Question: How did
Denmark elevate its aesthetics? What lessons can you draw from this when
thinking about your own project country?
Denmark’s furniture industry experienced a shift from having
many of their companies be local, integrated types to larger companies that
outsource production and employ international labor in the furniture-making
process. Even integrated companies that originally used their own, ‘authentically
Denmark’ methods of furniture production changed their strategy to be in
agreement with what was more heavily utilized and desired in the global market
and to cut labor costs, leading to the utilization of international resources
and workers, the creation of DIY furniture, and the heightened focus on brands (Hedemann & Nissen, 2013) .
The transition to the Danish Modern style of furniture
design was also a factor that remade Denmark’s image as a blend between modern
and traditional. Branching away from the Bauhaus school of furniture design,
which used steel, as well as the emphasis on appearance, Klint’s approach in design
utilized a scientific method which also had respect for Danish tradition,
allowing for the successful collaboration between Klint’s functionality and the
craftsmanship of cabinetmakers with traditional materials, such as wood. Klint’s
scientific approach reflected modernity and utilitarianism in the way that the
furniture created from it used the objective factor of function to the client
to give validity to the product, rather than have its worth be solely based off
of a subjective aspect such as appearance.
However, specifically with the Danish Modern style, the
label of ‘modern’ mainly came from the advertisement of the products and the
images it brought themselves. Through the networks between furniture architects
and cabinetmakers promoting the image of ‘natural and healthy development’
through its furniture, as well as advertising through domestic and
international magazines and exhibitions, it was in these ways that Denmark
elevated its aesthetics (Hansen, 2006) .
In light of this, in regards to our project, it may be
useful for us to not only focus on the development of the product itself, but
its promotion as well, along with the new image that we want it to carry. If
possible, a successful collaboration with a company or group that holds a lot
of values in Davis may be beneficial as well.
I was surprised to find out that, despite the distinct image
of Danish modern furniture, it was other styles, such as sculptural and international,
that were actually popular internationally.
My Question: Are
there any current large and successful companies that don’t rely on outsourcing
at all?
Sources:
Hansen, P. H. (2006). Networks, Narratives, and New
Markets: The Rise and Decline of Danish Modern Furniture Design, 1930-1970. The
Business HIstory Review, 449-483.
Hedemann, L., & Nissen, M. R. (2013). The
Internalization of Danish Furniture. A Value Chain Perspective. 16-36.
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