THIS IS WHY THE AGE OF SCANDI MINIMALISM MIGHT BE OVER
Close your eyes and think of Scandinavian design. What comes to mind? Simplicity, shades of beige or greige, stark minimalism? Throughout the 20th century, Nordic masters – Børge Mogensen, Arne Jacobsen, Poul Henningsen, the Aaltos and Bruno Mathsson – brought forth a light and functional vision of everyday life through their designs, balancing traditional craftsmanship with burgeoning industrial techniques. Their work was a physical manifestation of the open, equal and democratic societies flourishing in the northern parts of Europe.
As an unexpected side effect, however, the Scandinavian countries also developed what is commonly known as the Law of Jante, a set of cultural ideals that created a collective social pressure to downplay any uniqueness. But something is shifting, nowadays. A new spirit of individualism is blossoming.
While pioneers such as Hem (the cult Swedish furniture brand founded by Petrus Palmér in 2014, might have opened the door to a more expressive Scandi lifestyle, the real push comes from a whole new generation. Independent designers, with the world literally at their fingertips, are challenging the conventions of the industry. ‘I’m not eliminating my Swedish heritage, but I like to play with expectations and associations; to break up conventions,’ explains Simon Skinner, who created a buzz with his magenta- coloured, Baroque-inspired upholstered furniture at the Stockholm Furniture Fair this year.
Skinner is part of a cutting-edge group of young Scandinavian pioneers that includes Swedish wood- worker Niklas Runesson, the experimental studio Elakform, and avant-garde glass artists Hanna Hansdotter and Fredrik Nielsen. ‘There are so many different styles today that can be tweaked, reconstructed and recontextualised,’ says Skinner, who is of Swedish and Afro-Caribbean heritage. ‘There’s a freedom in expression, and of taking risks.’ This new, liberated approach – a world away from the Law of Jante – is redefining Scandinavian design for a new era.
Not only questioning the aesthetic status quo, this coterie of creative talent is also challenging the use of traditional materials like pine and wool. ‘Historically, Scandinavia has a very proud design tradition, says the Danish glassware designer Helle Mardahl. ‘A lot of iconic classics were created here, and we have always cherished minimalism, sublime craftsmanship and fine materials, so that’s part of our heritage.’ Her work, by contrast, is all candy hues and bulbous forms. ‘I really like colours and patterns – things that are a little off and unexpected; not too pretty, but elegant,’ she says. ‘We are bolder in our designs now than we were 20 years ago.’
Liza Laserow Berglund, co-founder of Swedish rug company Nordic Knots, sees the maximalist movement as part of a wider shift that is driven not only by designers but also by consumers. ‘Our clients are increasingly excited about new colours – like those in our “Grand” collection – which suggests people are gravitating toward richer hues and more expressive interiors,’ she explains. ‘The perception of typical Scandinavian design has always been about neutrals – blacks, whites, beiges and greys, but we have seen a move away from the expected minimalist Scandinavian aesthetic.’
In line with consumer demand, the brand’s rug collection now spans everything from solid-colour pieces to patterned designs, such as its recent collaboration with award-winning British studio Campbell-Rey. ‘We filter this “typical” Scandinavian look through the Nordic Knots lens and the world of colour,’ she adds.
Tora Grape, marketing manager at Swedish interior-design brand Svenskt Tenn (which celebrated its 100th anniversary last year), agrees. ‘Beyond a maximalist trend, I believe we’re seeing a broader shift towards bold, joyful and uplifting design, influenced by several factors.’ According to Grape, those environmental and societal points driving people’s changing buying habits include a need for escapism in uncertain times and the fact that people are spending more time at home in recent years. ‘More and more people are seeking sustainable, long-term solutions for their homes, valuing quality and individuality over fleeting trends,’ she says.
Svenskt Tenn was early to challenge the prevailing minimalism of Scandinavian aesthetics, which is often forgotten when people consider the region’s design history. ‘Svenskt Tenn’s founder Estrid Ericson initially embraced modernism and functionalism, but her collaboration with Austrian architect Josef Frank, beginning in the 1930s, introduced a more expressive, human-centred approach,’ says Grape. Inspired by different cultures and movements, including arts and crafts in England, Frank introduced patterns and bold colours to the brand’s output. ‘Their joint philosophy, emphasising craftsmanship, vibrant patterns and human-centred comfort, contrasted with the strict functionalism in Scandinavia at the time,’ she says. ‘This philosophy seems to resonate with our time, too.’
Young designers and brands have the possibility to reach a worldwide audience through their own channels. This gives them a new-found freedom to create their own contexts while revisiting oft-forgotten parts of the Scandinavian heritage. As it turns out, this playful approach is being embraced by consumers, and can already be seen seeping into the collections of more conventional brands, visible in the bold and colourful presentations during the Stockholm Furniture Fair and 3 Days of Design in Copenhagen last year.
Together, these tendencies are setting the stage for a new era in Scandinavian design, where minimalism and functionalism are joining forces with personal expression and experimentation. Comforting and liberating at the same time, this combination seems to be just what the world is craving.
2025-05-21T06:48:51Z