Widar Halén 29930, Kerstin Wickman 29931 — Scandinavian Design Beyond the Myth

Arvinius, 2003, Linnen band, 229, Despite the mock funeral service held in 1980 for the term Scandinavian design by a group of Oslo designers, Scandinavian design ideals that emerged in the 1950s have survived in the Nordic countries. This must be seen, in part, as the result of an international interest in this period's design on a world basis. A number of international designers have found a source of inspiration in this \"golden age\" as well as in our contemporary Nordic design where the demand for minimalism, stylisation and a new interpretation has been dominant. Indeed, many Scandinavian designers have felt this earlier tradition to be a burden, but to an even greater number it has brought inspiration and self-assurance. In the course of half a century, Scandinavian design has become an established phenomenon, retaining its positive resonance. During the flowering of postmodernism in the 1970s and 1980s, there was less focus on the concept, but by the early 1990s however, it had made a comeback. Now the time has come for a serious reassessment of Scandinavian design, including all the countries in the Nordic community that have contributed to the formation of this identity: Denmark, Iceland, Finland, Norway and Sweden, Goed