Denmark is truly a design nation and Danish Design is nowadays a strong international brand that is acknowledged and acclaimed the world over.

THE DANISH DESIGN CLASSICS
At the start of the 20th century, Denmark, like many other western countries, underwent a process of great social change, part of which involved the emergence worldwide of a new ethos in design and architecture.

The term “Danish Design” was therefore the product of the prevailing environment: those thrifty post-war years in which a shortage of construction materials made new demands as to product durability and quality in conjunction with a vibrant crafts tradition.

Machine-made mass production items that were frequently the result of close co-operation between master carpenters and manufacturers replaced the oneoff products that were made to order by craftsmen in earlier times.

The era generated an enormous reserve of new talent destined to win worldwide fame as Danish designers: Kaare Klint, Poul Henningsen, Finn Juhl, Børge Mogensen, Piet Hein, Jørn Utzon, Arne Jacobsen, Henning Larsen, Hans J Wegner and many others.

An ability to combine functionality with aesthetics characterised the work of all.

That the period after World War II is regarded as the golden age of Danish design is linked to the economic and technological changes that followed in its wake. The need to re-establish a sense of confidence in the future resulted in a wealth of new products to signal modernity and progress as well as meeting the Danes’ increased need to showcase their individuality.

Danish Design brought whole new dimensions to the world’s conception of design. The Danish approach emphasised an organic functionalism that was light years from hard geometric forms. This had its genesis in a genuine and deep interest in the consumer, the design and the environment. The hallmark of Danish Design was a respect for the materials, attention to detail and a wish to pare down and achieve an honest and simple beauty without oversimplifying.
      Standardisation, systemisation and simplification became the bywords for the functionalism that made such a profound impression on Danish Design.

DANISH DESIGN IN THE 21ST CENTURY
While the famous style icons of the 1940s and 1950s are still considered prime examples of the world’s best design, Danish Design has actually developed quite a lot since then. Thus, Danish Design is not such an unambiguous and clear-cut term as it was fi fty years ago.
      A new generation of Danish designers is now making a major imprint on the design scene with fresh and innovative forms of expression that break with earlier design classics.
      But this is still design that reflects tradition, be it by way of a showdown or by way of inspiration.
      Danish Design will always bear witness to its history: a shared way of thinking or modus operandi between the old and the new generations of designers is still evident today. This is why, in the future, Danish Design will continue to express itself from the aesthetic, quality- conscious and socially aware perspective on which the Danish design tradition is built. As it will continually reflect the drive for comprehensive solutions in which the design is an integrated part of the entire product development from start to finish and where the everyday needs of the user are taken into account.

DANISH DESIGN IN GLOBAL COMPETITION
One of the explanations for the international strength of Danish Design is the way in which designers and manufacturers challenge technological norms, put a focus on the consumer and think in terms of comprehensive solutions. Furthermore, new generations of Danish designers have the ability to adopt new approaches in order to meet the challenges of the global market. This development means that today’s designers are more and more frequently finding solutions to abstract and complex problems.

Danish Design must grasp the opportunities that are presented by a global and knowledge-based society. If Denmark is to retain its strong international position a broader and deeper understanding of what design is and can achieve is required. This is particularly apposite at a time when design has expanded beyond the creative idiom to become a process or method that companies can translate into a business strategy or employ in the development of innovative design solutions.

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