Danish modern

Danish modern is a style of minimalist furniture and housewares from Denmark associated with the Danish design movement. In the 1920s, Kaare Klint embraced the principles of Bauhaus modernism in furniture design, creating clean, pure lines based on an understanding of classical furniture craftsmanship coupled with careful research into materials, proportions and the requirements of the human body. With designers such as Arne Jacobsen and Hans Wegner and associated cabinetmakers, Danish furniture thrived from the 1940s through the 1960s. Adopting mass-production techniques and concentrating on form rather than just function, Finn Juhl contributed to the style's success. Danish housewares adopting a similar minimalist design such as cutlery and trays of teak and stainless steel and dinnerware such as those produced in Denmark for Dansk in its early years, expanded the Danish modern aesthetic beyond furniture.

Between the two world wars, Kaare Klint exerted a strong influence on Danish furniture making. Appointed head of the Furniture Department at the Architecture School of the Royal Danish Academy of Fine Arts, he encouraged his students to take an analytical approach, adapting design to modern-day needs. Adopting the Functionalist trend of abandoning ornamentation in favour of form, he nonetheless maintained the warmth and beauty inherent in traditional Danish cabinet making, as well as high-quality craftsmanship and materials.

The development of modern Danish furniture owes much to the collaboration between architects and cabinetmakers. Cabinetmaker A. J. Iversen, who had successfully exhibited furniture from designs by architect Kay Gottlob at the Paris World Exhibition in 1925, was instrumental in fostering further partnerships. In 1927, with a view to encouraging innovation and stimulating public interest, the Danish Cabinetmakers Guild organized a furniture exhibition in Copenhagen which was to be held every year until 1967. It fostered collaboration between cabinetmakers and designers, creating a number of lasting partnerships including those between Rudolph Rasmussen and Kaare Klint, A. J. Iversen and Ole Wanscher, and Erhard Rasmussen and Børge Mogensen. From 1933, collaboration was reinforced as a result of the annual competition for new types of furniture, arranged each year prior to the exhibition.

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