JUNO TALKS with Lena Musmann
JUNO was Lena’s first full-time position. After that, she went to Acne Studios in Stockholm. And then to Nike in Oregon. A conversation about the eventful and intense life of a designer.
Lena Musmann, textile print and graphic designer.
Lena, you were with us for two years. Let’s start with what came after your time at JUNO.
After JUNO, I applied to Acne Studios – I found the brand exciting, though I also had a certain respect for the fashion industry. Up to that point, I had no experience in textiles.
How did you get in?
I applied the classic way to a posted position. After my first interview in Stockholm, I was asked to work on a project – kind of a case study, which is quite common in fashion. The project was well received. Looking back, though, I think it was really my dedication and ambition that made the difference. I ended up staying at Acne Studios for three and a half years.
What was your role there?
I was part of the Print/Graphics team, designing collections with prints, graphics, and branding – that was my main focus. But actually, you're involved in everything and work closely with all the design teams – footwear, accessories, etc. You're also part of the shows – everyone is needed. That really awakened my passion for design, which I had already felt at JUNO. I get into a flow when I can work hands-on – with fabrics, different techniques, various materials, graphics, colors, prints. It was a new level of design I hadn’t experienced before.
Tell us a bit about how you experienced your work there compared to JUNO.
The luxury fashion world is like bootcamp: I had to learn to listen to my body to not go under. The working hours are extreme, and the pressure comes from all directions. Pressure can be productive – if you also learn to let go. Often, that’s when the best ideas emerge.
That actually sounds like just the thing for you, right? You’ve trekked to Everest Base Camp. You love challenges.
Yes! It was intense! But the flip side is, you risk neglecting your body and mind. I saw a lot of burned-out people around me. At some point, it was time to move on. On the other hand, I’m incredibly grateful for everything I learned – I’ve never experienced a place as creative and experimental.
And what about inspiration? How did you come up with new ideas despite all the pressure?
Research was highly valued. That was one of the biggest things I learned. The design team would go on research trips – to Romania, for example. Inspiration came from antique shops, markets, old hotels, vintage stores – always looking for special, undiscovered things. Ashtrays, napkins, crazy stuff – everything was brought back and carefully curated at the office. Pinterest or Instagram were off-limits as sources of inspiration. Anything already out there was considered “known” – and therefore not fresh.
So, inspiration from the real world?
Absolutely. Especially from the nostalgia of the real world.
What kind of brand is Acne Studios?
Hard to define. I worked closely with the Creative Director Jonny Johansson, who made the final calls on which designs were produced. He relied a lot on intuition and his strong visual sense. Over time, I began to understand how he thinks – for me, that was Acne Studios. Inspiration often came from Swedish culture – the landscape, records, poetry, Sami culture, or knitting traditions.
And after Acne Studios?
During the pandemic, I freelanced in the Scandinavian region – among others, for BYREDO and GANNI. After a while, I was headhunted by Nike and moved to the West Coast of the U.S., to Portland, Oregon, together with my partner. But I had to wait a year for my visa first.
Also as a designer?
Exactly. I led a graphic/print team in the Jordan Brand division, responsible for basketball sportswear and streetwear collections. We worked on projects for Paris Saint-Germain and Michael Jordan’s premium golf line, among others. During that time, I learned a lot about Black American culture. In the 1980s in the U.S., putting up a Michael Jordan poster in your childhood bedroom really meant something. It was a statement. That energy and pride are deeply felt in the Michael Jordan Building on Nike’s campus. I hadn’t had any contact with Black American heritage before, and I wasn’t interested in Nike or Michael Jordan as a teenager. That’s luckily changed!
What was the work like?
About 10,000 people work at Nike HQ. It’s Corporate America in its purest form. I arrived shortly after COVID, at a time when Nike hit a record low – and you could feel that in the design department. There was a huge need for security. I didn’t necessarily experience the creative spirit and drive that Nike projects outwardly. My work was often about margins and pricing – hard business. Luckily, Jordan Brand was already the most successful brand within Nike at the time. The Nike Air Jordan 1 is the brand’s most iconic product. I like to describe Jordan as a small, agile speedboat within the larger cruise ship that is Nike. Martin Lotti, Nike’s Chief Design Officer, once said to me: “Nike is slow, but not stupid.”
And then you moved back to Europe.
I definitely enjoyed the lifestyle in the U.S. And Oregon – I like to call it “Campfire America” – offers incredible opportunities for outdoor activities. The West Coast, California, Los Angeles… it’s all just fun. But I often missed Europe. The values we appreciate here, friends and family, of course. Also the shorter distances. The European vibe.
Tell us a bit more about your time at JUNO.
JUNO was my first full-time position after university. I often look back on that time fondly. Especially on how much space I had to experiment, and how often I could still work hands-on. I remember a project where I cut and shaped objects from Munken paper using a cutting machine, or worked with textiles from Kinnasand. At JUNO, I also learned to think more deeply about brands. Many brands don’t really know who they are – but for design, that’s essential.
After all your experiences – how do you view design today?
Design is energy to me now. It used to be more about form and expression – now I think more in terms of impact, attitude, presence. My focus is shifting. I come from textile and fashion design – I love the craft, the materials, the process. But I also feel an increasing distance from how the industry functions today: fast and interchangeable. This spring, I spent a few weeks working on a biodynamic farm on the Baltic Sea. There, I experienced design in the way the space was laid out. How it’s structured, how it’s shaped. It felt good to step away from fashion for a while. I love designing – it’s my medium – but it doesn’t have to be fashion or graphic design anymore. I’ve become much more open. At the moment, I’m reading Theory U by Otto Scharmer, a professor at MIT. It’s about a creative process that breaks free from old patterns of thought to shape future-oriented visions.
And what’s next?
There was a key moment during my time at Nike: I was standing at the screen-printing machine, experimenting. A teammate watched me and eventually said: “Your eyes light up like a child’s when you work analog and with your hands – not at the computer.” In that moment, I knew: this is my path – actually, it always has been. I started working with my hands early on. Tactile work was and still is my strength. During my time in the U.S., I worked on a farm on weekends. Craftsmanship simply draws me in – maybe that’s exactly where my path is leading back to.