At Stockholm Design Week, Scandinavia’s Many Aesthetic Viewpoints Shine Bright (2024)

Salone del Mobile may be less than two months away, but this week in Europe, the design community was teeming with energy and buzzing with events thanks to Stockholm Design Week. The Furniture and Light Fair and a slew of associated presentations have grown into Scandinavia’s marquee annual event for design industry professionals.

At the fair, companies such as Kvadrat and Vestre set up colorful booths filled with new collections. Others, like Gemla and Materia, focused mainly on single product launches, while still more chose to focus their efforts on new colorways. Back in town, showrooms from the centrally located Montana to the seaside Fogia opened their doors to curious members of the press, with the former spotlighting eye-catching updates on design classics such as Verner Panton’s Pantonova seating system. Elsewhere, Space Copenhagen and Gubi staged a pop-up at Hotel at Six, the trio behind Finland’s Made by Choice took a head-turning approach to the tried-and-true presentation model, and Malmstenbutiken, the famous lamp shop first opened in 1940, showed off nine bewitching works in plant-inspired shades. Dubbed the Flora Collection, it was just one of many products, collections, exhibitions, and trends that bloomed brightly this week. Below are AD PRO’s top picks.

Svenskt Tenn’s First Sofa Since Josef Frank

A trip to Stockholm wouldn’t be complete without a visit to Svenskt Tenn. And this week, the waterfront store originally opened by Estrid Ericson and made famous in large part thanks to Josef Frank’s colorful, whimsical, and undeniably happy fabrics had substantial news to share. To coincide with the citywide festivities, the brand launched its first sofa since Frank’s own works. Designed by TAF, the Swedish architecture firm founded by Gabriella Gustafson and Mattias Ståhlbom, the piece in question was produced by O.H. Sjögren Furniture Factory in Tranås—which has been making furniture for Svenskt Tenn since 1982. The factory is one of many expert Swedish producers that the brand regularly relies on, and was intrinsic to the realization of the finished work.

As Svenskt Tenn’s creative director Thommy Bindefeld told AD PRO, it took Gustafson and Ståhlbom visiting Sjögren's facilities to grasp exactly what they were capable of. The result is the Famna sofa’s S-curved exterior shell—which is almost reminiscent of the shape of a deep claw-footed bathtub. It’s an appropriate form, as Bindefeld was hoping to create a work not unlike one of Frank’s own famously deep-set couches. Fittingly, its name is Swedish for “embrace.”

Hästens’s Debut Bedroom Furniture

Swedish luxury bedmaker Hästens is synonymous with their blue-and-white check print. But that doesn’t mean that the heritage brand doesn’t continue to innovate—as proved in part by their repeated partnership with . This week, the two parties unveiled their third and arguably most daring collaboration yet. On Monday afternoon at the floral-appointed former post office building, Swedish-Latina influencer Babba C. Rivera moderated a brief conversation as to what exactly this entailed. The answer was two nightstands and two benches, designed to complement Bernadotte & Kylberg's preexisting bed frames.

Besides the duo’s cubist inspiration, which naturally reinterprets Hästens’s signature motif, the inlaid wood construction of the Appaloosa and Marwari designs’ intarsia pattern was an obvious standout. Sustainably produced by the esteemed Tre Sekel in Tibro, Sweden, it exemplifies the commitment to craftsmanship of Oscar Kylberg and Prince Carl Philip—Bernadotte & Kylberg’s cofounders. While Sweden’s prince was unfortunately unable to attend the lunchtime launch, CEO Kylberg remarked to AD PRO at one point during the event, “Good design is all about research. The rest is just for amateurs.” An apt comment in the presence of designs distinguished in large part due to their art-historical references and technical prowess.

A “Wild at Heart” Exhibition at the Finlandsinstitutet

Finland may not technically be part of Scandinavia, but that doesn’t mean that its ties to its fellow Baltic Sea northern nation aren’t airtight. Case in point was the unveiling of the “Wild At Heart” exhibition at Stockholm’s Finlandsinstitutet on Monday afternoon. Past an entry hall in which a black-and-white variation of Marimekko’s signature floral print fabric could be glimpsed, Swedes and Finns mingled outside of the gallery space. Inside, curator Tero Kuitunen explained to the assembled guests how he went about selecting the under-the-radar Finnish artists and designers whose work was ultimately included.

A glimpse around the predominantly pink and yellow space revealed Kuitunen’s focus on color, as well as his interest in theatricality. Wild humor, social impact, and raw beauty were his designated stages—an exhibition design concept that was partially inspired by his childhood memories of the Moomin tales, another popular Finnish design export. Notable show standouts included glowing floral lamps, which looked as if they would be better suited to the moon than any earthly interior, and a series of glass works. “Wild at Heart” will be on view through April 4, then traveling elsewhere.

Artek’s Rope Chair by Ronan & Erwan Bouroullec

As any design or art student knows, line drawing is a bedrock of most creative schools’ curriculums. So it’s no huge wonder why French brothers Ronan and Erwan Bouroullec—known in part for works such as Paris’s new rectilinear Champs-Elysées fountains—would cast their minds to the technique when conceiving of their Rope Chair and Tupla Wall Hook for Finnish furniture company Artek.

In terms of elegance and construction, however, the chair was the indisputable standout of the two products. No doubt destined for many seaside beach homes in Europe and across the United States, the design’s almost nautical use of rope is also integral to its structural comfort because it allows the user to assume a variety of postures. Also of note is the chair’s beech plywood and ash veneer seat, which is designed to leave an imprint of the user. Available in black or light gray with polyester or flax ropes, the chair shows how steel tubing can combine with other materials to exemplify economy of style.

Wästberg’s Ilse Crawford Lamp

It’s a cliché to refer to a novel lighting collection as a bright idea—but Wästberg’s Stockholm Design Week presentation was chock-full of them. First and foremost was AD100 designer Ilse Crawford’s W203 Ilumina. The piece, which looks almost like a fantastical cross-pollination between a mushroom and a palm tree, was intended to be an update of a classic library lamp—and to glow in a manner reminiscent of an illuminated manuscript. In a departure from Wästberg’s often black, white, and steely tones, Ilumina’s glowing copper option helps the piece succeed in that final pursuit.

Also of note were the company’s W201 Extra Small Pendants. As their name implies, the designs are miniature versions of Wästberg’s popular conical pendant lamps by Claesson Koivisto. What’s not as immediately apparent, though, is just how charmingly tiny they are in person. Elsewhere, designer Dirk Winkel created a series of technologically advanced fixtures for the company, including the W181 Linier. A shockingly minimalist linear pendant lamp that would easily be camouflaged within any dark interior, its simple shell belies the 256 separate optical light systems that have been carefully included to cut down on glare. In addition, Wästberg unveiled a new color of its W102 Chipperfield. First launched in 2010, the updated version of the much-lauded David Chipperfield design celebrates 10 years since its debut.

Rosenthal’s Upcoming Tableware Collection by Sacha Walckhoff

While Rosenthal’s new Sacha Walckhoff dinnerware isn't officially available, the historic German porcelain manufacturer organized an intimate dinner at architect Andreas Martin-Löf’s home in order to give it a soft unveiling. The Christian Lacroix creative director—who now focuses exclusively on design and lifestyle projects—sought to create a magic garden complete with seeds, leaves, and blossoming flowers to illustrate the various life cycles of a plant. The collection, which possesses a striking sense of color and detail not dissimilar to that of Christian Lacroix's 1980s couture confections, is a tour de force of three harmonious yet distinct patterns.

The concept works perfectly for the Rosenthal brand, which has a Walter Gropius–designed greenhouse on its southern Germany premises (the flamingos are, sadly, no longer there thanks to nearby foxes, but the turtles still happily roam). But why debut these German-made works by a French-Swiss designer in Sweden? For starters, throughout his design process, Walckoff was inspired by Scandinavian depictions of nature.

Japandi’s Continuing Moment

Down a cobblestoned street and through an imposing gate lay one of the week’s most beautiful finds. Aptly titled “The Archive,” Hanna Nova Beatrice’s exhibition of Japanese and Danish design was staged in the Old National Archive in the central area of the city. Beatrice’s thesis is a simple yet well-illustrated one: that Japan and Denmark have natural aesthetic affinities. All around, works by Ariake, Le Klint, Arita, and Friends and Founders proved her point, thanks in part to the subtle styling by Annaleena Leino and art advising of Cecilia Tivar.

For interiors aficionados, the grand entry staircase, painted walls, and attenuated balconies were just as fascinating as the works on display (as was a special chute designed to help important papers make their escape in the event of a fire). Nevertheless, while the exhibition is only on view through the end of the week, Offecct’s Japanese garden–inspired furniture, presented at the fair, will undoubtedly help continue the clear and ongoing connection between Scandinavian design and the island nation throughout the year. In other words, the Japandi trend is far from over.

The Sound of an Emergent Focus

Somewhere in the midst of the Stockholm Furniture Fair's Hallway C, a colorful temple to the art and subtlety of sound stood out. The installation, which was meant to be reminiscent of stained glass windows, helped acoustics company Baux hold its own within the fray. Inside, however, the company’s message is what came across loud and clear. Thanks to the likelihood of noise-induced stress (think open offices) and hearing loss (all that loud music playing through AirPods), acoustic solutions are more important than ever. (It’s no wonder that Baux, whose products are environmentally friendly, counts Stella McCartney, Google, and Nike among her clients.)

The brand’s new message, however, came in writing. Launching at the fair was their The Book of Acoustics, a full text designed to help educate interior designers and architects on the science and nature of sound, as well as how it can and should be addressed in their projects. The informative tome may be available through Baux’s website, but its message was perhaps best heard in person. As one company cofounder said during their presentation, “I think sound is where light was 10 years ago.” In other words, acoustics is an industry on the verge of significant growth and transformation.

Carl Hansen & Søn’s Designs for the Future

Carl Hansen & Søn is one of a handful of Danish design heritage brands that Swedes no doubt can’t help but envy. Nonetheless, protecting a legacy while growing a heritage house is no small challenge, particularly in the novelty-obsessed 21st century. That’s why Knud Erik Hansen—Carl Hansen's grandson—was on hand in Stockholm this week, making an impassioned and articulate case on behalf of his family company. At the furniture fair, the brand’s newly released oak oil and cane bench drew eyes, thanks in part to its beautiful twill basket weave wicker and carefully carved joints. Those joints dovetailed well with the also-just-produced modular seating options on display, an undoubtedly savvy piece to hand-pluck out of the company’s ample archives.

Back in town, designer Mads Odgård was at Carl Hansen’s Stockholm store to discuss his light fixtures—produced by and available through none other than Hansen’s third-generation leader. While Odgård explained how the pieces were first designed for his own beach house, the jovial company owner and CEO joked how nice it was to work for a change with a living designer. So what’s next for the beloved purveyor of Hans Wegner’s iconic Wishbone Chair? Definitely not a sale, but hopefully more growth. After all, as Hansen said, he plans to leave the company to his own two sons.