Today I’m sharing more from my recent trip to Copenhagen, where I was one of a small group of bloggers treated to a behind-the-scenes look at two iconic companies. After spending our first day with Fredericia, we moved on to a brand which has had a significant impact on Danish design and culture over the course of its long history: Georg Jensen.
Named after its founder, Georg Jensen was established in 1904 and began life producing Art Nouveau jewellery, often with ornate motifs. Over time its range expanded to encompass tableware, hollowware and home accessories, and sleeker steel pieces were introduced alongside the originals. Inspired by Jensen’s eagerness to support emerging talent and make good design accessible to all, the company also began working with a number of outside names, launching a tradition of collaboration which continues to this day.
One of the most successful partnerships was with modernist artist and designer Henning Koppel (1918-1981). He shared the company’s aim of merging form and function and set about creating practical yet beautiful everyday objects, resulting in some of its most iconic pieces. This year Georg Jensen is celebrating 100 years since his birth and to mark the occasion it has relaunched many of his designs in new colours and materials.
We started the day on the coast to the north of Copenhagen, where we treated to something very special: a visit to the seaside house of Koppel himself. It’s now home to his ceramicist daughter Hannah, a warm and very inspiring woman who showed us around and gave us an insight into her father’s life and work. She explained that his flowing, organic shapes were inspired by nature and often presented a challenge for Georg Jensen’s silversmiths, who sometimes struggled to make them a reality. One such example was ‘1041’ – a spectacular, sculptural bowl which he created in 1954 for an exhibition celebrating Georg Jensen’s 50th anniversary, but which he soon destroyed as he wasn’t happy with the results. Luckily his original drawings survived, and improved techniques mean the piece has now been put into production for the very first time.
The house itself is beautiful: airy and light, with picture windows gazing across the water to Sweden. It’s furnished with a mix of mid-century pieces, original Koppel designs and artwork collected by the family over the years, and I loved the way it blends minimalism with bags of character. It’s a little time-worn in places but all the better for it – it’s clearly a home that has been lived in, laughed in and loved.
In the afternoon we headed back into Copenhagen to visit Georg Jensen’s HQ and smithy. I was surprised to learn that many of the products are still handcrafted by highly trained silversmiths, who spend years honing their skills. It’s certainly a labour of love, and it takes up to six months of patient hammering and polishing to make larger pieces such as ‘1041’ and Koppel’s famous ‘Eel’ dish.
We also had a peek inside the company’s archive, which is packed with original sketches, and the design studio, whose walls are lined with prototypes. And Senior VP for Design Nicholas Manville introduced us to the people behind some of the latest collections: Swedish designer Monica Förster, whose music-inspired ‘Tunes’ candleholder and Art Deco-influenced ‘MATRIX’ vases were conceived to let you create striking flower arrangements, and Spanish designer Helena Rohner, whose beautiful ‘Shades’ accessory range pairs brass-coloured steel with smart grey leather.
It was another fascinating day, and before saying our goodbyes we were given one more surprise – a steel Henning Koppel pitcher of our own to take home. It’s a true design icon and now takes pride of place in our dining room. Photos to follow soon…
My trip to Copenhagen was hosted by Fredericia and Georg Jensen, who covered my travel, accommodation and expenses, but as always all words and opinions are my own. Thank you to both companies for a brilliant couple of days!
All photography by Abi Dare
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