1.0. Introduction

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

been controversy surrounding the inclusion of Finland specifically. The primary aim of this thesis is to investigate region and how Scandinavian design has been objectified from initial inception; delving into whether their key values and principles are portrayed through design to enhance a feeling within the British consumer. It raises the question as to whether Scandinavian design is just the stereotypical blonde wood and simple form, or if the attraction stems from hidden meaning, of which the consumer is initially unaware, such as principles and key values.

The exploration focus therefore includes:

• Identifying region, inception and globalisation • Examining popular features such as minimalism, functionality and form • Discovering scandi colour palettes, with a focus on neutrality, monochrome, pastels and brighter colours, and discovering the reasoning why these are chosen for certain interiors

• Identifying the value behind acquiring a Scandinavian product • Examining the effect IKEA has had in presenting Scandinavian style to consumers and how it differentiates how it markets in other countries

1.3 Research Questions

The effects of retail, media and exhibitions, originally globalised the movement from modernising Bauhaus to the modern day IKEA Effect, where consumers value flat-pack products highly due to self-assembly (Norton, Mochon and Ariely, 2011). It poses the question of whether this obsession with Scandinavian retailers such as IKEA occurs due to nationwide popularity and following the consumer masses, or does the value of a product increase due to mere ownership of a piece of Scandinavian Design? How has Scandinavian Design evolved from inception to

modern day? What is it that a British consumer is buying when they acquire a Scandinavian product? Do British consumers stereotype Scandinavian Design?