In the 21st century, the Danish design tradition lives on as inspiration to a new generation of designers. Over the second half of the 20th century Danish design has developed, and today the expression is broader than the familiar stylistic icons from the 1950s and 1960s.
The Danish Design DNA
In a country where the winter months offer little daylight, the home and interior design are a high priority. The Danes indulge in outdoor activities in the summer, but in the winter they seek shelter indoors and spend most of their time at home. Consequently, the Danes spend more time and money on their home than most other people in the world. Design furniture is passed down from generation to generation and design has become accessible to everybody. Thus, design has always played a key role in Danish living – practically becoming part of the Danish DNA.
The old masters
Initially, Danish design was a child of its time: frugal post-war years with a shortage of materials and the ensuing demand for durability, and a vital tradition for high-quality craftsmanship. In the coming years, a range of outstanding designers created world-class designs and became what we today have come to recognise as world-famous design icons: Arne Jacobsen, Finn Juhl, Kaare Klint, Mogens Koch, Børge Mogensen, Verner Panton, Jørn Utzon, Hans J Wegner and many others.
Design for the user
Danish design added new dimensions to the general perception of design worldwide. The Danish design approach emphasized an organic functionalism that was far removed from the hard, geometrical shapes of international functionalism. A key element was the genuine interest in the user and in functionality. The characteristics that developed were user-friendliness, respect for the materials and an ambition of simplification and of achieving a certain honest and simple beauty.
Design is more than a chair
Today’s critical, individualistic consumers and the general awareness of environmentally sustainable development are reshaping the conditions for Danish design and challenging designers and manufacturers to seek new paths. The view on design has changed from a focus on styling to design as an integrated component of both strategy and development. This is true of product design, service design, graphic design, the electronic media etc.
... but a chair is still design
Danish furniture design now is not as homogenous a concept as it was in the 1950s and 1960s, but it is still characterized by a common perspective and approach, which are evident in recognisable expressions and quality standards.
Today, there is renewed interest in Danish furniture design, and Denmark is once again standing out as one of the countries involved in setting the agenda and determining the future direction of design.
The future generation
The new generation of designers is characterized by a continued interest in simple form, a respect for materials, high quality craftsmanship and a belief in the power of design to improve the quality of life. Many Danish design firms are currently launching new, distinctive design classics. New design firms including Hay, Muuto, Normann Cph and Gubi emphasize innovation, humour and a uniquely Danish expression when they select the designers to produce their furniture. Modern design classics such as Gubi Chair and Loop table from Hay are an indication of the many interesting furniture designs we can expect from Danish designers in the future.
Companies such as Fredericia Furniture, Erik Jørgensen and Fritz Hansen have supplemented their production of Danish design classics with designs by contemporary designers. For example, Thomas Pedersen has designed the rocking chair Stingray for Fredericia Furniture; a chair that clearly has its origins in the design classics but which has acquired an entirely new expression through the use of 3D technologies.