We caught up with the founders of our society, Peter Seisbøll and Emil Strunge Hansen during Milan Design Week, in the center of the city. The Danish city hosts a large international student population. This specific environment forces diverse backgrounds together and dictates the operational methods of the founders. They rejected the closed studio model for an open collective mindset. The brand functions as a stepping stone for new creatives. Emerging designers receive an opportunity to refine their ideas before entering the established industry machine. Production happens entirely within Europe to ensure shorter transport distances and closer proximity to the manufacturing process. The founders focus heavily on flat-pack logistics. Shipping flat components allows them to transport more inventory within the same cargo volume. We spoke with the founders to help you understand their process and vision for the future of their brand.
You started your design brand in Aarhus with a focus on contemporary youth values and modern aesthetics. How did the local creative scene shape your decision to build a collective platform for emerging designers instead of a traditional studio model?
We don’t see ourselves as a platform. We are a design brand, built on a collective mindset.
We’re based in Aarhus. A smaller city with a strong international student environment. Different backgrounds and ways of thinking come together there, and that shaped how we chose to work.
At the same time, we’re not tied to one place. Our perspective is international, driven by curiosity. We’re interested in how designers are shaped by where they come from.
We never aimed to build a closed studio with a fixed signature. Instead, we chose a more open structure, something that stays in motion.
Working with emerging designers is a natural part of that.
Our role is to be a stepping stone. A place where emerging designers get their first opportunity, develop their ideas, and move into the more established part of the industry. If that happens, it works.
Your primary material choice is aluminium because of the inherent durability and low weight. What technical challenges do you face when you design modular flat-pack furniture with this specific metal?
Aluminium is precise. It leaves no room to hide.
In flat-pack systems, tolerances are critical. Small deviations affect how elements meet and how stable they feel. The work lies in refining those connections while keeping the construction as reduced as possible. Nothing extra.
We don’t try to conceal anything. Joints, screws, welds, they are part of the object. There is an honesty in showing how things are made.
Aluminium allows for light, durable pieces that work both indoors and outdoors. At the same time, it is sensitive. The surface reacts to use, scratches, marks, small variations.
We see that as part of the material. Over time, the objects develop a patina. They change with use.
You invite external creatives at early career stages to collaborate directly on your collections. How do you maintain a unified visual identity across your furniture pieces when multiple independent voices contribute to the catalog?
We’re not interested in a fixed identity.
What connects the work is a shared language. Reduction, geometry, and an honesty in how things are made. Objects that are simple, but carry a certain presence.
Each designer brings their own perspective, shaped by different backgrounds and ways of working. We meet that with ours.
Sometimes it doesn’t align. That’s where it gets interesting.
It’s a dialogue. A process of finding the right balance, where it fits naturally into our universe.
The identity comes from that. Not from control.
You prioritize environmental responsibility by manufacturing locally within Europe and shipping components flat to reduce transport emissions. How do you measure the direct impact of these supply chain choices on your overall carbon footprint?
We’re not fully there yet. And we don’t pretend to be.
We focus on the decisions we can control. Producing within Europe keeps distances shorter and brings us closer to how things are made.
Flat-pack logistics is one of the clearest factors. We can ship six to eight times more within the same volume.
At the same time, we’re working towards a better understanding of our footprint. We prefer transparency over over-claiming.
Your recent exhibition at 3daysofdesign took place on a boat in Nyhavn with a floating cafe. How does presenting your pieces in unconventional interactive spaces change the way people experience your products?
It changes the energy around the objects.
When you place them in a living environment, surrounded by people, movement, and atmosphere, they take on a different role. They’re no longer just something to look at, but something to use, experience, and be part of.
There is a cultural aspect to it. How people gather, move, and interact shapes the way the objects are understood.
We’re interested in giving the pieces a context where they can exist more naturally, as part of a moment, rather than a static display.
You state a goal to create long-lasting objects passed down through generations. What specific new interior categories do you plan to introduce in your upcoming collections to achieve this ambition?
We’re interested in things you return to. Objects that gain meaning over time.
Going forward, we’re moving towards more functional pieces. Elements that shape how a space is used.
At the same time, we’re exploring smaller objects. Things you interact with more directly.
The aim is simple. To make pieces that last.
Share this editorial