My visit to the Copenhagen Design Festival

Hello friends. I was in Copenhagen in June and had the chance to visit the 3 Days of Design festival in the Danish capital. As usual I walked around the most interesting venues. I went to new spots and of course my trip also included old locations that I previously loved. I had the chance to see very interesting things, plenty of Nordic design, Northern design and naturally enough international design.

We started our journey at a brand new venue DNF gallery. It is a major center of attraction on its own because it is a wooden building constructed in a pseudo classic style. You could say it is a bit exaggerated and ornate, but it is very unusual and fits perfectly with the exhibition named Design Dialogues.

They called it a dialogue of different designs because Arc Journal magazine collected a very interesting selection from various manufacturers here. There are well-known manufacturers, virtually industry giants, as well as independent makers. And of course the geographical spectrum is amazing.

When it comes to the most famous brands, these are mainly Italian and German brands. In the context of Copenhagen, this situation always looks very interesting because they take on a completely different face compared to how they appear in Italy or Germany. So the choices of materials, upholstery and finishes really reflect the Northern, Scandinavian spirit.

I also really liked the work of independent makers. Rare talents that you cannot immediately encounter or that are quite hard to see at massive events like Milan Design Week. For example, there were three Japanese companies here. They exhibited very interesting graphics, silhouettes and a great approach based on Japanese philosophy. Since this philosophy is also quite close to the Scandinavian understanding, their products are in serious demand. The Japanese make themselves feel very comfortable in Scandinavian interiors. Likewise, Japanese people actively use Scandinavian brands, products and objects produced here in their own interiors.

Another rare and interesting story is Indian design. It is genuinely attractive because the designers approached the matter with their own cultural identity. Traditional life in India is at ground level. Meaning they generally do not use chairs or sofas, they sit on the floor. Therefore, the objects here can simultaneously be used as coffee tables, stools, benches or different surfaces. Of course, all of them are produced using local craft techniques, but the products look so stylish that they can easily adapt to any modern interior.

The designs of a Chinese studio and naturally the Belgians also fit modern spaces perfectly. Belgian designers are successful in their approaches, graphic lines and understanding of ergonomics. I also really liked the cutlery set designed by a Californian studio. It has a specific function, but it is virtually like a work of art. I think it was the first time I saw this kind of synthesis. The magazine curators did a great job, the quality is excellent. This quality stands out very well in the halls of the gallery. There is great light, skylights and very successful volumes. Since the building itself creates a stage, there is not even a need for extra stage design.

Our next stop was entirely focused on 100 percent Danish design. This was an exhibition organized by DISH Industry. It is very interesting that 20000 companies are members of the association. But unfortunately, it feels like companies from the second half of the list were selected for this exhibition. I cannot say I saw anything perfect, but the barbies or grills looked quite stylish. Outdoor event culture is very developed in Scandinavia and Denmark. There is Norwegian stone, but this is not exactly a Danish story. As for the candles, I could not quite understand what they were doing here. Of course, candle production is inherently a Danish tradition, but it is a bit hard to reconcile with the concept we were following. Then there are some lightings, objects made of pressed sawdust, a little bit of kitchen items and not very striking wooden furniture. It was a point worth visiting, especially considering the panel held on the relevance of Danish design and its place in the international arena.

One of the top brands on the list of cult Danish manufacturers is definitely Astep. Astep is a lighting brand operating in two main areas. First the reproduction of historical models, primarily by Gino Sarfatti. Second collaborating with young and famous designers to create completely new collections. Here they presented two main novelties for the event.

The first novelty is the reproduction of Model 2095. This is a sphere series designed by Gino Sarfatti in 1958. Model 2095 is a lighting fixture that can be used in stairwells. Using such multi-level pendants to illuminate stairwell areas has now become a standard today, but Gino Sarfatti was the first person to think of this concept. These pendants can be single or offered in groups of 3, 5, 7 or 9 and are produced in two different finishes, black or champagne. The spheres themselves can be chosen with opal glass or transparent glass options. Of course, these spheres are also exhibited as ceiling mounted fixtures, chandeliers or single pendant forms.

Speaking of Gino Sarfatti, it is worth remembering the reproductions from previous seasons as well. For example, Model 26, reproduced in 2024 is quite impressive and looks great in groups. Model 2065 has a flattened lampshade. This lampshade can consist of two glass parts or a combined version with a black metal top and an opal glass bottom. It can be used both as a ceiling fixture and in a form between a wall sconce and a floor lamp.

We should not forget the Cinquanta model by Vittoriano Viganò, which is just as iconic as his. Cinquanta has extremely showy modifications, as a wall fixture like a sconce or a multiarm version mounted on the wall or ceiling. Its lampshades can be preferred in different shapes and colors.

Returning to more modern collections, the main novelty of 2026 is the Filamenta model designed by MAStudio from Madrid. The designers were inspired by a very interesting optical effect. From a certain perspective, the light passing through the transparent lampshade virtually turns into a thread/filament and they placed this effect at the center of the design. These fixtures can be used both vertically and horizontally. Horizontal versions work great over surfaces like kitchen islands or tables. The light sources are hidden in the side elements. these elements also feature a downlight source that gives light downward. This way you obtain ambient light while also iluminating the surface below it.

I could not stop by here last year. Clearly I made a mistake because last year, Ahglass, a table lamp made of ceramic designed by the famous Italian designer Luca Nichetto, was introduced. This ceramic is not only handmade, but it also carries a recycled quality in a way, as it is inspired by failures in ceramic production. When a mistake is made during shaping, the clay mixes and a very unique pattern emerges. Therefore every product becomes completely unique.

Speaking of table lamps, Pepa should also be mentioned. It is a wooden fixture that strongly reflects the Scandinavian style, but its designer is Francesco Faccin. Francesco Faccin also designed a very small and elegant fixture named Lille, which can be used as both a table lamp and a wall sconce. Nox offers a personal perspective on Sarfatti's legacy. Samuel Wilkinson's Surpresa design is also a great fixture in my opinion. We met him in 2024, the spatial idea of stretched fabric is very impressive.

If you ask what is Danish about this company if all of them are Italian, there is also a Danish expert collaborating with Astep, David Thulstrup. He designed the Ublo wall sconces with an IP54 protection factor, suitable for damp spaces and the Izu pendants that I liked very much back in the day.

The mansion at Frederiksgade 1 was packed with people as usual. This is the main exhibition area of Copenhagen 3 Days of Design festival. Both Danish and international brands are exhibited here. Among the brands that fall into both groups, I would like to draw attention to Karakter's curators/editors, who collaborate with Cassina. Financially they belong to Cassina. Meaning while Cassina handles R&D and production, Karakter is a respected Danish brand that curates and selects collections.

Coming to the products, there are coffee tables reproduced in memory of the 100th anniversary of master designer Carlo Forcolini. First produced in 1966, these coffee tables are now presented again with brand new colors and smoked glass tops. They are available in different diameters and heights and they look great as a set.

They form a great combination with another iconic piece brought back due to the 100th anniversary of this master. The Peacock chair designed by Verner Panton, another big name in Danish design. It consists of a metal structure and seven cushions. Six small, one large main cushion. The cushions are removable. Both indoor and outdoor versions are available. The metal structure itself is naturally suitable for both environments.

Attention should also be drawn to the continuation of the Aldo Bakker collection. A table named A.D. Table, taking its name from the author's initials. A console was released in 2017 and in 2026, a table in a similar style arrived, creating a great dining room set.

Of course, a nice dining room cannot be without a chair. The piece accompanying the table is the CH6 chair designed by Greek designer Nikos Zografos. The original was produced 60 years ago in 1966. This year, Karakter and Cassina rightly reproduced it because it is a very current and timeless design inspired by the Bauhaus aesthetic. In the original Breuer's cantilever chair aesthetic was taken as a basis, but it was reinterpreted to achieve an extremely impresive result. In addition to the combination of polished steel and natural leather, the matte Total Black version exhibited for the first time in this show looked magnificent as well.

It is also necessary to mention the novelties introduced by Cassina this year. I could not visit the showroom during Milan Design Week, but I made up for it here. The Ardis sofa designed by Patricia Urquiola, who has been Cassina's art director for many years. The reproduction of Scarpa's armchairs and chairs. The bookcase orshelving unit designed by Formafantasma standing right next to the Ardis sofa. Since this installation is named Scandinavian Apartment, the material and finish choices fully conform to this aesthetic. Although Karakter and Cassina are expensive brands, they remain quite accessible compared to real real estate prices in Copenhagen. Another novelty of 2026 is the Met sofas designed by Rodolfo Dordoni. These are accompanied by the XXL version of the Utrecht armchair, Linteloo coffee tables and lamps.

There is an area where Danish design is a bit weaker compared to furniture or lighting, bathrooms. We know Arne Jacobsen's iconic faucet series, but for over 60 years, there has not been much of a new voice from the Danes regarding bathrooms. That is why we draw attention to the Agape brand here. How a brand looks depends on the choice of colors and materials. The products we saw in Milan have taken on a completely diferent vibe here. The Cenote bathtub designed by Patricia Urquiola draws attention with its texture, matte on the outside and shiny on the inside. Washbasins built on the Bloc system and cast glass washbasins are displayed on a special console.

The main novelty of 2026 in the Agape Casa interior collection is the reproduction of Skoope coffee tables designed by Angelo Mangiarotti. I saw the plywood top version for the first time here. Mangiarotti is a total genius. It is impossible not to admire his tables and consoles based on the gravity principle in the Eros series.

The installation named Composed Matter by the Norm Architects studio is also quite remarkable. Three Danish companies are involved. A company producing acoustic panels from algae, a company making electrical installation products and a company designing lampshades from recycled materials.

Right next door was the traditional Danish carpentry workshop Tempus Garde Hvalsøe, whose pronunciation is quite difficult. They combine traditional woodwork craftsmanship with modern aesthetics. Wooden connection details and mortise joints on kitchen islands are the basic elements that form the design. They produce wardrobes, tables, chairs and bathroom units.

And the new chairs of the Magis brand and the extremely intriguing exhibition concept set up in the parking area drew attention. I will continue to share my impressions of the Copenhagen festival in the next post. Thanks for reading.