She approached the New York company entirely on her own, a rather courageous step that led to an interesting period of collaboration. Some of her designs for Esprit were used for bed linen and other products, but quite a bit of the material that she submitted became a source of inspiration for new trends. Back home, the upholstery for Danish trains crossing the new bridge between Denmark and Sweden is a Rohland design. And Paustian, a major Danish furniture company, recently asked her to create a line of bed linen. Nonetheless, she has little expectation of becoming a big name in Danish design.
Opportunities abroad seem much more appealing, and certain contacts have already been made.
Rohland points to a Scandinavian quality in her work, which currently features subdued colours and fine fabrics. Her palette was far bolder in the early '90s, but nowadays she allows the motifs to dominate, while colour recedes more or less into the background. A recurring theme that first surfaced in the '90s revolves around plus and minus signs. These primary shapes have been a source of endless inspiration. A more recent design bears a discernible resemblance to flowers.