Womankind – August 2019

Collector 89

You can make mistakes

because you can always

turn them into some-

thing else. What people

call a compromise, I call

development.

You can make mistakes because

you can always turn them into some-

thing else. Or maybe, because I’m

stubborn, I don’t give up. Maybe it’s

not what you initially thought as the

dream solution, but it’s something

else. What people call a compro-

mise, I call development.

What do you think of the

world’s obsession with hygge? Do

you apply hygge in your work?

When I travel, people keep

asking about hygge all the time.

I don’t know, it’s something nice

and everybody wants something

nice. Obviously, they want the

good life and maybe the quick

fix. But I tend to say that it’s not

something you can buy in a small

bottle. Hygge is something that

happens when you sit around the

table and have a coffee or sit in a

bar and have a wine. It could be

many things. And it’s not only

the Danes or Scandinavians who

have hygge; everybody has hygge in

a different way.

MASTERING MINIMALISM

What was your creative process

behind the Caravaggio lamp?

The point was to make some-

thing durable, basic, and not too

expensive. And that’s why I think

Caravaggio lasts because it doesn’t

have a special style. I wanted to in-

clude the electrical cord into the

design. At that time, all electrical

cords were just white plastic. But I

stumbled upon this textile stocking

that you put on top of the cord, and

I wanted this stocking to be integrat-

ed in the design, and emphasised.

You have the shade, you have the

light source, you have the fixture,

and you have the cord. You have

very few elements, but everything is

visible, and there’s nothing hidden.

The only thing that’s hidden is the

light source, and that’s on purpose,

so you’re not getting blinded! The

lamp is long as well to hide the light

source and to create a very soft and

cozy lighting.

What was your process in de-

signing the Mikado table?

I was trying to make a collapsible

chair that I could disassemble for an

exhibition. I wanted it to be made

out of sticks, but I couldn’t manage

it, I simply couldn’t do it. While

playing with these sticks, I decided

to make a table instead. The idea

was that I wouldn’t use any screws,

and I’d make a small, untechnical

table. I became quite interested in

this solution.

Collector 89

Youcan makemistakes

becauseyoucan always

turnthemintosome-

thingelse.Whatpeople

call a compromise,I call

development.

You can make mistakes because

you can always turn them into some-

thing else. Or maybe, because I’m

stubborn, I don’t give up. Maybe it’s

not what you initially thought as the

dream solution, but it’s something

else. What people call a compro-

mise, I call development.

What do you think of the

world’s obsession with hygge? Do

you apply hygge in your work?

When I travel, people keep

asking about hygge all the time.

I don’t know, it’s something nice

and everybody wants something

nice. Obviously, they want the

good life and maybe the quick

fix. But I tend to say that it’s not

something you can buy in a small

bottle. Hygge is something that

happens when you sit around the

table and have a coffee or sit in a

bar and have a wine. It could be

many things. And it’s not only

the Danes or Scandinavians who

have hygge; everybody has hygge in

a different way.

MASTERING MINIMALISM

What was your creative process
behind the Caravaggio lamp?
The point was to make some-
thing durable, basic, and not too
expensive. And that’s why I think
Caravaggio lasts because it doesn’t
have a special style. I wanted to in-
clude the electrical cord into the
design. At that time, all electrical
cords were just white plastic. But I
stumbled upon this textile stocking
that you put on top of the cord, and
I wanted this stocking to be integrat-
ed in the design, and emphasised.
You have the shade, you have the
light source, you have the fixture,
and you have the cord. You have
very few elements, but everything is
visible, and there’s nothing hidden.
The only thing that’s hidden is the
light source, and that’s on purpose,
so you’re not getting blinded! The
lamp is long as well to hide the light
source and to create a very soft and
cozy lighting.

What was your process in de-
signing the Mikado table?

I was trying to make a collapsible

chair that I could disassemble for an

exhibition. I wanted it to be made

out of sticks, but I couldn’t manage

it, I simply couldn’t do it. While

playing with these sticks, I decided

to make a table instead. The idea

was that I wouldn’t use any screws,

and I’d make a small, untechnical

table. I became quite interested in

this solution.