1.0.
INTRODUCTION
1.1.
Context
Scandinavian design is initially identified by its minimalist approach and exuding of simplicity and functionality. There has been an “influx of Scandinavian design and retail businesses establishing in the UK” (Goodwille, 2019) in recent years. This raises the question of why a sub-region of Northern Europe can implement such a vast design craze amongst British consumers.
The concept of Scandinavian Design has been admired since the 1950’s, named the “Golden age of Scandinavian design” (Nelson. 2004, p. 11-12). Designers were distinguished with the assistance of exhibitions and curators, who created its worldwide appeal. Its design essence ultimately is not just minimalist and functional, but a heritage and culture also. Moreover, the research to date has tended to focus primarily on form and aesthetics rather than stating the effect that ownership of Scandinavian design has on a consumer.
The identification of Scandinavian design has been construed in Britain over time. This is evident from the way products are marketed in the UK and the effects of large and dominant retailers such as IKEA, placing an ideal of what Scandinavian design is. It suggests the question of whether the trend has been adapted specifically for the British consumer and if this differs from the Scandinavian consumer.
1.2.
Aims & Objectives
One major theoretical issue that has caused debate within the field, is the question as to what differs from Scandinavian and Nordic. Furthermore, to date there has 12
