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Danish Design
The Danish company Fritz Hansen is one of the major pillars of Scandinavian design, whose history and aesthetics it has helped to shape. It is also one of the historical partners of Scandinavia Design, which is one of the best connoisseurs and one of the most important European retailers. Our showroom located near Angers, France, will allow you to discover the main products.
The history of Fritz Hansen started when cabinet-maker Fritz Hansen opened his factory in Copenhagen in 1872. Fritz and his son Christian initiated a high quality furniture production in 1885 and earned a strong reputation while furnishing prestigious institutions like the University Library, the Copenhagen City Hall and the danish Supreme Court [Read More].
Arne Jacobsen is born on February 11, 1902 in Copenhagen. His father, Johan Jacobsen, is a wholesale trader in safety pins and snap fasteners. His mother, Pouline Jacobsen, a bank clerk, paints floral motifs in her spare time. The family lived in a typical Victorian style home. As a contrast to his parents’ overly decorated taste, Arne paints his room in white.
Background & school relations
He met the Lassen brothers at Nærum Boarding School: later, Flemming Lassen was to become his partner in a series of architectural projects. Arne Jacobsen is a restless pupil, always up to pranks, with a self-deprecating humour. Already as a child, he showed an extraordinary talent for drawing and depicting nature through scrupulous studies. He wants to be painter, but his father felt that architect was a more sensible choice.
The Pleasant and the necessary trips abroad
Jacobsen’s travelling begin already in his twenties, when he went to sea to New York. Then followed an apprenticeship as a bricklayer in Germany and a series of study and drawing excursions to Italy. Jacobsen produced some of his finest watercolours during this period, capturing atmospheres and shapes accurately and carefully. From the beginning of his career, Jacobsen turned his gaze abroad, without abandoning Danish traditions.
Arne Jacobsen behind the design
Jacobsen production reflects his personality: an insistent, perfectionist modernist, to whom no detail was trivial, although the main picture was basically black/white and unambiguous. On the other hand, the nature-loving botanist and jovial family man: like him, his work is precise and warm, Danish and universal, modern and timeless.
Acclaimed for his distinctive style of furniture design, Poul Kjaerholm was born in Øster Vrå, Denmark in 1929. His pieces are considered to contain a minimalist and articulated form, all in relief with a style that is still famous around the world.
From modest beginnings as a cabinetmaker apprentice at the Gronbech workshop in 1948, Kjaerholm continued to forge his ideology at the Danish School of Arts and Crafts in Copenhagen. Far from shunning the majority of his Scandinavian counterparts, the Dane chose steel as the main material rather than wood. "The potential of steel is not the only thing that interests me, the refraction of light on its surface is an important part of my artistic work. "
Awarded the prestigious Lunning Prize in 1958 and the Trennali Grand Prix in Milan in 1960, Kjaerholm's drawings continue to be featured in the permanent collections of the New York Museum of Modern Art, the Victoria and Albert Museum in London. in many other museums across Denmark, Norway, Sweden and Germany.s à travers le Danemark, la Norvège, la Suède et l’Allemagne.
Paul McCobb (1917-1969) was one of the leading contemporary furniture designers on the American design scene in the 1950s and 1960s. Over a timespan of twenty years he designed an impressive range of multi-functional furniture, accessories and textiles, as well as several notable interior design projects. Since his early death in 1969 his designs have not been in production, but are now making their way back to the market through a range of upcoming reissues.
Paul McCobb first came to prominence in 1948 as a design and decorating consultant for Martin Feinman’s Modernage Furniture in New York City. While employed at Modernage, McCobb met B. G. Mesberg, his later business partner in the Planner and Directional furniture lines.
Best known for his furniture designs, McCobb also designed radios and televisions for CBS-Columbia, Hi-Fi Consoles for Bell & Howell, along with other household items. He acted as design consultant to many leading corporations, including Singer, Alcoa, Goodyear, Columbia Records, and Remington Rand. For years, he traveled throughout America for speaking engagements, panel discussions, and appearances on radio and television talkshows, and he had his own syndicated design column in newspapers across the country.
Besides his public engagements, he taught design at Philadelphia Museum School of Art.
Paul McCobb’s design aesthetic is simplicity of form with a lack of ornamentation. Inspired by his New England upbringing and influenced by Shaker Design, McCobb combined slender lines with sculptural forms. He offered a playful take on traditional forms with hints of Scandinavian craftsmanship and International style clarity, often made with affordable and robust materials such as iron, solid wood and durable upholstery.
Piet Hein (1905-1996) was a an architect, a mathematician and a poet. He was a real master of Science and Art, and he made Danish cultural life a little richer, a little prettier and a little more spiritual with his branded line, square head and quirky language. A rare ability to bring together poetry, geometry and design in harmony, where function and art have the same importance.
These are the characteristics we know from Piet Hein and this is what shows up in each of his design products, from furniture to games and lighting. All are inspired by the spirit of Piet Hein and created from the best materials, with the greatest attention to detail.
Bruno Mathsson was born in 1907 in Värnamo, Sweden. His father, Karl, a fourth generation master cabinetmaker, introduced his son to new technologies applied to wood very early on. Mathsson, a self-taught designer and architect, inspired by the functionalist movement, and, following in his family's footsteps, spent much of the 1920’s and 1930’s studying the functional capabilities of wood.
Mathsson's furniture is made to have curves and height, and is thus designed to ensure a certain functionality and ergonomics. He exhibited a collection of bentwood furniture at the Universal Exhibition of 1937 in Paris, thus launching his international reputation. Her Eva Chair (later called Work Chair) was purchased for public spaces in the run-up to the opening of the Museum of Modern Art in New York. In 1939, he exhibited at the New York World's Fair, and strengthened his popularity in the United States. In the 1950’s he turned his attention to architecture, often later incorporating large glass pieces into residential projects. The 1960’s allowed him to refocus on furniture and thus to embark on the work of tubular steel. He collaborated remarkably with Piet Hein, a Danish mathematician, to create the Super Ellipse Table, which rests on slender legs giving the impression that the table is hovering in the air.
Born in Madrid in 1974, Jaime Hayón has one of the most glittering careers in recent contemporary design. Although trained in Madrid, he forged his reputation at Fabrica, the creative breeding ground run by Benetton near the Italian city of Treviso. Arriving in 1997, at the young age of 24, Hayón worked for Oliviero Toscani, who would soon place him in charge of the design department. It was at Fabrica that Hayón first worked with BD on the Mail Me project.
In 2004, he decided to branch out on his own, settling in Barcelona and working on a number of projects while also exhibiting his more personal work in art galleries. The exhibition “Mediterranean Digital Baroque”, at London’s David Gill Gallery, and the bathroom collection he designed for ArtQuitect marked the start of his meteoric international rise, which was established with the Showtime collection for BD and his subsequent work with companies such as Metalarte, Camper, Lladró, Bisazza, Swarovsky, and Moooi.
Kasper Salto was trained as a cabinet maker from 1985 to 1988 at the workshop of Jørgen Wolff in Hellerup, DK. In 1989 studying Industrial design at The Danish design school in Copenhagen, and later a semester at Art Center in Switzerland . After graduation he worked freelance at the studio of Rud Thygesen where he met Peter Stærk who was the founder of Botium, a well-known furniture brand in DK.
Peter Stærk was the manufacturer of the Runner chair that became known in Denmark, winning five international design prizes such as the Japanese G-prize. The design of the Runner chair started the career of Kasper Salto. The chair was spotted at The SE-design exhibition in 1997 by Bjørn Stegger, the designmanager of the furniture company Fritz Hansen, and it led to a long lasting relation. Kasper Salto started his own studio in 1998, working with Fritz Hansen and developing successful products from 1999, such as the ICE series, LITTLE FRIEND table and the NAP series.
As early as 2006 Sebastian Herkner established his own studio and has since then been involved in freelance projects for various companies and institutes.
‘There is a sensitivity and identity to my work that emphasizes the function, the material and the detail. I transport and interpret characteristics from various contexts of society and culture and implement them in new artifacts. This character infuses the most everyday objects with respect and personality. In this manner, seemingly contrary things can experience esteem.’
Since graduating from Offenbach in 2007 he has worked as assistant in the Product Design faculty and is in charge of projects in the realm of integrated design. As early as 2006 Sebastian Herkner established his own studio and has since then been involved in freelance projects for various companies and institutes. Alongside the design of exhibitions and trade fair presentations his second focus is on designing everyday objects. He is influenced in this by his observations of people and their actions. In this context it is important to look beyond your own disciplines in order to achieve a value-added for the user.
Sebastian Herkner is not so much influenced by trends or current consumer criteria, because what interests him is a collage of simple techniques and traditional materials coupled with a simple mechanical principle and an unambiguous function. His idea of sustainability consists of employing traditional manufacturing techniques and their unique character. He then combines and interprets this by employing new technologies and finishing methods. In spring 2010 his occasional table Bell-Table was presented in New York in the collection of Spanish manufacturer ABR, which also received the red dot award 2010.
Nendo design studio is synonymous with designer Oki Sato, born in 1977 in Toronto, Canada.
In 2002 he founded nendo design studio. nendo means ’clay’ in Japanese – or more specifically, modelling clay such as plasticine. A unique material that makes it easy to do creative modelling. As Oki Sato explains: ”The name is appropriate for a studio that needs to develop design solutions for a host of very different clients”
Oki Sato does not look at design like many iconic designers, who have focused on the mantra, ’form follows function’. He also looks at the history behind the product and its design.
His expression is minimalist, but contains small signs and details that immediately arouse memories. He employs soft, friendly shapes which make his designs appear comfortable from first sight.
Bodil Kjær is an influential Danish designer and professor. She has designed an important number of furniture pieces or rather "architectural elements" as she usually calls them.
The Danish designer has traveled around the world, which inspired her greatly. Not only were her designs groundbreaking, Bodil Kjær also actively participated in spreading the Danish Modern design principles. She wanted to create functional furniture systems that could work both in private areas and in work environments. Her work was touched by the relationship between design and architecture that she has great knowledge of.
Throughout her career, Bodil Kjær kept on traveling. After school, she studied architecture in London and later learned to create spaces alongside experts such as Finn Juhl and Jørgen Ditzel. After a year in the United States she founded her own studio in Copenhagen in 1960. Then, after having received a scholarship to further her studies at the Royal College of Art and the Architectural Association School of Architecture in London, she stayed there until 1979. There, she worked as a senior architect and later on established a studio that worked on projects such as residential homes cooled using solar energy.
Bodil Kjær also taught at prestigious universities like Harvard, the Pratt institute or the Royal Academy Architecture in Copenhagen.
In the handful of years since Danish designer Kasper Kjeldgaard graduated from the Royal Danish Academy of Fine Arts, he’s well and truly earned himself a seat at the table. In an extraordinarily short space of time, he’s been crowned Craftsman of the Year at the Danish Design Awards, received the DUKE grant from the Danish Arts Foundation and scored a permanent collection at Designmuseum Danmark.
Kjeldgaard’s work has a refined expression with a clear emphasis on craftsmanship. From permanent public or private installations to interior design objects and lightning, his work has gained international recognition and been exhibited in Los Angeles, Miami, New York and Milan.
Kjeldgaard is occupied with certain aspects of nature – particularly gravity and friction – and he explores how design and objects can move us closer to an understanding of the nature around us. Abstract, functional yet poetic in nature, his work stems from a range of techniques and materials, blurring the boundaries between art and design.
Born in 1972 in the Danish town of Odsherred, Cecilie Manz lives and works in Copenhagen. In 1997, she graduated from the Royal Danish Academy of Fine Arts (design, objects and furniture section). She continued her training at the University of Art and Design in Helsinki, then she founded her own studio in Copenhagen in 1998. Embodying Scandinavian creativity in all its simplicity, Cecilie Manz designs furniture, lamps and a set of home products. Celebrating the Nordic art of living, she subtly mixes gray tones and brighter colors.
Alongside her activity with brands, Cecilie Manz continues to work off-set on experimental and more sculptural projects which make up an important part of her work and her approach: “I view all my works as fragments of one big, ongoing story, where the projects are often linked or related in terms of their ideas, materials, and aesthetics, across time and function.»
The fame of his work is international. She won the Thorvald Bindesbøll Medal in 2011 (Denmark), the Bruno Mathsson Prize 2009 (Sweden), the Berlin Kunstpreis Prize in 2008 (Germany), the Finn Juhl Architecture Prize in 2007 (Denmark), The Cultural Prize of the crown in 2014 (Denmark), the honorary prize E. Kold Christensen (Denmark), the title of Designer of the year at the Salon Maison & Objets in Paris in 2018 and that of Chevalier des Arts et Lettres in 2019 ( France). Cecilie Manz works with many big brands such as Fritz Hansen, Bang*Olufsen, Fredericia, Iittala, Muuto, Nils Holger Moormann, Nikari, Georg Jensen Damask, Gloster Reform, TAKT and many more.
Michael Geertsen is a Danish designer born in 1966. He initially trained as a potter at Stensved in 1988, then graduated from the industrial design department of the Royal Danish Academy of Fine Arts and Design in 1993.
Michael Geertsen has a variety of creations to his credit with Fritz Hansen, Muuto, Kähler, and many more. Michael Geertsen is internationally renowned and his works are represented at the Metropolitan Museum, Cooper Hewitt National Design Museum and MAD / Museum of Arts and Design, all in New York, The Victoria and Albert Museum in London, and Designmuseum Danmark in Copenhagen. In 2012, he created a permanent installation at the V&A in London.
Jo Hammerborg grew up on the outskirts of Randers in a regular middle-class family. He trained as a silversmith, participated in Denmark’s resistance and struggle for freedom in 1940-45 as a saboteur, studied at the Royal Danish Academy of Fine Arts and worked as a silversmith at Georg Jensen. In 1957, he was hired as chief designer at the lamp manufacturer Fog & Mørup, where he worked until 1980.
He was a pronounced idea person and entrepreneur, who throughout his entire life initiated and developed the things he was passionate about. He was a key driving force for Fog & Mørup, and it was under his leadership that the company experienced their most creative and commercially successful period. With a distinct design philosophy, great insight in elimination technique and a profound understanding of form, function and aesthetics, he created over 180 different designs of lamps, several of which have received international awards. In 1980, Fog & Mørup underwent a series of mergers, and in the late 90s they ceased production of his designs.
In his private life Jo Hammerborg was an active and very versatile athlete who, along with his professional career, was also a pioneer in parachuting and flying. In a tragic manner, it was his great passion for skydiving that cost him his life when, at the age of only 62, he died in an accident.
And now decades later, when his coveted lamps are in high demand, it is once again possible to buy a newly manufactured Jo Hammerborg lamp. Fritz Hansen has, in cooperation with the Hammerborg family, decided to relaunch the Orient pendants. Jo Hammerborg’s innovative contributions to Danish lamp design have a natural place in the 21sh century.
Ahm & Lund is a Copenhagen-based design studio founded by designer Isabel Ahm (b.1980) and cabinetmaker Signe Lund (b.1991). Both work on the border between craftsmanship and design with a common belief in sustainable design. They design their products from deep, empirical thinking.
They met at the "Skud på Stammen 2016" exhibition, the equivalent of "budding talents", an initiative of the "NEXT" carpentry school in Copenhagen. As part of the television program "Denmark's Next Classic", they decided to join forces and create their studio.
Sidse Werner (1931 - 1989) studied at the School of Architecture and Industrial Design in Copenhagen and worked for a few years as an assistant to Nanna Ditzel. In 1969, she received a scholarship from the National Bank of Denmark to study plastics production in the United States. From 1970, she ran her own design office, where she designed numerous pieces of furniture, textiles, glasses and lighting. Sidse Werner has also exhibited his work at exhibition centers in London, Paris, New York, San Francisco, Cologne, Frankfurt, Hanover, Tokyo, Stockholm and Milan. Notably known for her work with glass, she believed that this material would always be abundant, useful and bring incomparable beauty, regardless of fashions and other artificial products. The Glass Historical Society (Glashistorisk Selskab Holbæk in Danish) in Holbæk, Denmark exhibits many of Werner's works.
"Better to have one good thing than ten indifferents," she said.
Founded in 2008, Studio Roso is a creative partnership between Danish designers Sophie Nielsen and Rolf Knudsen.
The studio merges horizons in architecture, art and design; making work that radiates the ephemeral nature of our environment.
The studio is the heart of the practice where the two designers model, fabricate and develop prototypes and concepts.
This hybrid practice allows Studio Roso to work within the built environment, creating site-specific sculptures on a more intimate scale.
Rolf and Sophie are both graduates of the Royal College of Art.
Christian Dell was a German goldsmith and designer. From 1922 to 1925, he was the leader of a team of designers working with metal at the Bauhaus in Weimar, impelling a new design style that broke with the past.
The Bauhaus occupies a special place in the intellectual history of the 20th century, particularly in the fields of architecture, design, art and media. It was one of the first centers of design education and brought together many of the most important artists and architects of their time.
"The motto of the Nautilus was "Mobilis in mobili", which means "change in change" or "movement in mobility".
This describes not only how we at ISKOS - BERLIN approach our work, but also the history of the company."
ISKOS - BERLIN Design is a partnership between Boris Berlin and Aleksej Iskos, born in 2010 after several years of collaboration. Indeed, in 1987, Boris co-founded Komplot Design where Aleksej was employed as an assistant for more than 11 years. This long and fruitful cooperation allowed them to develop a common design philosophy: it's about telling stories. Each design has a complex story, mixing elements as diverse as semantics, technology, morphology, materials and functionality. Each object has its own narrative, some carrying clear and functional stories and others more surprising and poetic.
Nicholai Wiig Hansen is the son of a creative couple. His mother, Leila Sallyman, was an accomplished ceramist, and his father, Svend Wiig Hansen, a world-renowned sculptor and painter. Art and design were always an important part of the young Nicholai Wiig Hansen's life, and he preferred museums to classrooms. It was then that he developed a particular attraction to primitive folk art, an art form that combines the functional and decorative aspects.
With his creative drive and great enthusiasm, Nicholai Wiig Hansen never doubted that he would work as a designer and launched his own design studio at the age of 26. Working with many brands, Nicholai Wiig Hansen has designed an extremely diverse range of products from chairs and tables to lamps and ceramics. Sensitive to light, to the aesthetics of proportion, he has a great sense of detail and each element of his designs carries a functional or aesthetic purpose.
As a teacher at the Swiss art school ECAL (École cantonale d'art de Lausanne), and as artistic director of his own brand, Nicholai Wiig Hansen is an inspiration and tries to facilitate the emergence of new talents.
Creating things for people. This is the main theme of probably Denmark's most famous architect: Jørn Utzon. He graduated from the Royal Danish Academy of Fine Arts in 1942, then developed his talent in studios such as Alvar Aalto's in Helsinki. This inspiration helped Jørn Utzon to gradually optimize his talent to create an architectural and organic space while maintaining respect for people, nature and his environment.
Jørn Utzon has clearly drawn a parallel between music and light. Both are crucial to feel emotions. In developing his designs for Fritz Hansen, he has ensured that light always elevates the atmosphere of a room, whether it is used to create a warm atmosphere, for a particular function or to inspire ideas. The design of his first lamp for Fritz Hansen - Lightyears is an ode to the Sydney Opera House. It is through his designs that Jørn Utzon's portrait as a lamp designer and architect of the highest international stature is completed.
Born in 1985, Danish architect Mette Schelde works experimentally with everyday situations to design functional objects and architectural creations.
In 2012, Schelde established the studio from which she designs furniture and lighting and works on her architectural projects. Through simple constructions, Schelde combines traditional yet sensual materials such as wood, glass and metal into a singular sculptural universe.
Her creative process, from sketching, through modeling, construction, and testing, is guided by intuition and by the manifesto she wrote in 2016. Her background in architecture is of paramount importance in her design process. Her approach focuses on interactions - between object, context and human - to be able to explore the function of objects and spaces in all its dimensions.
Mette Schelde Studio has received several nominations and awards and is supported by the Danish Art Foundation. The STUB side table, in which the base ingeniously locks the glass circle in position, is Mette Schelde's first design for Fritz Hansen.
Japanese designer born in 1965 and based in Tokyo, Fumie Shibata graduated from Musashino Art University. After working for a large manufacturer of electrical products, she founded her own studio, Design Studio S, in 1994. Drawing inspiration from industrial design, her design is aimed at different fields, from small everyday electronic objects, through creations for capsule hotels and their specific constraints, to highly technological objects intended for healthcare establishments.
Now a professor at Musashino Art University, Fumie Shibata is the author of the book "Forms within Forms" in which she traces her development as a freelance designer. Design Studio S has received numerous awards of excellence such as the iF Gold Award, the Design for Asia Top, Culture and the Gold Awards. Fumie Shibata also chaired the selection committee for the Good Design Awards 2018-2019.
Lars Holme Larsen, Bjarke Ingels and Jens Martin Skibsted collaborated off and on for several years before founding KiBiSi in 2009. The powerful trio launched the idea-driven design company to fully exploit the synergy of their successful design companies and architectural firms: Kilo Design (Ki), BIG architects (Bi) and Skibsted Ideation (Si). Today, KiBiSi is considered one of the most influential design groups in Scandinavia.
The founders of KiBiSi have a common penchant for the good and rigorous idea. An eternal effort to deliver sincere, serious and intelligent products that clearly communicate the original idea. The trio of designers often explore the potential of crossing elements from different disciplines to create non-traditional, functional and aesthetic solutions.
With a holistic perspective and an architectural idea, KiBiSi created their first lighting design for Lightyears and the result is both surprising and obvious. Based on a common interest in cinema, this universe was chosen as the theme for the inspiration for the products and the titles highlighting the iconic character of the designs.
A liberated and experimental approach to the design process combined with a keen eye for the latest production techniques are the watchwords of Komplot Design. The design duo is one of the most innovative Danish design companies that have succeeded in both continuing and renewing Danish design traditions and at the same time keeping up with the latest international developments. The designers/architects Boris Berlin and Poul Christiansen founded Komplot Design in 1987.
According to Boris Berlin and Poul Christiansen, good design is more than just a solution to the main functional problem. Good design also includes cultural, philosophical and aesthetic elements. For this reason, the result is always extremely personal and strongly influenced by the cultural background and experiences of the designers.
In their work to create the first series of lights for Lightyears, the designers of Komplot were inspired by the world's greatest creator and inspiration: Mother Nature. The design universe is called "Shapes of Nature" and it underlies this fascination and inspiration.
Stine Gam was born in Copenhagen, Denmark in 1975. She graduated as an architect with a master's degree in Furniture Design. Enrico Fratesi is an Italian born in 1978. He studied architecture and earned a master's degree in Industrial Design.
Gam and Fratesi gained experience as architects in several architectural firms in Japan and Scandinavia before opening their own design studio in 2006. The studio is based in Copenhagen, although Gam and Fratesi are constantly on the move between Italy and Denmark for development and research of new projects.
The language of GamFratesi develops as a fusion between tradition and renewal, in an experimental approach on materials and techniques used. With their dual tradition, Stine Gam and Enrico Fratesi design on the basis of the classic Danish furniture based on craftsmanship, integrating an Italian approach to the typically conceptual project. Understanding tradition and actively dealing with the creative process in the laboratory are the tools the studio uses to evolve.
The results are projects that reflect tradition by incorporating stories, symbols and associations, often expressed through a minimalist language. GamFratesi aims to create products that clearly illustrate the process and techniques that created it, reflecting a persistent exploration of the boundary between harmony and discord.
GamFratesi have received major awards: design award Elle Decoration International (EDIDA) as International Young Designer of the Year 2013, Guest of Honor Stockholm Furniture and Light Fair 2014, Golden Compass / ADI Selection, Nomination Best Designer Icon Design Award 2014, Vico Magistretti Award by De Padova, Good Design Award by Chicago Atheneum Museum of Architecture, Best Danish Designer 2012 by Bolig Magasin, 'Walk the Plank award 2009′ and Best Danish designer 2009 by RUM.
Their work has been featured in numerous exhibitions, Milan Triennale, Copenhagen Museum of Art and Design, Trapholt Kolding Museum of Art, Litta Palace, Shanghai and in Mindcraft group exhibitions in Milan, Danish Embassy in Tokyo, and Design in Miami/Basel.
Italian Piero Lissoni is a renowned designer and architect who graduated from Polytechnico in Milan. In 1986, Lissoni founded the Lissoni studio. Since then, Piero Lissoni has worked with a dense list of design brands, such as Boffi, Cassina, Kartell, Living Divani and Flos, on a wide variety of furniture and lighting designs.
Lissoni's projects are often complete, full-scale interiors and architectures of hotels, offices and showrooms, yachts and private homes. He is inspired by many elements but also by designers such as Danish Arne Jacobsen and Poul Kjærholm. Piero Lissoni's design principle is never to design for a specific function or purpose, but to design for human beings. For Fritz Hansen, Piero Lissoni designed the Lissoni series in 2006 and, in the fall of 2008, Alphabet ™, a new series of modular sofas.
The history of Fritz Hansen started when cabinet-maker Fritz Hansen opened his factory in Copenhagen in 1872. Fritz and his son Christian initiated a high quality furniture production in 1885 and earned a strong reputation while furnishing prestigious institutions like the University Library, the Copenhagen City Hall and the danish Supreme Court.
Early on in the century, Christian started experimenting with steam bending beech and, in the Thirties, Fritz Hansen became the world leader in the field, which later evolved into the firm’s speciality: Furniture created in laminate wood.
Thanks to collaboration with designer Kaare Klint, Fritz Hansen contributed to the development of what became worldwide famous as the scandinavian style, an adjusted variant of Germanic functionalism, with purer and lighter lines.
New collaborations started after the war, with prestigious designers like Hans Wegner (China chair, 1944) and Børge Mogensen (spoke back sofa, 1945), but it's the name of Arne Jacobsen which dominates the period. The collaboration started in 1934. The breakthrough comes with the laminated Ant chair, and few years later with the never-ending success story of the Series 7 chair. Arne Jacobsen shines even brighter with the creation of the Egg and the Swan, designed for Royal Hotel in Copenhagen, and the Series 3300. Verner Panton also appears on the scene (Bachelor chairs), but the story of the firm stays dominated by Arne Jacobsen.
In the 1980s, Fritz Hansen purchases the minimalistic Kjærholm Collection, which Poul Kjærholm designed from 1951 to 1980, with an industrial dimension.
Thanks to its long history, the Fritz Hansen catalog includes many timeless Scandinavian design icons, with lines that are as relevant today as they were then.
Many of these icons are the work of Danish architect and designer Arne Jacobsen, whose personal history is intertwined with that of Fritz Hansen.
These include the Series 7, Ant and Grand-Prix chairs, as well as the Egg and Swan armchairs.
Let's also mention one of the most famous tables of Scandinavian design, the Super-Ellipse Table, a collective work by Piet Hein, Bruno Mathsson and Arne Jacobsen.
Another emblematic designer of Fritz Hansen, the Danish Poul Kjærholm, author of the PK22 lounge seat and the PK61 coffee table.
Fritz Hansen has been able to extend its rich heritage by forging numerous collaborations with the best contemporary designers, some of whom are already well known, others emerging talents.
Among them are the Japanese Oki Sato, the Spanish Jaime Hayón, the German Sebastian Herkner or the Danish Mette Shelde.
After acquiring the rights for iconic German Bauhaus lamps Kaiser Idell, Fritz Hansen bought and integrated the Danish company LightYears, with its rich catalog, which allowed it to cover a wide spectrum in the field of design lighting.
Price Guarantee
Offering design at the right price is an integral part of our work. If you find the same item at a lower price at another retailer, delivery included, we will not only match it, but even offer you a better price.
How to take advantage of it?
We compare our prices every day with all authorized retailers in Europe. If nevertheless you find cheaper, contact us for a counter-proposal.
We must be able to verify that the item is authentic, new, perfectly identical (size, materials, color, etc.)
and that it is not part of a campaign or temporary destocking.
The valid basis is, for example, a current quote or a direct link to another retailer's website where the lower price is indicated. An email image is invalid, the original email must be forwarded.
The offer does not apply to orders already placed and cannot be combined with any of our other offers or promotions.
Price Guarantee
Offering design at the right price is an integral part of our work. If you find the same item at a lower price at another retailer, delivery included, we will not only match it, but even offer you a better price.
How to take advantage of it?
We compare our prices every day with all authorized retailers in Europe. If nevertheless you find cheaper, contact us for a counter-proposal.
We must be able to verify that the item is authentic, new, perfectly identical (size, materials, color, etc.)
and that it is not part of a campaign or temporary destocking.
The valid basis is, for example, a current quote or a direct link to another retailer's website where the lower price is indicated. An email image is invalid, the original email must be forwarded.
The offer does not apply to orders already placed and cannot be combined with any of our other offers or promotions.
The history of Fritz Hansen started when cabinet-maker Fritz Hansen opened his factory in Copenhagen in 1872. Fritz and his son Christian initiated a high quality furniture production in 1885 and earned a strong reputation while furnishing prestigious institutions like the University Library, the Copenhagen City Hall and the danish Supreme Court.
Early on in the century, Christian started experimenting with steam bending beech and, in the Thirties, Fritz Hansen became the world leader in the field, which later evolved into the firm’s speciality: Furniture created in laminate wood.
Thanks to collaboration with designer Kaare Klint, Fritz Hansen contributed to the development of what became worldwide famous as the scandinavian style, an adjusted variant of Germanic functionalism, with purer and lighter lines.
New collaborations started after the war, with prestigious designers like Hans Wegner (China chair, 1944) and Børge Mogensen (spoke back sofa, 1945), but it's the name of Arne Jacobsen which dominates the period. The collaboration started in 1934. The breakthrough comes with the laminated Ant chair, and few years later with the never-ending success story of the Series 7 chair. Arne Jacobsen shines even brighter with the creation of the Egg and the Swan, designed for Royal Hotel in Copenhagen, and the Series 3300. Verner Panton also appears on the scene (Bachelor chairs), but the story of the firm stays dominated by Arne Jacobsen.
In the 1980s, Fritz Hansen purchases the minimalistic Kjærholm Collection, which Poul Kjærholm designed from 1951 to 1980, with an industrial dimension.
