(Scandinavian Design) Born before Scandinavian design became more sparse and simplistic, Svenskt Tenn opened in Stockholm in 1924 and made its business selling beautifully crafted wares imbued with color, texture, and joyful prints. Despite its development out of a unique period in time, the circumstances behind this now-iconic company were even rarer. Estrid Ericson, a pioneering woman with a background in metal arts (more specifically, pewter design), founded Svenskt Tenn—a rare female entrepreneur in a male-dominated business world. With a vision for blending functionality with artistic flair, she curated and created pieces that embodied ideas from the Swedish Grace movement but were steeped in her tastes and deeply reflected her vivid personality.

“There are so many aspects of the Svenskt Tenn story—I always describe it as a diamond with all the facets; it’s brilliant,” says Thommy Bindefeld, senior advisor at Svenskt Tenn, Stockholm, which has operated out of the same beautiful sprawling shop space on the harbor at Strandvägen 5 since 1927. Here, classic pieces from the brand’s defining eras in the 1920s and 1930s are sold alongside contemporary designs that complement the collection. “The story of Estrid Ericson, being a woman starting a company in 1924 and achieving such success, is remarkable. The way she ran the business all by herself like it was her family and her life. The fact that she sold the company to the Kjell and Märta Beijer Foundation in 1975, which now donates all profits to research in medicine and ecology, is a testament to her visionary approach. Everything was so well thought out and has a fantastic story.”

One name is missing from this historical account, and that’s a gentleman who came into the business early—an Austrian by the name of Josef Frank, who fled mounting anti-Semitism in 1933. Frank was already an accomplished architect and designer when he arrived in Stockholm, bringing a unique perspective that challenged modernist orthodoxy. He disliked the cool and impersonal nature of much modernist design, instead advocating for colorful, comfortable interiors filled with personality. To quote the master himself, “home should be a warm, livable place that is alive, a place to please the eye and soothe the senses in scale, curves, color, variety, pattern and texture.” “Josef Frank’s designs, when he began working with Svenskt Tenn in 1934, were incredibly timeless,” says Bindefeld. “They didn’t follow trends, meaning his work from the 1930s is just as relevant and beautiful today as it was back then. The high production quality that Svenskt Tenn has always been known for ensures that these pieces last; they’re not something you throw away. They endure.”

Frank’s collaboration with Ericson became one of the most defining partnerships in the history of Swedish design. Together, they created a style known for its bold contrasts in materials, colors and prints. Botanical motifs and playful combinations of patterns and colors often characterized Frank’s designs. And 100 years on, Frank’s work sits at the heart of a Svenskt Tenn Anniversary Collection that is being rolled out across 2024. Svenskt Tenn has launched a fabric displaying “Established 1924,” based on a print Frank designed for a Stockholm bank in the 1930s. Additionally, a limited edition of the Stockholm Cabinet featuring an antique map of Stockholm by lithographer Heinrich Neuhaus dating back to 1875 has been released.

“We did 100 limited editions of the Stockholm Cabinet with the map print based on Frank’s original idea for this piece, which was for it to be covered in wallpaper or floral prints,” says Bindefeld, noting that Frank was a big fan of maps, giving the map-covered edition particular resonance. The limited editions retail for around €40,000, and plates and bags for brand lovers featuring the same motif are also available at much lower sums.

In collectable design spheres, €40,000 is a reasonable figure for a rare Svenskt Tenn piece. For example, a 1941 Monkey Cabinet (model 1140), designed by Josef Frank, sold at an auction in autumn of 2022 for SEK 4.6 million (roughly €400,000). Testament to the enduring value of Svenskt Tenn furniture, the brand is noticing a growing appreciation from collectors of all walks of life, including an engaged younger audience.

“Younger people are beginning to understand the quality and craftsmanship. They realize that if they buy something new at Svenskt Tenn, they can have it for the rest of their lives because it is high quality,” explains Bindefeld. “I work a lot with design schools and notice a growing interest in quality and craftsmanship. The customer base is, of course, getting younger. During my 15 years at Svenskt Tenn, I have seen a shift with younger generations coming in. It’s not just traditional, classic customers anymore. Additionally, auction houses have many Svenskt Tenn items, and ‘Svenskt Tenn’ is one of the most searched terms on digital auction platforms, indicating a strong interest in buying second-hand as well.”

Yet, while younger generations increasingly appreciate the value of well-made wares, craft-focused brands worldwide face challenges as jobs in manual trades decline in desirability. Thankfully, many local Swedish companies Svenskt Tenn collaborates with have been family-owned for generations, with younger members interested in continuing the craftsmanship. One notable example is a family-owned workshop known for producing Svenskt Tenn’s most exclusive pewter pieces, such as its iconic (and very Swedish Grace) candle holders. Pewter, a malleable metal alloy primarily composed of tin, has been used for centuries to create various household items and decorative pieces. This workshop continues the tradition, now under the stewardship of a new generation in their early 30s. Additionally, Svenskt Tenn works with a rattan furniture maker that has produced rattan furniture for many decades. Bindefeld says the current owner is encouraging their daughter to join the business, ensuring the continuation of the craft.

Beyond the re-editions and anniversary products, Svenskt Tenn is engaging broader audiences in public spaces and online this special year. A landmark moment of the centenary celebration has been the unveiling of a giant hand-painted mural in the affluent city area of Grev Turegatan in Stockholm. “We do it as we always do—connecting with history while presenting the brand in a contemporary way,” explains Bindefeld of the 16-meter-high by 5-meter-wide artwork image based on Josef Frank’s original design.

If you’re interested in joining the celebration, the best bet is to travel to Stockholm. Svenskt Tenn plans a significant exhibition on Josef Frank at the Liljevalchs Art Museum in Stockholm from September 2024. The exhibition will connect to Svenskt Tenn’s history and celebrate the creative legacy of both Ericson and Frank.

Three Prized Picks

Thommy Bindefeld, who has been with Svenskt Tenn for over 15 years, is deeply passionate about craftsmanship and firmly understands the brand’s legacy. His appreciation for high-quality design and attention to detail is evident in his careful, personal selection of pieces representing the best of Svenskt Tenn’s offerings for Maison Ë reader’s consideration.