Editor’s Letter: The 'Danish Design' Digital Issue

This article details the extensive home renovation project undertaken by Birgitte Danielsen and her husband in Richmond's West End, aiming to create an eclectic, modern home that blends their Danish and Indian heritages. The couple, originally hesitant about a large property needing significant work, were ultimately drawn to the house's abundant windows and open floor plan, which offered views of a nearby lake. Their decision to purchase coincided with Danielsen giving birth to twins, adding complexity to the renovation. Interior designer Kristi Lane of Visible Proof and contractor Mark Franko of Mark Franko Custom Building collaborated on the project. Danielsen, who works in finance and frequently travels between New York City and Richmond, sought a modern aesthetic that avoided a generic "catalog" look, emphasizing personal touches and a reflection of their extensive travels. While the 1960s-built residence featured some Midcentury design elements, Danielsen's preference leaned towards contemporary Danish design, characterized by collecting enduring pieces rather than frequent redecorating. Her consistent choice of Danish designers impressed Lane, who appreciated the couple's international, eclectic, and unique taste. Despite the main floor undergoing a complete gut renovation, the original room layouts largely remained intact, with the exception of the master bathroom. This space was significantly expanded by combining several smaller rooms and closets. A new large picture window was installed, offering panoramic lake views and flooding the room with natural light. An engineered solid-stone soaking tub by MTI Baths was positioned in front of this window, and a wall of built-in cabinets ensured a clean, clutter-free environment, aligning with Danielsen's desire for everything to be out of sight. The kitchen also received a modern overhaul, featuring rich walnut cabinetry and a substantial center island topped with Calcutta Gold marble, a detail chosen to honor her husband's Indian heritage. Recognizing the absence of a mudroom, Lane integrated a wall of cabinets dedicated to organizing family belongings. A portion of a wall was also removed to foster an open-concept living space, allowing for greater connectivity between the kitchen, dining, and living areas. A notable transformation occurred on the stairs and lower-level railing, where existing pipe railings were replaced with clear-coated steel bannisters and cable rails custom-fabricated by Virginia Railing & Gates in Ashland. This design choice aimed to maintain an unobstructed view of the surrounding landscape. The renovation is ongoing, with future plans for extensive work on the home's lower level and yard, including the creation of a playroom and outdoor play area for their twins. Danielsen expressed immense satisfaction with the collaborative efforts of Mark Franko and Kristi Lane, acknowledging their ability to understand and execute her vision effectively. #DanishModern #HomeRenovation #InteriorDesign #EclecticDecor #CustomBuilding #ModernAesthetics #RichmondHome #InternationalInfluence #OpenConcept

The article highlights five Copenhagen-based creatives who are redefining Danish design by blending traditional aesthetics with contemporary approaches. These designers are characterized by their respect for heritage, openness to new ideas, and a focus on pushing creative boundaries, moving beyond the well-established minimalist, muted, and naturalistic style often associated with Scandinavian design. They are introducing fresh perspectives while maintaining a strong connection to craftsmanship and human-centered design principles. Helle Mardahl, a former fashion designer, transitioned into creating colorful blown-glass objects, including lamps, tableware, and decorative pieces. Her work is notable for its vibrant colors and whimsical forms, reminiscent of candy and childhood treats, which challenges the traditional muted palette of Danish design. Mardahl’s experience studying abroad in London influenced her appreciation for Copenhagen and inspired her to incorporate bolder aesthetics, proving that exposure to diverse cultures can enrich local design. Architect Søren Pihlmann operates his studio with an unconventional approach, emphasizing the use of existing building elements in renovations. His methodology avoids fighting against a structure's inherent potential, instead allowing the building to guide the design process. Pihlmann's work, which spans from industrial breweries to private homes, focuses on understanding materials and their stories, advocating for a shift away from purely conceptual architecture towards a more tangible, material-driven practice. He also questions profit-driven trends, prioritizing sustainable and respectful renovation. Thomas Woltmann, a furniture designer, focuses on bringing conceptual artistic thinking into relatable, functional design. His award-winning Re-C chair, made from recycled wood from an old church, exemplifies his commitment to using regional and recycled materials, re-establishing a connection between humans and the physical objects in their lives. Woltmann believes in drawing inspiration from Denmark's rich craft history to address contemporary challenges, such as the climate crisis, by focusing on natural materials, longevity, and craftsmanship, echoing the spirit of past Danish design masters while adapting to modern needs. Interior designer Jessica Vedel, with a background in fashion and photography and international experience in Berlin, London, and New York, blends Nordic minimalism with cosmopolitan elegance. Her designs are characterized by bespoke furnishings, intricate architectural details, and a keen sense of form and scale. Vedel's work is influenced by her Danish roots and the tradition of quality materials and architecture but incorporates more volume and layering, reflecting her global exposure. She also designs furniture, collaborating with brands and developing custom pieces, always driven by an intuitive creative impulse. Danielle Siggerud, an architect from Oslo, initially considered a career in medicine due to an interest in helping people, but her awareness of how spaces affect human feelings led her to architecture. Her firm specializes in both new builds and historic renovations, applying a "refined minimalism" that emphasizes materiality and tactility. Siggerud's approach, refined under John Pawson, considers the routines and situations of inhabitants, focusing on creating sensory experiences through thoughtful integration of elements like lighting, doors, and surfaces. Her work, which extends to furniture design, aims to elevate the everyday and interact with the past through a deep appreciation for human interaction with built environments. These five creatives collectively represent a dynamic evolution in Danish design, honoring its foundational principles while boldly exploring new directions. #CopenhagenDesign #DanishDesign #CreativeInnovation #HomeDesign #ArchitecturalRenovation #SustainableDesign #FurnitureDesign #InteriorDesign #MaterialExperimentation

The November 'Zeitgeist Edit' highlights a shift in the interior design industry, emphasizing the growing desire for immersive, experiential design over purely digital interactions. This month has seen a surge in brick-and-mortar offerings, designer apartments, and unique sources for home decor, reflecting a collective craving for tangible experiences in design exploration. A significant trend observed is the rise of 'Suite Living,' characterized by designer show apartments and hotel suites that offer immersive style showcases. London, a city not traditionally known for this concept due to its architectural stock, has recently unveiled two notable collaborations. Uchronia, in partnership with Pantone, designed a hotel suite at the Oriental Hyde Park during Frieze Week, infusing a traditional setting with fantastical designs inspired by the color celadon. Simultaneously, Róisín Lafferty collaborated with Artemest to transform a minimalist new-build apartment in the Ambassador Building at Embassy Gardens, injecting vibrant color and playful forms to redefine its character. Another emergent concept is that of 'Third Spaces,' which extends beyond traditional home and work environments to include places where people linger and engage. This month, the discussion around third spaces has gained traction, informing the design of independent concept stores and coffee shops in London. Even major retailers like John Lewis have introduced 'Lounge' concepts, providing members with spaces to relax amidst bustling shopping environments. A specific example is BOYS! BOYS! BOYS! on Warren Street, a wine bar and bookshop that also serves as a community hub for events, offering a physical space for connection and cultural engagement. The article also points to 'Dinner and a Show' as a burgeoning theatrical interior trend, particularly evident in the recently re-opened Wild Cherry restaurant in New York. This establishment, part of the restoration of the Cherry Lane Theatre and spearheaded by A24, offers moody, Art Deco-inspired interiors alongside live performances. The restaurant's design creates a dramatic and immersive dining experience, reinforcing the idea that interiors are becoming increasingly theatrical and integrated with performance art. Conversely, the trend of 'Traveling on Hand Luggage' is noted as being on the decline. The previous allure of minimalist, spontaneous travel is giving way to a preference for a more luxurious 'golden age of travel' aesthetic. This is reflected in the design world's embrace of travel trunks as functional home furniture, exemplified by La Erre's installations at the London Design Festival, and luxury accessories like RIMOWA's cocktail sets within its suitcases, suggesting a return to more elaborate and comfortable travel experiences. Finally, the 'Online Only' shopping model is experiencing a downturn, as consumers increasingly seek out physical retail experiences for interior design purchases. The opening of Bert & May's 'The Mix' in East London, a concept store housing various interiors brands like Farrow & Ball and Pluck, signifies a demand for tangible shopping environments where customers can touch and feel products. Similarly, Matilda Goad's MG&CO; on Ebury Road, a hardware and lighting store with charming, retro interiors, illustrates the appeal of brick-and-mortar shops that offer an enjoyable and immersive browsing experience, contrasting with the impersonal nature of online transactions. The article also highlights the growing acceptance and quality of artificial plants, with brands like Fake It now making high-end faux foliage accessible to the public, previously only available to designers. #DesignTrends #InteriorDesign #HomeDecor #ExperientialDesign #RetailSpaces #LuxuryTravel #ThirdSpaces #TheatricalInteriors #BrickAndMortar

Margrethe Odgaard, a Copenhagen-based designer, has cultivated a rigorous and innovative approach to color and textile design since launching her independent studio in 2012. Her body of work includes textile designs for prominent companies such as Hay and Georg Jensen Damask, as well as collaborations with other Danish creatives, including furniture designers and chef-brewers. This extensive output is underpinned by a meticulous methodology, particularly her unique color index. Odgaard developed her own 280-color palette as an alternative to existing mathematically-derived systems like Pantone, RAL, and NCS. She found these traditional systems to lack complexity and aimed to create hues that possess an immediate sensory appeal beyond just sight. Her criterion for a successful color is its 'edibility' – if one is willing to put the color in their mouth, it effectively relates to the body. This approach led to a rich spectrum of colors, from a color-shifting cocoa to an ultra-saturated neon purple, which she meticulously painted onto popsicle sticks to visualize and categorize. Her design philosophy is deeply influenced by her upbringing in pastoral western Denmark, where the natural environment fostered an attraction to opposition and a drive to make a significant impact through her work. Odgaard, an alumna of the Rhode Island School of Design and the Royal Danish Academy of Fine Arts, describes her constant striving to not merely 'make noise' but to 'make a difference' as a designer. Beyond her color index, Odgaard's diverse portfolio showcases her inventive spirit. She created 'Navajo Drawings,' which are wooden 3-D stick drawings inspired by Native American art, envisioned as three-dimensional wall decorations. Her 'Fold Unfold' tablecloth design features patterns that appear to flow out of its creases, demonstrating an innovative use of textile form. Additionally, her design for the 'Yolk' bowl for Kähler exemplifies her ability to translate her color and form sensibilities into various product categories. Odgaard's studio in Copenhagen serves as the hub for her multifaceted projects. Her consistent output and distinct approach highlight a designer who not only understands the technical aspects of color and material but also imbues her creations with a deeper, sensory connection. Her work stands as a testament to the power of thoughtful design that engages both the intellect and the senses. #MargretheOdgaard #TextileDesign #ColorTheory #DanishDesign #ProductDesign #InteriorDesign #DesignInnovation #CopenhagenStudio

Stockholm Creative Edition, an independent design week established by Ulrika Kjellstöm Attar and Philippe Attar, showcases contemporary Swedish design from emerging and established artists and companies. This event, running through 29 September, contributes to Europe's dynamic design landscape, following Milan Design Week and 3 Days Of Design in Copenhagen. A central theme of the Stockholm Creative Edition is the innovative application of traditional Scandinavian materials: wood, glass, and metal. The various exhibitions, presentations, and workshops highlight both functional and futuristic interpretations of these classic elements. Monica Förster played a significant role in launching Subjective, a new brand founded by Ruben Schildt and Sebastian Schildt of Oxenstiernan restaurant. Initially, this collection, which includes plates, glasses, and tablecloths, was created for the Östermalm eatery. However, due to its success, it has now entered production. The items are crafted by local artisans with an emphasis on traditional methods and sustainability. Förster's notable contribution is the Babushka, a versatile glass container available in three sizes. Its lid is designed to function as a magnifying lens, enhancing the visual appeal of its contents, whether they are food items or decorative flowers. Glass is also prominently featured in the architectural design of Liljevalchs+, the recently completed extension of a beloved Stockholm museum. Architect Gert Wingårdh collaborated with potter and designer Ingegerd Råman to create the building's façade, which consists of a concrete wall embedded with 6,860 glass cups. This innovative solution ensures an ample flow of natural light into the interior. An exhibition at Liljevalchs+, running until 17 October, celebrates Råman's work, presenting a collection of unique glass vases that are the result of extensive experimentation with this material. In the realm of wood, Massproductions presents the Hercule, a coat-hanger made from oat or walnut. This piece, described as both playful and practical, is part of the exhibition 'Who Are You Hercule?' where the studio Specific Generic has reimagined it as an illustrated character. Designer Chris Martin noted that the product's shape often reminded people of an animal's nose or a human face, inspiring an installation that uses projections to animate illustrations by Patrik Mollwing. Asplund, a company known for promoting young Scandinavian designers since 1990, also features wood in its collection. Their Moci dining table showcases legs that gracefully connect with the tabletop, forming elegant curves and blending Swedish and Japanese design aesthetics. Creative director Sandra Adrian Asplund explains that the design was inspired by a coffee table created by Moa Sjöberg, which was seen at the Malmstens Linköping University graduate show. Metal is highlighted through Margarita Matiz Bergfeldt's Twilight, a wall-mounted candle-holder produced by Klong. Inspired by multigraph photography, which uses mirrors to multiply subjects, Bergfeldt aimed to achieve a similar effect with candlelight. The Twilight features metal surfaces in two finishes that amplify light, illuminating even the darkest areas of a home. This piece also serves as a vase. Metal is also a key component in office furniture, a sector where Swedish designers excel. Lammhults utilizes metal in its Corso Easy chair, a straightforward design based on a tubular metal structure and a leather or canvas seat, referencing Peter Andersson’s work. While designed for office environments, its rounded form allows it to be used in various settings. The chair is designed for disassembly and uses minimal materials, contributing to a lower environmental impact. #StockholmCreativeEdition #SwedishDesign #GlassDesign #WoodFurniture #MetalDesign #InteriorDesign #ProductDesign #SustainableDesign #NordicCreativity

Nordic Nest, an e-tailer established in 2002, has cultivated a distinctive niche in the Scandinavian interior design market by prioritizing storytelling and brand building. Unlike typical online retailers, Nordic Nest offers a curated experience that allows customers to explore and engage with Scandinavian design at their own pace. The platform serves as a primary destination for enthusiasts of Scandinavian interior design, emphasizing functional simplicity and timeless beauty, and is expanding its efforts to enhance the global visibility of Scandinavian design. The company's extensive catalog features over 60,000 Scandinavian design products from more than 300 brands. The selection is meticulously curated, highlighting craftsmanship and artistic expression. Nordic Nest supports a diverse range of creators, from emerging talents to established designers, providing year-round assistance through marketing collaborations, exclusive product launches, and international outreach. This commitment extends beyond transactional relationships, focusing on showcasing each studio's unique craftsmanship and innovative techniques through various channels, including digital campaigns, curated showcases, and events, thereby popularizing Scandinavian design globally. During the 2025 Stockholm Design Week, Nordic Nest hosted an intimate dinner at Stockholm’s Nationalmuseum, bringing together leading Scandinavian design brands such as Fritz Hansen, Iittala, Louis Poulsen, Gärsnäs, and Audo Copenhagen. This event celebrated both the enduring traditions and contemporary innovations within Scandinavian design, underscoring the company’s dedication to providing brands with a platform for increased visibility and recognition beyond the Nordic region. Among the highlights of the event was the unveiling of Iittala’s Solare collection, a new tableware line inspired by light. This collection, which includes glassware, textiles, and home accessories, captures the interplay of brightness and form, continuing Iittala’s legacy of avant-garde design and colored glass since its founding in 1881. Danish brand Audo also introduced the Pavot Collection, a collaboration with designer Colin King. This collection, featuring artfully crafted vessels like the Pavot Centerpiece, Bowl, and Vase, draws inspiration from the organic shape of a poppy seed head, blending ancient influences with modern craftsmanship. Each piece is cast in aluminum and finished with a brown bronzed patina, embodying a timeless yet contemporary aesthetic. Through these initiatives, Nordic Nest reinforces the notion that Scandinavian design is rooted in careful attention to detail and a profound sense of connection. #ScandinavianDesign #InteriorDesign #NordicNest #ECommerce #DesignRetail #BrandBuilding #DesignEvents #FurnitureDesign #HomeDecor

Stockholm Design Week 2019, anchored by the Stockholm Furniture Fair (February 5-9), presented an array of exhibitions and installations that skillfully blended Swedish heritage, a commitment to sustainability, and the charm of village life with contemporary design. The event, held amid a snowy Stockholm, showcased numerous designers and studios, each contributing to a rich tapestry of Nordic aesthetics and innovative practices. Among the highlights was French designer Pauline Deltour's 'Rope Rug' for Hem. Deltour's meticulous process involved exploring 25 braiding techniques to create three distinct rug designs available in four modern tones: terracotta, seaweed, salt & pepper, and night blue. Produced in collaboration with Indian manufacturers, these rugs emphasize traditional craftsmanship and intricate dyeing, resulting in a rustic yet contemporary appeal. Note Design Studio, based in Stockholm, created the 'Snowtopped' installation for Tarkett, demonstrating the versatility of Tarkett’s sustainable vinyl flooring. This installation reimagined the Nordic landscape with layers of snowdrifts and dunes, showcasing the material's limitless possibilities beyond its functional use. The aim was to highlight the material's flexibility and adaptability in an unexpected way. Copenhagen-based Frama and Andreas Martin-Löf Arkitekter collaborated on 'Spatial Sensibilities.' This exhibition, located in a newly renovated architectural office overlooking the Riddarfjarden waterway, presented Frama’s minimalist designs and muted tones within a naturally lit modernist building. The setting offered a tranquil contrast to the bustling design week activities. Neri + Hu, the Chinese design duo, served as the guest of honor at the Stockholm Furniture Fair. Their site-specific installation, 'The Unfolding Village,' addressed the global issue of disappearing village cultures. Inspired by the alleyways and street life of clan-based villages, the structure, constructed from local timber, unfolded to reveal furniture designed by Neri + Hu, emphasizing the preservation of community and tradition. Färg & Blanche presented 'The Baker’s House' in an 1800s Swedish townhouse, which was the former home of co-founder Emma Marga Blanche’s great-great-grandfather. This personal exhibition featured new designs that referenced the Blanche family's historical Crispbread factory. The display included contributions from brands such as Petite Friture and Gärsnäs, merging personal history with modern design. Sight Unseen collaborated with Swedish brand Kasthall to showcase the capabilities of its new Rug Designer tool. The vibrant and graphic rug designs highlighted the bespoke potential of the digital service, allowing both designers and non-designers to experiment and create unique pieces. The inspiration for the designs subtly drew from the trompe l’oeil geometric patterns often seen on Milanese building facades. British architect David Chipperfield's product designs were featured in an exhibition displaying his work for brands like Alessi and e15. The exhibition also introduced new iterations of his ‘w102’ lamp for Wästberg, originally launched in brass, now available in a black steel finish and various configurations, including wall and floor mounts. The collaboration 'Sie Wohnen Hier' by Bukowskis x Magniberg brought together contemporary art and design from the auction house Bukowskis with textiles from Magniberg. The abstract showcase featured artful compositions, pairing oriental porcelain and cubist furniture with layered prints and textured surfaces, aiming to inspire design-led curiosity. Snøhetta's ‘s-1500’ chair for NCP reimagined Bendt Winge’s classic ‘R-48’ chair using recycled plastic waste from fish farming, including nets, ropes, and pipes. This exhibition at the fair highlighted the material and craft heritage of northern Norway and underscored Snøhetta's commitment to sustainability, encouraging other companies to rethink material repurposing. Claesson Koivisto Rune opened the Portal Bar in St. Eriksplan during Stockholm Design Week. This new space, owned by chef Klas Lindberg, hosted numerous events and featured interiors with murals by Jesper Waldensten, custom lighting by Wästberg, and furniture by Swedese, quickly becoming a central hub for social gatherings. Finally, Baux introduced 'Acoustic Pulp,' revolutionary acoustic tiles made from Swedish fir and pine trees, water, wheat bran, potato starch, plant wax, and fruit peels. This biodegradable, recyclable, lightweight, durable, and sound-absorbing material, originally developed for the coffin industry, showcases a true dedication to nature, with geometric patterns organically derived from the wheat content. These diverse presentations collectively underscored Stockholm Design Week's focus on innovation, heritage, and environmental responsibility. #StockholmDesignWeek #SwedishHeritage #SustainableDesign #NordicDesign #InteriorDesign #FurnitureFair #Craftsmanship #MaterialInnovation #ArchitecturalDesign

This article features an interview with Norwegian designer Daniel Rybakken, who discusses the trajectory of his career, from his childhood influences to his current projects in lighting, furniture, and electronics. Rybakken highlights a consistent vision across his work, despite evolving into various design disciplines. He attributes his early exposure to fashion and graphic design, through his parents, to shaping his aesthetic and compositional interests. Rybakken emphasizes that his primary motivation is the act of creation and inventing new products, rather than financial gain, a perspective he believes is supported by Scandinavia's robust social safety net. The interview delves into specific products that have marked significant milestones in his career. The Counterbalance light for Luceplan is identified as his first industrial piece and a particularly memorable design, pioneering the slender, graphical, and geometric silhouette that later became prevalent in lighting. He also discusses his recent forays into furnishings, including the 124° wall-mounted mirrors and the Kiila collection for Finnish manufacturer Artek. Rybakken notes the unique challenges of designing for Artek, given the company's rich heritage with Alvar Aalto, and his approach to balancing contemporary design with modernist principles. The Kiila collection, consisting of functional "domestic helpers" like a bench and coat tree, marked his initial venture into wood as a primary material, where he aimed for a logical and sober aesthetic, distinct from traditional Danish woodcraft. Rybakken also introduces the W172 Bokeh floor and pendant light for Wästberg, explaining his exploration of transparency and 'not transparency' using frosted glass to create a blurred effect, referencing the photographic term "bokeh." He reveals that he is currently engaged in collaborations with multiple furniture companies and a Japanese technology company, exploring new territories beyond his established work in lighting and furniture. The designer shares insights into his decision to live and work in Gothenburg, Sweden, explaining that it offered more opportunities for designers compared to Norway at the beginning of his career, and now serves as a retreat from the competitive design scene in Stockholm. He stresses the importance of avoiding common influences like design blogs to maintain originality in his work, finding inspiration instead through travel, particularly to places like Japan. Rybakken expresses admiration for designers like Dieter Rams and artists like Donald Judd, appreciating their minimalist approaches and the conceptual layers in their work. Finally, he discusses his interest in photography, considering the image—rather than the physical object—as the ultimate result of his design process, echoing his admiration for artist Thomas Demand, who creates stylized, strange images from cardboard models, blurring the lines between reality and artifice. His approach underscores the belief that design is fundamentally about communication, and the image is the primary medium through which this communication occurs, outliving the temporary nature of physical objects or installations. #DanielRybakken #ProductDesign #LightingDesign #FurnitureDesign #ScandinavianDesign #Artek #Luceplan #Wästberg #IndustrialDesign #DesignPhilosophy #InteriorDesign

This article highlights a curated selection of design blogs that serve as continuous sources of inspiration for the editors at Domino. The featured blogs cover a broad spectrum of design sensibilities, from vibrant, color-centric aesthetics to minimalist, sustainable living, and extensive home renovations. The article acknowledges the diverse talents within the design blogging community and aims to guide readers toward discovering new and established voices that align with their personal style. Among the celebrated blogs is "Bright Bazaar" by Will Taylor, known for its dazzling affinity for color and focus on accessible, modern design through a vibrant lens. John and Sherry Petersik's "Young House Love" is recognized for their extensive experience in home renovations and makeovers, offering readers insights into their ongoing projects and family life. Joy Cho's "Oh Joy" is presented as a multifaceted empire that has evolved from a graphic design studio into successful books and product collections, while still providing valuable design tips and lifestyle guides through her blog. The article introduces "Historias de Casa," a Brazilian blog by Bruna and Paula, which offers a glimpse into charming homes, shops, and studios in Sao Paulo and beyond. Despite being in Portuguese, the blog's colorful, plant-filled imagery and easy DIY suggestions provide ample inspiration, encouraging readers to channel bohemian vibes in their own spaces. Erin Boyle's "Reading My Tea Leaves" is lauded for its expertise in small space living, providing practical tips for styling tiny apartments alongside a commitment to sustainability and conscious consumption. Carmeon Hamilton's "Cohesive Randomness" showcases the Memphis-based interior designer's home renovations and personal style, reflecting her successful design business. Stephanie Watkins' "Casa Watkins Living" captivates with its "global eclectic" aesthetic, featuring colorful, worldly finds and practical DIY projects. Emily Blanchard's "Emily Everyday" empowers women through their homes by sharing her personal design journey, offering tips on sourcing vintage rugs and engaging in DIY endeavors. Amber Lewis's "Amber Interiors" is recognized for its masterful grasp of California-cool style and cheerful personality, consistently drawing readers back for fresh inspiration. Katrina Blair, formerly of Chic Little House, now offers broader lifestyle content on her rebranded blog, combining small space styling tips with articles on entertaining and travel. Chris and Julia Marcum's "Chris Loves Julia" is a renovation-focused blog that chronicles their home improvement projects and provides a behind-the-scenes look at extensive remodeling through their podcast. Heather Bullard's eponymous site is a destination for dreamy inspiration, reflecting her unique perspective as a magazine editor and freelance prop stylist, alongside her culinary interests and current "Grove House" project. Athena Calderone's "EyeSwoon" showcases her roots in design, offering a wealth of style inspiration and interior projects. Ashley Rose's "Sugar and Cloth" stands out for its impressive catalog of DIY projects and creative hacks, ranging from abstract art to fabric wall walls, and even a dedicated section for macarons. Ursula Carmona's "Homemade by Carmona" provides a down-to-earth approach to decorating, focusing on organization tips and achieving expensive tastes on a budget. Shavonda Gardner's "SG Style" highlights her expertise in small space living and bohemian decor, sharing her signature style and home tours from like-minded design enthusiasts. Anita Yokota's blog, originating from Instagram, offers a relatable voice and mastery of boho-California style, alongside styling services. Sarah Gibson's "Room for Tuesday" features a diverse range of content, from lifestyle tips to firsthand design experiences from her home renovations. Finally, Niki Brantmark's "My Scandinavian Home" serves as a comprehensive catalog of Swedish style, complete with styling guides and an intimate look into her own home, appealing to fans of minimalist Scandi-inspired decor. Medina Grillo's "Grillo Designs" provides straightforward tutorials and crafty hacks for smart DIYs and upcycling projects, making design accessible to novice decorators. #DesignBlogs #HomeDecorInspiration #InteriorDesign #DIYProjects #HomeRenovation #SmallSpaceLiving #SustainableDesign #ColorTrends #BohoStyle

Scandinavian design, known for its tranquil, functional, and well-ordered spaces, traditionally relies on serene, neutral colors, especially whites, to achieve a sense of cleanliness and order. These spaces also incorporate natural elements like wood, textural accents, and occasional color pops to create a comfortable, rather than sterile, environment. HGTV's "Home Town" star, Erin Napier, recently showcased a unique twist on this aesthetic by introducing a bright teal color to the cabinets of a Scandi-inspired kitchen. Her innovative approach involved painting only a portion of the cabinets, specifically the faces, while leaving the frames in their natural wood finish. This design choice captivated enthusiasts due to its unexpected nature and the unique application of color. Napier's design philosophy prioritizes functionality and personalization. She integrates 'storied pieces' that resonate with the homeowner, creating what she describes as an "imperfectly perfect homescape." This approach often involves embracing unexpected elements rather than strictly adhering to traditional design rules. For the featured kitchen, the jewel-toned teal on the cabinet faces, contrasted with the light-colored wood frames and white countertops and backsplash, creates a visually striking yet grounded space. The natural wood frames beautifully complement the wood floors, while the white surfaces contribute to the room's brightness. Another distinctive feature in this kitchen is the inclusion of two large sinks, aligning with the functional aspect of Scandinavian design. The overall aesthetic maintains the clean and orderly characteristics of Scandinavian style, with minimal items displayed on the countertops. The chosen accents adhere to a warm-toned and neutral color palette, featuring copper, orange, and brown shades that enhance the cohesive and calming atmosphere. The vibrant teal is strategically limited to the cabinet faces and pendant lights, ensuring it acts as a captivating accent rather than an overwhelming presence. This design exemplifies how a bold color can be integrated artfully without disrupting the core principles of Scandinavian minimalism. To replicate or adapt this approach, one can begin by decluttering and simplifying storage in a kitchen space. Prioritizing unadorned, smooth-front cabinets aligns with the minimalist nature of Scandi-inspired designs. When considering the color palette, incorporating the undertones of existing natural wood elements as a primary color, such as yellow or deep brown, can provide a warm foundation. Complementing this with a calming, contrasting color like a jewel-toned blue, green, or pastel, while keeping other colors neutral, is key. Strategic lighting can further enhance the warmth and welcoming feel of the space. Another method to incorporate Napier's inspiration is to selectively paint cabinets. Options include painting only the lower cabinets in an accent color, leaving the upper ones natural, or painting all cabinets in a neutral shade and then selecting a few at random for an accent color. Reversing Napier's technique by painting just the cabinet frames and leaving the faces in natural wood is also a viable option. Regardless of the specific application, these methods allow for a personalized and stunning Scandi-inspired kitchen design. #ScandinavianDesign #ErinNapier #KitchenDesign #HomeTown #InteriorDesign #ColorPalette #Cabinetry #DesignInspiration #HGTV

Architect and interior designer Maria MacVeigh delivered a Design Talk during Design Week Dublin, providing insights into her professional journey and design philosophy. Facilitated by architect Amanda Bone, the session began with MacVeigh recounting her upbringing in a creatively stimulating household. Her father, an architect from Belfast, and her Spanish mother, a dressmaker, instilled in her an early appreciation for creativity, design, and making. MacVeigh vividly recalled the floor plan of her childhood home and annual family trips across Europe focused on architectural and art tours, fostering her belief that building interiors offered a "world of possibilities." After completing her interior design education, MacVeigh gained extensive international experience working in London, Barcelona, and Chile. She established MMV Design in Dublin in 2004, leveraging her diverse background in both architectural and interior design. Subsequently, she became a registered architect. She highlighted Barcelona's profound influence on her work, noting the city's strong design culture where even young clients demonstrated a keen appreciation for design, materiality, finishes, and form. Her time working for Ricardo Bofil's practice and living in one of his designed apartments in Barcelona solidified the impact of Mediterranean style on her aesthetic. MacVeigh's approach integrates her deep understanding of construction, manufacturing, and landscape, which is reflected in her award-winning projects. She explained how her dual professions as an architect and interior designer complement each other, informing her methodology for reconfiguring layouts, optimizing spatial sequences, and meticulously detailing finishes, furniture, and lighting. A central tenet of her design philosophy is the creation of connectivity and continuity between various spaces within her projects. Her presentation showcased the serene and refined quality of her interiors, achieved through a rigorous design process, precise construction detailing, and thoughtfully selected materials and finishes. She presented a range of projects, including her work on the Michelin-starred Chapter One restaurant and her sister's residence, which incorporates elements referencing their shared childhood memories. MacVeigh emphasized the collaborative nature of her work, frequently crediting skilled craftspeople such as David Coyne for joinery and Bernard Hickie for landscaping. She summarized her design philosophy as ensuring that "Everything has to make sense." Design Week Dublin, partnered with Range Rover, served as the platform for this insightful discussion. The article also included a gallery of attendees, photographed by Conor Healy of Picture It Pix. #DesignWeekDublin #MariaMacVeigh #InteriorDesign #Architecture #DublinDesign #DesignPhilosophy #MMVDesign #ResidentialDesign

Isola participated in Dutch Design Week 2023 in Eindhoven, Netherlands, for the fifth consecutive year, presenting two primary exhibitions under the theme “Nothing Happens if Nothing Happens.” The event, held from October 21st to 29th, showcased Isola's dedication to sustainable design, craft, and collectible designs. Gabriele Cavallaro, co-founder and CEO of Isola Design Group, highlighted the organization's strong ties with Dutch designers and local partners, emphasizing their aim to spotlight exceptionally talented designers and their pioneering approaches. DesignWanted served as a media partner for the event, featuring eight notable projects from Isola's showcase. The first exhibition, "Nothing Happens if Nothing Happens," was part of the "Something Bigger" event at the Schellens Fabriek. This 400-square-meter space hosted over 60 exhibitors from more than 24 countries, displaying approximately a hundred products. The showcase included innovative biomaterials, circular products, and collectible design pieces. Isola further demonstrated its commitment to sustainability by incorporating Polygood® material from The Good Plastic Company, which is made from 100% recycled and recyclable plastic, into its exhibition setup. The second exhibition, "Tools & Crafts," paid homage to the rich Dutch tradition of craftsmanship. This exhibition was held in collaboration with a local woodworker at Fuutlaan 12c, featuring more than 20 exhibitors and over 35 products. The focus was on a new generation of artisans who blended traditional expertise with innovative and experimental techniques to create contemporary and collectible design pieces. Among the featured projects, "Icons Re/Outfitted" by The Visionary Lab transformed iconic Vitra chairs using repurposed denim from Levi’s, addressing textile waste by upcycling furniture with materials from fashion. Designers like Nkwo Onwuka and Hannah Brabon contributed to this project, showcasing diverse techniques in creating artful chairs. "Pleated Scenery" by Kim Melody Zoutewelle presented wall lamps made from glass powders on colored and formed glass, which, when illuminated, created a shimmering, dream-like landscape effect. These lamps were crafted using artisanal techniques, ensuring each piece is unique. Giulia Toneguzzo's "Spektrum" introduced a wall shelf that interacts with daylight, utilizing colors to materialize the nature of light and enhance the atmosphere of a space as it changes throughout the day. The Makkuro vase by Iammi exemplified sustainable innovation, crafted from discarded automotive foam waste sourced from Re-Mat, an Italian startup recycling mattresses and foam. IAMMI studio also designed Isola’s exhibition layout for the event. Zeynep Boyan's "Units" featured sculptural stoneware ceramic products designed to hold multiple objects. These collectible pieces, created by hand in Montreal, combined stoneware clay with burnished aluminum and hand-sculpted ceramic knobs, blending traditional and experimental techniques to create functional art. "Compact Sun" by vanPlestik, a collaborative research project, showcased a wall lamp made from 100% recycled plastic from used CD cases. This modular design, with its 3D-printed lines, created a mesmerizing sun-like reflection. Ruben de Haas's "Egglamp" was a playful exploration of materials, featuring a lamp made from real eggshells, offering a soft and warm glow with unique imperfections. Finally, "Moiréverse" by Thanos Deenen presented objects that combined movement, color, and pattern to create a moiré effect, originally part of an interactive installation, now imagined as interior design pieces. These projects collectively highlighted the themes of sustainability, craftsmanship, and innovative design that Isola championed at Dutch Design Week 2023, demonstrating a forward-thinking approach to product creation and material usage. #DutchDesignWeek #SustainableDesign #Craftsmanship #CollectibleDesign #InnovationDesign #RecycledMaterials #InteriorDesign #LightingDesign #Upcycling

This December's 'Zeitgeist Edit' highlights a variety of emerging and trending design culture moments. The editorial team shares insights on different aspects, starting with 'pattern splicing,' a concept articulated by tile brand Ca' Pietra. This technique involves combining patterned and plain surfaces, such as tiles or textiles, to introduce visual rhythm, surprise, and personality, echoing trends like patchwork quilts. Grazzie Wilson of Ca' Pietra describes it as an instinctive and expressive way to create decorative interest while providing visual relief. Another significant 'going up' trend is the emergence of alternative 'flights' in the hospitality sector, specifically martini flights. An example is the London cocktail bar 'No Regrets,' an elegant, crimson-red speakeasy beneath a jewelry store. It offers a martini flight featuring three distinct one-mouthful martinis, catering to patrons who enjoy variety without overindulging, making it a sophisticated choice for those seeking to sample multiple options. The 'Ralph Lauren Christmas' aesthetic has unexpectedly gained significant traction this year, transitioning from a background presence to a prominent cultural moment. The brand's launch of a festive pop-up in London's Sloane Square solidified its position as a major Christmas brand, suggesting this decorating style will become a recurring fixture alongside traditional festive icons like Mariah Carey and 'Home Alone.' 'Draping' in design is also experiencing a resurgence, moving beyond traditional textiles into solid forms. The article notes the work of textile artist Mia Sylvia Harrod, known for her draped fabric art installations. More notably, designers like Sam Klemick are capturing the 'poetry of the drape' by hand-carving salvaged wood into furniture and decor that mimics the sinuous flow of fabric. This approach blends functional furniture with sculptural art, showcasing an innovative use of materials and form. Conversely, 'polystyrene packaging' is identified as a 'going down' trend due to growing concerns about sustainability. Despite ongoing innovations in sustainable materials, the widespread use of polystyrene in packaging, particularly during the holiday shopping season, highlights a slow adoption rate for eco-friendly alternatives. The article praises new brands like Milkman candles, which utilize Mycelium packaging, demonstrating a commitment to sustainable and aesthetically pleasing solutions. Finally, 'Christmas pudding' is noted as a declining trend, with 'panettone' gaining popularity as a chic and design-forward festive dessert. Italian design brand Kartell launched a specialty 'Panettone dome,' and food artist Laila Gohar collaborated with Milan's Casa Brera hotel to reimagine panettone as a centerpiece for design-conscious feasts. The availability of panettone in beautifully designed tins further solidifies its appeal as a stylish alternative to traditional Christmas desserts. Additionally, the article touches on the 'going down' aspect of 'affordable groceries,' citing the example of New York's Meadow Lane. This grocery store, known for its highly stylized and minimalist design, garnered viral attention but also faced criticism for its elevated prices amidst a food cost crisis. It has drawn comparisons to Erewhon, a luxury grocery store in Los Angeles, for its high prices, raising questions about the accessibility and intent behind such design-forward retail concepts. The overall theme reflects a dynamic interplay between emerging design trends, consumer preferences, and evolving societal values, particularly concerning sustainability and affordability. #DesignTrends #InteriorDesign #PatternSplicing #SustainablePackaging #ChristmasDecor #Panettone #LuxuryGroceries #Draping #DecemberEdit

This blog post features an interview with Dana Romeis, the managing principal at Castle Design, who brings over 25 years of experience to the design industry. The interview delves into various aspects of her work, offering insights into her design philosophy, challenges, and preferences. Romeis emphasizes that client input is highly valued in her design process, stating that the best outcomes result from collaborative relationships between the client, designer, and contractor. She highlights the importance of open communication and mutual understanding in achieving successful design projects. When asked about local artists, Romeis expresses her admiration for Charley Blood of Charles Blood Artistic, particularly for his trompe l’oeil work. She praises his willingness to tackle any artistic challenge, noting that he has never refused a request, no matter how complex. This appreciation for skilled craftsmanship and creative problem-solving underscores her professional values. Regarding overlooked spaces in a home, Romeis identifies the guest bedroom as the most frequently under-decorated room, sometimes including the powder room. She sees the powder room as an opportunity for creative expression and urges clients to pay attention to details in guest bedrooms, such as providing comfortable seating, reliable Wi-Fi, and convenient luggage storage. Her advice extends beyond aesthetics, focusing on practical functionality and guest comfort. Romeis discusses the diverse challenges encountered in her career, stating that every project offers a new learning experience. These challenges can range from integrating home automation systems into overall designs and resolving construction issues to navigating interpersonal dynamics with clients. She highlights the importance of understanding client patience levels and interpreting body language to ensure their wishes are met. This adaptability and continuous learning are central to her professional development. Finally, Romeis shares her preference for alternating between designing new builds and renovating historic homes. She finds that variety keeps her creativity and energy levels high, preventing her from falling into "cookie-cutter solutions." This desire for diverse projects reflects her commitment to innovative and unique design solutions, ensuring each project remains fresh and engaging. The interview concludes by referencing the St. Louis At Home November/December 2017 issue, suggesting that this discussion provides a glimpse into the broader trends and insights within the local design community. #InteriorDesign #HomeDesign #DesignInterview #ClientCollaboration #DesignChallenges #DanaRomeis #CastleDesign #StLouisDesign #CreativeProcess

Scandinavian design, known for its minimalist, functional, and democratic aesthetic, has been a significant force in furniture and interiors for decades, primarily dominated by Danish, Finnish, and Swedish designers. However, Norwegian design has historically been overlooked, despite Norway having a population size comparable to Finland and Denmark. This article delves into the reasons behind Norway's understated presence in the Scandi design landscape and highlights its unique evolution. Norway's lower profile in design can be attributed to several factors. The destruction of its furniture factories during World War Two led to the rise of a cottage industry, with farmers in rural western Norway producing simple, functional furniture. Following the war, a new generation of design graduates, trained by influential architect Arne Korsmo, began creating stylish pieces for these workshops. Korsmo, along with his wife Grete Prytz Kittelsen, was instrumental in connecting Norwegian designers with international modernist pioneers like Frank Lloyd-Wright and Charles and Ray Eames, elevating their skills to match those of their Scandinavian neighbors. Despite this promising start and international recognition, the discovery of oil in the 1960s redirected national focus and investment away from the design industry. Skilled workers left, and the country began importing furniture, leading to a significant loss of domestic production. Unlike its neighbors, who actively supported and promoted their designers abroad, Norway's government shifted its attention to its burgeoning oil industry. This lack of state support, combined with a national temperament that Morten Hippe of Eikund describes as shy and disinclined to self-promotion, meant that Norwegian mid-century designs largely fell out of production and public memory. While other Scandinavian countries continually reissued iconic pieces like Finn Juhl's Model 45 Easy Chair or Arne Jacobsen's Egg Chair, Norway's design heritage remained largely dormant. This led to a situation where, even among contemporary designers, Norwegian names from that era are not widely recognized, with Hans Brattrud being one of the few exceptions. However, this historical lack of a dominant design legacy has paradoxically become an advantage for the current generation of Norwegian designers. Unlike their Danish counterparts, who often feel burdened by a strong historic design legacy, Norwegian creatives have a freer rein to innovate and explore new ideas without the pressure of competing with or being overshadowed by past icons. Hallgeir Homstvedt notes a blossoming design scene in Norway over the last decade, characterized by a certain quirkiness and playfulness. Elizabeth Hurlen, export manager of LK Hjelle, highlights the "warm playfulness" in products by designers like Norway Says. The contemporary Norwegian design scene also demonstrates a ruggedness and experimental approach to materials, evident in shows like Norwegian Presence. Designers such as Ali Gallefoss, Vilde Hagelund, and Nils Stensrud are utilizing raw materials like stone off-cuts and scrap aluminum, embracing an aesthetic that Benedicte Sunde describes as a reaction against glamour. This results in a "raw aesthetic" that challenges conventional notions of beauty, presenting a new-wave, avant-garde perspective. Despite this creative flourishing, Norway still has fewer homegrown, world-recognized brands compared to its neighbors. Consequently, many talented Norwegian designers, including Lars Tornøe and Andreas Engesvik, often work for international brands. In an effort to reclaim and celebrate their heritage, Norwegian brands like Fjordfiesta, Eikund, and Hjelle are now actively reissuing mid-century designs. This two-pronged approach, combining the revival of classics with the fostering of new talent, is seen as a way for Norway to assert its rightful place within the broader Scandinavian design tradition. The country is moving towards a balanced future where its unique design voice, characterized by creativity, playfulness, and a connection to its material roots, can thrive alongside a renewed appreciation for its historical contributions. #NorwegianDesign #ScandinavianDesign #FurnitureDesign #InteriorDesign #MidCenturyModern #DesignHistory #ContemporaryDesign #NordicStyle #DesignInnovation

The article highlights five notable furniture reissues presented at the 3 Days of Design event in Copenhagen, showcasing a trend where brands are bringing classic pieces back to life. This practice is viewed not as mere nostalgia but as a proactive and optimistic approach to design, reinforcing heritage and cultural significance. Reissuing designs also offers an efficient and less risky alternative to developing entirely new pieces, requiring potentially less investment and mitigating the challenges associated with new product creation. Among the featured reissues is the Philip Johnson and Richard Kelly floor lamp, originally designed in 1953 by Richard Kelly for Philip Johnson’s Glass House. This satin stainless steel lamp, which aimed to produce a diffused glow in the highly reflective space, is being brought back by BassamFellows and is slated for sale in autumn 2025. It is celebrated for its ability to balance distinct character with a sense of anonymity, described as a "small piece of architecture." Another significant reissue is the ‘CH621’ swivel chair by Hans Wegner for Carl Hansen & Søn. Designed in 1948, this chair is one of only a few office chairs among Wegner's extensive portfolio of over 400 chair designs. Its return is noted for its elegant, ergonomic, and simple form and construction, making contemporary office chairs seem comparatively cumbersome. The ‘CH621’ is positioned as an ideal piece for modern home offices. The ‘Moderno’ seating collection by Finnish master Yrjö Kukkapuro, who passed away earlier in 2025, has also been revitalized. Originally designed in 1956, the versatile ‘Moderno’ has been reinterpreted through a collaboration with Danish fashion designer Stine Goya. Unveiled at Goya’s Copenhagen showroom during the event, the reissued collection features updated backrests and seat upholstery, developed in partnership with the Finnish fabric factory Annala, adding new character to the classic design. Fredericia has reintroduced Nanna Ditzel’s 1989 design, the ‘Bench for Two.’ This piece has been reimagined with new colourways and is offered as a made-to-order collector's item. Its distinctive beech veneer backrest is praised for its flexibility, embodying a harmonious blend of engineering and craftsmanship, making it one of the most celebrated re-launches at 3 Days of Design. Finally, the article features the ‘Amanto’ sofa system by Mario Bellini for Hay, originally from 1966 and available from mid-August 2025. This reissue has generated considerable excitement, aligning with a renewed appreciation for the smart, retro-futurist aesthetic of the 1960s and 1970s. The ‘Amanto’ sofa system is characterized by an upholstered body encased within a fibreglass shell, complemented by distinctive ball feet, capturing a sophisticated yet relaxed style. #FurnitureDesign #DesignReissues #3DaysOfDesign #CopenhagenDesign #InteriorDesign #ClassicFurniture #BassamFellows #CarlHansenSon #Fredericia

Achieving publication in a shelter magazine is a common aspiration for many designers, serving as a significant milestone in their careers. The journey to getting published relies on a combination of high-quality work and effective presentation. Editors, often managing numerous submissions, benefit greatly from clearly articulated narratives that highlight a project's unique aspects. Investing in professional public relations support can be invaluable for framing a compelling story and identifying various angles for editors to consider, especially when budgets allow. For those with limited resources, dedicating time to meticulously craft a clear and engaging submission that showcases the project's most impactful details is crucial. When specifically targeting a project for publication, it is highly beneficial to present a distinct and persuasive angle to editors. This approach simplifies their evaluation process by emphasizing what makes the project stand out. Designers should concisely outline three compelling reasons why their work merits attention, providing concrete discussion points. Including a link to high-resolution photographs is also a practical necessity for submissions. Building relationships with local magazine editors through informal meetings, such as a coffee invitation, can offer insights into their editorial preferences and target audience, thereby fostering trust and enhancing the visibility of future projects. Central to securing publication is investing in a strong team and high-quality visuals. Professional photography is indispensable for showcasing interior design work, and partnering with a reputable publicist can yield significant returns. The success of public relations efforts, however, depends on the quality of the materials provided. Therefore, designers should consider how their designs will photograph from the project's inception, focusing on elements like styling and artwork. Collaborating with experienced photographers who have existing relationships with editors can provide an advantage, as these photographers may actively pitch exceptional work. Additionally, engaging a stylist, despite the added investment, can elevate designs to a polished, magazine-worthy standard, making them more appealing to editors. Strategic styling plays a pivotal role in transforming excellent images into captivating narratives. Publications seek photos that convey a lived-in, layered, and intentional feel, where every detail contributes to the overall story of the space. This involves careful consideration of how textiles drape, how light interacts with surfaces, and how objects are arranged to create warmth and authenticity. Thoughtfully placed elements, such as floral arrangements, draped throws, or curated book stacks, can prevent a photo from appearing staged, instead making it effortlessly chic. Incorporating personal objects and lifestyle elements also enhances relatability and engagement, inviting viewers into the moment and significantly increasing the likelihood of publication. Beyond general spaces, designers should prioritize photographing key areas such as kitchens and bathrooms. Feedback from editors often indicates a desire for a comprehensive view of a project, and including these essential spaces provides a more complete understanding of the design's scope and execution. Having a proficient team to manage public relations and ensure images reach the appropriate publications is also critical. Given the complexity of PR, investing in a team that can effectively position a designer's work allows the designer to focus on creating new projects while their team handles the strategic dissemination of their portfolio. #InteriorDesign #DesignPublication #PublicRelations #ProfessionalPhotography #EditorialStyling #DesignMarketing #ShelterMagazine #DesignPortfolio #ProjectPresentation