A brand platform that filmed Sweden as it actually lived
On 20 October 2016, IKEA Sweden and the Stockholm agency Åkestam Holst launched a brand platform called Där livet händer, translated for international audiences as Where Life Happens. The launch ran across television, cinema, print, outdoor, radio, online and social channels, and it set the editorial frame that IKEA Sweden's brand communication has worked inside ever since. The platform was built on a single mechanism: a recognisable IKEA price tag attached to a real, often complicated, domestic situation.
The first films were not product spots. They were short pieces of fiction grounded in everyday Swedish life. A divorced father carefully recreating his son's bedroom every other week. A young couple finding a moment of calm before the arrival of a child. A flatshare changing shape as one tenant moved out and another moved in. The product was visible, the price was named, but the editorial subject was the household.
The strategic shift
IKEA Sweden's earlier marketing had largely operated as a steady stream of product-led promotion. The catalogue carried the bulk of the inspirational work, and broadcast advertising tended to amplify seasonal price points. Where Life Happens reframed the question. Rather than treating the brand as an inventory of objects with attractive prices, the platform treated IKEA as the company that already sat inside the country's everyday domestic reality. The product range followed the household, not the other way around.
The price-tag mechanic was central to that reframe. In each film, the camera tracked a recognisable IKEA price tag through the scene, sometimes resting on a chair, sometimes on a lamp, sometimes on a bedside drawer that signalled what the room was about to become. The mechanic preserved the brand's commercial obligation, the price was always present, while leaving the narrative to do the editorial work.
The creative team and craft choices
The campaign was led on the agency side by art directors Michal Sitkiewicz and Eva Wallmark, with copywriting from a wider Åkestam Holst team. Direction across the early films was anchored by Torbjörn Martin at B-Reel, with cinematography by Therese Öhrvall. The look was deliberately grounded. Light was natural where possible. Locations were real Swedish apartments rather than purpose-built sets. Casting favoured non-actors and lesser-known performers in order to keep the situations recognisable rather than aspirational.
Music and sound were used sparingly. The films relied on diegetic sound (the noise of cooking, of children playing, of a tap running) rather than on a brand soundtrack. The result was a body of work that read closer to short documentary than to retail advertising. Campaign and Ad Age both noted at the time that Where Life Happens traded the conventions of furniture marketing for the conventions of long-form film.
The first films
The platform's opening film, Every Other Week, depicted a divorced father preparing his son's room for the weeks the son spent with him. The room was rebuilt each fortnight in the same configuration: bed, lamp, posters, soft toys. The price tags on each piece carried a quiet domestic weight that more conventional product advertising could not have produced. The film became one of the most-watched IKEA pieces of the decade in the Nordic markets.
The follow-up films extended the same editorial logic. The Cycle filmed a young couple's apartment as their first child arrived. The Bedroom reframed an empty room as a future nursery. The campaign's subsequent waves covered weekend hosting, generational meetings, friend gatherings, and the ordinary mechanics of cohabitation. The IKEA range stayed visible throughout, but the camera always favoured the people in the room over the objects in it.
Source: The Last Marketer Youtube
Reception
The platform was widely covered in the international advertising press. WARC, Ad Age, Campaign and The Drum all profiled the work in the months after launch, treating it as a model for retail brand storytelling that resisted the gravitational pull of product spots. Awards followed, including festival shortlists at Cannes Lions and the Eurobest, and the platform became a frequent reference point in subsequent IKEA agency briefs across other markets.
Inside Sweden, the campaign also sustained itself commercially. IKEA Sweden has continued to release Where Life Happens films across the years that followed, and the agency relationship with Åkestam Holst NoA has produced further work inside the same editorial frame, including the brand's later forays into live media (private apartment windows used as out-of-home placements), and the May 2026 outdoor work FRAKTA Point-Of-You, which uses the same logic with a different mechanism.
What the platform set up
The deeper effect of Where Life Happens was structural. The campaign established a brand frame that IKEA Sweden could keep extending without renegotiating its premise. The premise (everyday domestic life is the real subject of the brand) survives translation across formats: a film, a poster, an outdoor system, a print insert. The mechanism (the price tag inside the situation) anchors each new execution to the brand without demanding that the situation be flattened.
For Åkestam Holst, the platform was the foundation of a long working relationship with IKEA Sweden that has continued through the late 2010s and into the 2020s. The agency's later IKEA work tends to be read through the same editorial filter the platform set up in 2016. The brand's job, in this reading, is not to interrupt domestic life but to be visible inside it.
Source: Creative Broadcast Youtube
