It’s taken me a while to get through all my highlights from Copenhagen’s recent 3 Days of Design festival as there was just so much to see this year, but it’s now time for my final round-up. In this post, I’m focusing on four of the quintessential Danish brands – brands that bridge past and present by offering timeless mid-century modern design and reissued classics alongside pieces by contemporary names. They all count some of the most recognisable Scandinavian icons among their collections, and their exhibitions had plenty to inspire.
By the way, if you’re interested in attending 3 Days of Design yourself, the 2025 dates have already been announced: 4th-6th June. It’s free to attend and open to all, not just industry people and press. I’d highly recommend it!
Carl Hansen & Søn
Carl Hansen & Søn‘s showroom is always one of my 3 Days of Design must-sees and it certainly didn’t disappoint this time around. Many of its most celebrated pieces were on show, including two of my all-time favourite chairs, Hans J. Wegner’s CH24 ‘Wishbone’ chair and CH25 lounge chair. They were presented alongside insights into the way Carl Hansen furniture is made, and some were even displayed inside clever cubes fashioned from woven paper cord – something of a signature material for the brand.
Among the classics being relaunched were a beautifully crafted, clean-lined oak sideboard with brass detailing, designed by Børge Mogensen back in 1957. There were also several additions to Carl Hansen’s lighting range: Hans J. Wegner’s futuristic ‘Opala’ lamp series from 1973, which features large circular shades set at a slight angle, and the playful chrome- or brass-plated ‘Bubi’ pendant and table lamp, created by Henning Koppel in 1972 and inspired by the shape of his grandchild’s summer hat! Brand-new designs, meanwhile, included a lounge chair and coffee table for Rikke Frost’s 2020 ‘Sideways’ collection. Both encompass the curves and natural materials of the original ‘Sideways’ sofa and footstool, with the chair sporting the same rounded wooden frame and paper-cord rear, and the coffee table featuring a discreet shelf plus a reversible top with oak or walnut on one side and laminate on the other.
Fredericia
Also focusing on craftsmanship was Fredericia, which had turned part of its showroom into a workshop where you could watch carpenters and upholsterers making classic and contemporary pieces such as Hans J. Wegner’s ‘Ox’ chair, Maria Bruun’s ‘Pioneer’ stool and Børge Mogensen’s ‘Spanish’ chair. Sadly I visited after they’d gone home for the day, but it was still fascinating to get a glimpse of the stages and processes involved.
Speaking of the ‘Spanish’ chair, a new version in dark brown leather – a chic and very sophisticated twist on a true Scandinavian icon – was one the latest Fredericia launches on display. Also on show was Mogensen’s ‘Canvas 21’ chair, originally designed in 1968 and now being put back into production. It shares the same low-slung elegance as the ‘Spanish’ chair but has a more lightweight, casual expression, and I loved its honest simplicity. Another piece that caught my eye was Jasper Morrison’s ‘Jota’ sofa, which has a pared-back, timeless look and will go on sale alongside a matching armchair later this year.
In addition, Fredericia was playing host to sustainable textile company Elvang, which unveiled a new series of alpaca-wool throws designed by Cecilie Manz. Called ‘Écru’, it features subtle stripes inspired by the selvedges on woven fabric and comes in three neutral colours that are borne from the natural shades of the wool and therefore not dyed. The throws are understated and incredibly soft to touch, with beautiful detailing that reveals itself as you look more closely, and they made the perfect complement to Fredericia’s wonderful collection.
&Tradition
&Tradition used its showroom to preview a collection by renowned British designer Robin Day (1915-2010). It encompasses five pieces originally created for London’s Royal Festival Hall in 1951, which have never entered general production before now: the outdoor ‘RFH Terrace’ chair, with teak slats on powder-coated steel legs, the matching powder-coated steel ‘RFH Terrace’ table in two sizes, and the walnut and beech veneer ‘RFH’ armchair and lounge chair, both of which feature wing-like armrests that seem to grow organically from their curved backs.
Joining them are Day’s ‘Daystak’ side chair, table and desk, designed for British furniture manufacturer Hille in 1951 and now being reissued. Defined by their striking A-formation legs, they were inspired by the ethos of the New York Museum of Modern Art’s International Low-Cost Furniture Competition, which Day had won in conjunction with Clive Latimer in 1948, and intended to suit everyday needs and spaces. The chair has a bent-plywood backrest and is stackable, with a choice between an all-beech variant or a beech frame with walnut veneer on the front of the backrest and the top of the seat. The table is also stackable, while the desk features drawers that can be fixed on either side. Both are available with a beech or laminate top, and the table can be transformed into the desk with the addition of the drawers at a later stage.
Beyond the Day collection, other new launches on display included a three-seater sofa and pouffe to complete Louise Liljencrantz’s elegantly curved ‘Margas’ series, plus a corner sofa and chaise-longue module for Anderssen & Voll’s Italian-inspired ‘Inland’ steel-footed seating family. There was also a new shelving system called ‘Archivo’, first developed by Jaime Hayon as a personal project to highlight treasured items in his own home and available in blue, oak and grey-black, along with a throw inspired by his existing ‘Memento’ vases. My personal, favourite, though, was a floor-lamp version of Verner Panton’s iconic 1968 ‘Flowerpot’ light, which suspends the original shade from a slim arched arm and was created in close collaboration with the Panton family.
Fritz Hansen
Lastly, Fritz Hansen joined forces with leading architectural firm Cobe to host an extended exhibition called ‘Islands of Wellbeing’. Spread over three different venues near Copenhagen’s modern waterfront opera house, it explored how architecture and design can converge to shape and enhance the human experience.
The first setting was industrial-style space Papirøen, which was used to showcase versatile workplace design. I loved the innovative styling, which made use of backlit paper mounds and crumpled books. I was also very taken by the way contemporary pieces such as Jaime Hayon’s high-backed ‘Plenum’ sofas and sculptural ‘Fri’ lounge seating had been combined with classics like Arne Jacobsen’s ‘Ant’ chair to create inviting zones for concentration, meetings and relaxation.
The second part of the exhibition took place in the green oasis of Operaparken, where Fritz Hansen’s extensive range of outdoor furniture was dotted among the flowerbeds, lawns and fountains. And at the very heart of the gardens was the third location – glass-walled cafe Væksthuset. Here, visitors could relax over food and drinks while taking a look at two new Fritz Hansen launches: Cecilie Manz’s upholstered ‘Monolit’ chair, which combines a sculptural silhouette with embracing curves, and the never-before-released ‘PK23’ split-seat veneer and metal lounge chair, created by Poul Kjærholm in 1954. Vækshuset also serves as the entrance to the opera house car park, and there was a surprise in store for those who ventured down its tree-entwined spiral staircase: a cobalt-blue ‘Egg’ chair hidden among the lush planting at the bottom. A Scandinavian design icon in the wild!
See all my posts from 3 Days of Design 2024 here.
Fritz Hansen images four and 9-11 by Laura Stamer, courtesy of the brand; all other photography by Abi Dare
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