Week 5 - Naomi Almanzor

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:

Image: https://the189.com/furniture/hans-j-wegner-danish-furniture-designer/

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.