Modern Furniture Lines Cross International Borders for Dynamic, New and Bold Look

Scandinavian modern furniture lines are becoming less Scandinavian and more international. Some people find that fact regrettable, others inevitable. The change was apparent at the annual Scandinavian furniture fair here, at which over 500 international manufacturers from Denmark, Norway, Sweden, Finland and Iceland presented their new designs to buyers from all over the world. Suddenly we come upon the somewhat jarring geometries of the Italian Memphis movement painted in strong reds, blacks, whites and grays, and hear it explained by young Nordics wearing punk hairdos and ultra trendy clothing.

The vocabulary has changed, too. Adjectives such as stylish, far out, trendy and fashionable have now been added to those formerly more popular down to earth descriptive words such as spare, simple, functional practical and crafted. Pale blonde woods - beech, pine, oak and ash - are in greater evidence, too, not replacing the teak and rosewood so long associated with tried and true Scandinavian designs, but taking over a larger share of total production.

Natural wood finishes still predominate, but colored lacquer finishes are newly important as they are in Europe and the United States as well. Those all-white paint and laminate finishes that looked so fresh and all purpose a few years ago are still in demand, but have now been joined by all-black finishes Black upholstery fabrics have also emerged from the international furniture scene, particularly black leather. Two surprising new colors that repeated themselves in many eye stop ping displays were shocking pink and cool aqua.

Yes, times have changed. Young new designers express a creative vitality of their own. They are eager to break out of traditional molds and to be more experimental and daring. But they also all read the same magazines, travel to the same places and go to many of the same trade fairs, especially important ones such as Milan and Cologne. Through the media, they pick up design news almost instantly. After such extensive exposure, they want to be able to react quickly to new international fashion trends. This, they say could help them capture a larger share of the global market.

In the process, would the special national identity and character of furniture made by the Scandinavian countries be diluted beyond recognition? The Scandinavian countries, wrote Charles Talley in Craft International a few years ago, "have achieved something rare and beautiful. They have become societies whose basic frame of reference is the human being. The scale of life is personal, understated, never grandiose or overwhelming Life there is influenced by a certain sense of restraint and proportion which implies organization and order." Talley and other observers insist that many things remain the same, such as a very basic connection with nature a cherishing of forests, lakes, fjords, mountains, pastures and surrounding seas.

Scandinavians maintain a love for the small cottages and plots of ground in the countryside to which they regularly retreat for rest and contemplation. They retain a deep respect for fine cabinet making and nurture their indigenous craft traditions They exhibit an innate sensitivity to the woods they work, and continue to train. Over the years, they have striven to make even the most mundane household objects not only more useful but more beautiful. Although their dedication to functionalism has persisted for over 50 years, their approach has remained warmly humanistic.

Sources:

Gura, Judith Sourcebook of Scandinavian Furniture: Designs for the 21st Century 2007

Englund, Magnus, Chrystina Schmidt, and Andrew Wood Scandinavian Modern 2007