before deciding what matters.

I don’t know if you ever learned a dance choreography or a fighting technique. If you did, you know how this is taught: step by step. Very slowly for you to understand and repeat, step by step. Speed is added later, when the movement is ingrained in your body, your nervous system, and integrated by repetition. The same goes for the work we do — a strategy, a story, a design. Repetition and time are what turn a first draft into something that actually holds up.

I remember the first time after I got my driving licence, I was driving on the highway for 2 hours. I was not able to get my eyes off the street; I was holding on close to the steering wheel, focusing on putting in the right gear, and was completely exhausted from the tension in my body upon arrival. I was wondering how people were able to even switch the music channel on the radio or skip a song on the tape (yes, it was tapes back then).

That question again: why do so many of us still rush into unfamiliar situations — myself not immune to this?
Because we don’t take the time to be present, to fully understand our state and what the surroundings are asking for.

Why?

Because most of the time our mind is either in the past or the future, planning, digesting, meandering.

We can also gently learn to be present through tools like meditation, breathing, or any other task that asks for our full presence. Once we’re fully immersed in the present, we will most likely experience the beautiful state of flow, of being completely absorbed in the moment and losing track of time. This is when you feel truly connected to yourself and to what you’re doing. It’s a state supporting happiness and satisfaction.

As human beings, we seek connection.
To other people, but also to the work we do.

Being present and focused on what you do is the first step to getting there.

And then you can calmly sit in the theatre, no planning of the next day in your head while the performance takes place, but watching with all your senses, feeling the movements in your body, hearing the sound of the music, seeing the thoughtfully chosen and sewn costumes move on the dancers’ bodies, acknowledging the light-setting on stage supporting the narrative arc.

This will make you leave fully touched and richer in experience. Because you were leaning in with all of yourself, all of your senses, attention, and presence.

This interview appears in A PASSION THING Issue No. 08

Once seen as taboo and shrouded in fear and mystery, the funeral industry in Hong Kong is starting to see a radical shift. Driving that vision is Lok Chung, 38, funeral director of Peace of Mind Funeral services. The company strikes a delicate balance between upholding traditions and innovating with the times. As Lok journeys with mourning families, he hopes people are more open to talk about it. After all, birth, old age, sickness and death are inevitable in life.

Tell me the story of how you got started in the funeral business.

Lok My family has always run a funeral business company. At that time, I was studying international business in Melbourne, Australia, majoring in marketing. I went on to work at an investment company in Hong Kong for about a year. Something happened with the company so I didn’t have anything to do.

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Welcome to Fridays from the Studio, a weekly format from A PASSION THING creative studio. We’re here to unfold strong narratives for brands through strategy, design, and communication. And we’re here to share our knowledge, experience, and observations with you.

I’ve always taken pride in being someone who can juggle a lot of projects at once.
Not because I enjoy being busy for the sake of it, but because I’ve found that my creativity thrives on movement. When I get stuck on one project, I don’t force my way through it. Instead, I let it rest. I switch to something else. Hours later—or sometimes days—I return with fresh eyes, and more often than not, the solution has quietly arrived in the background.

For me, creativity has never been linear.

Over the years, this way of working has become a system. It keeps my energy high, allows ideas to cross-pollinate, and makes me surprisingly efficient. Rather than spending an afternoon trying to untangle one problem, I can make meaningful progress across several. It’s a rhythm that’s helped build A Passion Thing, start new ventures, collaborate with inspiring people, and create more than I ever thought possible.

I’ve always considered it one of my strengths. But recently, I opened my calendar and scrolled back through the last few months. Every single hour was spoken for. Meetings. Designing. Writing. Calls. Production. Events. Planning. Admin. More meetings.

There wasn’t a single empty afternoon. Barely an hour that wasn’t assigned to something. For a moment, I felt at ease. Look how much is happening. And then another thought crept in. Is anything actually changing?

That’s when I remembered a phrase that has stayed with me for a while now: Movement is not progress. It’s deceptively simple. Movement creates the comforting illusion of progress. When we’re constantly doing, producing, responding and planning, it feels as though we’re moving forward. We tick things off our lists, solve problems, launch projects and keep the wheels turning.

But movement only tells us that we’re in motion.
It says nothing about whether we’re heading in the right direction.

Progress, on the other hand, requires intention. It asks us to zoom out and question whether all the energy we’re investing is actually bringing us closer to what we want to build. Sometimes the answer is yes. Sometimes we’ve simply become very good at staying busy. I realised that I’ve become exceptionally good at creating momentum. At keeping everything moving. At making sure nothing sits still for too long.

But momentum, on its own, isn’t enough. The more I sat with this thought, the more I realised something else. Progress rarely reveals itself while you’re in motion.
It takes distance.

Some of the clearest moments over the past few months didn’t happen in front of my laptop. They happened during conversations with Karin. In the middle of a walk. Over coffee. While trying to explain a challenge out loud, I suddenly heard the answer myself.

Those conversations gave us something that’s surprisingly difficult to create when every hour is accounted for: perspective.

They allowed us to step back from the daily operations and look at the bigger picture. Were we still building the company we had imagined? Had our priorities shifted? Were we spending time on things because they mattered or simply because they’d become part of our routine?

The answers weren’t dramatic. But they reminded me that progress isn’t always about accelerating. Sometimes it’s about making a small adjustment. Changing direction by a few degrees. Pausing long enough to notice that the path you’re on no longer leads where you want to go. And it reminded me that reflection isn’t the opposite of work. It’s part of the work. Without it, it’s all too easy to confuse activity with progress. To keep moving simply because movement feels productive.

So I’m making one small change. Just as I schedule meetings and deadlines, I will from now on schedule time to rest and time for reflection. It is an experiment. I want to make sure that all the movement is actually taking us somewhere worth going. And I want us to stop just long enough to make sure we’re still heading in the right direction.

This article combines pieces that appear in A PASSION THING Issue No. 08 and Issue No. 09

CALIENNA

Neubaugasse 68, 1070 Vienna
https://calienna.com/

We sat down with Miri and Christian Cervantes to talk about how they opened what looks like a plant shop in the 7th district of Vienna, during the pandemic. In reality, Calienna is the first brand they’ve built for themselves, having developed many brands for clients while working for communication and design agencies in L.A., New York, and London. The name is a combination of California and Vienna and is the perfect umbrella for whatever they feel like doing in the future. The creative couple wants to grow daily and they want to inspire others to grow as well. What they have manifested in Vienna is a store, café, gallery, and venue for talks and concerts—all things that nourish our bodies, minds, and souls, thoughtfully curated under one roof.

Their engagement and sense of purpose comes through when they talk about realizing their ideas and projects, and creating connections. When they worked in the fast-paced industry of communication services, their work days were long, they got home late, and were always too exhausted to start anything meaningful for themselves. Miri wanted to be closer to flowers and plants, which she intuitively knew would soothe her and help her to calm down after crazy days at work. It was a way to reconnect with nature through the soil and being responsible for taking care of something.

Success for both of them is measured by how many people they can inspire. They know the importance of community, of growing together and supporting each other.

SALOTTO COLLECTIVE

Kirchengasse 40, 1070 Vienna
Instagram

Mira Rosenhek studied industrial design in Milan, Italy, where she then lived and worked for ten years for various furniture brands and design galleries. She came back to Vienna with the dream of opening a Milan-inspired concept store, but life took another turn and she started designing handbags. When the pandemic hit, with people including herself being home most of the time, she turned her passion for design back into her main job, helping friends redecorating their apartments and restoring mid-century lamps, focusing on products that hold a story or a place in design history.

All this led to finally opening her concept store in the 7th district of Vienna: Salotto Collective. A former furrier’s shop and atelier with mid-century store construction and a terrazzo floor, the space holds a beautiful mix of design pieces, old and new. Mira is also available for interior design consulting and projects in the field of design.

BISTRO FANTASY
Gumpendorfer Str. 22, 1060 Vienna
https://www.bistrofantasy.at/

CAFÉ FLORIDA
Neustiftgasse 81, 1070 Vienna
https://www.cafeflorida.at

BRUTAL AM MARKT
Marktraum Naschmarkt, 1050 Vienna
Instagram

Young, wild, creative and hungry — Javier Mancilla and Xaver Kisslinger have made it their mission to breathe new life into overlooked spaces across Vienna. For several years, the duo behind the Brutal brand has been crafting gastronomic concepts that are cutting-edge yet refreshingly unpretentious, building a loyal community along the way.

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At the end of 2023, the duo opened Café Florida in the 7th district — a graffiti-fronted bar on Neustiftgasse where it’s always summer. No dress code, no pretension, just signature cocktails at fair prices, natural wine, and the kind of laid-back atmosphere that turns first-time visitors into regulars.

Then came Bistro Fantasy on Gumpendorfer Straße — their most ambitious project yet. Raw concrete walls, a record player, silver tables and an all-day menu that runs from French Toast with dulce de leche to Steak Frites and late-night cocktails. Immediately packed from day one, it encapsulates everything the Brutal brand stands for: good design, honest quality, and spaces that feel alive.

Most recently, Brutal am Markt brought the duo to the heart of the new Naschmarkt market hall — the only sit-down concept among 13 regional vendors, serving aperitivo, snacks and modern market cuisine rooted in the produce around them.

Same vision, ever-evolving execution.

KATHARINA HUSSLEIN

Josefstädter Str. 11, 1080 Vienna
https://www.katharinahusslein.com/

After studying art history and then working for galleries and auction houses in London, Paris, and Vienna, Katharina Husslein made her dreams come true: she opened the doors to her small chamber of beauty in 2021. Visitors will find unique pieces of jewelry from 19th century art nouveau to 1950s American and European styles. Her shop is the perfect place to find one-of-a-kind gifts, while browsing thoughtfully selected glasses and silverware, plates, ashtrays, vases, and wine chillers. She loves the shop, but something was missing. She used to work with teams and on her own she didn’t have lively exchanges with coworkers. The moment she realized what she needed, she started looking for collaborations with artists. Under the title Tactiles, the first series was made with artist Liesl Raff, who works with latex and creates pieces that can be seen as objects or worn as necklaces. Tactiles #2 was a limited edition series with artist Andreas Duscha, who produced his pieces in Robert Comploj’s studio. The original idea was that these fragile objects were to be worn as a pendant on a necklace, or as a brooch. Now they are more reminiscent of handschmeichler, objects that please your hands. Collaboration #3 with Constantin Luser, who just finished a major artwork for the newly opened Austrian Parliament, is a mixture of objets d’art and jewelry. Projects and collaborations alongside the work of curating the shop provide the right balance for nourishing Katharina’s curiosity while she lives her passion.

STUDIO COMPLOJ

Martinstraße 28, 1180 VIenna
https://robertcomploj.com/

Robert Comploj is a carpenter by education. He was introduced to glassblowing when he spent an extra two years in school for his A-levels. After school, he left Tyrol and spent ten years working as a carpenter and studying abroad in New York, London, and Denmark. Looking back, he says it was a very demanding and tough time, but it probably brought him to where he is now. Back in Austria, he set up his own studio—his interpretation of a contemporary glassblower’s workshop. With his team, he has realized bespoke pieces, like a chandelier that looks like a quince tree, and worked with and for artists, or let them use his workshop. He blurs the line between craftsman and artist. Talking to him, it is clear that he defines all the rules of play. One day, he stepped out onto the street in front of his studio and started to blow glass directly onto manhole covers, tramway rails, onions, ginger—and the videos of his street art went viral on TikTok and Instagram. He sells his street nuggets—each one a unique piece of art and a perfect paperweight—online and ships them worldwide. This will soon come to an end, as the studio is about to move into a courtyard without a street out front. But we’re confident that Robert and his team will find a new playground.

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SAINT CHARLES APOTHECARY

Gumpendorfer Str. 30, 1060 Vienna
https://saint-charles.eu/

Alexander Ehrmann is a pharmacist by training and profession, but a curious explorer at heart. When he bought the St. Charles Apothecary pharmacy in 2006, he also started a shop offering natural cosmetics brands and treatments right across the street. Then he opened the Alimentary, where food from hand-harvested ingredients and farmers that he and his partner knew—was prepared and served. All his ventures are based on collaborations or partnerships that not only nourish him deeply but also allow him to do things he would not been able to do on his own.

His Ph.D. supervisor in Perugia encouraged him to get to the root of things rather than look at the surface problem. Literally. After diving into Traditional Chinese Medicine (TCM), he today combines Traditional European Medicine (TEM) with art, is deeply into Spagyrics, and is looking forward to opening a medical spa further down the same street in our neighborhood. Saint Charles Apothecary products can also be found in stores and hotels far beyond the Austrian border. And we’re already thinking about how to collaborate on a product to support passionate minds.

PALLA VIENNA

If you feel low, check out Alexandra’s Instagram for an immediate lift. Alexandra is a good mood operator with seemingly endless energy. She mixes Viennese tradition with a modern lifestyle, ensuring that traditional Viennese cuisine is not lost. When she started a blog in 2012, she wanted to write down the recipes of the dishes she was cooking for her daughters. She gained a lot of followers, and she has since published two cookbooks, Meine Sommerfrische Küche and Put a Lot of Love in It: Mit Liebe einfach besser kochen, within four years. Her brand Palla Vienna was born when she was invited to participate in a cooking TV show; she developed a signature clothing line made of the typical blue and white or red and white cotton tea towels. Produced in Austria, her clothes and products come with names like Nannerl (Mozart’s sister) or Alma (Mahler-Werfel). Inspiring brand cooperations and a new cookbook will keep her busy in the near future and will surely lead to even more ideas. In the meantime, we enjoy cooking her recipes and learning about Viennese craftsmanship and history.

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This interview appears in A PASSION THING Issue No. 03

I don’t care what you think, I don’t care what you say, I only care what you do.

This is the life philosophy that Zita Cobb’s father imparted to her and it is clear she took it to heart. Zita is the Founder of Fogo Island Inn in Newfoundland, Canada, a boutique hotel with 29 one-of-a-kind rooms and suites, all with floor-to-ceiling glass windows offering expansive views of the powerful North Atlantic Ocean. And she’s the co-founder of an all-en-compassing social charity, Shorefast, that aims to create sustainability in a place that has seen its share of instability and volatility.

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This story appears in A PASSION THING Issue No. 12

A four-hour train ride north of New Delhi lies Chandigarh, a city that distinguishes itself from the rest of India. Master-planned by Le Corbusier for half a million residents, it remains his largest urban achievement and is the world’s first truly modernist city.

On the dusty rickshaw ride to our hotel, the contrast is striking: India’s familiar cacophony becomes a calmer, more spacious, and—one might even say—cleaner setting. The hotel stands on a tree-lined boulevard at the edge of Sector 7, housed within one of the many standardized red-brick buildings, its first floor lined with a commercial arcade. Behind it, a neighborhood of low-rise residential blocks unfolds, woven with educational and recreational facilities, and punctuated by parking areas, parks, and community centers. This is an example of a self-sufficient sector in Chandigarh.

The city is a lesson in order. Jawaharlal Nehru, India’s first Prime Minister, commissioned Chandigarh in 1948 as a new capital for Punjab after its former seat, Lahore, went to Pakistan in the wake of the country’s violent, religion-driven partition. For Nehru, Chandigarh was to be a model of India’s post-colonial transformation: progressive, secular, and forward-thinking.

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This interview appears in A PASSION THING Issue No. 05

Axel Stürken and I meet on a sunny afternoon in late September in Athens, Greece. We’re both in town for Monocle Magazine’s Quality of Life Conference, the same event where we met in 2019 in Madrid, Spain. We talk about his family business over a glass of rosé before heading off to the reception with the mayor of Athens and the makers of Monocle Magazine.

What started in 1917 in the north of Germany with the production of albums for postage stamp collections is now a group of companies with production and offices on four continents, employing around 500 people. The well-known notebook and calendar brand Leuchtturm1917 is part of the group, among others.

We want to know how Axel coped with the heritage of a 100-year-old family business, and how he has made the job his own. Axel is co-owner and manages the group with his brother, Max. Their 86-year-old father still comes into the office every day.

Axel’s favorite restaurant in Hamburg, Kleine Brunnenstrasse, kindly opened so our photographer could take the photos for this article.

Where did you grow up?

Axel It was outside of the city of Hamburg. Close enough to have a public transport connection, so I went to school in the city. But I had the advantage of growing up in the countryside.

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When it comes to creating an inviting living space, there is no understating the importance of investing in premium lighting. Good lamps are essential for creating a home that feels warm and truly lived in.

Harsh overhead lighting can flatten a room and drain it of character, while the soft glow of a well-placed lamp adds depth, atmosphere, and comfort. Lamps don’t just illuminate; they set the mood, shape the way we experience our spaces, and make evenings feel cozier. The best examples combine craftsmanship and stylish design, becoming both functional objects and decorative statements.

HASHIRA LAMPS BY AUDO

To create this sleek table lamp, AUDO CPH partnered with fellow Danish firm NORM ARCHITECTS. Their acclaimed design team drew inspiration from the quiet beauty of traditional Japanese lanterns and window panels, resulting in the HASHIRA—a lamp that casts a soft, ambient glow through richly textured linen. This fabric shade creates a soothing column of light that rests securely on a solid ash wood base. Staying true to Norm Architects’ signature aesthetic, the design is elegantly minimalist, emphasizing natural materials and simple, geometric forms.

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This opinion piece appears in A PASSION THING Issue No. 13

Travel is part of our history, from wanderings in search of home to pilgrimages to places of meaning and healing. Today, travel that spans continents is relatively easy and part of the rhythm of our lives. Our focus is often on the mechanics of travel, the where, the when, and the logistics. Yet travel can be profound, changing our motivation, perspectives, and relationships.

Here we examine the psychology of travel, the way in which travel can be so much more than a destination but a curious engagement with the world, a potentially transformational and meaningful experience.

There is though paradox in travel, it can offer us joy and stimulation, creative inspiration and meaningful connection. Yet it can also be anxiety provoking, disappointing, and full of woe. What Freud referred to as ‘reisemalheurs’ describes the discomfort of travel, both physical and emotional. Tolkien speaks of the agency we have in travel, “Not all those who wander are lost”. Travel can change us, gift us a fresh perspective, it is not just about the places we visit but the way being on a journey can shape our psychology.

Why do you travel?

We are curious beings who largely no longer travel for survival. We want to be inspired, to broaden our horizons, to have a break. We might experience these feelings as wanderlust—a longing for exploration and discovery, a desire for new encounters, for connection, for a fresh take on our relationships. Or we may feel in desperate need of a break, we are stressed and close to burnout, we want to recharge our batteries, to refresh ourselves and to retreat to a place of restoration and comfort.

The benefit of travel is not only in the time away but also in the psychology of anticipation. Our brain cannot distinguish between actual and imagined experiences so that anticipation can be as pleasurable, or even more so, than the occasion itself.

In decades past, going on holiday was an unusual thing, the two-week trip that was likely the only break of the year. So much expectation rested on that holiday, the idealization of the time away that often led to disappointment and a welcome return. Travel is much more accessible now with cheaper flights, alternative transport and lots of places to stay that we can source with a relatively quick search. Yet the expectation element still remains, having the best time while away can make us feel pressured. We can lighten our travel burden by accepting that a vacation does not need to be perfect. We can go with an open mind, take the position of observer, and rejoice in the difference of our time away. Maybe the food was meh, maybe we argued with our partner, maybe the bed was a bit lumpy—but the views were stunning, the air warm, and we gained an insight into a different way of living.

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The benefits of travel

Travelling provides us with a break from the routine, it can be a time of stress reduction, a reprieve from the demands of everyday life. If we’re lucky, it can lead to better sleep, a chance to relax, and a focus on our well-being. Cortisol levels, the stress hormone, can reduce even after a short break. Travel can change us and lead to self-discovery, it can repair relationships.

When we reflect on our most significant travel, we often call images to mind, moments that capture our experience, the encounter with the unfamiliar, shared with our travel companions, that can foster deep connection and make lasting memories. We can also learn more about humanity and remind ourselves that what connects us is often stronger than that which divides us.

Our inner world

Travel is also a way of understanding ourselves better. We learn what it means to be outside our comfort zone, what we miss, and what we struggle to adapt to. For Freud, travel was not just about exploring ancient culture and antiquities, it was a way of gazing at the unconscious. Where we choose to go, our companions, and at times our flight from ourselves, all provide insightful data about what is going on below the surface.

When you consider your travels, think about your motivation:

What do you want to discover?

What is your unmet desire?

What might the journey you take offer you beyond the logistics?

What insights will you gain into your inner world?

You may not need to go away to experience a psychic retreat. Wherever you go, there you are.

Novelty – how travel rewires our brain

Some journeys take us to places of adventure and wonder, places we have never seen before, sights, smells, experiences that are full of awe and marvel. Other times we may choose to travel to places where we feel at home, the opposite of Freud’s ‘unheimlich’, the sense of returning to the familiar. This perhaps explains the attraction of luxurious hotel chains, you know what to expect and what you can expect is magnificent. But does it offer a sense of travel adventure? Many of us watched the White Lotus series, peering into a world of ultimate holiday luxury but mixed with the drama of beautiful lives unravelling, perhaps part of its appeal was this schadenfreude, the pleasure in seeing the lives of the rich and privileged being not quite so perfect as they seem.

When we step out of our comfort zone, we ignite our potential for self-discovery. What do we really value? How do we adapt to the unpredictable? This is often amplified if you choose to travel alone, making decisions that fit with your desires and recognizing the times when in a group you go with the flow, denying yourself what you truly want from a vacation.

There is neuroscience to support travel as a means to disrupt routine and rumination, allowing us to stay in the present and absorb the new experiences around us. Our default mode network (DMN) can lead us to feel stuck, dwelling on the past or fearing the future. Being in a new environment disrupts this. We create new neural pathways by exploring new pathways underfoot.

Travel can also reduce cognitive rigidity by opening our minds to other cultures. We also benefit from dopamine release when we have new experiences—or, as we have discussed, also when we anticipate those new experiences. This is particularly so when we embrace nature as part of travel. All this points to travel as a way to grow. It might not always be comfortable, but it will give you a chance to unplug and experience newness.

Pilgrimage embraces the notion of travel, not for rest and comfort but for spiritual uplift, for meditation and perhaps bonding with fellow pilgrims. A client recently described his time on the Camino de Santiago as a complete reset for his nervous system—a physical challenge that offered a deep and meaningful journey. Such healing travel experiences may be challenging and physically exhausting but nonetheless are purposeful, allowing time for reflection and meaning, you return changed. There is also increasing interest in psychedelic retreats, for their therapeutic benefits and legal availability, making this kind of trip less stigmatized.

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Mindful travel

Before you plan your next trip, consider your motivation. Are you going away to escape? Or are you escaping to discover something new? We might not need to go very far to see things afresh, taking an observer’s position, even in familiar surroundings, can offer us a sense of discovery. Slowing down, even on a short trip, engaging all your senses, can give us the chance to connect with our surroundings. This sense of mindful travel also extends to visiting places that align with our values and to recognize that might mean balancing the desire to travel with the environmental impact of travel.

The golden age of travel may need adaptation, to allow us to embrace travel with more responsibility, so that we return home not only with wonderful experiences but also having made a positive impact on the places we have visited. We need to take care of the local environment and to question the impact of our arrival. Are we leaving our destination better in ourselves, and is our destination better for our visit?

So we can see travel as yet another demand on our time, a need to keep up with the conversation of where to go and what to experience. Or we can think of the psychological journey that takes us outside of our comfort zone, tests our assumptions, something that refreshes our soul and allows us to get creative.

Words Dr Susan Kahn

Illustration Laura Neuhäuser

Welcome to Fridays Mondays from the Studio, a weekly format from A PASSION THING creative studio. We’re here to unfold strong narratives for brands through strategy, design, and communication. And we’re here to share our knowledge, experience, and observations with you.

Lately, I’ve been thinking about the word motivation and where it actually comes from. The answer is hiding in plain sight: motivation comes from motive.

It sounds almost too obvious, but the distinction feels increasingly relevant to me. Especially because over the past decade we’ve become obsessed with a different word entirely: purpose.

Purpose has become one of those concepts that is almost impossible to avoid. In branding, every company is expected to have one. In business, every founder is asked to articulate it. In personal development, we’re encouraged to discover our life’s purpose, ideally as early as possible. It has become the answer to almost every question.

The problem is that purpose is an incredibly big word.

For some people, it can be a powerful compass. For many others, I suspect it has become an overwhelming expectation. The idea that we should all be able to define a singular reason for our existence, neatly packaged into a sentence or two, feels increasingly detached from how life actually unfolds. Most of us don’t discover meaning through a moment of revelation. We discover it through action, through curiosity, through paying attention to what repeatedly draws us in.

What I often see—both in branding projects and in conversations with individuals—is that the search for purpose can become paralysing. The question is simply too large. It demands certainty where uncertainty is often the more honest answer. Instead of helping people move forward, it can leave them stuck in a loop of introspection, endlessly searching for something that may only reveal itself in retrospect.

This is why I’ve become more interested in motive than purpose.

A motive doesn’t ask you to define your entire life. It simply asks: what is driving you right now? What is the thing that repeatedly pulls your attention? What are you naturally drawn towards, even when there is no obvious reward waiting at the end?

When we started A PASSION THING, this was essentially the question we wanted to explore, although I don’t think we articulated it in those terms at the time. We wanted to understand what drives people. What keeps them going? What motivates them to dedicate years—sometimes decades—to a craft, a business, an idea, a sport, or a creative pursuit?

After hundreds of interviews for A PASSION THING MAGAZINE and other publications we work on, I can confidently say that there is no universal answer.

In all these years, nobody has given the same response.

Some people are driven by freedom, others by mastery. Some by competition, others by contribution. Some by a desire to build, others by a need to understand. What became increasingly clear is that motivation is deeply individual. The common thread was never what people were motivated by, but rather that they had found something that genuinely mattered to them.

When I ask myself the same question, I don’t arrive at some grand purpose statement either. What consistently motivates me is learning.

That may sound deceptively simple, but it explains almost everything I enjoy doing. It’s why I love branding and communication. Every project is an opportunity to immerse myself in a world I knew little about before. One month you’re learning about mobility, the next about hospitality, design, technology, culture or craftsmanship. Good strategy requires curiosity.

It’s also why I’ve always been drawn to stories. Not inspirational stories in the way the word is often used today, but stories that teach you something. Stories that reveal a different perspective. Stories that make you understand a person, a business, a culture, or an idea a little better than you did before.

I’ve realised that many of the things I value most share the same underlying motive: they help expand my understanding of the world. And perhaps that is where motivation comes from—not from having all the answers, but from remaining curious enough to keep asking questions.

Looking back, that might be the real motive behind A PASSION THING. Not the pursuit of a singular purpose, but the ongoing desire to learn from remarkable people, discover meaningful stories, and share them with others. Because every conversation, every project, and every story offers an opportunity to see something differently.

The older I get, the less interested I become in defining one grand purpose for life. What feels more useful is paying attention to the motives that keep appearing. The interests that persist. The questions that never seem to go away. Those are things worth following for me and very often for us as a studio and agency.

In the end, for me purpose asks you to arrive somewhere, but motive keeps you moving.

This interview appears in A PASSION THING Issue No. 07

Georgia Brooks is the Founder of The Nine, Belgiums First Female-Focused Private Members’ Club. That was all I knew of her, from LinkedIn, but I was immediately intrigued. So we set up an interview. Georgia and I spoke online, where she sat in front of a wall of silk roses, just four weeks before she went on maternity leave to prepare for the birth of her daughter. From the first answer to my first question, her multi-faceted life was dazzling.

Which values would you say formed your childhood and upbringing?

Georgia The overall values were kindness, judgement of what is ethically right or wrong, and being just. This came from parents with nomadic and sometimes tumultuous journeys on both sides of their families. My father and his family fled London for the countryside during wartime and my mother was Lebanese, but grew up in Egypt’s capital, Cairo. Her family left for Canada in the 1970s, and after a serendipitous meeting on a flight between Cairo and London, my father followed her to Montreal. They then came back to the UK because they wanted me to have a UK passport and education.

I spent most of my childhood weekends and holidays doing community work and volunteering. The overall slogan was: we’re lucky to be here and we’ll use our position to give back. It was a kind of assimilation. I never spoke Arabic with my mother in public. I straightened my hair. When people asked me where I was from, I only referred to Canada. I wanted to be part of the group, not different.

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There’s a moment—after the last espresso, before the airport taxi—when the air in a hotel seems to shift. The stay begins to recede and your mind starts reaching for ways to hold on. Increasingly, that grasp becomes literal: a candle that carries the scent of the lobby at dusk, the robe you wore to breakfast, a handmade plate—the one your favorite meal was served on—that you now use for date nights at home.

Hotel boutiques have evolved. What was once a corner stocked with functional items like toothbrushes and shaving cream is now a space of memorabilia, emotional resonance, and refined aesthetics. Far from mere shops, they reflect the architecture, rhythm, spirit, and ethos of their surroundings, unfolding as extensions of the property’s identities.

The objects they contain—thoughtfully selected and emotionally charged—distill the essence of a place. Each one exists in dialogue with the hotel it inhabits, shaped by the hands that curated the lobby playlist, chose the linen weight, selected the ceramics on your breakfast tray. They hold the soul, the pace, the palette of a space, formed by the same intelligence and restraint that defines the place itself. Some are ephemeral. Some are eccentric. All of them, in one way or another, hold feeling, bottled into objects. Fragments of a core memory, carried home.

ROSEMARY (Marrakesh, Morocco)

Rosemary is an intimate riad in one of Marrakesh’s oldest neighborhoods and the first hospitality project by Laurence Leenaert, founder of LRNCE. Known for its hand-painted ceramics and expressive textiles, the studio spent three years shaping the space in collaboration with over 40 artisans. Motifs repeat like gentle signatures—a sprig of rosemary, a curve of color, a flick of line—appearing across tile, fabric, and scent. A curated selection of objects is available to take home: bed and bath linens, homewares, fragrances, stationery, and small handmade keepsakes.

LE CHÂTEAU VOLTAIRE (Paris, France)

The boutique at Château Voltaire offers discreetly branded tees, hoodies, robes, and objects that feel more like an insider edit than typical hotel merch.

Designed by Thierry Gillier—founder of ZADIG & VOLTAIRE and the creative force behind the hotel—the collection channels a sense of effortless, lived-in chic. But the real gem? An exclusive vinyl pressing titled Music!— a sonic embodiment of the hotel’s spirit and soul, which is known for its impeccable playlists curated to bring an unforgettable experience into the comfort of your home.

CASA BONAY (Barcelona, Spain)

This sun-drenched hotel in the heart of Barcelona has always had the quiet charisma of a friend’s flat—if that friend happens to be impossibly tasteful and deeply connected to the city’s creative scene. Tucked inside: THE SOUVENIR STORE by APARTAMENTO. Think home goods, ceramics, indie mags, and rotating curiosities—all curated by and infused with the spirit of the team behind the beloved Apartamento magazine. It feels like the editorial pages have stepped off the paper and onto a walnut shelf.

IL BORGO DEL BALSAMICO (Botteghe di Albinea, Italy)

More than a place to stay, Il Borgo del Balsamico is a retreat for the senses. Tucked into the rolling hills of Emilia-Romagna, this family-run acetaia near Modena welcomes you to sleep in a restored villa surrounded by vineyards and timeworn barrels. A guided tasting is a must during your stay, where each aged balsamic is paired with the perfect bite. As flavors unfold, you choose your favorite to take home. A memory for the senses, aged to perfection.

IL PELLICANO (Porto Ercole, Italy)

If you know, you know. Il Pellicano’s boutique is less a souvenir stand and more a fashion capsule. It trades in coastal nonchalance, offering silk kaftans, handmade espadrilles, and sun-washed pieces in collaboration with local and international designers. Curated by Marie-Louise Sciò, manager and creative director of the PELLICANO GROUP, the boutique features LISA CORTI textiles, VIBI VENEZIA velvet slippers, and even a BIRKENSTOCK collaboration inspired by the hotel’s cliffside glamour.

PALAZZO DANIELE (Gagliano del Capo, Italy)

This 19th-century palazzo feels more like a living gallery than a hotel. Its rooms are spare, moody, and intentional, where art and light do the talking. The hotel’s signature scent brings warmth and brightness, captured in a line of candles. With notes of honey, almond, and thyme, it distills the essence of the space—shadowed corridors, terrazzo floors, and the beauty of restraint—into something you can take from the Palazzo to your casa.

HOTEL AMOUR (Paris, France)

There are souvenirs, and then there are the Hotel Amour glasses. Mouthblown in France and engraved with the word “Amour” in artist André Saraiva’s signature hand, these stemmed verres—glasses—have transcended hotel merch to become Paris design icons. They’re cheeky, collectible, and perfectly weighted for late-night wine. Each glass holds the memory of a night in Pigalle—of laughter, candlelight, and everything the name implies.

Words Alina Santoso

This interview appears in A PASSION THING Issue No. 11

In 2001, Klaus Mühlbauer took on the challenge of leading his family’s century-old business, transforming it into the celebrated brand we know today. Founded in 1903 and now in its fourth generation of family management, Mühlbauer has earned international acclaim for its exquisite, hand-crafted hats, all produced in Austria with the finest materials. We sat down with Klaus Mühlbauer to delve into his journey of inheriting and reinventing a family legacy. In our conversation, he shares insights into navigating the unique demands of a family business while responding to the ever-evolving landscape of fashion, economic shifts, and global challenges like the recent pandemic.

Has it always been clear that you will enter your family’s business or did you also have other tendencies?

Klaus It’s not always been clear, and I probably would not have become a hat maker if hats were not in our family. I think I would have landed in fashion. Of course, it has been an offer that there was already a family business, but our parents gave my siblings - I have three - and me the freedom to choose what we wanted to do and become. And with this freedom, I grew into it. After my graduation from school, I had no idea what to do. I think this is a phenomenon that has always existed. And before not doing anything, I thought I would start an apprenticeship to become a hat maker in my parent’s business. And that was the first moment that truly sparked my interest. I enjoyed the handcrafting and also designing. I made my first collections and drove to Paris - we’re talking of 1989/90 - where I sold them successfully. It was easier back then to sell a collection. If it was good work you could sell it without all the fuss around it that you need today. And then I realized that it’s good when you learn something, and I wanted to keep on learning and went to university to study economics.

I was around 19, 20 and moving out of my parent’s house. The perspective to enter the business and keep on working with my parents for 20 years was not that appealing as I was about to detach from them. So I studied and worked somewhere else in the textile industry until my father asked who of us wanted to step in. My three siblings declined while I was about to change jobs and move to Dusseldorf but finally decided to start at Mühlbauer.

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