When you think of mid-century Scandinavian design, you probably picture iconic creations by the likes of Arne Jacobsen, Alvar Aalto and Carl Hansen. But how many of the pieces that spring to mind are Norwegian? I’m guessing very few, and possibly none at all. Although Norway has a rich design heritage, many of its contributions have faded from public consciousness, and there’s no denying that names from Denmark, Sweden and Finland have gained much greater international recognition.
Well, furniture brand Eikund aims to change that. Founded in 2016 by Morten Hippe, Frode Tingbø and Jørgen Tengesdal, it’s taken up the challenge of uncovering long-lost Norwegian design classics and putting them back into production for the world to see. You might remember me mentioning in a recent ‘new finds’ post that it’s just made its UK debut, so I chatted to Jørgen (now Eikund’s CEO) to find out more…
Hi Jørgen, and thanks for taking the time to talk to me! Firstly, is relaunching Norwegian classics something you’ve always wanted to do, or a more recent idea?
“It was a new idea that we came up with in the summer of 2015. We then started the Eikund brand in May 2016, with the ambition of collecting all the best pieces from the golden era of Norwegian design in the 1950s and 60s. We wanted to prevent all these masterpieces from slipping into non-existence, and we felt the responsibility to save that design heritage was in our hands. We wanted to build the foundation of Norwegian design up again and make its presence in the design world as strong as it should be.”
How did you go about sourcing the designs for your collection?
“There was a lot of research and detective work! We scoured history books, libraries and universities to uncover classics that we thought had merit, and we contacted the families and estates of the designers to uncover the history of the pieces and obtain the blueprints.
“We had a few criteria for selecting pieces. We wanted to choose designers who are important to Norway’s design history, and we had to have access to work drawings (and preferably the original product). We also felt it was important to choose designs with a simplified elegance and a distinctive character, and ones that could stand by themselves but at the same time be part of a larger whole.
“The process hasn’t been without challenges, but the designs included in our portfolio turned out to be a natural choice. Some previously had great success but died out due to new trends or a lack of further investment; others were ahead of their time – they proved too innovative and different for the market back then.”
Fredrik A. Kayser’s elegant ‘Hertug’ side chair (1959) and Sigurd Resell’s extendable ‘Øya’ dining table (1956)
What characterises Norwegian design from the period? How do you feel it differs from other Nordic countries, whose designs are better-known internationally?
“Norwegian design was clearly influenced by wider Nordic modernism and had the same focus on simplicity and functionality, but not a lot of people know about it. When people talk about Scandinavian design, it’s mostly Sweden, Denmark and Finland that are mentioned. We saw a void, and we want to make sure Norway’s legacy is recognised and represented. Unlike many other Scandinavian pieces, our collection and the people behind it are yet to be discovered internationally, meaning they can appeal to design lovers all over the world. The Norwegian treasure chest is so varied and surprising – it makes you want to dig in!”
Why do you think the pieces chosen have remained so relevant?
“Due to their classic mid-century looks and high-quality manufacturing. These are pieces that will retain or even gain value and stand the test of time. People increasingly want longevity, and a good design can last for centuries!”
The ‘Veng’ lounge chair and armchair, designed by Torbjørn Bekken in 1960 and showcased in Oslo design hotel Amerikalinjen
Have you made any changes to the original designs to suit today’s market?
“No, we haven’t made any changes yet. There’s no need!”
Do you have any personal favourites?
“My personal favourites are Fredrik A. Kayser’s ‘Fluffy’ chair and ‘Krysset’ lounge chair. The latter is probably one of the most iconic pieces in our collection. People who know about Norwegian design know this chair – it’s different, beautiful and timeless.”
Fredrik A. Kayser’s distinctive cross-legged ‘Krysset’ lounge chair, created in 1955 and now one of Jørgen’s favourite pieces
It sounds like there’s an interesting story behind the name Eikund itself. Please could you tell us a little more about that?
“It was taken from the island of Eigerøya on Norway’s west coast. Eigerøya’s first name was Eikund and it’s one of the oldest place names in the country. For a long time the island was lush with oak trees – called ‘eik‘ in Norwegian, hence the name Eikund (‘island of oak trees’). It not only mirrors the main material used in our furniture production, but also roots the company to a new existence going forward.”
The cocooning sheepskin-covered ‘Fluffy’ armchair by Fredrik A. Kayser (1954), and Arne Tjomsland’s playful ‘Isbjørn’ polar-bear figurine (1955)
Finally, what’s next for Eikund? It sounds like you have many more exciting relaunches in the pipeline…
“We have many more pieces to launch – nearly 50, in fact! We’re an energetic team, and we’re excited by the future. We’re looking forward to sharing more of our classic finds with the world.”
Thanks Jørgen!
Visit Eikund’s website to see the full collection and find a list of international stockists. In the UK, it’s available exclusively from Aram Store.
All images via Eikund
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