Since the Paris Exposition of 1925, the world has regarded Sweden as a leading design nation. But it was not the blond simplicity that most people today associate with Swedish design that paved the way. On the contrary, the audience in Paris was fascinated by richly decorated objects executed with demanding craftmanship. There were Orrefors engraved glass, Nordiska Kompaniet’s marquetry furniture, Svenskt Tenn’s wall mirrors, and Näfveqvarn’s garden urns made of cast iron. Today we call this style Swedish Grace. Exhibitions are ephemeral phenomenons. When the last visitor has gone home, they are dismantled, leaving behind scattered objects, photographs, archival material, and personal memories. Cilla Robach has delved deeply into these to take us, as far as possible, on a journey through the unique environments of the Paris Exposition, focusing on the Swedish interiors and objects that opened the design door to the world.