ferm LIVING - Collection Brandbook

The Art of

Creating

a Home

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The Art of

Creating

a Home

FOREWORD

What makes a good home? This is a question we ask ourselves daily in our work with design – and one we are seeking to answer with this book.

Simply buying objects does not make a house a home.

Similarly, stepping into a place where everything is perfect – the ‘right’ furniture in the ‘right’ colours and the ‘right’ combinations – can be inspiring, but often does not feel like home. ferm LIVING has always been driven by the feeling of a home rather than simply the objects that fill it.

For me, home is much more than a physical place filled with physical objects. It is an emotional anchor in a world of contrasts. A place where life is lived – good and bad. Like a work of art, home is always in motion; a personal canvas that evolves over time. The organic process a home undergoes reflects our human journey through life.

Where old meets new, where sorrow meets joy, where calm meets chaos. Some days you feel like closing the curtains and shutting the world out. On others you cast them wide open and invite the world – and the people you love – inside. A home should embrace all facets of life. ferm LIVING brings to life interior objects and furniture that inspire you to create a home where life can be lived. While function and aesthetics are undeniably important to us, we work seriously and responsibly with design and are dedicated to creating not only beautiful objects for the home, but also an emotional connection to the spaces we live in.

Trine Andersen Creative Director & Founding Partner

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Thoughts on home

Home is the base from where everything begins.

The Evolution of the Home

In conversation with etnologist and anthropologist Mark Vacher.

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When asked to imagine a home, most of us will envision a building. But home is more than just a physical dwelling.

What does home mean – and why is it important?

We spoke to ethnologist and anthropologist Mark Vacher, Associate Professor at the University of Copenhagen, to discover there is more to a home than meets the eye.

An omnipresent feature of our daily lives, home is much more than a physical space. Shaped by the social and cultural contexts of their time, homes evolve with us.

Ever since we sat around a crackling fire surrounded by our kinsfolk, home has been a place where we feel a sense of belonging.

“If we have no home in the world, we are no longer in the world,” says Mark Vacher.

“Home as a concept is interesting. It makes sense when we talk about it. If I tell someone to ‘go home’ it makes immediate sense to both them and me – even though I don’t know where home is for them, or what it looks like.”

Instantly familiar yet inherently individual, ‘home’ in the vernacular works in many ways, but when we begin to delve deeper into its meaning, it becomes more complex. What is home? Where is home?

How does home feel? The subjective meaning placed on the word ‘home’ is both known and unknown.

“Home is both a linguistic reference and an existential relation. When we are born, we are immediately taken care of to ensure our survival. Given a space in the world and within our bodies to grow. It’s no coincidence that Jesus had a crib. Existentially, my body is my home; I’m always in my body – like a snail in its shell. Beyond its existential meaning, home as a place among other places can be related to the development of the individual,” Vacher explains.

Domestic bliss Some of the first to create a home as we know it today were nobility, moving from castle to castle and decorating with large, heavy furniture and indulgent paintings on walls that signified not only their wealth,

but also their identity. Industrialisation saw homes become filled with items that cemented a growing feeling of individuality.

“In the Middle Ages, the notion of family was where you worked, where you lived, who you were. The rise of the individual, individual labour and the bourgeoisie in the 1800s transformed the home into a place to which people retreated – and a place where the idea of the nuclear family flourished. Before then, we were always someone’s son, mother, sister or brother,” Vacher notes.

“In reality, we begin as individuals and construct communities throughout our life. To do this requires instruments, devices, arenas, objects, children’s rooms, platforms, gardens, kitchen islands…”

Beyond the physical “Today, home is a place we leave in the morning to return to again in the evening. We fill it with things.

Create open-plan kitchens where we bake organic bread while the children do their homework, or we share a bottle of wine. Home reflects the bourgeois idea of a family. And we create a family through the items we purchase for our home. We fetishise objects and ideas within the home to promote our sense of individuality, wellbeing and community. We invest time and effort in our home and garden to show luxury, abundance and time.”

Home is also the place where we manipulate time according to our needs. We lie down to sleep at night, and the day turns into tomorrow. We wake in the morning and open ourselves up to time once more.

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Thoughts on home

“Home is a place where we step in and out of action, safely. Where nothing is at stake,” Vacher says.

“On a bad day, we come home and retreat early to our bed, switching the day off. At other times we stay up late to wring out the last drops of a good day. A place beyond places – unlike work, where we are required to do specific tasks and achieve goals before eating lunch, finishing our work and leaving for the day – at home nothing happens yet everything happens. Things can change because nothing changes.”

Together alone The concept of home, then, is beyond the boundaries of language and archaic interpretations. Consider what it means to feel ‘at home’. Vacher believes that a permanent physical dwelling is not requisite to feeling at home. Home can be made and remade anywhere and at any time throughout life. Whereas a house is based on norms, a home is based on subjective emotions.

Physical shelter is a basic human need. But it is our desire for belonging that shapes our homes. This is echoed in the Old English word for home, hām, which refers to a village or an estate where many ‘souls’ are gathered. While a physical structure is implied, it is more about a gathering of people. The objects we acquire for our home are not just the story of who we are. They are a tangible reminder of the way in which we relate to others to build a community – which is vital to our survival.

“Everything we have in our homes is a reminder of who we are and the community we wish to surround ourselves with,” says Vacher.

“Some are good at doing ‘home’ – feeling at home in the world and in a space. Others find it difficult and work hard at feeling at home.”

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Traditionally, in many cultures, a home has not been a place that strangers would enter. While there may have been a room for best, it was outside the walls of the home that we would meet others. Today, our homes are a showcase not just for us, but also for the outside world.

“Our home tells others something about us – but only when they’re allowed through the door. When you enter my home, I look at it through your eyes. How it makes you view me. If I saw me, what would I like to see? But it’s hard to decorate a home where others see me the way I want them to see me,” Vacher explains.

Home elicits a physical response: we may breathe deeper; our muscles may relax. But if creating a home requires emotional connection and a feeling of belonging, why do we care so much about what we fill it with?

“The process of creating a home happens over time.

It grows with us,” says Vacher.

“The objects we acquire for our homes speak of who we are and how we relate to others.”

Design allows us to project to the world who we are and what we want to be.

“Just like a well-designed chair that serves its purpose quietly, instinctively, a home does that same thing: when it does its job well, it is an instrument. Like the good vegetable knife is effortless, allowing you to feel the carrot you’re cutting, but not the knife in your hand. Home is the same: it facilitates who we are and how we want to be with the people we choose to be with. There is agency in creating a home. A good home facilitates the good life. Whether you bake the organic bread or not.”

"Everything we have in our homes is a reminder of who we are and the community we wish to surround ourselves with."

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Contents

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03

Foreword

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The Evolution of the Home

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The Hallway

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The Living Room

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The Green Space

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The Kitchen

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The Home Office

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The Bedroom

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The Bathroom

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The Kids’ Room

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Our View on Sustainability

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The Design Team, A Shared Mindset

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Production Stories, Crafting Skills

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Liba Watering Can, Design With a Purpose

Contents

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Flod Table Tiles, Clay, Water and Fire

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Ripple Collection, Making Waves

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Mineral Tables, Statements in Stone

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Home Stories, Welcome Home

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Linda Ring, Bread House

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Helena Rohner, An Oasis of Calm

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Kristina Line, Just Add Water

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Connie Barton, Grass Roots

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Kethevane Cellard, Family Tree

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Juli Daoust Baker, A Scandinavian Sensibility

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Isis-Colombe Combréas, Close to Home

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Mikkel Dahlstrøm, Less Is More

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Index

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THE HALLWAY

The hallway is more than just the thoroughfare of your home: it is an entrance where you welcome guests inside, a space to store everyday essentials, a room that sets the tone for the rest of your home – and the first place you enter after a long day at work or a lively get-together with friends. As you close the door behind you and kick off your shoes, you finally feel at peace. Welcome home.

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Life is full of contrasts. As we navigate expectations and dreams in search of meaning and comfort, we long for a balanced life with room to be ourselves.

A place where we can realise the true value of things, and feel at home.

Based on a passion for authentic design and with responsibility at the heart of every choice we make, we create honest products and calm environments that inspire you to balance the contrasts in life.

From our home in Copenhagen, we work with artisans around the world, fusing our Scandinavian mindset with global skills and traditions. Our collections are defined by soft forms, rich textures and curious details that let you create composed atmospheres with a touch of the unexpected.

From materials and processes to production and delivery, we challenge ourselves to help shape a sustainable future, making it easier for you to make responsible choices.

We create collections of furniture, accessories and lighting, so you can create space to feel comfortably you.

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THE L IVING ROOM

A space for gathering family and friends, for contemplation and relaxation, the living room is the heart of the home. From a zen den to a hardworking hub of modern multifunction.

From a flexible family room to a party pad.

Whatever your needs, the living room is a space in which to feel comfortably you.

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THE GREEN SPACE

Everything starts with a seed and few things are as fulfilling as watching something grow.

Surround yourself with verdant plants – outside as well as in – to bring nature closer, brightening your mood and cleansing the air while adding an invigorating, personal touch to your green space.

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THE KITCHEN

A practical playground for creation and experimentation and an important gathering space for family and friends, the kitchen is an indispensable part of life. It is here we start the day and always seem to end up, to experience new things and engage in worldly discussions. Whether spending hours cooking up an impressive feast for dinner guests or throwing together a weekday meal for your family, let your taste guide your style — as well as what is on the menu — to add a little flavour to the soul of your home.

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THE HOME OFFICE

Whether your job involves crunching numbers or flinging paint at a canvas, get down to business in a work-ready space that maximises your creativity while leaving room for your imagination to grow.

Declutter ideas as well as items with smart storage solutions, illuminate master plans with lighting that refreshes and refines, and get the job done with homely, decorative features that inspire you to work here and not from the sofa.

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THE BEDROOM

Whether you are into mindfulness or merrymaking, long mornings or an early start, the bedroom embraces you with the comfort of soft furnishings and ambient light to create your perfect resting space.

Recharged and refreshed, you can face the world with renewed energy.

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THE BATHROOM

A place to set intentions for the day and a sanctuary in which to retreat from the daily grind and connect with your senses, your bathroom is a haven of peace and tranquillity. Filled with carefully chosen objects of equal parts beauty and function – from soft fabrics against your skin to scents suggestive of nostalgic memories – steal a few extra minutes for daily rituals that primp and prime you for what lies ahead.

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THE KIDS´ ROOM

A child’s bedroom is a haven of creativity – and, less often, calm – filled with cherished teddies, blanket dens and boundless fun. It is here that intrepid girls and boys venture into the far-off lands of their minds to battle with dragons and swim with merfolk.

Let kids be kids and open the door to new and unchartered territories within the four walls of their own room. The possibilities are limited only by their imaginations.

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OUR VIEW ON SUSTAINABILITY

WO R K I N G F O R A BETTER TO M O R ROW

OUR VI E W O N S U S TA I N A B I L I TY

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At ferm LIVING, we celebrate the contrasts in life. We want people to feel confident in the choices they make as they create space to live more sustainably.

In the search for balance, it can be difficult to navigate good and bad, right and wrong. As a design company, we see it as our responsibility to lead the way – to inspire change and help all of us make responsible choices.

To help us achieve this, we have set an ambitious responsibility strategy. Based on nine 2030 Commitments across ‘Our planet’, ‘Our Society’ and ‘Our family’, we embrace our responsibility holistically and weave a mindset of sustainability into every corner of our business. Every day, each department works on initiatives, projects and actions that ensure steady progress, accountability and integrity in everything we do, from the choice of materials and our design processes to production methods, the logistics of delivery and the way we shape our culture.

We want our designs to last – both in terms of function and aesthetics. In our quest to achieve this, we employ strict sustainability criteria and work within a set framework of practices. We take a ‘cradle-to-grave’ approach to consider the entire life cycle of our products, and work to ensure that as many of our products as possible are made from responsible materials.

We are committed to responsible production. We work with certifications and testing to ensure working conditions in our supply chain are safe and fair, and that our products are responsibly produced and of high quality.

We work to reduce our impact. We use a climate screening tool to measure the CO2 footprint of our products, and to gain knowledge and data for our future targets. We participate in the UN Global Compact and as from 2022 report our yearly progress on their platform.

We encourage better ways. We nurture long-lasting relationships built on mutual value creation, transparent communication and considerate behaviour.

Relations where everyone is empowered to explore opportunities for responsible business and better living.

It’s an ongoing journey and we know there will be dilemmas and bumps along the way. By contributing to the important and ongoing dialogue on sustainability, and by helping each other leverage insights to learn and grow, we are all working towards a better tomorrow.

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OUR VIEW ON SUSTAINABILITY

O U R 2 03 0 C O M M I T M E N TS

OUR PLANET Create full transparency on all products Obtain third-party certifications on all products Work towards CO2-neutrality OUR SOCIETY Build value on all bottom lines: people, planet, profit & purpose Inspire customers to make responsible choices Give back to local communities in support of better homes OUR FAMILY Maintain a strong culture with clear values Nurture long-lasting relations built on trust and respect Empower all of us to learn and grow together

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QUALITY We want to make it easy for our customers to buy better products and keep them in use for longer. Our designs should live for many years – timeless, enduring and passed on. For this to happen, the quality of our products must be exceptionally high, and they must arrive at their destination in good condition.

DESIGN PHILOSOPHY We want to inspire people to live a more mindful and sustainable lifestyle. To us, this means buying less, buying better and keeping things in use for longer. Therefore, we design to create products that last both in terms of function and aesthetics. With a passion for authentic design and clear functionality, we create high-quality products, made from responsible materials and with a lasting aesthetic appeal.

We inspect our products through a comprehensive quality control system tot ensure they live up to our quality standards.

In addition, our suppliers consistently perform on-site quality control inspections, while we routinely visit manufacturing locations to conduct our own quality control checks.

We take a holistic approach to sustainability and weave responsible thinking into all corners of our business. In the design phase, where the first important choices for a product are made, we employ strict sustainability criteria for new products, and take a ‘cradle-to-grave’ approach to consider the entire lifecycle of our products. To keep us going in the right direction, our Sustainability Manager works within the design team, closely tracking our progress and helping us identify opportunities for more sustainable solutions.

Our claim rate is less than 1%. We’re working hard to reduce this even more.

OVERSTOCK We aim to manufacture just the right number of products, and never burn or destroy unsold items. We hold an annual stock sale where leftover or unsold items are donated to NGOs such as the Red Cross.

We know that we are not perfect, and so it’s with both determination and humbleness, that we pursue better ways to make it easier for our customers to make responsible choices.

PACKAGING From gift boxes and protective material to hang-tags and bags – packaging is an area where we can make a big difference.

MATERIALS Today, 28% of our products are made from sustainable or recycled materials. These include organic, FSC™-certified wallpaper and wooden furniture; GOTS-certified cotton; textiles made entirely from recycled, post-consumer plastic bottles turned into PET-yarn; recycled paper pulp; and recycled aluminium.

We want all of our gift boxes and hang tags to be made from FSC™-certified cardboard and paper, and printed with black soy-based ink. We are almost there and are working hard to reach 100%.

We challenge ourselves to make more sustainable choices in the design phase. We work to ensure that as many of our products as possible are made from responsible materials, and several of our designs are made from a single material, making it easier to recycle.

Our tote-bags are made from sustainably produced textile and in a design that inspires repeated use.

The majority of the protective material, used to shield our products during shipping, is made from natural-based materials such as cardboard, paper pulp and craft paper. For smaller items and textiles, we use recyclable plastic bags.

PRODUCTION We work in close partnership with some of the most talented artisans and craftsmen in the industry. Upholstered and wooden furniture, wallpaper and many of our textiles are produced in Europe, including the Baltics, Italy, Poland and Sweden, while we collaborate with suppliers in India and China on the production of textiles, glassware, ceramics and lighting.

However, to ensure all our products arrive to their destination in good condition, some of our products are protected with Styroform during transport. In 2020 this applied to ca. 10% of our products; however, during 2021 we have managed to get it down to only 5%. We are pleased with our progress, and continue working closely with our manufacturers in the search for sustainable alternatives.

We are committed to sourcing and producing our products responsibly. To protect workers’ rights and ensure safe and healthy working environments, all our key supplies are contracted among other things to obtain BSCI-certification and agree with our Code of Conduct.

FREIGHT & TRANSPORT All of our shipping is carried out by external forwarders. Our European freight is transported by truck, while products from Asia arrive by sea. As a rule, we avoid air transport but on certain occasions choose to make high-priority shipments by air. The general split for the different modes of freight transport is:

Throughout our supply chain, we nurture long-lasting relationships based on mutual value-creation, respectful behaviour and transparent communication. We open up our world for everyone to be inspired and, by sharing supplier and production stories, we invite people behind the scenes and into the journey of our products.

53,8% transported by sea 46% transported by road 0,2% transported by air

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OUR VIEW ON SUSTAINABILITY

CERTIFICATION & TESTING We work with certifications and testing to ensure working conditions in our supply chain are safe and fair and that our products are responsibly produced and of high quality.

In 2020, our air transport doubled to 4%, due to delays caused by the COVID-19 pandemic; however, in 2021 this was reduced significantly to 0,2%. In turn, our transport by road increased from 30% in 2020 to 46 % in 2021, showing us that we are on the right track.

Where relevant, products are tested before they become part of our collection. This includes lighting, furniture, outdoor pieces, and kitchen and kids’ products. In order to adhere to REACH regulations, accredited testing agencies, such as The Danish Technological Institute, conduct tests on our products through processes defined by law.

We are continuously working to optimise our logistic procedures to make them as efficient and space-saving as possible. We measure container space and CO2 emissions though software calculators to keep both costs and the environmental impact of our transport to an absolute minimum.

In collaboration with Danish company, Målbar, we are using their Climate Screening Tool to measure the CO2 footprint of our products. We are currently onboarding six of our key suppliers to measure our climate impact from raw materials to arrival of final products at our warehouse. Through this process, we will gain knowledge and data for our future targets.

END-OF-LIFE IMPACT We want our products to be enjoyed for many years and hope that our customers will choose to pass them on if they no longer serve their purpose. However, during the design process, it is important to consider the end-of-life impact of our products. We offer spare parts for many of our products, and design with disassembly in mind to make it as simple and straightforward as possible to recycle or re-use each of a product’s parts.

We currently work with the following certifications: GOTS – The Global Organic Textile Standard. Recognised as the world’s leading processing standard for textiles made from organic fibres. It defines high-level environmental and social criteria along the entire organic textiles supply chain.

PEOPLE We are a family of colleagues and partners who do what we do with all our hearts. For us, responsibility and decency go hand in hand. By being enthusiastic, helpful and respectful we embrace our differences, lift each other and create space for each of us to be our best.

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We embrace diversity and value all human beings equally regardless of race, age, religion, sexual orientation or social background.

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We are opposed to racism in all forms and violence both physical and mental.

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We will always strive to provide the best possible service to all regardless of who they you are.

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We hire for talent and will always employ the person with the best qualifications for the job.

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We pride ourselves on a flat organisational structure, and maintain a casual atmosphere in our day-to-day business.

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We promote a healthy work-life balance, and encourage healthy body and mind.

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We invest in long-term relationships with partners and suppliers – relationships built on mutual respect and value-creation.

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We are entrepreneurial and have high ambitions but never chase the lowest manufacturing price.

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We participate in the UN Global Compact and conduct and treat people in accordance with the principles and values within it.

OCS – The Organic Content Standard. Verifies the presence and amount of organic material in a final product, tracking the flow of a raw material from its source to the final product.

FSC™ – The Forest Stewardship Council. An international, non-profit labelling scheme for wood and paper. In FSC™ forestry, no more wood is felled than the forest can naturally reproduce. At the same time, FSC™ is a guarantee that people who work within the entire supply chain are treated legally and ethically, and that animals and plant life are protected.

BSCI - Business Social Compliance Initiative. An industrydriven initiative by AMFORI, which aims to monitor and assess workplace standards across global supply chains.

An AMFORI BSCI audit helps us to ensure that all our key suppliers treat their workers legally and ethically.

Our Code of Conduct is based on the Ten Guiding Principles of the UN Global Compact. It defines the ethical principles of our business and has been signed by all our partners and suppliers.

The purpose of the principles set out in our Code of Conduct is to protect workers’ health, ensure their safety during production, and ensure an ethical and fair partnership for everybody. *Our Code of Conduct is available on fermliving.com

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UN SUSTAINABLE DEVELOPMENT GOALS (SDGS) The SDG’s are a blueprint to achieve a better and more sustainable future for all. They address the global challenges we face including poverty, inequality, climate change, environmental degradation, peace and justice.

We challenge ourselves to make more sustainable choices in the design phase. We work to ensure that as many of our products as possible are made from responsible materials, and several of our designs are made from a single material, making it easier to recycle.

Investing in sustainable and responsible practices is morally right as well as good business. We support the UN’s SDGs and use them to guide the integration of sustainable policies into our business strategy and cultural mindset. Along with our partners and suppliers, we are committed to working with SDGs 8, 12 and 17, which is where our business can make the biggest difference to people and the environment.

GOAL 17 PARTNERSHIPS FOR THE GOALS This goal seeks to revitalise and enhance the global partnership for sustainable development through intensive and systematic engagement of governments, civil society, the private sector, the United Nations system and other actors in the implementation of the other sixteen SDGs.

GOAL 8 DECENT WORK AND ECONOMIC GROWTH To promote inclusive and sustainable economic growth, employment and decent work for all. Decent work means opportunities for everyone to get work that is productive and delivers a fair income, security in the workplace and social protection for families, better prospects for personal development and social integration.

At ferm LIVING, we have a holistic and humble approach to working with sustainability. We know that we are not perfect, and are by no means experts on every subject, hence it is crucial for us to partner with suppliers and experts who are skilled at working with responsible practices. We nurture long-lasting relationships built on mutual value-creation and transparent communication, and encourage all of us to explore opportunities for more responsible business and better living.

At ferm LIVING, we contribute to positive change by providing decent jobs and working conditions. Through our Code of Conduct and certifications such as BSCI, we are a proactive partner in ensuring that the rights of workers in our supply chain are upheld.

GOAL 12 RESPONSIBLE CONSUMPTION AND PRODUCTION Sustainable consumption and production are about doing more and better with less. It is also about decoupling economic growth from environmental degradation, increasing resource efficiency and promoting sustainable lifestyles. Sustainable consumption and production refer to “the use of services and related products, which respond to basic needs and bring a better quality of life while minimising the use of natural resources and toxic materials, as well as the emissions of waste and pollutants over the life cycle of the service or product, so as not to jeopardise the needs of future generations”.

FEATURE

At ferm LIVING, we design to create products that last both in terms of function and aesthetics. For us, this means highquality designs that are produced with responsible materials and with an aesthetic appeal that can last the test of time.

In close collaboration with our suppliers, we work within a framework of practices, and continually develop and improve all phases of our supply chain. Through rigorous quality testing and numerous certifications, we ensure materials and final products are of a consistently high standard.

The ARK Collection Simply working with the standard dimensions of solid wooden planks, the ARK Collection makes a statement with its honest and unapologetic design aesthetic. With responsibility in mind from design to delivery, the ARK chairs are designed for disassembly, made in Italy from 100% FSC™certified wood, and are delivered flat-packed to reduce environmental footprint.

We aim to manufacture just the right number of products, and never burn or destroy unsold items. We hold an annual, private stock sale where leftover or unsold items are donated to NGOs such as the Red Cross.

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OUR VIEW ON SUSTAINABILITY

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The Design Process

A SHARED MINDSET From initial ideas to final products, collaboration makes for better designers and better design.

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The Design Process

What makes design great? At ferm LIVING it is not just about functionality or form. It is also about the process of creation. From the initial idea and the first tentative sketches to the finished object, ours is a collaborative process. Though each of our designers has an area of expertise, our designs are created by an entire team – that is why you will not find just one ferm LIVING designer’s name attached to one of our pieces.

Despite their differences, the design team of five talented individuals with diverse backgrounds and skills share the values that ground our designs in the same place: authentic Scandinavian design with a clear functionality that embraces the contrasts of life.

“We’re always asking ourselves how we can design a home with space to feel comfortably you. We want to evoke the feeling of a happy, warm place for the people we are designing for, whether we are creating furniture, lighting or interior accessories,” says designer Julie Darles.

The starting point of a collection does not stem from a fixed brief. Instead, it is part of an ongoing dialogue and a response to what is going on in the world.

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“We are constantly thinking about the words and ideas that shape a collection. For example, we talk about balance and stillness.

What does stillness look like? How do we capture that feeling in a design? What will balance look and feel like in the future?”

Likewise, each individual designer is informed by individual life experiences: “Call it what you want – a gut feeling, intuition – but we’re not afraid to work from that place. It’s a concrete thing, an accumulation of personal taste, memories, beliefs and experiences. When designing a product, you merge that feeling with function, aesthetics and craftmanship, but it all starts with intuition,” Julie adds.

This instinct also encompasses our innate desire to produce with care and consideration – for the planet as well as the people that live on it. ferm LIVING’s design team understand that they cannot avoid the footprint their work leaves behind, but they recognise the opportunity to make it as small as possible by selecting long-lasting materials as well as recycling and repurposing materials such as glass, cotton and paper.

“One thing we have learned on our journey with ferm LIVING is the importance of deliberateness and durability. We have a duty

to always strive to do better when it comes to the environment. While we are driven by design, responsibility is always at its core.”

The Oyster Table and Wall lamps exemplify our approach to design. When an earring belonging to our founder and creative director, Trine Andersen, was the starting point for a series of sculptural yet functional lights, the process of their creation was shaped by a team of talented individuals who each brought their own knowledge and experience to the piece.

“We produce things together and share the responsibility of the design process. It’s an organic process which is not owned by one individual. It takes a strong designer to work this way, and it can be challenging as design is also about feelings. Ultimately, this collaborative approach makes the final product better: each piece is scrutinised by many eyes,” notes designer Estelle Anh-Van Tran.

Experimenting with paper folds, the design team settled on two shapes for the Oyster Collection – one for the wall lamp, the other for the table lamp. The characteristics of the two reminded the team of oysters found at the beach, which then sparked new ideas and conversations on material, texture and function – as well as how sustainability could

“We are always building on the last collection. Our pieces aren’t meant to last just a season. Collections new and old evolve together, interact with one another and live side by side.”

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The Design Process

be incorporated into the design. The team collectively dreamed of having a surface that resembled an oyster shell’s natural beauty and tactility and selected blackened, sand-cast recycled aluminium to represent real oysters. The result is a pair of artful, modern lamps that emit soft diffused light that instantly elevates a home – and a lasting testament to the power of collaboration.

Our in-house design studio allows the team’s dialogue to flow – and ensures that every member has a deep understanding of our brand.

“Working together this way allows us to think long-term, and it ensures consistency in what we create. While it’s important always to design for the future, we still need to be agile and leave room for change.

Especially considering what the world looks like today: we need to be able to respond to fundamental changes in our society, which are, in fact, inspirational.”

Inspiration comes to the design team in many forms. Occasionally, a product can come to life from an exercise in free association.

“There are many technical and commercial aspects to being a designer, so it’s important also to immerse ourselves in the free and playful nature of design. To explore creativity without boundaries. We hold creative workshops where we get to play around with different mediums, get our hands dirty and create whatever we feel like.”

This process of collaboration is not limited to the design team. It also extends to the greater ferm LIVING family.

“We work closely with our colleagues in Product Development to put our ideas to the test. It’s an unpredictable process where each product has its own life and stages of development. We rely on feedback and insights from other in-house teams to make

sure that our products resonate with our customers,” says Estelle Anh-Van Tran.

What the designers refer to as a ‘long birth’ can be cause for frustration, but they agree that it is an integral part of the process.

“It allows us to be deliberate in our design.

Is something missing? If the answer is yes, the product isn’t ready, and it doesn’t make it into the product family. We might save it or adapt it for a later collection. It’s a journey, but the products are better for it.”

When a new product joins our collection, it takes its natural place alongside our existing products, but the design process does not stop there. “We are always building on the last collection. Our pieces aren’t meant to last just a season. Collections new and old evolve together, interact with one another and live side by side.”

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Production Stories

CRAFTING SKILLS It is not just what we make, but how we make it that matters. Every step of our design process is considered to the very last detail, from the partners we work with to the materials we select to the production methods we use.

Our design philosophy reflects our commitment to creating responsibly to ensure a better future for us all – and a home you will never want to leave. On the following pages, we visit a selection of our highly skilled suppliers in their family-owned businesses and factories located in China and Europe.

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Production Stories

Liba Watering Can Denmark Flod Table Tiles Italy The Ripple Collection China Mineral Tables Italy

Liba Watering Can

Denmark

DESIGN WITH A PURPOSE

Giving new life to post-consumer plastic.

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Liba Watering Can

Denmark

Function meets responsible design in our Liba Watering Can which is made from 100% recycled post-consumer plastic. With its organic shape and everyday function, the Liba Watering Can is an engaging design. Created with sustainability in mind – functionally as well as materially – the watering can is made in Denmark from postconsumer plastic packaging waste. High Density Polyethylene – or HDPE – is one of the most versatile types of plastic, used for plastic bottles for storing household liquids like soap, detergent and lotion. HDPE granulate is harvested from postconsumer packaging waste that is sorted and cleaned before being reprocessed for further use.

When the granulate arrives at our manufacturer in Denmark, dye is added to create beautiful colours with subtle surface and shade variations that add to the unique beauty of each piece. Once coloured, the material is heated to a malleable mass and poured into a mould in which it is shaped into the watering can’s characteristic form. During blow moulding of the material, air disperses the mass evenly

After years of daily use, when it no longer serves its purpose, it can be responsibly recycled since it is made of mono material. throughout the mould while creating the hollow space required for water. Once set, the Liba Watering Can is extracted from the mould and trimmed by hand by skilled craftspeople. It takes precision and a steady hand to achieve the best result, since the entire carving process must be completed while the watering can is still warm. This is essential to ensure the soft, organic look of the design and as smooth a surface as possible.

With Liba, we aim to minimise waste as much as possible to ensure a circular product.

The beauty of the design is its repurposing of surplus material from the carving in subsequent batches of granulate and reuse of by-product plastic to produce new watering cans. Nothing goes to waste. The hand tags used to finish the design are made from FSCTM-certified paper and recycled polyester string.

The final product is a modern take on the classic garden tool. Lightweight and streamlined, it has an intriguing silhouette that recalls traditional clay water pitchers.

Equal parts functional and decorative, Liba’s generous shape holds up to five litres of water and sits as well on a kitchen windowsill as it does on a living room shelf.

After years of daily use, when it no longer serves its purpose, it can be responsibly recycled since it is made of mono material.

Sustainability and responsibility are an intrinsic part of ferm LIVING’s DNA. We believe that working proactively continuously to create new products using innovative and sustainable materials is fundamental to our work. With each new collection and each new product, we continue to push the boundaries of design, materials and production methods, adding more sustainable design solutions to our portfolio. We are designing not only for today, but also for the future.

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Flod Table Tiles

Italy

CLAY, WATER AND FIRE

Where form meets function.

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Flod Table Tiles

Italy

Clay, water, skilled hands and fire are used to shape the tiles for our Flod tables. Offered in dining, café and coffee table versions, the Flod tables are defined by the contrast between sleek, graphic lines and warm materiality. Their galvanised powder-coated steel frames are offset by tiles shaped by hand by Italian artisans from the finest clay sourced from the Po River in Northern Italy.

Founded in 1920 in Gonzaga, Italy, the family-run factory where our Flod tiles are made is dedicated to alchemy and produces rustic cotto tiles from earth, water and fire. Sourced from the floodplains of the Po, Italy’s longest river that flows eastward from the Cottian Alps to the Adriatic Sea, the clay is driven to the factory where it is stored in piles outside to dry naturally in the heat of the Italian sun. When new batches of tiles are made, the raw clay is moved inside where water is added to make it malleable and smooth. Natural colouring is added to the clay while it is wet and surplus double-fired clay is used to create a white, marble-like pattern.

The clay is then cast by hand in a mould selected from one of hundreds of shapes that line the factory floor, some of which are more than 100 years old and are used to make church floor tiles. Like a baker dusting a surface with flour to prevent the dough from sticking, the clay artisans sprinkle sawdust into the mould before adding the clay and removing air bubbles with a hard blow. Excess clay is then

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removed from the edges of the mould with steel wire, and the newly shaped tiles are removed and placed on drying racks that are then transported to the drying room.

Inside the dark room, it is almost impossible to discern where the racks begin and end. Warmed by excess heat from the kiln, which reaches 1,000° Celsius when fired once weekly, the tiles are left to airdry for up to twenty days before heading to the oven. The thicker the tile and the more water it holds, the longer it needs to dry to ensure it does not crack when fired. Once dried, the surface of the tiles is polished to an even finish by a large machine. The thin layer of dust is brushed away before the tiles are stacked in the kiln. Subsequently fired for four to five days, the tiles are then covered with a layer of liquid wax for durability – and to ensure the Flod tables can be used outdoors as well as in. After one and a half months in the making, the finished tiles are carefully packed before starting their journey from Italy to Denmark.

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Ripple Collection

China

MAKING WAVES

A closer look at the craft behind our popular collection of glassware.

Surrounded by beautiful landscape and pear plantations, our glass factory in Shanxi province, Northwest China, is built on family values. Distinguished by its exquisite glassmaking techniques, the factory was the first of its kind in China to create handmade, high-quality glassware and has 40 years of experience in the field.

Crafting beautiful glass- and stemware is as much an art as it is a science. Our Ripple Collection requires serious craftsmanship and a careful blend of highquality materials to ensure a beautiful finish. The process of making each piece involves multiple techniques, some of which take up to 24 hours depending on their complexity. The glassblower uses a blowpipe to blow the molten glass by mouth into a mould and expand the material to the desired size and shape. When the glass has been finished and carefully cooled to ensure it does not shatter, a laser is used to cut the rim, while a wet, coarse-grit grinding disc files sharp edges smooth. Each glass is then cleaned three times before a final quality check. As every Ripple Glass is mouth-blown, each piece displays unique characteristics that are a testament to the artisanship of the glassblower. With its undulating surface, geometric shape and refined finish, the Ripple Collection unites form with function in seven different glass types, each with its own unique identity.

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THE RIPPLE COLLECTION

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Mineral Tables

Italy

Transforming raw Bianco Curia marble into unique interior designs.

STATEMENTS IN STONE

Join us on our journey to the Italian province of Pesaro Urbino to explore how raw blocks of marble are shaped into our beautiful Mineral Tables.

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Mineral Tables

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Italy

Nestled in the beautiful mountains of Acqualagna, Italy, is a small, family-owned factory where skilled artisans shape natural materials into beautifully functional objects. The factory is an enticing maze of raw slabs of natural marble and stone. From the deepest of reds to the purest of whites, each stone features unique veining and details formed over time by the forces of nature. This is where our Mineral Table Collection takes shape.

Our Mineral tables make an impactful statement in the home. While the Mineral Sculptural Table is made entirely from marble and is characterised by its distinctive T-shape and contrasting polished surfaces, the Mineral Coffee Table features a smooth, rectangular glass top that rests on two marble blocks. Each gets its unique expression from the raw Bianco Curia marble edges which have been chiselled by hand by skilled artisans. Bianco Curia is mined in a quarry in Brescia, Northern Italy.

Large slabs of marble weighing approximately 4.5 tonnes are cut out, examined and quality=checked before they are shipped to the factory.

At the factory, the family’s patriarch selects the Bianco Curia marble slabs destined for production, gently tapping the surface to determine their quality. Once he is satisfied that he has selected the finest quality, the large blocks are cut into smaller pieces by a specialised cutting machine which cools the blade as it slices through the stone. The distinctive edges of the pieces that make up the Mineral Coffee Table and Mineral Sculptural Table are then chiselled by hand by a single skilled artisan with more than 30 years’ experience of working with natural stone. Finally, each marble piece is carefully polished to a smooth finish before assembly.

Italy regulates the mining of marble to preserve its natural resources. A marble quarry may only mine up to thirty percent of its marble. Understanding marble as a limited resource, the factory repurposes all waste from production. Larger pieces of surplus marble are used to clad buildings while smaller pieces are used for roads.

The factory has also installed an internal, circular water system which ensures that all water from the cutting process is reused.

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Home Stories

Welcome Home Visiting the homes of seven creative individuals, we asked them to define its meaning. On the following pages, we invite you to explore the feeling of home.

Linda Ring — Helena Rohner — Kristina Line Connie Barton — Juli Daoust Baker — Kethevane Cellard Isis-Colombe Combréas — Mikkel Dahlstrøm

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Linda Ring – Stockholm

Bread House Multi-talented creative, Linda Ring lives in a 1940s Funkis house overlooking the waters of Stora Essingen, a small island in the centre of Stockholm. Linda is a photographer and interior stylist, but her most remarkable talent is perhaps one that she happened upon by chance. Linda lives with her husband, Mattias, and their son, Ruben.

Linda Ring - Stockholm

“Art has had a profound effect on my life and the way that I look at my surroundings, it has helped to sharpen my eye. I am always looking for beauty and can’t help but view everything as though it were a picture.”

Linda Ring has a deep, unwavering connection to art. It is one that has steered her throughout her career, taking her from a photographer’s assistant to the world of advertising before landing her in the marketing department of the auction house Bukowskis, where she stayed for 15 years.

“Art has had a profound effect on my life and the way that I look at my surroundings,” Linda explains. “It has helped to sharpen my eye. I am always looking for beauty and can’t help but view everything as though it were a picture.”

Today, Linda is a freelance creative who works in photography and interior design. Yet she has also added an unconventional title to her resume, namely that of bread artist. From her home in Stockholm, Linda carves beautiful, whimsical faces into dough which, once baked, resemble pieces of art that could be taken straight out of the Hellenic era of an art gallery. The irony of expending time and effort on making artwork out of food is not lost on Linda.

In fact, it is a part of the appeal: “I really love the ephemeral quality of it – the decadence of creating something beautiful that you get to eat later.”

The process of creating bread art was born out of a more challenging time in Linda’s life: “I burnt out a while back and that made me start to prioritise things differently. Time became more important than money. I started baking and the entire process allowed me to lose myself in it. I lost all sense of space and time. When I then started creating patterns in bread, it added this whole other dimension. I feel totally free, and all my stress melts away,” she says.

After saying goodbye to her full-time position at the auction house, Linda invested time in herself, her family and the art of slow living. By combining her newfound passion for baking with her lifelong love of art, Linda stumbled upon a whole new outlet in which she could express herself creatively.

“I started by creating abstract, meditative patterns,” Linda notes. “One day my son, Ruben, joined me in the kitchen, and he cut this crazy face into the dough.

That fired up my imagination, and I was unstoppable.

I started making these patterns with large eyes, and I became a little obsessed! I made so much bread in that time that I had to give it away – we couldn’t eat it all!”

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Linda’s home, much like her bread art, is an extension of her artistic inclinations. “I wish I were one of those people who could say that their home is just where their family is. Even though that’s partly true – they are the most important part of my home – I’m too much of an aesthete not to care about what my home looks like.

I feel physically unwell in unpleasant environments.

But on the other hand, every second spent in a beautiful environment is a delight for me. It doesn’t have to be luxurious, but a home should have nice materials, thoughtful details and a sense of soul. It takes time and effort to create a harmonious home, but it’s worth it.”

Linda has lived in her home in Stockholm since 2006, and the functionalist-style house from the 1940s, archetypal of Scandinavian architecture of that time, is filled with vintage finds, unique details and classic Swedish design elements. “If I think something is beautiful or interesting I can always find a spot for it in my home,” Linda explains. And the classic collector’s problem of accumulating just a few too many pieces?

Linda has found a solution to this – and it’s the same as when she has baked too much bread: “I’m always thrilled if a friend or family member falls in love with something in my home – then I simply give it away.

It’s the best way to give gifts!”

Linda describes life on Stora Essingen as “countryside living in the city”. She was born and raised on the small island of Vaxholm in Stockholm’s archipelago, which is an excellent fit for Linda: “As I grew up on an island, I feel trapped if I’m in a place where I can’t see water – or at least have easy access to it. Our house is 100 metres from the water, which we can see from our window.

That’s invaluable to us.”

Linda’s home evokes much of the same feelings as her beautiful bread creations: warm, artistic and inviting. Durable, classic materials such as wood, brass and glass are in abundance, while colourful, patterned textiles add a soft, romantic touch to the space. Linda compares the process of decorating her home to that of baking bread: “The two processes aren’t totally dissimilar. There are carefully chosen ingredients, and it’s an organic, living process that’s constantly changing. I don’t often redecorate, but I’m forever changing small details from season to season.”

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Helena Rohner - Madrid

An Oasis of Calm 227

Helena Rohner - Madrid

There is an innate, unaffected sensuality to the work of jewellery designer Helena Rohner. Mimicking nature’s lines with harmonious pieces in precious metals, wood and stone, her oeuvre also extends to interior objects. The Canary Islands native produces tactile and inviting pieces from her studio and workshop in Madrid – an aesthetic that is echoed in the way she has put together her home in the Spanish city.

There is a French vibe to Helena’s Rohner’s home: her corner apartment sits within a building dating back to 1890, complete with high ceilings and white panelled shutters that open up to no less than 11 balconies that face the street below. Its airy 180 square metres are flooded with natural light – the main reason Helena fell in love with the place – and the space continues to delight with features such as its ornate marble fireplace, glass-enclosed balcony and bedroom stucco ceiling. “Home to me is my shell. It protects me and gives me peace,” Helena muses.

She has filled her home with her favourite objects, scents and her large collection of lush houseplants that she brings over from the Canaries and which flourish everywhere from windowsills to hallways. “My home is defined by my memories and most of all my children,” she adds. Helena shares her spacious flat with her two teenage children, Lucas and Mar. “We bought the apartment the day before Lucas was born, so we’ve been living here for quite a long time,” she tells us. Along with her children, Helena shares the apartment with her two cats, Catana and Fendi. When it came to creating the family home, Helena was looking for a versatile space, “one that was neutral and with noble materials that would make it possible to change or vary the space – a tabula rasa, or clean slate, that could hold all of my moods and the life changes that every person goes through,” she says. “There’s a simplicity to the atmosphere here,” she explains. Rather than redecorating, Helena makes room for updates by every so often giving things away or putting things in storage in the attic when she unearths new pieces on her travels or develops new prototypes.

Helena could not help but fall for the history of the building. “The building was built at the turn of the century. I really fell in love with the period details of that time – stucco ceilings, wooden doors, open spaces and the 11 balconies.” Helena has since renovated and restored the apartment, but always with respect for its history and original environment: old, painted wooden doors separate the large

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adjoining living rooms, hand-carved marble fireplaces are scattered throughout the space, and wooden floors merge with original, patterned tiles, some of which are cracked from having been walked on for 120 years. “All of the houses in this area have floors like these.

The tiles are what we call hidráulicos,” Helena says, “and the pattern runs through the entire tile, not just on the surface like with many modern tiles.”

Besides being a family home, Helena’s apartment also doubles as her studio, where she works on sketches for new designs as well as casting models of her pieces in clay and metal. “My home, my work, my life – they’re all the same thing,” she muses. Sitting at her antique wooden workbench, Helena often sands her designs by hand until they achieve the perfect shape and feel. “When I design, I first think about what object I would wish to live with and what I feel I’m lacking. My aspiration is to make elegant and unique pieces of good craftsmanship that individuals can wear as an expression of their culture and character.”

Helena’s aesthetic has always been strongly inspired by nature, and her childhood was spent in the Canary Islands – the stark, sculptural landscape which influences her designs to this day. “Right now, I am in love with Mediterranean architecture. A friend has a home in Mallorca by the architect José Antonio Coderch, which is a real gem. That’s my absolute dream – sober Mediterranean rationalism,” Helena notes. Elsewhere she finds inspiration from life, nature and intuition, and she has become quite taken with the idea of having more rounded corners in her house. “Round ceilings, rounded-off inbuilt furniture, round or oval windows. A bit like the work of César Manrique in the Canary Islands.” Above all, Helena wants her home to be comfortable and embracing, resulting in lots of experiments until she finds the most suitable layout. “It’s the same with my plants. I move them around until I see they are happy in a space.”

And what would be her ideal happy place? “I’d very much love to live by the sea. Perhaps one day in the Canary Islands.”

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Kristina Line - Copenhagen

Just Add Water Norwegian architect Kristina Line lives in a small boathouse with her partner, Anton, and their dog, Skipper. Join us as we explore the way in which she has created a unique home close to nature in Copenhagen.

Kristina Line grew up on a small island close to Oslo. Even as a child, she was fascinated with how people built homes in nature. After building a tiny house in the vast forests of upstate New York, Kristina and her architect partner, Anton, decided to move back to Copenhagen,where they initially met. Here, they worked together designing and building a unique, personal home on Copenhagen’s waterfront.

In a small, almost hidden harbour area in Copenhagen, lies a row of boathouses. The area is home to many different personalities, and it is only with the help of homemade signs that you get an idea of who actually lives here. Behind ‘Kahytten’ (meaning ship's cabin in Danish) lies Kristina Line’s home.

When asked why they named their home ‘Kahytten’, Kristina smiles.

In Norway, there is a proud tradition of building ‘hytter’ – or cabins – she explains. Her early fascination with drawing houses and spatial thinking led her to want to become a cabin architect. “To me, the ultimate dream is to live close to nature. I’m driven by creating a dwelling with respect for its surroundings. Kahytten is a tribute to the characteristics of a cabin. The name seemed so fitting as we are right by the water.”

Kristina works as a small-scale architect and designs villas and cottages for private clients while also working on interior design projects for commercial clients. “My work is quite versatile. I work with renovating and transforming existing structures as well as on projects where I start from scratch.”

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Using both her intuition and her Master’s in Art and Architecture, she incorporates art, philosophy and poetry into her projects: “I always try to read my surroundings and respect the history of any space.

I believe that the architecture of a given building always leads the way: you should respect the architectural style and let the interior echo this.”

The path to buying the boathouse was far from smooth. Anton's father had worked in the area, and Anton had quickly grown fond of the quirky neighbourhood. Since the houses are usually passed down from generation to generation, it took perseverance and resilience until they were finally offered the opportunity to buy one.

“The people who live here are so kind, and the community is very tightly knit, but they are protective of the area and do not wish for it to be transformed into something new and fancy. The place has its own soul, and the people here want to protect it at all costs. But this is also why we love the area and why we were so respectful during the entire renovation process,” Kristina says.

Kristina's approach to small-scale architecture and interior design is reflected in the couple’s boathouse. The home is traditional yet experimental, with wooden details, natural materials and soft shapes. The main lines of the building blend into the context of the neighbouring houses, but Kristina experimented with the layout and the detailing inside the house. The floor area of the house is only 60 square metres, and they wanted to create a functional, inviting and open-plan space to avoid cramped rooms and to respect the soul of the boathouse.

Kristina Line – Copenhagen

“Home to me is a place where I can feel comfortable, protected and disconnected from the world outside.

It is a place for calm, warmth and serenity.”

For Kristina, inspiration comes in many shapes, and she sees her home as important to her creative process. When approaching the interior design, she added layers of different textures, mixing new and carefully curated pieces with beloved heirlooms. When asked about her underlying interior design principles, Kristina explains: “I think it’s a matter of picking a few pieces that truly speak to you. And then, when you put them together, you have a collection of treasures that means something. I think Maria Kondo has got a point when she says only to surround yourself with things that spark joy.”

a clean, minimalist look, which, Kristina explains, she and Anton designed and built themselves.

This perfectly captures Kristina’s approach to decorating her home.

The boathouse is a warm and welcoming space with a neutral, understated colour palette where every object in the home has both purpose and a story to tell. Kristina proudly points to a small wooden bowl that belonged to her grandparents and was made in their hometown in Sweden. The living room also has a large sofa with

“Home to me is a place where I can feel comfortable, protected and disconnected from the world outside. It is a place for calm, warmth and serenity. It also functions as a base for my everyday adventures and is a place where I feel inspired. Here, I can create. Most importantly, home is a place to invite friends, family and neighbours over to share a good meal, make memories and plan for the future.”

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From the living room – another favourite spot in the home – Kristina can look out onto the water while the afternoon sun filters through the curtains. “Anton and I both grew up close to the water and have always had a dream of living by the water again,” she explains, adding that their entire home is bathed in a magical, glowing light just before the sun sets over Copenhagen.

Connie Barton – London

Born and raised in the English countryside, graphic designer Connie Barton lives in a house featuring a magical, verdant garden that connects her to nature. We visit the founder and owner of Studio Connie in her South London home where she lives with her husband, Tom, and their dog, Gelert.

Grass Roots

Connie Barton - London

The hustle and bustle of London melts away the minute you enter Connie Barton’s home.

Beautifully curated colours and warm, natural materials make the space feel wholesome and inviting. From the living room there is the most enchanting view of what can only be described as an urban jungle – the garden.

From her mustard-hued sofa, Connie tells us about her career in graphic design. Her journey began in New York, where she spent time after university visiting design studios and offering to make cups of tea in exchange for valuable insights. But while she was in New York, Connie was offered work in London.

“In my first job, I learned so much about the design process, different materials, the importance of space, and the right furniture and lighting. This job influenced my love of modernist design and taught me how great design plays an important part in everyday life. It also brought me back to England, and I have lived in South London ever since,” she recounts.

In 2013, Connie started her own independent design studio which specialises in graphic design, branding and art direction. In 2011, her husband, Tom, opened his very first Honest Burgers site in Brixton. Connie helped Tom with the brand design, but as more restaurants followed, juggling this alongside a full-time job proved too much and Studio Connie was born.

Growing up in a large family in rural Rutland, Connie spent much of her childhood being creative and escaping into fantasy worlds through books and drawings: “I now realise what a luxury childhood boredom was! We had no option but to make up our own fun and create our own worlds to keep us occupied,” she explains.

Today, Connie still ventures into new worlds through music, photography, interiors and product design – or when she and Tom holiday in the wild Scottish Highlands.

Many of her clients also work in the creative industries, and Connie finds bringing their world and ideas to life through her work very inspiring: “The most important part of my job is listening and asking the right questions to ensure I can comfortably step into the client’s shoes and really understand their world. Often clients will send me books or visual references – anything that excites them. Like a magpie, I’ll gather all these treasures, words and references before beginning the design process in my beloved sketchbook.”

Connie and Tom purchased their house in 2015 after seeing it just once – in the dark.

“Tom fell in love with the house. I fell in love with the garden and its gnarly, old mulberry tree. When the previous owners dug out the rear extension, they also built up the height of the garden so that you look directly out at the beautiful planting rather than looking down from above. It’s genius. That’s what gives it the jungle-like feel,” Connie tells us.

Their home is an exciting mix of old and new – from the traditional Victorian house to the modern extension. Wooden ceilings and large windows overlooking the garden make the home feel warm and welcoming. Light wells, which have been added throughout the house, makes the space come together.

Feeling so connected to nature whilst sitting in urban south London is truly unique.

Over the years, Connie’s love for the garden has not lessened: “My favourite spot is in the living room, sat with a brew on our cosy sofa and looking out through the big windows.

“Tom fell in love with the house. I fell in love with the garden and its gnarly old mulberry tree.”

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Every season is beautiful in its own way.

When the sun hits the pond and reflects light across the ceiling, it’s particularly magical.

Especially when it’s warm enough to slide the windows fully open and the garden and the house become one. That’s when you hear the sounds of running water and birdsong from outside. Our own secret garden in a corner of the city.”

One of Connie’s favourite pieces in their home is her piano. While playing, Connie transcends into another world where she can find renewed energy and inspiration: “While working from home during the pandemic, I found myself drawn to sitting down and playing when I felt stuck in my work or was struggling with a creative project. I find it fascinating that, having played for my own pleasure for years, I can now use it to support my creativity and my work. It tunes in to a different part of my brain, allowing me to switch off and disappear for a while.”

Connie has prioritised decorating the spaces where she spends most of her time, inviting only objects she genuinely enjoys into her home. Drawn to spaces that feel personal and authentic, she has filled her home with cherished memories. “Home is where my loved ones are. Our home here has slowly become a private gallery of our own. Our shared interests, lessons and adventures as we’ve grown together are all here, from the art hanging on the walls and the stacks of books to the paperweight pebbles collected at our favourite beaches.”

Kethevane Cellard – Paris

Connie Barton - London

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Family

Tree

Ket hevane Cellard – Paris

In the Parisian suburb of Arcueil lies a house initially intended as a woodshop when it was built over a century ago. Now, the industrial loft-style house with exposed red brick, large skylights and steel beams is the home of artist and sculptor Kethevane Cellard, her husband Matthew, their two boys and two cats.

Ket hevane Cellard – Paris

“When I search for forms, I have to have a positive frame of mind - meaning that I cannot create if I’m in a critical mood.”

To understand Kethevane Cellard’s home, you first have to understand her art. The two are undoubtedly connected, yet the road to Kethevane’s artistic expression did not come easily. After graduating from art school, she spent almost 15 years as a graphic designer while attempting to find her artistic voice: “I was drawing and painting for years, but somehow I was never satisfied with the results. It was very frustrating. In 2015, I started carving wood for fun and was immediately taken by it. Something clicked in my imagination and I started sketching shapes that I wanted to bring to life,” she explains.

Kethevane’s mantra is to slow down, and her artistic process is about taking time and finding the right mindset: “When I search for forms, I have to have a positive frame of mind. I can’t create if I’m in a critical mood. That mood is for heated debates with friends over a glass of wine – but not for art,” she says.

Inspiration comes from what Kethevane calls the ‘real world.’ Her shapes merge trends, values and longing: “I read or listen to books, articles or podcasts about a variety of topics such as history, economics and science.

I find that there is still so much to learn from plants, animals and fungi.

So, my imagination is filled with undiscovered underwater creatures and colourful insects. I also have a deep curiosity for the history of humans, and I feed on the vitality of prehistoric art and tool shapes.”

As is often the case, art is never straightforward, and Kethevane has days when inspiration is far out of reach. However, when she immerses herself in deep thought as she reads, takes notes, sketches and draws, ideas eventually take shape. In her workroom, which is also the family living room, a large pinboard is home to her ever-evolving thoughts.

Once she has decided which ideas to pursue, Kethevane carefully shapes her new forms on paper or in wood.

As she spent much of her childhood in the French countryside, Kethevane today surrounds herself with greenery. After a three-year search, the family found the peace and quiet they were looking for in the Parisian suburb of Arcueil. “You almost forget that you’re in Paris, even though you’re only 15 minutes from the city centre by metro. Our house is in the middle of a block, set back from the street, and over the years we have planted shrubs, vines and trees. Now we have lots of birds and insects populating the garden, as well as a pond that is home to over three dozen goldfish. It has become our haven away from hectic urban life.”

They moved into the house seven years ago. Owing to its industrial past, the characteristic building features dark red bricks, steel beams and skylights that create the most enchanting rays of sunlight throughout the day. However, it was the spacious nature of the rooms that made Kethevane fall in love with the place.

The heart of their home is the grand living room, which is also Kethevane’s workspace: “The open-plan space is where all the heavy machinery used to be. Nestled between cosy cushions on the sofa, I love to sit and gaze at the trees swaying in the wind or curl up with a cup of tea in my favourite nook by the burner. The atmosphere in here is perfect for family life and gatherings with friends, but it’s also a place where I love to work when the house goes quiet.”

The décor is true to Kethevane’s personal taste. Everything in her home has its own place to prevent clutter and the risk of visual overstimulation. This means that each object and piece of furniture is chosen carefully: “I look for a timeless quality in the objects I bring into our home, even in modern pieces. Texture is important, too – I seek out tactility and always welcome imperfections. These small flaws are a part of life, and they are always more interesting than total perfection,” she notes.

When asked what home means to her, Kethevane leans back to reflect before replying. “Home to me is a place where I can find peace and quiet. But it’s also a place to welcome friends. Both are equally important to my sense of what a home is. Home is also where my ever-evolving art collection is. Despite not having a big budget to buy art, the pieces I own are either exchanged or bought from other artists. My collection is a mix of prints, a few originals, some ceramics and works on paper. The way I have arranged them in my home is subjective. They just feel right together, like they are in conversation with one another.”

If you sit here, on her linen couch, and gaze out onto Kethevane’s drafting table and art supplies, it is clear that creativity exudes from every corner of her home. It almost feels like destiny that this old woodshop should become Kethevane’s workspace, where pieces of wood and paper come to life as beautiful works of art.

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Juli Daoust Baker – Toronto

A Scandinavian Sensibility

There are few people for whom design is as all-encompassing as for Juli Daoust Baker. As one half of the husband-and-wife team behind Mjölk, Toronto’s lifestyle shop and gallery, Juli considers her work an extension of her home – made easier by the fact that it is located right above her workplace.

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Juli Daoust Baker – Toronto

"We committed to pieces we knew we wanted for the long run, classics in natural materials like white oak and natural leather – pieces that would show patina as they age and tell the story of our family."

In what was once known as the heart of the Canadian Pacific Railway, the Junction in Toronto’s West Side is now home to a mix of young families, trendy eateries and urban professionals. When Juli and her family moved into the last vacant, Victorian building in the area with a pressed tin façade, they were looking for a space that they could make their own and that would be a base for both their family and professional life.

“We had been admiring the facades of old buildings we had seen in Europe and then, as if by magic, we found this building,” says Juli.

With ample space for their store at street level, Juli and her husband John had big plans for the two-storey apartment above it. After restoring the building’s historic exterior in the original Victorian style, the pair went about renovating the interior. The results transport you to a different place entirely.

Inside, light colours, natural materials and thoughtful details combine to create a serene oasis with a distinctly Scandinavian and Japanese design aesthetic.

“Fundamentally, both Nordic and Japanese design emphasise the natural elements and are sensitive to light and shadow, texture and materials,” says Juli. “I think that these traditions also understand the idea of breathing room or a pause: a place to rest the busy mind. I respond to their use of restraint.”

Juli and John share the space with their two small children Elodie and Howell, as well as Aoife, their Irish Wolfhound, and Atla, a Scottish Deerhound. When at home, the family spends most of its time gathered around the kitchen ta. The kitchen – like much of their home – abounds with oak wood, greenery and a curated selection of antiques and knick-knacks.

“I’m a homebody and find that my nervous system is easily overstimulated,” Juli tells us, “so the elements I require in my home are access to natural light, my family and a calm, quiet atmosphere – even though this is a constant battle with pets and kids.”

Having studied art curation and photography, Juli felt it was a natural choice for her to work with design in some capacity. It is an interest and a passion she shares with her partner, and one that has been an anchor throughout their working life – as well as in their relationship: “On our first date we argued over furniture,

and a year into our relationship we decided to start Kitka.ca, a design blog, that chronicled vintage items we found around town.”

After a trip to Scandinavia where the pair had gathered inspiration and formulated plans for their own store back home, they opened the doors to Mjölk in 2009. The name, which means milk in Swedish, is something of an ice breaker with customers. It also alludes to their predilection for Nordic design. “When we were selecting a name, we wanted immediately to signify Scandinavia,” Juli explains.

“We admired the original Arla milk packaging and reflected on its good design sense and how milk is democratic and pure. We felt like the words used to describe milk could also be applied to Scandinavian design. We broke the cardinal rule of selecting a name that is legible. Naturally, North Americans struggle with it, but it also makes for a conversation starter – or just a good laugh.”

Beyond their store, Juli and John have published four volumes of the Mjölk Book, chronicling their travels to Japan and Scandinavia through a series of interviews and essays written

by John and with photographs taken by Juli. It is on these trips that the pair have found some of their greatest treasures, now on display in thoughtful vignettes throughout their home, a mix of antique crockery, handmade vases and personal artefacts.

“We committed to pieces we knew we wanted for the long run.

Classics in natural materials like white oak and natural leather.

Pieces that would show patina as they age and tell the story of our family. We kept things neutral because it’s always easy to add colour and texture with textiles.”

When asked about her favourite piece, Juli points to a beautiful Conoid Bench by Mira Nakashima that the couple had commissioned during a visit to the artist’s workshop. This, too, carries fond family memories as Juli recalls the long drive on which their then four-month-old daughter was also present.

As with so many of the pieces in Juli’s home, the bench is not only functional and aesthetically pleasing, but its history contributes to the living, breathing space that is, above all else, a family home.

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Isis-Colombe Combréas – Paris

Close to Home

In the 14th arrondissement in Paris, on the border of Montparnasse, lies the home of Isis-Colombe Combréas. The founder of Milk Magazine shares the 180-square-metre apartment with Karel Balas, her photographer husband, with whom she founded Milk in 2003, their daughter Hiroko and the family pet, a handsome Persian cat named Jack.

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Isis-Colombe Combréas - Paris

“We’ve lived here since 2003,” Isis tells us, “It’s our family home, even though Aliocha, our oldest, has recently moved out to study engineering. The building is really beautiful and dates back to the 1930s. Living on the Left Bank and working in the 1st arrondissement, I often travel to and from work on foot or by electric bike. It’s always a wonder for me to cross the Seine and go through the antique district.”

Spread over three floors, Isis’ home is a melting pot of classic and modern design. High ceilings, wood panelling and original cornices reference the archetypal image of pre-war Parisian architecture, while pewterblue resin floors and a network of newly added metal beams spread throughout the rooms and make the space come together.

Born and raised on the Spanish island of Ibiza, Isis moved to Paris as a young adult to study literature and film. “I was brought up in a very strong counterculture by my artist parents. It was the 1970s, and we lived in a small hippie community,” Isis recounts. As the daughter of artists, she has creativity in her blood. But her parents were not the only ones who sparked her interest in design: “My uncle, who is only ten years older than me, worked at Yves Saint Laurent in the early 1990s. His taste really rubbed off on me – and I still love the aesthetics from that period.”

After finishing her studies, Isis worked as a publishing assistant and later as a children’s television presenter.

For 13 years, she worked both on and off camera, producing segments as well as hosting them. When Isis eventually started Milk in 2003, it was a fusion of her many talents and experiences: her education in literature, her work in children’s entertainment, her time in publishing and not least her experiences as a mother. Her objective? To offer a modern journey into the world of childhood, or as she so succinctly puts it: “to depict the art of family living.”

Today, an edition of Milk Magazine is filled with the latest in sustainable microfashion, children’s interiors and family-friendly travel destinations, as well as articles that discuss contemplative, weighty issues affecting modern day families such as raising a child with disabilities, mindfulness for all ages and the influence of technology on a child’s cognitive development. Published quarterly in both French and English, Milk Magazine has expanded to include

"I was brought up in a very strong counterculture by my artist parents. It was the 1970s, and we lived in a small hippie community."

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a design publication – Milk Décoration – as well as Japanese, Korean and Chinese editions. Isis currently holds the title of founder and editor at Milk, as well as Fovea – a creative and consulting agency – and Craft Gallery Paris. In the wake of all these accomplishments, Isis remains humble. “I hope to have created unique and inspiring magazines,” she says modestly. “At Milk, we care about beauty and sustainability, and in a traditional country like France it isn’t always easy to highlight a new lifestyle.”

Isis’ confidence to try something new is certainly mirrored in her home. Her extensive collection of ceramics, which she describes as her hobby, includes pieces by artists from the Memphis Movement, an Italian design collective that came out of Milan in the 1980s. Shunning the minimalism of mid-century modernism, the artists instead embraced vivid colours and geometric forms at the intersection of Art Deco, Pop Art and Kitsch. This rebellious vein can be felt everywhere in Isis’ home – no more so than in the black metal beams and perforated metal walls that run throughout the space and stand in stark contrast to the original 1930s coving and stucco.

“The metal beams play a functional role by allowing us to redistribute the spaces and restructure the original floorplan from the 1930s,” Isis explains. “It also introduces an unexpected and modern element into the space. I like to mix modern design with brutalist and vintage pieces.” Designed and installed by the Italian architecture firm UdA – now Marcante–Testa – the beams are based on a unique rack system of metal tubes and perforated sheet metal and allow for the creation of open, communal spaces ideal for family living, as well as creating new and functional spaces that the previous floorplan lacked.

One such space is the ensuite master bathroom, separated from the bedroom only by coloured glass and perforated metal screens. Here the linear lines of the metal beams are contrasted with a cream-coloured spiral, also formed from metal, which Isis playfully uses as a towel rack. Therein lies the magic of this unique Parisian apartment – although it is filled with bold, beautiful design elements, it is all done with a sense of ease and joy. When asked what makes a home, Isis simply replies: “family memories, pieces from our travels and the nonchalant presence of our cat.”

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Mikkel Dahlstrøm – Copenhagen

Less Is More

Ever since photographer and aesthete Mikkel Dahlstrøm moved to Copenhagen in 2019, he has worked on transforming his new-build apartment in the modern skyscraper Sfinxen into a cosy and charming home with room for him and his partner Frederik to relax and unwind.

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The Islands Brygge harbourside district of Copenhagen is characterised by its newly built, architect-designed apartment complexes for small living. As the lift stops on the second floor, we are greeted by a smiling Mikkel who welcomes us inside his home.

The flat is small but exudes a visual calm that is accompanied by the velvety notes of a scented candle. We immediately feel at home.

Mikkel Dahlstrøm has an innate talent for aesthetics – something that is evident in his daily photographs of inspiring homes.

Mikkel's path to photography happened by chance. After completing his bachelor's degree in employment law, he realised his dream was not to sit in an office from nine to five: “My career as a photographer started very randomly. I worked parttime in an interior design store with my friend Julie. For a long time, we'd talked about wanting to do something with interior design, and we remembered that both of us had had articles published about our own homes. We talked about how cool it would be to do it ourselves, and that's how it all began,” explains Mikkel.

In the beginning, Mikkel and Julie were the stylists, while their mutual friend was the photographer. However, when their friend was no longer able to help, Mikkel decided to grab his own camera:

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“I watched YouTube videos and read a lot of books to learn about the subject. We scraped some money together and invested in some very expensive photo equipment, and suddenly I was the photographer.

It was a crazy time, because just six months after we started, we reached a point where we were so busy that we could make a living from it.”

Besides his work as a photographer, Mikkel has also achieved success with his Instagram account where he primarily shares photos of his own home and the things that inspire him. Even though Instagram is a big part of his life, he does not consider himself an influencer.

Mikkel's profile is a curated space where he seeks to inspire and portray the aesthetic that is in many ways his trademark: “My Instagram is my baby. I'm not as active as I would like to be, but that's because I’m such a perfectionist. I would rather wait two weeks to upload a picture than post something that I’m not 100% happy with.”

When we ask him if he worries about making a negative contribution to the culture of perfection often found on Instagram, he smiles and replies: “I don't think that what I post is contrived because that's actually how I live. But obviously you can tell that I care about everything

looking good. I’m a photographer more than I’m an influencer. More a brand than a sales profile. That's just my way of communicating, to influence by inspiring.” For many people, big city living equals a tiny living space. Mikkel's flat is a prime example of how to live both aesthetically and functionally in a limited space:

Mikkel has spent many years investing in designs that exude quality: “Over time, it has become a principle for me to spend my money on good design that lasts a long time. For example, I'm quite certain that our bespoke marble dining table will last forever, and it makes me love it even more.”

“I think the key to small living is being highly selective. If something new comes in, something else has to go. Things have to work and be practical here, but they also have to look good. That's why I decorate my surroundings in a relatively minimalist way, so that it always looks fairly tidy.”

When we ask Mikkel about his favourite place in his home, he points to the Rico lounge chair in the open-plan kitchen-living room.

When the couple were decorating this space, Mikkel's partner suggested putting an armchair in the small nook, an idea that Mikkel immediately rejected:

Before moving to Copenhagen, Mikkel lived alone in an older luxury flat in Aalborg. One of the challenges of moving to a new-build was recreating the charm of older buildings. However, Mikkel has succeeded in creating a calm and appealing decor in his small flat thanks to high-quality furnishings and curated colours. Walls are painted in earthy shades while tactile elements and organic shapes interrupt the pure white that often dominates new architecture:

“My first thought was that you can't have an armchair in the kitchen, but Frederik kept insisting. Now I have to admit that I sit there quite often, during almost all of the small breaks in everyday life. It's just a nice place to cosy up in,” says Mikkel.

“All the things we own fall within my own aesthetic. Our furniture is classic, but most pieces also have a bit of edge. I love our vintage Murano lamp in the beautiful amber colour. When I buy something new, I need to make room for it beforehand, and I strongly believe that it should have a timeless design.”

Even if you practise ‘small living’, cosiness is something that Mikkel believes you should always consider in your interior design plans, regardless of how you live: “For many years I had forgotten about cosiness and was only concerned with everything looking great.

But today I know that, first and foremost, my home has to be a place where I can relax and find the tranquillity that allows me to generate new ideas and continue to develop creatively.”

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Index

10

Catena Sofa, Post Coffee Table, Rico Lounge Chair Louisiana

18

Pond Mirror, Fracture Shelf Herman Lounge Chair, Tangent mirror

26

Filo Table Lamp Herman Lounge Chair, Post Coffee Table, Oyster Table Lamp

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Lithos Magazine Holder Catena Sofa, Post Coffee Table, Shade Loop Rug

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11

14

17

Block Mat Place Rack, Yard Picnic Bag

Feve Desk, Fountain Centrepiece Sector Rack Shelf

20

24

Place Rack, Hang Rack, Punctual Shelving System, Curvature Hook Block Mat, Up Step Stool

28

Post Coffee Table, Esca Piece Post Storage Cabinet, Spin Stool, Catena Sofa

29

Oyster Table Lamp, Tiny Table Lamp, Post Table Lamp Sill Cupboard Tall, Meadow High Pile Cushion

30

Uta Piece, Pond Mirror, Tiny Floor Lamp Oyster Wall Lamp, Ary Mini Vase

35

Post Dining Table, Era Chandelier, Rico Dining Chair (preview) Filo Table Lamp, Isola Storage Table, Rico Lounge Chair

Mineral Sculptural Table, Fountain Centrepiece Ary Mini Vase

Index

38

Filo Table Lamp, Bell Table Lamp, Port Wood Basket & Fireplace Tools, Mineral Coffee Table Post Coffee Table, Herman 2-Seater

41

Part Cushion, Post Storage Cabinet, Flores Vase Post Coffee Table, Muses Vase - Talia

Cluster Tables, Catena Sofa, Abstract Rug Agnes Braided Plant Stand

46

Catena Sofa, Podia Table, Tuck Pot Travertine Table, Hebe Lamp

50

Tuck Pot Post Coffee Table, Tuck Vase, Tangent Mirror

Dito Candle Holder Ark Dining Chair, Post Dining Table, Filo Table Lamp

53

Crease Wool Rug, Orb Watering Can, Luce Lantern Komo Mini Vases, Tiny Lamp

56

Hebe Floor Lamp, Kona Display Table, Verso Floor Vase Flod Coffee Table, Hoy Casted Candle Holder, Catena Sofa

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Meridian Lamp Ripple Low Glass, Catena Sofa

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55

Water Swirl Vase Entire Tapestry Blanket

59

Grand Cushion, Linen Cushion Abstract Rug

43

60

Post Coffee Table, Oyster Bowl, Plant Box Round Meadow High Pile Rug, Distinct Coffee Table, Catena Sofa, Dou Floor Lamp, Kona Low Table

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Index

63

Bevel Table, Herman Dining Chair, Speckle Pendant Ando Pot, Flow Centrepiece

Ura Scented Candle Flores Vase

69

Rico Sofa Louisiana, Arum Floor Lamp Clean Cushion

74

Miru Glass Montre, Rico Lounge Chair Spin Stool

80

Holo Vase Dou Floor Lamp, Rico Pouf & Lounge Chair, Ceramic Basket

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64

66

Crease Wool Cushion, Braided Basket Low, Haze Sideboard Catena Sofa, Mineral Coffee Table

70

Post Floor Lamp, Verso Table Vase Rico Lounge Chair Louisiana, Post Storage Cabinet

76

Turn 1-Seater & Pouf, Flod Coffee Table Haze Vitrine

73

Post Dining Table, Rico Dining Chair (preview) Esca Pot

78

Dito Candle Holder, Rotben Sculptural Piece Marble Table, Tuck Scented Candle, Stone Candle Holder

84

Field Robe Liba Watering Can, Grib Toolbox

Lull Umbrella Desert 3-seater, Desert 1-seater, Level Cofee Table, Lull Umbrella

Index

89

Desert Lounge Chair, Desert Stool Verso Table Vase, Grand Cushion, Alee Bath Towel, Yard Picnic Set

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Lull Umbrella, Peka Bench, Desert Lounge Chair Vulca Vase

94

Desert 2-seater, Mineral Sculptural Table Desert 1-seater

101

Desert Lounge Chair, Level Coffee Table, Way Cushion, Way Rug Path Nest, Desert Stool, Yard Picnic Blanket

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Place Rack, Flow Mug, Flow Jug Oli Glasses, Oli Jug

Plant Box Verso Table Vase, Bau Pot, Bau Balcony Box

98

Desert Lounge Chair, Yard Picnic Set, Peka Bench Alee Bath Towel, Desert Dining Chair

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Plant Box Two-Tier, Hourglass Pot, Ando Pot Path Hammock

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Desert 3-seater, Level Coffee Table

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Ripple Low Glasses Os Salad Servers

Agnes Braided Plant Stand Liba Watering Can

112

Mineral Dining Table, Flow Tableware Mineral Dining Table, Herman Dining Chair, Era Chandelier

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Index

116

Mineral Café Table, Ark Dining Chair, Herman Dining Chair Hale Tea Towel

Inlay Herb Pots Ark Chair, Bevel Table, Dou Lampshade

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122

Petite Bowls Era Chandelier, Post Dining Table

Vuelta Pendant Oli Glasses, Flow Jug, Flow Tableware

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130

Yama Pencil Holder Kant Pinboard

134

Yama Holder, Yama Tray, Yama Cup Era Chandelier, Bevel Table, Ark Dining Chair

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Tiny Table Lamp Feve Desk, Herman Dining Chair, Kant Pinboard

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136

Plant Box, Haze Bookcase, Punctual Shelving System Pond Bookend, Filo Table Lamp

119

Flow Tableware, Ripple Glasses Ceramic Basket Oval

124

Ripple Verrines, Oli Container, Curvature Paper Towel Holder Petra Mortar

132

Ceramic Basket Oval, Inlay Cup with Saucer, Paper Pulp Paper Bin Collect Pendant, Casca Shade

138

Morf Sculpture Feve Desk, Post Table Lamp, Herman Dining Chair

Index

141

Scenery Pinboard Vuelta Pendant, Entwine Vase

144

Insert Side Table Vista Bedspread, Field Robe, Arum Wall Lamp

147

Part Bedspread, Post Floor Lamp Part Cushion

148

Oyster Bowl, Curvature Hooks, Basho Trays Feve Desk, Pond Table Mirror, Muses Vase - Talia

156

Ary Mini Vase, Ring Cone Pond Table Mirror

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Haze Wall Cabinet, Curvature Hook, Scape Bowl, Dora Toilet Paper Stand Pond Mirror, Vuelta Wall Lamp

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Pouf Oval, Chess Cutting Board, Komo Mini Vase Place Rack, Field Robe, Braided Wall Pocket

158

Bon Accessories, Pond Table Mirror, Odel Oil Burner Place Rack

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Melange Rug, Field Robe Grib Toolbox, Field Robe

Part Cushion, Daze Bedspread, Braided Lampshade Spin Stool, Vanitas Flower Stone

160

Alee Bath Towel Tangent Mirror

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Place Rack, Lee Merino Rabbit, Sun Music Mobile Sun Tufted Rug, Ark Kids Chair, Sun Cushion

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Index

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172

Roy Merino Music Mobile, Dusty Rainbow Snake, Animal Hand-Carved Hooks The Park Wallpaper, Isola Storage Table

Embroidered Seafood Platter Milu Snack Set, Mus Plant Pot

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178

Sill Bed Shelf, Duo Quilted Blanket Animal Tufted Rug Leopard, Little Architect Desk, Ark Kids Chair, Pear Bean Bag

Place Rack Kids Kiosk, Sun Tufted Rug, Pear Braided Storage

183

Kant Pinboard, Little Architect Desk, Spin Stool Miniature Funkis House

188

Kids Memory Box, Roy Merino Wool Teddy, Little Architect Bench & Desk Braided A-House

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184

Mus Plant Pot, Ark Kids Chair, Ark Dining Chair, Sector Desk, Ark High Chair Braided Tent, Sun Cushion

190

Paper Pulp Box, Animal Hand-Carved Toys Strawberry Field Wallpaper, Sill Junior Bed, Little Architect Bench

174

Toro Play Kitchen, Toro Tea Set Braided Wall Pockets, Little, Architect Table, Ark Kids Chair

180

Kuku Doll Bed, Apple Braided Storage, Lee Merino Rabbit, Up Step Stool Sill Junior Bed, Apple Braided Storage, Pear Mirror

186

Animal Tufted Rug Polar Bear, Forest Embroidered Cushion, Apple & Pear Quilted Cushion Sill Junior Bed

THANK YOU FOR OPENING UP YOUR HOMES Linda Ring, Helena Rohner, Kristina Line, Connie Barton, Juli Daust Baker, Kethevane Cellard Isis- Colombe Combréas and Mikkel Dahlstrøm FOR YOUR WORDS Rachael Morgan and Mark Vacher FOR MAKING IT ALL POSSIBLE Team ferm LIVING BOUTIQUE AND SHOWROOM ferm LIVING ApS Kuglegårdsvej 1-5 1434 Copenhagen K Denmark Opening hours: Monday-Friday 10-18, Saturday 10-16 fermliving.com facebook.com/fermliving @fermliving Creative direction, words and design by ferm LIVING We take reservations for printing errors, colour differences, or changes in the collection Printed in Denmark Munken Lynx 90/130 g Munken Lynx Rough 90 g © ferm LIVING, Copenhagen 2022 ISBN 978-87-973808-0-2

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Space to feel comfortably you