Learning from Stockholm: Highlights from the City's Furniture Fair & Design Week 2025

Words by Paola Carimati

Stockholm, Sweden

No one could have asked for more from Daniel Heckscher, the new director of the Stockholm Furniture Fair and Stockholm Design Week, both of which, as of this year, now fall under his organizational jurisdiction. Approximately 20,000 attendees turned up to what he himself calls a "last-minute" edition. Built in a mere five months which is undeniably no short feat, the aim behind it all is to implement a strategy capable of reversing the fortunes of a trade fair that very much fell behind due to the pandemic. "When I took on the role, there were about 55 confirmed exhibitors for the fair; at the opening however they were 250. In the city, there were 20 planned events around Christmas, and over 100 at the inauguration," signs of life that Heckscher rightly values.

As someone who calls Southern Europe—the cradle of Made in Italy—home, I find it only natural to ask: How was it possible for an exhibition system, and moreover the flagship of Scandinavian culture, to progressively fall into crisis in the first place? A valid question, because understanding what it takes to revive a trade fair once it has crumbled under the weight of its own missteps within its own territory can help cultivate a forward-thinking vision. It also prompts a certain amount of reflection about what remains of a community that finds itself navigating an absence—provided that the community exists and withstands individualist pressures.

A woman dressed in black sits curled up on a uniquely designed wooden chair with an angular, geometric structure. She covers part of her face with her sleeves, revealing only her eyes. The setting is minimal, with a plain white background and a dark floor. A metal ladder is partially visible on the left side, adding an industrial touch to the otherwise stark composition.

P.Y.R chair by David Ericsson for Blå Station.

A workshop-style interior with an industrial aesthetic features a large window with black metal framing, allowing a view into a storage or workspace. The walls are perforated panels with a weathered orange steel beam running across the top. A mint-green door with glass panels labeled “Modellverkstad” leads to another section. A simple wooden table with sawhorse legs is surrounded by angular wooden chairs in various shades of red and brown, with a distinct geometric design. Rolls of paper and a cup rest on the table, adding to the creative and functional atmosphere.

P.Y.R chair by David Ericsson for Blå Station.

An exhibition space featuring sustainable design concepts is illuminated by overhead spotlights. The left wall displays a diagram with interconnected arrows and text, explaining circular design principles such as reuse, repair, and repurposing. Small samples and materials are attached for interactive engagement. The central area consists of wooden tables and benches, suggesting a collaborative or discussion space, while soft, curved hanging fabric elements add a dynamic touch overhead. The display tables hold various materials and objects, reinforcing the theme of sustainable craftsmanship and material innovation.

Material Dialogues information exhibition by Emma Olbers (SFF25).
Photo by Andy Liffner.

"The economic situation in Sweden is extremely difficult right now, both for exhibiting companies and for architects. Our trade fair system [owned by the city of Stockholm] was unable to adapt to the market demands that emerged with COVID," Heckscher explains. "The management of commercial platforms should not be outsourced to local administrations; it’s not a good mix”. This is why the acquisition agreement for the entire platform—rumoured to have been signed by a European partner—is seen as a great opportunity for revitalization.

As a former architect at Note Design Studio, Heckscher knows how this world operates. He has solid experience in exhibition design. "The first big fair stand I designed in Milan at the Salone was for Magis—and they won that year," he proudly recalls, citing his Italian reference. “In continuity with the work carried out at the fair by Hanna-Nova Beatrice (the previous Director of Stockholm Furniture Fair and Stockholm Design Week), we maintained an open dialogue with collectable design, craftsmanship, and design culture, directing the cultural offering towards everything that can nourish the furniture industry."

A man with a beard and medium-length hair walks through a vast, dimly lit industrial space. He wears a beige shirt and pants, paired with a light blue work jacket. The open area is characterized by exposed metal beams, concrete floors, and large windows in the background that let in some natural light. His expression is calm and contemplative as he moves through the space, which appears to be either under construction or awaiting use.

Daniel Heckscher, Director for Stockholm Furniture Fair and Stockholm Design Week.
Photo by Angelica Liljenroth.

  • A collection of modern lighting fixtures is arranged in a minimalist setting with a neutral gray floor and walls. The designs feature bold geometric shapes and contrasting colors. On the left, a freestanding red metal frame supports vertical LED tubes. A large, hexagonal hanging light with cylindrical frosted glass panels and a black metal frame is suspended from the ceiling. To the right, a zigzagging white fixture extends horizontally, creating a dynamic visual element. A sleek black wall-mounted light and a tall red floor lamp with a cylindrical mesh shade add variety to the display. The combination of structured forms, transparency, and illumination creates a striking, contemporary aesthetic.

    Form Us With Love (FUWL) partnered with Swedish lighting brand BLOND to present Catena, a modular lighting series showcased in their annual Testing Grounds installation.
    Photo by FUWL.

  • The image features a set of small, portable Panthella 160 lamps designed by Verner Panton for Louis Poulsen. These mushroom-shaped lamps have a smooth, curved design with a glossy finish, emitting a warm and inviting glow. A red version of the lamp sits atop a woven bench with a minimalist wooden frame, while two white versions illuminate the surrounding floor area. The scene is set in a dimly lit, modern interior with warm, earthy tones.

    The new portable version of a Louis Poulsen classic – Panthella 160 Portable Lamp, designed by Verner Panton.
    Photo © Louis Poulsen.

  • A modern classroom features bold red acoustic wall panels with curved white line patterns, creating a dynamic visual effect. The room is furnished with light wooden tables and matching red chairs, arranged in neat rows facing a large whiteboard with a wooden frame. Natural light streams in through tall windows on the right, enhancing the bright and inviting atmosphere. The combination of warm tones, geometric patterns, and functional design elements makes the space both visually striking and conducive to learning.

    X-FELT is a new collection of large-scale panels and tiles made
    from GRS-certified PET for BAUX by Form Us With Love (FUWL are also
    Co-Founders of BAUX).
    CGI © BAUX.

  • A cozy interior setting features terrazzo tables with organic red patterns on a white surface. The tables are paired with a mix of pastel green and black chairs, creating a contrast in tones. A red planter with a small plant sits atop one of the tables, adding a subtle touch of color. In the background, a rough stone pillar adds texture, while a warm-toned tubular light fixture hangs on the wall, casting a soft glow. The atmosphere blends raw industrial elements with playful, modern design details.

    Hosoi Tables by Gustav Winsth – A series of nine terrazzo tables designed for the new dining area at Hosoi restaurant & bar in Stockholm. 
    Photo by Martin Brusewitz.

  • A modern interior space features a textured gray wall composed of square fabric-covered panels with subtle concave indentations. Thin wooden slats divide the panels, adding a structured yet organic feel. Below, a light wood bar or counter runs along the wall, supported by vertical wood panels. Three bold red stools with a minimalist, sculptural design contrast sharply against the neutral tones of the background. The combination of soft textiles, warm wood, and striking red elements creates a visually dynamic yet balanced aesthetic.

    Drip sound absorbers/wall decorations by Stone Designs for Blå Station.

An exhibition entrance features a large beige fabric banner with “MANUFRACTURE” painted in bold black letters, draped over a structural frame. Inside, a shelving system made of metal scaffolding showcases various furniture pieces, including chairs, stools, and tables, arranged in a structured yet chaotic manner. Two vertical digital screens on pedestals flank the entrance, displaying abstract blue and white visuals. The polished marble floor reflects the ambient lighting, adding depth to the scene. The backdrop features blue-toned images, complementing the industrial and artistic aesthetic of the display.

Faye Toogood served as the 20th Guest of Honour at Stockholm Furniture Fair, where her installation MANUFRACTURE featured her private archive of maquettes, offering insight into her design process and fostering a dialogue on craftsmanship.
Photo © Andy Liffner.

Many of the most interesting showcases this year reflected Sweden’s already widespread eco-consciousness. Material Dialogue, the crossover project by designer Emma Olbers and chef Paul Svensson, demonstrated how eliminating fossil fuels, adopting a circular business model, and building a healthy food system are the key principles of ecological transition. MANUFRACTURE, a manifesto-exhibition by Faye Toogood (Stockholm Furniture Fair's Guest of Honour) that only included prototypes from her personal archives, championed reuse as an opportunity to mend the "fracture" of the arts within the traditional production system, all the while restoring human ingenuity as an important component of to its central role.

A contemporary exhibition space features a striking blue-toned collage backdrop composed of artistic images related to craftsmanship, such as hands molding materials, pouring liquids, and handling tools. A long industrial-style table in the foreground displays various sculptural objects, possibly prototypes or experimental designs, made from different materials including stone, ceramic, and plaster. The open wooden-framed wall structure gives a raw, unfinished look, enhancing the theme of craftsmanship and process-driven design.

Faye Toogood served as the 20th Guest of Honour at Stockholm Furniture Fair, where her installation MANUFRACTURE featured her private archive of maquettes, offering insight into her design process and fostering a dialogue on craftsmanship.
Photo © Andy Liffner.

Curated by Hanna-Nova Beatrice, Älvsjö Gård (a platform dedicated to experimental and limited-edition design) notably chose upcycling as its theme this year. Standout pieces included Jenny Nordberg's The Executive—a collection of lamps, tables, and sofas made from aluminium profile scraps by Soeco, an office furniture brand—as well as Simon Skinner's Buké lamps, each one a three-dimensional patchwork of repurposed early 20th-century glass objects.

The image showcases a person standing behind a unique floor lamp made of stacked bamboo components with a woven texture. The lamp, designed by Mingyu Xu and photographed by Polly Brown, features a warm, earthy aesthetic with perforated details that allow light to filter through. A red circular tabletop is integrated into the lamp’s structure, adding a functional and decorative element. The setting is a wooden-paneled interior, complementing the lamp’s natural materials and creating a cozy, ambient atmosphere.

Bamboo Floor Lamp by Mingyu Xu.
Photo © Polly.
Greenhouse Exhibitor (SFF2025).

A white floor lamp with a spherical shade stands symmetrically against a textured, corrugated backdrop divided into warm orange and deep red tones. The lamp’s cord extends onto the light-colored floor, adding a subtle organic element to the otherwise structured composition. In the background, blue and black geometric wall panels with diagonal striped patterns create a striking contrast. The interplay of bold colors, textures, and symmetry gives the space a dynamic and modern aesthetic.

Equilibrium collection of lighting designs objects by Studio Gonzalo Bascuñan.
Photo © Gonzalo Bascuñan .
Greenhouse Exhibitor (SFF2025).

A tall, tripod floor lamp with a spherical white shade stands between corrugated felt panels in bright colors. On the left, an orange panel with a red inset creates a warm contrast, while on the right, a blue panel features a large yellow circle. Green, stepped seating is partially visible behind the lamp, adding another vibrant element to the layered, playful composition.

Equilibrium collection of lighting designs objects by Studio Gonzalo Bascuñan.
Photo © Gonzalo Bascuñan .
Greenhouse Exhibitor (SFF2025).

This year, Greenhouse, the Fair's platform for up-and-coming designers, showcased a dedication to ancient crafts albeit reinterpreted in a contemporary way. One of the most radical research efforts, in an extreme setup that still feels raw eve now was the Arkansas School’s focus on light in the shape of 3D-printed glass lamps (providing a deep dive into reducing energy consumption), the small Side Lamps with metal shades by design duo Massimo Scheidegger & Bruno Pauli Caldas (a diploma project from ECAL in Lausanne), and Sumo and Spin Lamps by Tok Studio.

Special mention goes to Polymorf and Studio Pank’s collaborative project, Pavilion, a flexible building system made from wood and ceramics that requires no adhesives, is easily dismantled, and allows for reconfiguration. Other notable exhibits included were the luminous interludes by Milan-based Chilean designer Gonzalo Bascuñán seen at Alcova’s presentation, and the Parallel Garden collection by London-based designer Mingyu Xu, which was launched last year as part of Dolce & Gabbana’s Gen D exhibition.

This selection expanded outward, embracing the global spectrum of multidisciplinary innovation while delving deeply into the core of industrial production. From local to global, Heckscher’s vision offered both companies and visitors a comprehensive, immersive experience that bridges diverse fields and scales.

  • A modern modular seating arrangement in soft pink upholstery is showcased against a rustic, exposed brick wall. The design features high, partially enclosed backrests for privacy, perforated metal side panels, and an integrated footrest, blending comfort with industrial aesthetics. The contrast between the contemporary furniture and the aged wall adds depth and character to the setting.

    Circulus by Offecct. Designed by Mario Ferrarini, this sculptural and modular sofa invites connection, creativity, and conversation.

  • This image from the Misschiefs collective, founded by Paola Bjäringer, showcases an eclectic arrangement of cushions designed to mimic everyday grocery items. These include oversized plush versions of chewing gum, yeast packets, and snack bags, all casually strewn across a luxurious pink velvet sofa. The setting, with a shaggy neon yellow and white rug, contrasts with the soft pastels, creating a playful and surreal aesthetic. The artwork blends pop culture, nostalgia, and contemporary design, turning ordinary household products into statement decor.

    Cushions by Anna Nordström on a pink Togo sofa by Michel Ducaroy for Ligne Roset (1973).
    Photo by Sanna Lindberg.

  • This image captures a group of seven women posing in an eclectic, art-filled space, likely part of the Misschiefs collective, founded by Paola Bjäringer. The setting features a pink velvet modular sofa, a shaggy neon yellow and white rug, and an array of unique art pieces, including a crystal-adorned chandelier, a fabric wall piece, and a surreal photography print of a woman in nature. The group exhibits a mix of casual and bold fashion styles, with some members wearing vibrant colors, structured outfits, and statement accessories. A stack of art books sits beside them, reinforcing the artistic and creative essence of the space.

    For Stockholm Design Week 2025, Paola Bjäringer, founder of the design collective Misschiefs collective transformed her Stockholm apartment into a private gallery, challenging traditional home styling by shifting the focus to design as social commentary. The exhibition featured works by Anna Nordström, Ayesha Quraishi, Ebba Lindgren, Ellen Hedin, Färg & Blanche, Frida Fjellman, Kajsa Willner and Sara Szyber.
    Photo by Sanna Lindberg.

    From left to right clockwise: Kajsa Willner, Anna Nordström, Paola Bjäringer, Ellen Hedin, Emma Blance (Färg & Blanche), Sara Szyber, Ayesha Quraishi.

  • The image presents a close-up view of the SKETCH lamp by Färg & Blanche for NOON, showcasing its soft pink fabric shade with bold orange stitched detailing. The lamp’s geometric form and textile-based construction create a contemporary yet warm aesthetic. The contrast between the smooth fabric and the structured orange piping highlights its craftsmanship and attention to detail. The soft lighting adds to the inviting atmosphere, making it a striking yet subtle design piece.

    SKETCH lamp by Färg & Blanche for NOON.

"The Stockholm Furniture Fair has changed; it is smaller and struggling, but not finished," says Mårten Claesson, founder of Claesson Koivisto Rune Architects. "Fewer international brands overall. More of a national/regional fair. But perhaps, on the contrary, a more culturally interesting event?" A fair question, but "people come to the fair to do business, not like in Copenhagen where "three days of design” exclusively benefiting Danish companies are exhibited but at prohibitive prices,“ Heckscher points out, without criticism. "In Stockholm, as in Milan and Paris, high calibre Swedish companies such as Kinnarps and Lammhults have cancelled their exhibition stands. Some will return next year; others have set up showrooms in their cities. Here, as in the rest of the world, collective platforms are essential," he warns. "If the Swedish furniture industry is not strongly represented at the fairs, how can we convince foreign exhibitors to invest in us?"

Heckscher's logic is as simple as it is overwhelming. The stakes are high, and the Swedish design community is rallying around the project. "For us, the Stockholm Furniture Fair has always been important," explain design duo Färg & Blanche, who participated this year with The Thread modular sofa (designed for Johanson Design) and the new Sketch lamp (designed for NOON), as well as at Stockholm Design Week with the Burn Lace exhibition. "We started exhibiting at Greenhouse 16 years ago—in fact, that’s where we met! It gave us the opportunity to present our work to the world and make valuable connections for the future. The fair may be smaller, but it continues to fulfil its purpose: to inspire and connect people. The beauty of the Stockholm Furniture Fair is its mix of small and large brands, emerging designers who wouldn’t otherwise be able to exhibit, schools, material exhibitions, collectible design showcases, conferences, and so much more, all in one place."

A contemporary bar and dining space with a minimalist yet playful design features striped green and beige walls forming geometric partitions. A long wooden communal table with a glossy brown surface is surrounded by simple wooden chairs with clean lines. Above, lush green hanging plants intertwine with illuminated looped light fixtures, adding a dynamic and organic touch to the space. In the background, a translucent wall with the text “En Bar Bara” and two refrigerators filled with beverages create a structured yet inviting atmosphere. The combination of textures, natural elements, and soft lighting gives the space a modern and welcoming feel.

The 2025 Greenhouse bar, En Bar Bara (Just a Bar in Swedish), at Stockholm Furniture Fair 2025 was designed by All Matters Studio. Bolon sponsored all surface materials, with All Matters mixing the new Ash flooring from the Elements collection with Artisan Wild to create a striped bistro vibe.
Photo by Andy Liffner.

This image presents a sophisticated and moody interior with a minimalist aesthetic, featuring earthy tones and natural materials. The room includes a plush beige sofa with matching pillows, paired with a striking black marbled cube-shaped coffee table. A bold orange sculptural planter holds a delicate, twisted branch, adding an organic contrast to the structured furnishings. In the background, a sleek, light-grey storage cabinet with geometric handles lends a functional yet elegant touch, while abstract artwork and sketches casually lean against the wall. A long, curved wooden conference table with matching chairs extends toward the window, suggesting a creative workspace or executive setting. The subdued lighting and soft shadows enhance the warm, contemplative ambiance of the space.

The Executive series saw Jenny Nordberg collaborate with Soeco to explore furniture reuse, transforming second-hand pieces into new designs.
Photo by Robert Våhlström.

This image captures the Studio Pank x Polymorf Pavilion at SFF 2025, photographed by Johanna Jonsson. The structure consists of a modular wooden framework with interlocking beams, featuring organic 3D-printed metal elements that act as supports and joints. The dark, sculptural metal contrasts with the raw, light wood, showcasing an innovative blend of traditional craftsmanship and digital fabrication. The open, grid-like pavilion structure suggests a reconfigurable and adaptive approach to furniture design, reflecting a sustainable and experimental architectural vision.

Polymorf x Studio PANK at the Furniture Fair – a pavilion where 3D-printed ceramics meet wood, blending craftsmanship with digital manufacturing to create a flexible building system for furniture, interiors, and architecture.
Photo by Johanna Jonsson.

The image showcases a detailed close-up of an experimental wood and 3D-printed metal structure from Studio Pank x Polymorf Pavilion at SFF 2025, captured by Johanna Jonsson. The structure features raw-edged wooden slabs assembled using interlocking joints, paired with organic, black 3D-printed metal formations that serve as both supports and fastening elements. The interplay between natural materials and high-tech fabrication creates a fusion of traditional craftsmanship and modern innovation, highlighting the future of sustainable and adaptive furniture design.

Polymorf x Studio PANK at the Furniture Fair – a pavilion where 3D-printed ceramics meet wood, blending craftsmanship with digital manufacturing to create a flexible building system for furniture, interiors, and architecture.
Photo by Johanna Jonsson.

  • A transparent, sculptural lamp with an organic, wavy form rests on a plush, tufted brown velvet sofa. The lamp’s structure consists of multiple interconnected glass segments with a bubble-like appearance. Sunlight casts soft shadows on the fabric, highlighting its rich texture. A magazine with a vibrant blue and red cover lies nearby, adding a contrast of color to the warm, earthy tones of the scene.

    Bubble Lamp by Studio Ololoo.
    Photo © Studio Ololoo.
    Greenhouse Exhibitor (SFF2025).

  • A sculptural glass lamp with an organic, fluid form rests on a grassy surface. The lamp emits a warm glow from its top, which resembles an inflated bubble. Its elongated, transparent body consists of multiple connected glass segments, each slightly curved and irregular in shape. The base is metallic and circular, with visible screws. The surrounding grass contrasts with the lamp’s delicate, ethereal design.

    Bubble Lamp by Studio Ololoo.
    Photo © Studio Ololoo.
    Greenhouse Exhibitor (SFF2025).

  • A sculptural pendant light composed of three stacked, conical shades in green, brown, and cream hangs above a reflective stainless steel kitchen island. Below, a glossy green ceramic vase with a distinctive flared top and two curved handles sits on the counter, mirroring the shapes of the pendant. A plate of fresh vegetables, including lemons, onions, and radicchio, adds a natural touch. The background features a mix of raw concrete, dark wood, and large windows that frame lush greenery outside, creating a harmonious blend of organic and modern elements.

    Inspired by Gio Ponti’s iconic Murano Chandelier, the Gio chandelier by Luca Nichetto for &Tradition reinterprets classic elegance with a contemporary touch.
    Photo © &Tradition.

  • Two illuminated, textured lamps of different sizes stand against a rough, white wall. Their hexagonal bases transition into softly glowing, fabric-like shades with an intricate lace-like pattern. The taller lamp has an elongated form, while the shorter one is more compact. Blurred figures walk past, adding a sense of movement and contrast to the still, glowing objects. The minimalist setting emphasizes the lamps’ sculptural and ethereal quality.

    Burn Lace by Färg & Blanche.
    Photo by Martin Brusewitz.

  • A translucent, textured lamp emits a soft, diffused glow, with a hand gently pressing against its surface, revealing the contours of the fingers through the material. The lamp has a hexagonal shape and a delicate, lace-like pattern. To the right, a rolled-up piece of similar fabric leans against a rough-textured white wall, suggesting the material’s pliability and craftsmanship. The lighting and shadows emphasize the intricate texture and organic quality of the design.

    Burn Lace by Färg & Blanche.
    Photo by Martin Brusewitz.

This image showcases a minimalist interior with a sculptural approach to wood paneling. The walls and ceiling are clad in angled plywood panels with a natural wood grain finish, creating a dynamic geometric effect. A sleek black lounge chair with a tubular steel frame is positioned against the wooden backdrop, exuding a modernist aesthetic. Next to it, a small side table with a similar frame and black surface holds a few sculptural wooden objects. A black pendant light with a bell-shaped shade hangs from the ceiling, enhancing the contemporary ambiance. The overall design is a fusion of Nordic simplicity and Bauhaus-inspired functionality, with a focus on natural materials, clean lines, and an interplay of textures. The restrained color palette of wood, black, and steel contributes to the serene and sophisticated atmosphere.

Villhem armchair by Borselius & Bernstrand and Able Table by Johan Lindau, Stefan Borselius and Thomas Bernstrand for Blå Station.

This image features a minimalist pendant light with an interactive design. The fixture consists of a sleek, rectangular body suspended from a black cord, with a rotating disc-like component at the bottom. A hand is seen gently tilting the disc, revealing a soft, warm glow from the light source. The design is elegant and functional, allowing users to adjust the light direction manually. The neutral color palette and clean lines make the lamp feel modern and sculptural, ideal for contemporary interiors. The soft lighting effect adds a warm, ambient touch, making it both a statement piece and a practical lighting solution.

Spin lamps by Tok Studio (by Sonia Bąk-Tokarska and Michał Tokarski).
Photo © Tok Studio .
Greenhouse Exhibitor (SFF2025).

A collection of colorful modular furniture pieces is arranged in an open space with a neutral gray floor and white walls. The pieces, in bold red, blue, yellow, and brown, include shelving units, benches, and tables with simple, geometric forms. Some pieces feature wooden details on their edges, adding warmth to the design. The arrangement suggests flexibility and adaptability, allowing for various configurations. The second image includes a black hexagonal bench, contrasting with the vibrant primary colors, while a tall blue locker-style unit stands against a white wall, emphasizing a modern, minimalist aesthetic.

Form Us With Love (FUWL) partnered with Dalform to launch Soft Edge, a versatile furniture collection that expanded Dalform’s expertise beyond lockers, reaching schools, hospitals, gyms, offices, and hospitality spaces.
CGI © Dalform.

A collection of colorful modular furniture pieces is arranged in an open space with a neutral gray floor and white walls. The pieces, in bold red, blue, yellow, and brown, include shelving units, benches, and tables with simple, geometric forms. Some pieces feature wooden details on their edges, adding warmth to the design. The arrangement suggests flexibility and adaptability, allowing for various configurations. The second image includes a black hexagonal bench, contrasting with the vibrant primary colors, while a tall blue locker-style unit stands against a white wall, emphasizing a modern, minimalist aesthetic.

Form Us With Love (FUWL) partnered with Dalform to launch Soft Edge, a versatile furniture collection that expanded Dalform’s expertise beyond lockers, reaching schools, hospitals, gyms, offices, and hospitality spaces.
CGI © Dalform.

A contemporary bistro space with a bright and airy atmosphere features a mix of white and red furniture. The seating includes red upholstered barstools at a white perforated counter, red lounge chairs along the windows, and white tables paired with minimalist white stools. Suspended rectangular LED light fixtures with red accents hang from the ceiling, creating a structured yet dynamic visual effect. Neon-red line drawings on the windows depict abstract food and furniture motifs, adding a playful and artistic touch. The large windows bring in natural light, enhancing the modern, inviting ambiance.

"Testing Grounds Bistro" pop-up by Form Us With Love showcased a curated selection of their designs, including furniture by +HALLE, the Catena modular lighting system by BLOND, and the Center Center perforated metal storage system by String Furniture, which elegantly defined the bar area. 
Photo © FUWL.

The impression, wandering through the aisles, was that the entire Swedish furniture industry has lost some of its polish—except for certain standout pieces: the HidaHida armchair by Kengo Kuma for Garsnas, the Soft Edge furniture system by Form Us With Love for Dalform, the Circulus sofa by Mario Ferrarini for Offecct, the PYR chair by David Ericsson for Blå Station, and the lights from startup Attilli—undoubtedly remarkable, highly industrial products. "Only a few new innovations and few interesting collaborations," Heckscher admits. "Even I can’t help but be critical. The Swedish design system has the resources, but I think we are playing it safe—we need to level up."

  • A close-up of a finely crafted lounge chair showcases its natural leather backrest, which is pleated and draped over a light wooden frame. The smooth, rounded wooden armrest encircles the structure, complementing the soft folds of the leather. The stitching details and organic texture of the material enhance the chair’s artisanal quality. The legs, made of pale wood, are slightly angled, providing stability while maintaining a delicate, refined aesthetic. The polished concrete floor contrasts with the warm, tactile materials, emphasizing the craftsmanship and elegance of the design.

    HidaHida easy chair by Kengo Kuma Associates, Coad & Materials and Gärsnäs.
    Photo by Lennart Durehed.

  • A set of four elegantly designed lounge chairs is arranged in a dimly lit space. Each chair features a light wooden frame with a curved, enveloping backrest covered in pleated fabric that drapes over the edges like a soft shell. The chairs come in muted tones of gray, beige, green, and light blue, creating a harmonious and natural palette. The structured folds of the fabric add texture and depth, enhancing the sculptural quality of the design. The dark floor contrasts with the light wood and fabric, emphasizing the organic and refined aesthetic of the seating arrangement.

    HidaHida easy chair by Kengo Kuma Associates, Coad & Materials and Gärsnäs.
    Photo by Lennart Durehed.

Two sculptural metal floor lamps with an industrial aesthetic stand in front of large arched windows overlooking a cityscape with historic buildings and water. The lamps are composed of interconnected aluminum beams with a brushed finish, featuring both vertical and horizontal elements. Small, bowl-like objects rest on top of the vertical beams, while built-in lights at the base cast a soft glow on the wooden parquet floor. The setting combines classical architecture with contemporary design, creating a contrast between the ornate window frames and the raw, mechanical appearance of the lamps.

Bukowskis and David Taylor presented SPECIAL EFFECTS – an exhibition and online auction during
Stockholm Design Week 2025.
Photo © Bukowskis.

A sculptural aluminum stool with a curved seat and multiple angular legs stands in an industrial-style workshop. The stool’s brushed metal surface reflects the warm light in the room. On the wall, a geometric metal structure with similar folded and riveted detailing is mounted. To the right, a shelving unit holds various tools, rolls of material, and industrial components. The concrete floor and metal shelving enhance the raw, workshop aesthetic, while the interplay of light and reflections adds depth to the scene.

The making of SPECIAL EFFECTS by David Taylor. Photo © Bukowskis.

A contemporary exhibition space with wooden parquet flooring features sculptural furniture pieces in bold green and metallic tones. On the right, a geometric green stool with ribbed texture sits on a white pedestal, while a matching cabinet on wheels stands in the background. A sleek, curved metal bench is in the foreground. Mounted on the wall is a diamond-shaped aluminum structure, and above it, the words “SPECIAL EFFECTS by DAVID TAYLOR” are written in a graffiti-style font. The setting combines industrial materials with playful, futuristic design elements in a refined gallery-like atmosphere.

Bukowskis and David Taylor presented SPECIAL EFFECTS – an exhibition and online auction during
Stockholm Design Week 2025.
Photo © Bukowskis.

The city, however, showed a little more vibrancy, revealing some intriguing surprises: the Aiiro exhibition and the Geometry glass collection—two highly sophisticated explorations of Swedish identity by architects Claesson Koivisto Rune, the former curated in collaboration with Jackson Design and the latter designed for Orrefors—the Special Effect collection by Sweden-based Scottish designer David Taylor presented by auction house Bukowskis, which explored the creative possibilities of aluminium. the Gio lamps by Luca Nichetto for &Tradition, and pieces by Axel Wannberg, Sami Kallio and design studio Front at NO GA's showroom, curated by Hanna-Nova Beatrice were also notable.

"I’m glad our commitment and quality have been recognized, but I want to go further”, Heckscher explains. “Together with my team of eleven collaborators (the largest ever), we will continue pushing forwards, we will write a manifesto. And if anyone asks me what I actually plan to do, I will answer: the best furniture fair in the world." No doubt an ambitious proclamation, which makes one more reason we are looking forward to returning to Stockholm next year—after all, we love challenges, design, and the Swedish community.

  • This image showcases a minimalist and sculptural wooden furniture installation in a gallery-like setting. The pieces, made from solid, raw wood with visible knots and natural grain, exhibit a geometric and almost architectural quality. The set includes a chair, a bench, a stool, and a low table, each crafted with sharp angles, clean lines, and a sense of balance. The composition is open and spacious, emphasizing the contrast between the raw wood texture and the stark white walls. The earthy brown tiled floor adds warmth, complementing the organic nature of the wood. The arrangement suggests a playful yet functional approach to furniture design, blurring the line between art and utility.

    The King’s Hat chair by Nick Ross for Contem, crafted from 300-year-old Linden tree branches pruned for the first time in a century. A poetic balance of heritage, sustainability, and enduring design.

  • A sculptural wooden dining set designed by Niklas Runesson features a round table with organically curved legs and four matching chairs. The furniture is crafted from richly grained wood, with each piece showcasing smooth, fluid forms. The chairs have a minimalist yet ergonomic design, with sheepskin-covered seats adding warmth and texture. The table’s legs have a bulbous, almost sculptural appearance, enhancing the handcrafted aesthetic. The overall design blends rustic elements with a contemporary, artistic approach, making it a striking centerpiece.

    Dining Table and chairs by Niklas Runesson. 
    Photo © Niklas Runesson. 
    Greenhouse Exhibitor (SFF2025).

This image showcases a warm, inviting interior with a vintage wooden weaving loom as its focal point, surrounded by textiles and furniture. The yellow-painted walls and floor create a cohesive, monochromatic ambiance, while the woven wall hanging and patterned rugs add texture. A small woven basket with a checkered pattern sits nearby, reinforcing the handcrafted aesthetic. In the background, colorful chairs, framed artwork, and a cozy lounge area with a lamp give the space a dynamic yet harmonious feel. The setting exudes a nostalgic, artisanal charm, likely celebrating traditional weaving and craftsmanship.

Frank in the Loom – a limited-edition rag rug by Svenskt Tenn, woven from repurposed Josef Frank textiles. Crafted with sustainability and tradition in mind, it embodies timeless design meant to last for generations.

A display of geometric table lamps, designed by Axel Wannberg for NO GA, is set against a modern interior backdrop. The lamps, titled “Lamp 53,” feature bold, angular designs in mustard yellow, white, and deep blue. They have a minimalist, sculptural aesthetic, composed of clean lines and sharp angles. A pink sign with black and gold text provides details about the design. The lamps are placed on tiered pedestals with a checkered floor beneath, adding contrast to the structured arrangement. The scene exudes a refined, contemporary design sensibility.

The NO GA version of Lamp 53 by Axel Wannberg. Photo © NO GA.

A designer stands in a cluttered woodworking studio, holding a blue geometric lamp. The workshop is filled with wooden materials, tools, and works in progress, creating an atmosphere of creativity and craftsmanship. Industrial air ducts run across the ceiling, and shelves are stacked with supplies. A small wooden model house sits on a table nearby, emphasizing the handcrafted nature of the space. The designer, dressed in a black puffer jacket, appears focused, highlighting the hands-on approach behind the lamp’s creation.

Axel Wannberg and the NO GA version of his Lamp 53. Photo © NO GA.

Newly appointed director Daniel Heckscher's program for the Stockholm Furniture Fair is a call to action aimed at companies, designers, and the city itself. The goal? To build a new exhibition model and revive the design system beyond the crisis.

An elegant arrangement of glassware is displayed against a reflective metallic backdrop. The collection includes various types of drinking glasses, such as wine glasses, champagne flutes, martini glasses, and tumblers, as well as a tall, cylindrical glass pitcher. Each piece features delicate, thin stems and precisely shaped bowls, emphasizing craftsmanship and refinement. The monochromatic setting highlights the transparency and geometric variations of the glass forms, while soft reflections and diffused light create a sense of depth and sophistication.

Geometry is the latest tableware series designed by Claesson Koivisto Rune for Orrefors, showcasing a refined balance of form and function.
Photo © Orrefors.

A collection of delicate glass objects in various shapes and colors is displayed on a reflective surface. The vases and vessels range from deep blues and greens to soft pinks and smoky grays, showcasing intricate craftsmanship and fluid forms. Each piece has a unique silhouette, some featuring narrow necks, wide openings, or spherical structures, emphasizing the elegance of blown glass design. The transparency of the glass interacts with light, casting soft shadows and reflections.

Midsummer vase series by Claesson Koivisto Rune for Orrefors. 
Photo © Orrefors.

A minimalist composition features a cylindrical glass carafe filled with water, a short glass tumbler, and a design book resting on a reflective metal shelf. The sleek, monochromatic setting is enhanced by soft light casting subtle reflections on the brushed metal surface. A small metallic ring lies nearby, adding a personal touch to the otherwise structured arrangement. The scene exudes simplicity and elegance, emphasizing clean lines, transparency, and refined materiality.

Geometry is the latest tableware series designed by Claesson Koivisto Rune for Orrefors, showcasing a refined balance of form and function.
Photo © Orrefors.

The image showcases a minimalist interior setting with a collection of modern and vintage wooden furniture arranged on geometric blue platforms. A sleek, angular floating shelf in deep navy extends along the wall, adding a contemporary touch. The room features a mix of organic and structured forms, with chairs and tables in natural wood tones that contrast against the cool blue elements. The polished concrete floor reflects the clean aesthetic of the space. The arrangement highlights the sculptural qualities of each furniture piece, creating an artful and curated display.

Aiiro, an exhibition curated by Claesson Koivisto Rune in collaboration with Jackson Design, drew inspiration from Astrid Sampe’s striking blue carpet. The showcase featured a carefully curated selection of design pieces by renowned creators, handpicked by Mårten, Eero, and Ola from Jackson’s collection.

“Featuring the rare Type P Chair (birch plywood) by Gerald Summers, 1934.
Produced by Makers of Simple Furniture.
Dimensions: H 71.5 cm (28.1”) × W 45 cm (17.7”) × D 53.5 cm (21.1”)
Seat height: 40 cm (15.7”)”

Provenance:
Decorative Arts, Christie’s, London, 16 February 1994, Lot 74
The Fine Art Society, London
Private British Collection
Private Collection, London

A geometric floating shelf in deep navy extends along a white wall, featuring sharp angles and a sleek, modern design. A single transparent glass object with a delicate, elongated form and a rounded top sits on the shelf. The polished concrete floor reflects light, complementing the minimalist and contemporary aesthetic.

Aiiro, an exhibition curated by Claesson Koivisto Rune in collaboration with Jackson Design, drew inspiration from Astrid Sampe’s striking blue carpet. The showcase featured a carefully curated selection of design pieces by renowned creators, handpicked by Mårten, Eero, and Ola from Jackson’s collection.

‘Hillside’ Cabinet, designed by Claesson Koivisto Rune. Produced by Arflex, 2009. Painted wood.

‘Klot Över Kon’ Sculpture, designed by Johan Selbing. Produced by Orrefors, 1960. Hand blown glass.

A sculptural circular object with a pleated, origami-like structure sits on a white pedestal against a softly draped white fabric background. The piece features alternating blue and white segments, creating a striking geometric pattern. The folds add depth and texture, giving it a dynamic, almost kinetic appearance. The open center emphasizes its radial symmetry, while the craftsmanship and material suggest a blend of textile and structural design.

O R I O R I folding woven textile by Emilie Palle Holm.
Photo © Emilie Palle Holm.
Greenhouse Exhibitor (SFF2025).

A sculptural wooden chair with a bold geometric design is showcased against a neutral background. The chair features a tall, flat backrest with a cut-out rectangular detail, a thick horizontal seat, and vertical wooden slats that form the legs, creating a striking architectural composition. The natural wood grain enhances the raw yet refined aesthetic.

Wooden chair by Of The Useless (OTU)
Photo © OTU.
Greenhouse Exhibitor (SFF2025).

About our guest contributor Paola Carimati

Architect by training, journalist by profession, she has been intertwining research with design and current affairs since the time of graduation at the Politecnico di Milano. Writing is a practice matured and trained in the field: yesterday, in the editorial staff of Elle Decor Italia, today with important Italian magazines of the groups Editoriale Domus, Il Salone del Mobile, Mondadori and Rcs.