Olof’s ability to synchronize different eras of classicism while maintaining a masculinity and femininity at the same time in his dress is exemplary. He is at once Medieval viking, with his Nordic bone structure, dramatic long hair, and hooded shrouds, an early nineteenth-century European gentleman with his high- waisted trousers, buttoned knit henleys, and blazers, and 2010, in his almost perfect blend of fragility and strength. So agile in his ability to transcend the gender stereotypes, he is often mistaken for being a girl and for being the heroic warrior, Legolas in Lord of the Rings. And so adept in avoiding fads but staying current, Olof does not buy anything too recognizable from a designer (such an important and hard lesson to learn if you want to avoid sinking into ordinary-ville). Instead, he opts for the always eternal riding boot (that he wears with his pants tucked in) and important antique gem stoned rings (that he wears on his index fingers and are what send me over the moon). In fact, Olof has such a strong comfort in his identity in dressing like the cultivated transatlantic-man that he is, that he spends forty-five minutes every morning eating the breakfast of champions (green tea, yogurt and granola, two Swedish sandwiches, and grapefruit juice) and five minutes on getting dressed. There is a great lesson here in not getting too caught up in trends and then ending up with an identity crisis.