Something’s going on up north. We thought we knew what we were getting from our favourite Scandi designers, but there’s been a seismic shift in Nordic furniture fashions and the winds of change are flowing through the modern design landscape. Once what was coming out of the design brands of Denmark, Sweden, Norway Finland, and Iceland was wood, wood and more wood. It gave rise to forests of beautiful, beloved furniture in homegrown oak, beech, ash and pine, accented with leather and textiles. These pieces took over the world, becoming iconic and universally recognisable, sitting in museum collections across the continents as easily as they do within the home.

We all know what The Scandi Furniture Aesthetic means (even if we’re still not 100% on hygge) – clean lines, minimalism, neutrality, calmness, functionality, practicality, stillness and sophistication. It’s decades of expertise of carpenters who know exactly what to do and how to do it, and who passed the knowledge down the generations. It’s Arne Jacobsen, Hans Wegner, Alvar Aalto, Greta Magnusson-Grossman, Eero Saarinen and Nanna Ditzel. Isn’t it?

This new Nordic mood is anything but expected. Gone is the focus on the exquisitely crafted wood, the adulation of the natural grain pattern, the emphasis on gorgeously executed joints, the caressing of smooth, sanded curves or perfectly straight lines. Gone. What’s coming through now is avant-garde. Experimental. Chic. Opulent. It curves where no curve would traditionally be. Sharp and soft forms are used interchangeably. Materials are entirely unanticipated. Angles are all over the place. Sometimes shapes move and silhouettes change altogether. But oh, what delight it brings.

Does it feel ‘Scandi’? If you mean timeless, elegant, informed, well executed, high quality, sleek, and by the era’s best design names, then yes. If you mean zooming in on classic timbers or leathers, or stemming from the mid-century, then no. We are witnessing a designer Scandinavian furniture evolution, and it is quite a moment to behold.

Precision crafted with an ultra-slimline frame, VIPP451 Chair by Vipp combines industrial-edged aluminium with delicate leather detailing, the design the result of five years of development.

Finished in polished or black metal, the chair combines the brand’s 80 years of experience in powder coating with a refreshed look and luxury upholstery. Its slender armrests and legs lightly support a minimal back and seat, upholstered in padded aniline leather, which is left exposed to showcase the natural marks and patina on the soft matte material for a light, delicate expression.

“The Vipp451 chair links the past with the future. The combination of genuine materials and industrial refinement state a clear reference to our design tradition and line of existing products. By introducing tones, textures and upholsteries we open new doors, and take another step into the furniture category.” - Vipp

Named for the extravagant poems of ancient times, Gubi’s Epic table by GamFratesi takes inspiration – rather unusually for a Scandi brand – from Greek columns and Roman architecture. A monolithic sculptural statement, the piece merges legs in heavy hexagonal hunks with a slim, curved table top, creating an intriguing interplay of weight and form. Made in Italy from precisely shaped travertine, the table is a toast to materiality and tactility, each slice of stone permeated with unique pattern and personality.

‘Without material there is no soul. Positioning the material at the centre of the project celebrates unusual stones and natural finishes, which is aligned with our practice and Gubi’s contemporary take on the traditional.’ – Gamfratesi

Composed of meandering lines and playful curves, the Wave Coffee Table by Foersom & Hiort-Lorenzen MDD for Cane-Line feels cheerful and carefree. Creating a dynamic interplay between the calm, organic impression of Indonesian rattan which makes up the supporting legs, and the perfection of the hewn glass top. The table drifts between an intense contrast and tranquil equilibrium.

‘Wave has a modern, retro-look. The shape of the table is organic and very cosy, while the glass table top makes the design very light.’ – Cane-Line

Boldly distinguishing itself amidst heritage brand Carl Hansen & Søn’s 110 years’ worth of back catalogue, the RF1903 Sideways Sofa by Rikke Frost fuses classic materials – timber and paper cord referencing the Danish Modern movement – and sophisticated making methods with unconventional, asymmetric design.

Eschewing traditional forward-facing sofa design, the distinctive steam-bent backrest embodies purpose as well as beauty, smoothly positioning sitters to face each other and prompting a natural flow of conversation for a relaxed, inviting atmosphere.  

“Communication is being challenged by tablets and other digital equipment. As many sofas require you to sit straight and turn your head to the side instead of turning to face each other, I wanted to create a sofa where you sit sideways as this encourages more natural conversation.” – Rikke Frost

Floating at multi-tiered levels, the surface of &Tradition’s Palette JH7 Coffee Table by Jaime Hayon offers segmented storage sections as well as sculptural splendour.

This is art meeting functionality. Each table top presented in different materials, the piece is a melee of satin polished Brass, Nero Marquina marble and lacquered ash or walnut, held steadily in place by powder coated steel tubes. The upper lozenges and circle shapes feel as if they could shift position at any time, while the lower section’s legs and support beams are poised at perfect right angles, rigid and secure.  

‘In a world where everyone is rushing around mega multi-tasking, I felt compelled to design with a feeling of motion, inspired by the kinetic sculptures of Alexander Calder. Balancing various shapes and materials at various heights supported by a metal frame. In theory it's like a mobile’ – Jaime Hayon

Like a piece of jewellery for the home, the innovative Clam Pendant Light by Ahm and Lund for Fritz Hansen is here to bring decadence and elegance, plus playful functionality, in gleaming mouth-blown opal glass. Unbelievably, the shell-inspired form is moveable, designed to edit the type of glow the pearl-like inner bulb emits, the light equally beautiful open or closed.

Acting as both dainty decorative details as well as practical handles, the brushed brass elements serve to open and close the shades, sliding them towards and away from each other to control the amount of soft, ambient light they emit.  

‘Clam™ is a contemporary take on lighting with a timeless feel. Acknowledged for its remarkable form and mood-enhancing ambiance, it elevates spaces with its sophisticated silhouette and exceptional craftsmanship.’ – Fritz Hansen

Reimagining sculptural design to incorporate geometry and utterly refined simplicity, Muuto’s Oslo Sofa by Anderssen & Voll is both pared back and minimal as well as characterful and engaging.

Defined by a light, sleek form inspired by the gentle lines of traditional Japanese architecture, Oslo is nonetheless indulgent and inviting thanks to the plump, rounded cushioning on its top, which contrasts against its otherwise flawlessly straight lines. Upholstered in Kvadrat fabric and held aloft by colour matched powder-coated legs, the comparison between soft, thick upholstery and solid, slim metal is dramatically emphasised.  

‘The Oslo Sofa family brings a new perspective to the traditional sofa with its rounded softness and gentle seat – a friendly design for any setting of the modern home and office.’ – Anderssen & Voll

Deviating from the established aesthetic of intricately layered lamps at Louis Poulsen, the Moonsetter Floor Lamp by Anne Boysen emerges as a floor light with sculptural allure, instantly adding a highly contemporary spin to the brand's esteemed existing style.

A convergence of geometric shapes – a square, circle and cylinder – in high shine chrome, Moonsetter blurs the lines between sculpture and light source. Coming to life when interacted with, the design’s central disc rotates 360 degrees, offering a different type of light from each side: diffused white on one, reflective chrome on the other. Inviting interaction, the disc asks to be spun, experimented with and discussed.  

‘Moonsetter serves an aesthetic purpose as well as a functional one. The impactful size of Moonsetter naturally attracts attention and creates a room within the room that can be shaped through reflections and light. Its sculptural aesthetic takes centre stage in any interior, almost like a piece of art.’ – Louis Poulsen