4.0. Research Discussion

2.0. Literature Review

4.1. Identity Investing:

A Hidden History

It is not simply the aesthetics of furniture that they attain when a person invests in Scandinavian design, but the heritage, the pride of people and the identity of a nation. Regarding heritage, amongst literature it was difficult to distinguish the specific nations within Scandinavia, specifically the inclusion of Finland as exemplified by Jason Keal. He explained the difference between the terms Nordic and Scandinavian:

“I’d say just Denmark, Sweden and Norway are Scandinavian and all other territories of these countries as well as Finland be under the term Nordic rather

than Scandinavian”. (Appendix 6.1.3)

A lack of clarity was affirmed as Alexandra Record drew attention to the fact Finland should be included alongside Sweden, Denmark and Norway as they are “similar regarding their products and also lifestyle” (Appendix 6.1.1). Her view may be depicted due to working with Alvar Aalto8 pieces whilst employed in Sweden. The ambiguity surrounding the classification of nations is therefore defined as

undecided. Nonetheless, this is not surprising as there is “no governing body” (Appendix 6.1.3) to create a specification of the inclusion. Due to this blur in description, it is therefore ultimately up for continued debate and currently only up to personal opinion over fact.

Power of Form

In both the secondary literature and primary studies, this uncertainty indicates a lack of information supporting the differentiation between the countries. This theory is supported by Trost as he affirms the “common idea that the Scandinavian or Nordic countries constitute one culture” (Trost, 1971, p. 181). The challenge in distinguishing the origins of individual goods further corroborates Trost’s research. The survey data (Appendix 5.3) acknowledges the notion of consumers, specifically British, are reluctant to see beyond the aesthetics of a commodity, independent of any country of origin acknowledgement.

Designers are inspired by scandi aesthetics worldwide, creating 'true' Scandinavian goods in reaction. The significance of visuals was addressed through the survey data in which 37% of consumers (second highest) having the view that ‘Chair 5’ (Appendix 5.1) appeared ‘most Scandi’ (see Figure 14), despite the country of origin being Austria. Keal addressed the idea that consumers primarily disregard to look further into a product, overlooking the initial aesthetic. Something he witnesses regularly is “[British} customers not understanding the prices matching the quality and design” (Appendix 6.1.3), viewing products of similar form to be worthy of a similar quality and value. The importance of a product’s visual is observed by Workman and Caldwell’s study, stating that “aesthetics usually plays a basic role for

FRANCE DENMARK DENMARK SWEDEN AUSTRIA

FIGURE 14 – Survey results to determine which product appears ‘most scandi’ (Appendix 5.3)

ideas about the sensorial character of the products” (Workman and Caldwell, 2007). This proves that, initial visuals play a significant role in influencing consumer perception and therefore essential to a consumer when acquiring a product. Nonetheless, the question still arises about what this particularly says about the British consumer.

There is a term dubbed "the halo effect" (Nisbett and Wilson, 1977). The study suggests that humans prefer to believe that, apart from their appearance, goodlooking people also inhabit other positive attributes. This same concept can be used through the judgement of a piece of design. An enticing looking product is suggested to be worthy of possessing further qualities. Both the secondary and primary research identified the main features of Scandinavian aesthetics as “simple, clean … minimalist” (Appendix 6.1.1). This supports the argument that there lies a significant consumer focus on form, which according to Haslam “attract[s] a British consumer ” (Appendix 6.1.2) whereas, the focus group discussion, subsequent to the cultural probe further disputed the subject. FGP-5 argued the notion that Scandinavian design “revolves around simplicity and functionality too much” (Appendix 7.3), demonstrating a relative lack of comprehension of anything beyond this to the average consumer eye.

Sensitivity to Colour

FGP-2 suggests that Scandinavian design is “recognisable because of the neutral colours” (Appendix 7.3) and affirmed by the British consumer view (Figure 15) where 85.5% of participants agreed that neutral hues were pivotal within the Scandinavian style. It was relayed through the student cultural probe design of the second participant (Appendix 7.2.2) with the noticeable use of “soft colours like beige and whites” (FGP-3, Appendix 7.3). In response to this, their views could be manipulated through available advertisements in home magazines (Appendix 7.4), as similar themes emerged throughout comparison and according to Fergusson, this type of market research is a core aspect in a designers process and can influence and be embedded in their work unintentionally (Appendix 6.1.4).

FIGURE 16 – Thematic analysis into the use of colour (Appendix 7.5)

Despite this global recognition of neutrality, it can be argued that within Scandinavian design there is “room for colour” (FGP-5, Appendix 7.3). These results reflect those made by Petersons (2017) who believed that the “dramatic shift” (ibid.) towards colour should be embraced and exemplified through both product and interior design. Figure 16 thematically analyses the use of colour currently used within Scandinavian design and compares it to that of the cultural probe exercise.

In response to this, Record (Appendix 6.1.1) agreed the point that in Sweden, colour was utilised more and neutrality did not signify Scandinavian style. As of

British nationality, Record had an initial perception, which radically changed once in Sweden. In reality, occasional pops of colour was common in domestic and commercial settings, which was unpredicted as monochrome schemes were presumed. This further suggests the British consumer’ s sensitivity to colour; indicating whether there is a lack of appreciation towards what is true Scandinavian design, which has prompted the discussion as to whether a stereotype is apparent in Britain. In summary, the role of the British consumer is to look further when

accessing Scandinavian style. The design is to express identity, which is characterised by the initial simplicity of form and neutrality.

4.2. Lost Element of Craft

Quality Diminishing

One of the hallmarks of Scandinavian design that is shed during this process of British adoption is craft. The question of consistency and craftsmanship was constantly stressed by Expert Interviews as well as in the Survey data.

FRANCE DENMARK DENMARK SWEDEN AUSTRIA

FIGURE 17 – Survey results to determine which product appears to be the best quality (Appendix 5.3)

Interestingly, the consumer comparison study (Figure 17) revealed that a British customer found both pieces of furniture from Denmark to be of the highest quality. A reason for this could be due to the care that Denmark specifically places on making sure their products are of the best quality, with Keal saying the “The Danish Control Board self-regulates to verify that every product is assembled from the best quality materials available.” (Appendix 6.1.3). This explores the question of importance that quality holds within Scandinavia as a whole, it deems to be apparent as a necessity within Denmark, yet Sweden only received 3.6% worth of consumers believing their product to be of good quality. Nevertheless, this was derived from specifically a British perspective and therefore cannot be used to thoroughly judge the distinction between each country and should only focus on the perception of Scandinavia as a style.

Price Indicating Quality

It is suggested that the British consumer can recognise when a designer focuses on quality, yet still disregards the notion and does not hold it in higher value over affordability. This is demonstrated through popular retailers, like IKEA, whom according to Record, have a “notion of being cheap… [but] the execution is quite poor” (Appendix 6.1.1). This proves that the British are aware of IKEA furniture being of a lesser quality, yet admire it due to the affordability aspect. This finding broadly supports that of the IKEA website “IKEA offers a wide range of welldesigned, functional home furnishing products at prices so low that as many people as possible can afford them” (IKEA website, 2021). Due to this, affordability was highlighted as one of the most important qualities within Scandinavian design (Figure 18) and is also addressed as a pivotal marketing ploy by the retailer. This raises the question if IKEA has stereotyped what people see as Scandinavian, further stemming that British retail encourages affordability over craftmanship.

FIGURE 18 – Survey results to determine which qualities are most important (Appendix 5.3)

The Replacement Yet, this order is disputed and seems to be the opposite to the view of that in Sweden, which like Denmark is “very focused on craftmanship … [as] a lot of things were handmade”. (Appendix 6.1.1). Whilst working in Sweden, Record noted that “The image [IKEA] portrays is wrong as yes it’s simple but they take that as making it cheap” (ibid). A reason behind this could be IKEA’s primary focus on the replacement of a product. To ensure the return of customers, they centre around creating products that will not last. The British consumer is transfixed on changing their home interiors and desiring more. Research shows that this can be due to a person’s “warped sense of value” (Dodgson, 2018). Therefore, in a business perspective, it is ideal to market products that follow current trends and appeal to a mass market as Haslam recognises:

“the product won’t always last if it’s cheaply made and assembled primarily by an inexperienced consumer and then they’ll just go back to IKEA to buy a new product to replace it, it’s like a cycle. It’s definitely a business tactic”. (Appendix 6.1.2)

Whereas, in Scandinavia, Keal draws attention to products that are designed to last:

“pieces we deal with are designed and built to last for a long time and they most certainly have, with several items we have being between fifty to seventy years old”. (Appendix 6.1.3)

It is worth noting that both the interviewees have expertise in working in the UK as well as a Scandinavian country and therefore can compare views between the two. This further emphasises a stereotype as the values oppositely differ from each other.

Flat-pack Fetishism The value of a product to a consumer is something that differs. The literature review showed that a person highly values a product that they have assembled themselves. The “IKEA Effect” (Norton, Mochon and Ariely, 2011) is somewhat close to another perceptual tendency called the “Endowment Effect” (Kahneman, Knetsch and Thaler, 1991), in which people respect objects more if they belong to them. This reasons with why a person has such an adoration for IKEA furniture specifically.

The value of flat-pack furniture to a British customer is something that was explored through Expert Interviews. This paper’s research into ‘Price Indicating Quality’ indicates that flat-pack is an affordable alternative to expensive, heavy duty furniture which is “not easy to assemble” (Fergusson, Appendix 6.1.4). Keal said that the initial idea of Scandinavian design was introduced as it could be “store[d] easily inside of a shipping container”. (Appendix 6.1.3). Keal offers a further explanation that is worth quoting:

“With the advent of Scandinavian furniture being designed for export to other countries, you see the rise of its popularity with the British consumer as it was something new and interesting, completely different to what they were previously able to get.” (Appendix 6.1.3)

This shows that the notion of flat-pack didn’t derive as just a feature within Britain, but was intentional for the globalisation of the trend. Likewise, this concerns with the idea of functionalism and mass production. Modernity supplanted the original “aristocratic aesthetic during globalisation, which was costly and time-consuming”

(Murphy, 2015). This was corroborated by Record as in the “twentieth century…mass manufacturing wasn’t really a thing” (Appendix 6.1.1), proving that what was known as Scandinavian design altered what it was in the twentieth century, once it was distributed to other countries. Therefore, what is stereotyped in Britain as scandi now, was due to their own alteration in style.

By shifting the design, products were desired by the masses, as people yearned for modernity post-war when “resources were scarce” (Keal, Appendix 6.1.3). It can therefore be concluded that initial values that sum up Scandinavian design are not stereotyped, yet adapted primarily for the consumer to whom they are available. It also begs the question as to the order of priority to be imposed by these values. The principles of affordability and quality are both things that were introduced through Scandinavian design, yet, British consumers have construed what they deem most important, as retailers have encouraged them to do so.

4.3. Placing an Ideal

IKEA Domination

As identified in the literature review and primary research, there are common features linked to the style; and these opinions must have derived from certain sources. This paper features an emphasis on IKEA due to being recognised by a large audience and thus can be used to illustrate the British public opinion. This is suggested through the consumer survey (Appendix 5.3) as when asked what retailer the consumer first thinks of when hearing ‘Scandinavian design’, IKEA was the most common answer by a majority (see Figure 19).

FIGURE 19 – Survey results of known Scandinavian retailers (Appendix 5.3)

This is undoubtedly a source where opinions have been based. IKEA is a retailer that has successfully recognised what the British consumer desires in a piece of furniture and it therefore varies how they present products in other countries. It is interesting to compare this concept with that found by Burt, Johansson and Thelander who found that “one of the things that make IKEA stand out among

global retailers is the alleged standardised approach to every market it enters” (Burt et al, 2011, p. 184). It therefore poses the issue again as to whether there is a stereotype dependent upon how IKEA markets their goods in Britain.

According to Record, stereotyping is certainly evident as “when I said I was moving to Sweden for a year, everyone mentioned me working for IKEA” (Appendix 6.1.1). An initial objective of the project sought to determine whether stereotyping was apparent and the literature review alongside the primary research proves the common opinion of Scandinavian design. A possible explanation for this may be due to the lack of adequate education regarding the style, with only retailers like IKEA presenting it to a British audience. This finding if consistent with that of Burt, Johansson and Thelander (2011), as “IKEA UK being one of IKEA’s biggest markets”, suggesting the popularity amongst its consumers. Alternatively, FGP-5

introduces the idea of criticising IKEA for what they choose to market, suggesting that it “just revolves around simplicity and functionality too much” (Appendix 7.3), proving that the retailer centres around two features excessively, rather than addressing others that were recognised through the literature review and primary research.

Appropriating This raises the question if there is appropriation. To establish whether retailers just choose certain scandi features to market, primary researched delved into the idea of picking and choosing to shape an identity. This is demonstrated through the cultural probe results (Appendix 7.2) and the similarities that some of the designs have to each other such as clean, simple lines and blonde wood. Haslam asserted this by saying:

“they take aspects of Scandinavian design that would work within the UK for the consumer. So they focus on the blonde wood and simplicity as that would attract the British consumer, whereas the handmade darker furniture that’s

1900’s Scandinavian most likely wouldn’t.” (Appendix 6.1.2)

This refers to the idea of only utilising themes suitable for the audience in a way to gain profit. These results are consistent with those of de Mooij and Hofstede (2002) who identified that a culture’s influence has utmost importance in profitability and recognised that since centralised regulation ignores local sensitivity, many major multinational companies have seen their earnings fall. Whereas Haslam (Appendix 6.1.2), states that the beauty of is beginning to be overlooked and is driven too heavily by businesses like IKEA, focusing too much on affordability and creating for the masses. The debate regarding appropriation has generated research in areas of profit as purpose, yet there are no research studies into the UK market specifically.

Design within Britain undoubtedly is influenced by other cultures and that is now how it is defined as the term multi-cultural Britain is used regularly in many studies. In this case, this refers to the copying of the Scandinavian aesthetic and utilising it in a simpler way. Appropriation refers to the idea of taking ideas from less-dominant cultures. However, usually in a derogatory way that can come across dis-respectful to those of membership to the culture. This opinion can only be addressed by someone from a Scandinavian country or at least with first-hand knowledge to decide whether this picking and choosing is offensive. Keal explains why British consumers were initially introduced to the style:

“British furniture was self-made within Britain and British consumers could not

get their hands on anything else” (Appendix 6.1.3)

Yet, there is little research exploring whether appropriation is a factor. Neither interviewees with experience living in a Scandinavian country, mentioned any offence inhabitants take to the British interpretation of scandi style. It therefore just appears to be a fetishisation of culture and style over the stealing of ideas.

The Experience From the interviews, the idea of the success of IKEA being down to the experience it creates, became evident. Haslam raised an interesting suggestion where she compared the British IKEA to that of a museum:

“It’s comparable to that of a museum where you walk round looking at things. I’d say a lot of people come for that day out without initially knowing what they wanted to get by looking at the website first”. (Appendix 6.1.2)

It is worth noting that the participants profession ensures reliability due to the number of customers she comes into contact with through work. She creates an

overview that the experience of going to a store evokes emotion and feeling, that which is a similar feeling of visiting a museum. This attitude shows similarities with that of Murphy, who suggests that IKEA can be compared to museums, furniture fairs and exhibitions as they all have “distinct links to time” (Murphy, 2015). Museums and design exhibits are respectively geared towards the past and the future. Whereas, furniture fairs and IKEA also show a more mundane and open stage, based on the present. However, the actions evoked are that of a similar

notion.

Interestingly, Record, who has experienced IKEA both in Britain and Sweden notes the difference between the two and the variation of feelings it promotes between two different consumers:

“[In the UK] it’s like an experience and a day out but in Sweden it was like a small building with a few floors and almost unrecognisable as an IKEA. Erm, so it isn’t big in Sweden”. (Appendix 6.1.1)

The new IKEA museum in Älmhult, Sweden (Farrelly, 2016) focuses more on the history and narratives over the success of the retailer.9 As research progressed, more opposing views from Britain and Scandinavia were highlighted and links back to the question of what should be valued more highly?

To conclude the chapter, it is this quarrel that disconnects the British and Scandinavian perceptions of the style, proving that IKEA has construed the initial scandi values into what upholds more importance. However, this is based upon the difference between the consumers, not due to a deeper meaning. It is a business

9 It suggests that Sweden is a nation wanting to promote heritage over aesthetics. This further conflicts that of a British IKEA, which was further addressed by the survey and interviewees in the discussion within ‘Price Indicating Quality’.

ploy and further proves that the beauty of true Scandinavian design has indeed been lost due to IKEA’s presentation of products.

5. CONCLUSION

5.1. Limitations

In this investigation, the principal aim was to assess the nexus between Scandinavian design and the British consumer, with a key focus on globalisation to study how inception within the UK created a fetishism for the style.

The generalisation of these results is subject to certain limitations such as increasing sample sizes within the consumer study. In the main, a range of results were implemented in order to create a sound discussion. However, a further breadth of data would have been secured with a participant number at 100 rather than 56. Due to the time frame, it was not feasible to secure a higher number of results. Therefore, for future considerations, there should be priority with securing a wider audience by posting the survey on more pages, similar to the IKEA fan page.

By posting this for IKEA admirers on a page dedicated solely to their goods, the results could have been of a biased view, leading to a discussion with IKEA as a centre. Therefore, it would be recommended to advertise the survey to consumers interested in interiors and furniture, as it is most likely they would have insight into the scandi style. This would create a broader understanding of the average

consumer.

The breadth of primary research was judicious as a whole, however could have been more incisive to look into market research further, in order for a more thorough comparison with the cultural probe. Advertisements could have been gathered from more home magazines. It would have been more beneficial to create mood boards from a range of sources, looking at commercial scandi settings as well as domestic, in order to create a more conscientious collation of themes.

5.2. Summary of Findings

In spite of its limitations, the thesis contributed to some compelling discoveries such as, the understanding of how Scandinavian style is viewed not only in the UK, but also in Denmark and Sweden. The study set out to investigate how the influx of the

style was established into what is now widely known as and to question where the perception emanated from. British design is greatly influenced from other traditions and cultures that have defined the aesthetics in which a consumer craves for their

interiors. Scandinavian design ultimately adds to this heritage and has been construed over time to fit in with the British ideal for products. The necessary areas to investigate were: the personal value of owning a piece of Scandinavian design, the evolution from initial inception and whether a stereotype has formed overtime that differs to the ideal of that within the Scandinavian countries.

It was important to research into region, in order to reveal insight into inception and to analyse what the Scandinavian style was before globalisation. Literature revealed debates into what was classed as Scandinavian, with a specific blur on whether Finland should be included. This discussion further continued within the primary research, where Keal (Appendix 6.1.3), placed an opinion that only Sweden, Denmark and Finland should be included and all others are Nordic. Yet findings from Record, who has worked in Sweden with pieces of Scandinavian design, did include Finland due to working with Finnish designers. Her findings were asserted

by “The Lunning Prize” (Dahlbäck-Lutteman, 1986), where Finnish designers were common recipients. This ‘prize’ ultimately has been considered the moment of inception for modern Scandinavian design. With Finland as a frequent consideration, there is no reason as to why it shouldn’t be classified as a Scandinavian country.

A common trend that was addressed through all research was British appreciation for aesthetics, unwilling to inspect further past this into environmental aspects, heritage and value. FGP-5 stated there is too much contemplation around simplicity and function, which appeared to be a common opinion, with the notion also being addressed within interviews as well as the survey. This addressed the important features of scandi design to a consumer where function and simplicity were highlighted as the top two most recognised out of a choice of eighteen (Appendix 5.3). The average British consumer’s eye was critiqued, proving a relative lack of appreciation for anything beyond this.

The paper provided deeper insight into the foundation and value of aesthetics, thus, examining appropriation and whether there is any offence caused with how the British present scandi influenced products. The literature revealed no evidence of this and whilst interviewing two experts with experience in Denmark and Sweden, there was no mention of any misdemeanour. Therefore, it can be noted that Scandinavian inhabitants do not believe ideas have been stolen, merely interpreted.

This uncovered the concept of values further and what upholds most importance. While Scandinavian design implemented the concepts of affordability and efficiency, British customers have construed what they consider most significant, as retailers, like IKEA have allowed them to do so. This disagreement is what distinguishes the British and Scandinavian conceptions of style, showing that IKEA has reinterpreted the original scandi ideals into what is more relevant.

These findings contribute to the understanding of stereotyping that the style is due to how retailers choose to market their goods, proving that British retail in particular encourages the opposite feature as more important to what Scandinavians deem more dominant. This was the case for affordability vs craftmanship as well as the debate of replacement. In conclusion, it appears the problem is stereotyping. As IKEA continues to thrive as a Scandinavian born retailer, consumers are more

enticed by what style they present. Therefore, to an average consumer, unaware to life in Scandinavia, the only perception that can be configured is through retailers.

5.3. Further Considerations

I suggest that before the notion of stereotyping Scandinavian design is introduced, a study similar to this one should be carried out but with a more psychological approach into why British consumers fetishise IKEA.

The issue of classification is also an interesting one which could be explored through further research. It is suggested that further research be administered when there is more research or a governing body surrounding the matter in order to understand what countries are Scandinavian.

6. Bibliography

Ajayi, V., 2017. Distinguish Between Primary Sources Of Data And Secondary Sources Of Data. Makurdi: Benue State University, p.2.

Bertoni, F., 2004. Minimalist design. Basel: Birkäuser.

Braithwaite, N., 2014. Simplicity. New York: Rizzoli International Publications, pp.34-36.

Bride, M., 2010. Get Started In Shorthand Pitman 2000. London: Hodder Education, pp.9-10.

Britten, N., 2006. Qualitative Interviews In Healthcare. 3rd ed. pp.12-20.

Barry, L., 2018. Six colours you’ll find in every Scandinavian home. Better Homes and Gardens, [online] Available at: <https://www.bhg.com.au/six-colours-in-every-scandinavian-home> [Accessed 10 December 2020].

Blundell, D., 2018. The 10 Commandments of Scandinavian Design, According to Experts. Apartment Therapy, [online] Available at: <https://www.apartmenttherapy.com/scandinavian-design-rules-262980> [Accessed 10 December 2020].

Bryman, A. and Burgess, R., 2002. Analyzing Qualitative Data. Routledge, p.18.

Burt, S., Johansson, U. and Thelander, Å., 2011. Standardized marketing strategies in retailing? IKEA’s marketing strategies in Sweden, the UK and China. Journal of Retailing and Consumer Services, 18(3), pp.183-193.

Chandrashekara, S. and Misra, R., 2013. Observational studies: Are they significant in the current evidence-based trial era?. Observational studies dealing with various aspects of rheumatic diseases, 1(1), p.2.

Clarke, O., 2018. Perfecting a Scandinavian style colour scheme. Homes to Love, [online] Available at: <https://www.homestolove.com.au/scandinavian-style-colour-scheme-6957> [Accessed 10 December 2020].

Conran, T., 2006. Denmark's design for living. Independant, [online] Available at: <https://www.independent.co.uk/travel/europe/denmarks-designs-for-living-469631.html> [Accessed 10 December 2020].

Dahlbäck Lutteman, H. and Uggla, M., 1986. The Lunning Prize. Stockholm: Muséet.

Davis-Brown, P., 2017. Scandinavian Design is Simplistic Form and Function. [Blog] Dig this Design, Available at: <https://digthisdesign.net/decor-furnishings/scandinavian-design-is-simplistic-form-and-function/> [Accessed 10 December 2020].

Dawson, H., 2018. Hygge and Lagom. [Blog] Distinction Furniture, Available at: <https://distinctionfurniture.co.uk/blogs/news/hygge-and-lagom> [Accessed 10 December 2020].

de Mooij, M. and Hofstede, G., 2002. Convergence and divergence in consumer behavior: implications for international retailing. Journal of Retailing, 78(1), pp.61-69. Dempsey, L., Dowling, M., Larkin, P. and Murphy, K., 2016. Sensitive Interviewing in Qualitative Research. Research in Nursing & Health, 39(6), pp.480-490.

Design Museum Denmark. n.d. THE DANISH CHAIR - Design Museum Denmark. [online] Available at: <https://designmuseum.dk/en/exhibition/the-danish-chair-an-international-affair/> [Accessed 10 December 2020].

Discussion Paper Series, 2009. The Finnish Great Depression: From Russia with Love. (4113), p.11.

Dodgson, L., 2018. The psychological reasons why we want what we can't have. Business Insider,.

Dybdhal, L., 2019. Furniture Boom: Mid-Century Modern Danish Furniture 1945-1975. 1st ed. Denmark: Strandberg.

Eyþórsdóttir, K., 2011. The Story Of Scandinavian Design: Combining Function and Aesthetics. [Blog] Smashing, Available at: <https://www.smashingmagazine.com/2011/06/the-story-of-scandinavian-design-combining-function-and-aesthetics/> [Accessed 10 December 2020].

Fairlie, M., 2017. 30 years of IKEA in Britain. Money Gap, [online] Available at: <https://www.moneygap.co.uk/30-years-ikeabritain/> [Accessed 10 December 2020].

Farrelly, L., 2016. IKEA’s new museum in Älmhult - DesignCurial. [online] Designcurial.com. Available at: <http://www.designcurial.com/news/ikeas-new-museum-in-lmhult-5749649/> [Accessed 1 March 2021].

Fontana, A. and Frey, J., 1994. Interviewing the Art of Science. Sage Publications, p.336.

Gaver, B., Dunne, T. and Pacenti, E., 1999. Design: Cultural probes. Interactions, 6(1), p.22.

Glassman, N., 2010. Women Spend 30% More Time on Social Web Than Men. [online] Adweek.com. Available at: <https://www.adweek.com/performance-marketing/women-more-on-social-web-than-men/> [Accessed 3 February 2021].

Goodwille. 2019. Why Britain Has A Growing Love For Swedish Fashion | Goodwille. [online] Available at: <https://goodwille.com/swedish-fashion/> [Accessed 10 December 2020].

Gorodnichenko, Y., Mendoza, E. and Tesar, L., 2009. The Finnish Great Depression. Cambridge, Mass.: National Bureau of Economic Research, p.1.

Graham, D., 2018. What UK architects could learn from Denmark. Architect's Journal, [online] Available at: <https://www.architectsjournal.co.uk/news/opinion/what-uk-architects-could-learn-from-denmark> [Accessed 10 December 2020].

Grimmer, L., Mathmann, F. and Mortimer, G., 2019. How The ‘Ikea Effect’ Subtly Influences How You Spend. [online] London: BBC. Available at: <https://www.bbc.com/worklife/article/20190422-how-the-ikea-effect-subtly-influences-how-you-spend> [Accessed 10 December 2020].

Guldberg, J., 2011. 'Scandinavian Design' as Discourse: The Exhibition "Design in Scandinavia", 1954–57. [online] 27(2), pp.41-58. Available at: <https://www.jstor.org/stable/41261932> [Accessed 14 January 2021].

Günther T, Malmström H, Svensson EM, Omrak A, Sánchez-Quinto F, Kılınç GM, et al. (2018) Population genomics of Mesolithic Scandinavia: Investigating early postglacial migration routes and high-latitude adaptation. Plos Biol 16(1)

Gura, J., 2007. Scandinavian Furniture : A Sourcebook Of Classic Designs For The 21St Century. London: Thames & Hudson.

Halén, W. and Wickman, K., 2003. Scandinavian Design Beyond The Myth. Stockholm: Arvinius.

Hammonds, O., 2019. Benefits of Scandinavian Design: Think Before You Buy Furniture. 3 benefits of, [online] Available at: <https://www.3benefitsof.com/scandinavian-design-think-before-buy-furniture/> [Accessed 10 December 2020].

Heal's, 1951. Heal's Poster 1951. [image] Available at: <https://www.heals.com/heal-s-poster-1951-festival-black-pink-teatowel.html> [Accessed 10 December 2020].

Helle, K., 2008. The Cambridge History Of Scandinavia. 1st ed. Cambridge: Cambridge University Press, pp.1-4.

Hilson, M., 2019. The Nordic Region. Nordics info, [online] Available at: <https://nordics.info/show/artikel/the-nordicregion/> [Accessed 10 December 2020].

Holland, K., 2018. What Is Scandinavian Minimalism?. [online] Nordgreen UK. Available at: <https://nordgreen.co.uk/blogs/blog/what-is-scandinavianminimalism#:~:text=Scandinavian%20minimalism%20is%20all%20about%20simplicity%2C%20purity%20and%20calm.,whilst %20staying%20functional%20and%20comfortable.> [Accessed 10 December 2020].

Hollingsworth, A., 2008. Danish Modern. Salt Lake City: Gibbs Smith.

Horn, C., Ling, J., Bertilsson, U. and Potter, R., 2018. By All Means Necessary – 2.5D and 3D Recording of Surfaces in the Study of Southern Scandinavian Rock Art. Open Archaeology, 4(1), pp.81-96.

IKEA, T., us, A. and idea, V., 2021. IKEA Vision and Business idea. [online] Ikea.com. Available at: <https://www.ikea.com/gb/en/this-is-ikea/about-us/vision-and-business-idea-pub9cd02291> [Accessed 1 March 2021].

Jamshed, S., 2014. Qualitative research method-interviewing and observation. Journal of Basic and Clinical Pharmacy, 5(4), p.87.

Kahneman, D., Knetsch, J. and Thaler, R., 1991. Anomalies: The Endowment Effect, Loss Aversion, and Status Quo Bias. Journal of Economic Perspectives, 5(1), pp.193-206.

Kingsley, P., 2013. How To Be Danish. [S.l.]: MARBLE ARCH PR.

Korvenmaa, P., 2010. Finnish Design. Helsinki: University of Art and Design, pp.78-79.

Kristiansen, C., 2013. Mental health must be integrated into care delivery. Global Health Matters, (4), p.6.

Lanau, T., Orrù, A. and Linkola, L., 2018. Biomimicry In The Nordic Countries. Copenhagan: Nordisk Ministerråd, p.50.

Leventhal, F., 1995. "A Tonic to the Nation": The Festival of Britain, 1951. Albion: A Quarterly Journal Concerned with British Studies, 27(3), pp.445-453.

Linnet, J., 2009. Money can't buy me hygge: Danish middle-class consumption, egalitarianism and the sanctity of inner space. Social Analysis: Journal of Cultural and Social Practice, 55(2), pp.21-44.

Martelius, J. and Elmlund, P., 2015. Swedish Grace:The Forgotten Modern. 1st ed. Stockholm: Axel & Margaret.

McGuickin, G., 2014. Arne Jacobsen: Danish Design Luminary | Merchant & Makers. [online] Merchant & Makers. Available at: <https://www.merchantandmakers.com/arne-jacobsen/> [Accessed 19 January 2021].

McLendon, R., 2020. How 'Friluftsliv' Can Help You Reconnect With Nature. Treehugger, [online] Available at: <https://www.treehugger.com/how-friluftsliv-can-help-you-reconnect-with-nature4868402#:~:text=Friluftsliv%20literally%20means%20%22free%20air,our%20outdoor%20dynamic%20with%20nature.> [Accessed 10 December 2020].

Mesure, S., 2012. In search of the Scandinavian dream: What's it like to live the Nordic Life?. Independant,.

Miller, J., 2015. The UK’s enduring and understandable love affair with Scandinavian design. Insight,.

Mullen, K., 2019. The Best Stores To Buy Scandinavian Furniture Online. Huffpost,.

Murphy, K., 2015. Swedish Design: An Ethnography. Cornell University Press.

Myllyntaus, T., 2010. Design in Building an Industrial Identity: The Breakthrough of Finnish Design in the 1950s and 1960s. [online] 16, pp.201-225. Available at: <https://www.jstor.org/stable/23791383> [Accessed 14 January 2021].

Nelson, K. and Cabra, R., 2004. New Scandinavian Design. San Francisco: Chronicle Books.

Nikara, 2020. Canvas Easy Chair. [image] Available at: <https://www.archiproducts.com/en/products/nikari/canvas-easy-chairdecember-easy-chair_125145> [Accessed 10 December 2020].

Nisbett, R. and Wilson, T., 1977. The halo effect: Evidence for unconscious alteration of judgments. Journal of Personality and Social Psychology, 35(4), pp.250-256.

Norton, M., Mochon, D. and Ariely, D., 2011. The “IKEA Effect”: When Labor Leads To Love. Massachusetts: Harvard Business School.

Olesen, B., 2013. Denmark From Different Sights.

Opie, 1989. Scandinavia. London: Victoria and Albert Museum, pp.92-98.

Oppong, T., 2018. Lagom: How The Swedish Philosophy For Living a Balanced, Happy Life Can Help You Live a Meaningful Life. [Blog] Thrive Global, Available at: <https://medium.com/thrive-global/lagom-the-swedish-philosophy-for-living-a-happylife-might-just-help-you-live-a-more-balanced-and-9bed612b4f7c> [Accessed 10 December 2020].

Opstad, I., 2019. THE SCANDINAVIAN INTERIOR COLOUR TRENDS OF 2019 FROM JOTUN LADY. [online] thatscandinavianfeeling.com. Available at: <https://www.thatscandinavianfeeling.com/inspiration/the-scandinavian-interiorcolour-trends-of-2019-from-jotun-lady> [Accessed 10 December 2020].

Parmar, S., 2014. THE ENDURING BRITISH LOVE AFFAIR WITH SCANDINAVIAN DESIGN. [Blog] Well Working, Available at: <https://www.wellworking.co.uk/blog/2014/07/enduring-british-love-affair-scandinavian-design/> [Accessed 22 February 2021].

Partanen, A., 2018. The nordic theory of everything. Rickmond: Duckworth.

Petersens, A., 2017. New Nordic colour. 1st ed. London: Ryland Peters & Small, pp.7-13.

Ramstedt, F., Olofsson, M. and Graves, P., 2020. The interior design handbook. Particular Books.

Rask, H. and Holmsted Olesen, C., 2019. The Danish Chair. 1st ed. Denmark: Strandberg.

Ripa, E., 2016. It’s in their nature!. [Blog] SkandiBlog, Available at: <https://skandihome.com/skandiblog/inspiration/interiors/its-in-their-nature-how-scandinavias-affinity-for-the-outdoorsinspires-their-interior-design/> [Accessed 10 December 2020].

Robertson, H. and Ulin, P., 2015. Monochrome Home: Elegant Interiors In Black And White. London: Ryland Peters & Small, p.11.

Rodriguez, E. (2016, October 24). Love the Scandinavian Look? Try This Color Palette. Retrieved From http://mycolortopia.com/blog/color/love-scandinavian-look-try-color-palette#KPHmDfqXGUrfG1Dv.97.

Rose, G., 2001. Visual Methodologies: An Introduction to the Interpretation of Visual Materials: An Introduction to Interpreting Visual Objects. New York: Sage Publications, pp.11-14.

Russell, H., 2020. “How embracing the Danish lifestyle made me happier (and why it can for you, too)”. [Blog] Stylist, Available at: <https://www.stylist.co.uk/travel/how-living-danishly-made-me-happier-why-it-can-for-you-too-quality-of-lifedenmark-world-happiness/6062> [Accessed 10 December 2020].

Salazar, M., 1990. Interviewer Bias. AAOHN Journal, 38(12), pp.567-572.

Santiago, 2014. Nordic VS Scandinavian? What's What - Big In Finland. [online] Big In Finland. Available at: <http://en.biginfinland.com/nordic-or-scandinavian/> [Accessed 10 December 2020].

Sapir, J., 2017. Exploring Nordic And Scandinavian Style Wood Flooring. [online] Wood and Beyond Blog. Available at: <https://www.woodandbeyond.com/blog/exploring-nordic-scandinavian-style-wood-flooring> [Accessed 10 December 2020].

Savage, M., 2017. Friluftsliv: The Nordic Concept Of Getting Outdoors. [online] Bbc.com. Available at: <https://www.bbc.com/worklife/article/20171211-friluftsliv-the-nordic-concept-of-getting-outdoors> [Accessed 10 December 2020].

Scandinavia Standard, 2019. Discover The Best Maps Of Scandinavia. [image] Available at: <https://www.scandinaviastandard.com/discover-the-best-maps-of-scandinavia/> [Accessed 10 December 2020].

Seferou, A., 2017. Multipurpose Furniture With a Touch of Scandinavian Design. Culture Trip, [online] Available at: <https://theculturetrip.com/europe/denmark/articles/multipurpose-furniture-with-a-touch-of-scandinavian-design/> [Accessed 10 December 2020].

Shine, T,. 2020, How to save the planet – one object at a time, [S.I]: Simon and Schuster Ltd.

Sisson, P., 2014. Design Icon: 10 Works by Jasper Morrison. Dwell,.

Taylor, 2017. More is More: Why Minimalism Sucks. [Blog] flourishmentary, Available at: <https://flourishmentary.com/moreis-more-why-minimalism-sucks/> [Accessed 9 February 2021].

Telford, O., 2017. HYGGE: Discovering The Danish Art Of Happiness – How To Live Cozily And Enjoy Life’s Simple Pleasures. p.56.

Thandi-Norman, R., 2020. Where is Scandinavia? A Guide to the Scandinavian Countries. [Blog] Scandinavia Standard, Available at: <https://www.scandinaviastandard.com/where-is-scandinavia-a-guide-to-the-scandinavian-countries/> [Accessed 10 December 2020].

Thoring, K., Luippold, C. and Mueller, R., 2013. 1 Opening The Cultural Probes Box: A Critical Reflection And Analysis Of The Cultural Probes Method. Berlin, p.7.

Thorn, K., 2016. 15 Colorful Scandinavian Decor Ideas for a Minimalist Spring Vibe. Retrieved From https://www.brit.co/scandinavian-decor-spring/.

Trost, J., 1971. THE NORDIC COUNTRIES—ONE CULTURE OR SEVERAL? AN ANALYSIS OF FAMILY CHARACTERISTICS. International Journal of Sociology of the Family, 1(2), p.181.

Turner, B., 2011. Beacon for Change. 1st ed. London: Aurum Press, pp.123-136.

van Hattem, M., 2013. NORDIC COUNTRIES: SIMILAR BUT DIFFERENT. insightoutmagazine, p.35.

Wiking, M., 2016. The Little Book Of Hygge. Harper Collins.

Wiles, K., 2011. The History of Abbreviation. [Blog] The History Vault, Available at: <https://thehistoryvault.co.uk/the-historyof-abbreviation/> [Accessed 14 January 2021].

Wild, R., 2015. ‘Scandi’ equals cool, so don’t give it the cold shoulder. The Times,.

Woods, J., 2012. Why do we love Scandinavian Design?. The Telegraph,.

Workman, J. and Caldwell, L., 2007. Centrality of visual product aesthetics, tactile and uniqueness needs of fashion consumers. International Journal of Consumer Studies, 31(6), pp.589-596.

Worrall, S., 2015. True or False: Scandinavians Are Practically Perfect in Every Way. National Geographic, [online] pp.12-13. Available at: <https://www.nationalgeographic.com/news/2015/2/150225-scandinavia-finland-norway-sweden-denmarkculture-ngbooktalk/> [Accessed 10 December 2020].

Xu, P., Wang, Y., Su, Y. and Hau, L., 2013. The Importance Of Exhibition Design In Modern Society. Advanced materials research. pp.829-832.

Zietman, N., 2017. 9 Reasons Why The Danish Make Every British Person Feel Inadequate. Huffington Post

CONTENTS OF APPENDICES

Appendix 1.0. Project Planning ……………………………………………………….. 62

Appendix 2.0. Ethics ……………………………………………………………………. 66

Appendix 3.0. Research Information Sheet ………………………………………….. 69

Appendix 4.0. Consent Form ………………………………………………………….. 70 Appendix 4.1. Survey Consent ……………………………………………………. 71 Appendix 4.2. Interview Consent …………………………………………………. 72 Appendix 4.3. Cultural Probe Consent …………………………………………… 76

Appendix 5.0. Survey ……………………………………………………………………. 82 Appendix 5.1. Survey Questions ………………………………………………..… 82 Appendix 5.2. Survey References ………………………………………………… 96 Appendix 5.3. Survey Results ……………………………………………………… 97

Appendix 6.0. Interview ……………………………………………………………….. 106 Appendix 6.1. Interview Transcripts ……………………………………………... 106 Appendix 6.1.1. Alex ……………………………………………………… 106 Appendix 6.1.2. Molly …………………………………………………….. 108 Appendix 6.1.3. Jason …………………………………………………….. 111 Appendix 6.1.4. Adam ……………………………………………………. 113 Appendix 6.2. Table of Interview Summary …………………………………….. 116

Appendix 7.0. Cultural Probe …………………………………………………………. 119 Appendix 7.1. Participant Pack …………………………………………………... 119 Appendix 7.2. Student Reactions …………………………………………...…… 120 Appendix 7.3. Focus Group Transcript …………………………………………. 126 Appendix 7.4. Comparison Visuals ……………………………………………… 131 Appendix 7.5. Thematic Analysis ………………………………………………… 143

APPENDIX 1.0. PROJECT PLANNING

WEEK

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 SECONDARY PRIMARY

Reading and making notes Structuring the research Further reading Summarising and interim changes Researching techniques, potential participants Begin survey and contacting interviewees and focus group Interview and focus group Highlighting themes, structuring the research Limitations and further changes

APPENDIX 2.0. ETHICS

Architecture, Design and the Built Environment Generic Ethics Assessment and Approval Form

Student name: Hannah Goodeve Student ID number: N0737941 Course of study: BA Furniture and Product Design Module title and module code: Critical Theory PROD30154 Title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

Section A: Primary Research

Are you intending to conduct Primary Research (from surveys you create, interviews, and/or focus groups) for this assessment Yes No

If you answer No, simply return this form to your module leader – there is no need to complete the remainder of this form

If you answer Yes, please be guided by your module leader, but ethical monitoring is primarily about protecting vulnerable groups, therefore please complete the following sections

Section B: Participants

Vulnerable Groups

Does your research involve vulnerable participants? If Yes, please complete the participant list below and Section C. If No, please complete Section C. If your research does involve vulnerable participants, will participants be knowingly recruited from one or more of the following vulnerable groups? Children under 18 years of age Yes No Yes No

People over 65 years of age Yes No

Pregnant women People with mental illness

Yes No Yes No Prisoners/Detained persons Yes No Other vulnerable group#(please specify _____________________ ) Yes No

Other types of vulnerable groups may include indigenous or non-English speakers, particularly in overseas countries, victims of torture, the homeless, ex-soldiers etc.

Section C: Details of Project Please provide information below about your project and the primary research you intend to undertake The participants that I intend to use for my research are varied from university furniture design students to British consumers and established designers. I want to uncover if Britain only sees Scandinavian design as the bleached wood and clean lines and ask the question what they’re buying in a piece of ‘Scandinavian furniture’. Is it the Scandinavian dream? Or the product aesthetics? Or the desire to fit in with trends? I am gathering this data through 3 primary research methods; • Observation I intend to ask students to design a piece of Scandinavian furniture, with a clear focus on overall aesthetic, colour and form. I want to

discover if they fit in with the stereotype of bleached wood, clean lines and minimalism. • Interviews I intend to use 3 interviewees to form a triangulation. A British user, a British designer who designs ‘faux’ Scandinavian design and a Scandinavian ‘expert’ on how the design movement formed in Britain and how it was initially presented. • Consumer Comparison Survey I want to collect images of perceived ‘Scandinavian furniture’ from different countries, Scandinavian and not. I want to then ask participants to rank including most modern, simple, functional, environmentally friendly etc. There will also be a survey with questions included which would ask participants their age and gender so it is clear that a range of consumers have been asked. I will be safeguarding the rights of the vulnerable participants ethically by, asking permission from them before hand and making sure they understand they do not have to participate and can withdraw at any time. I will have another person to oversee the observation to make the participant/s feel more comfortable. Please provide below a statement outlining how the data derived from the project will be (a) stored and (b) used. I intend to record the interviews and use notes to facilitate answers, I will then write it up as a transcript to be able to evaluate and directly quote. The interview and observation data made public will not reveal any information about the participants. The interview data will be anonymous and nothing personal is asked about the participant. The data will not be shared with other organisations and parties apart from the publication, which will be reviewed by the Nottingham Trent Product Design Lecturers assigned to this project. Only myself will have access to participant’s information on my personal laptop.

Please provide below the statement seeking consent that you intend to use with your project participants. Please confirm that responses will be anonymised and unattributable. My name is Hannah Goodeve and I am BA(Hons) Furniture and Product Design Student at Nottingham Trent University. I am investigating the desire for Scandinavian furniture to a British Consumer and what this says about them. Participants responses from this research will be anonymous and no personal information will be recorded. This data will not be shared with the public and will be on my own personal laptop. Please confirm the following: 1. I Confirm that I have read and understand the introduction to the research study and have the opportunity to ask questions. 2. I understand that my participation to this research is voluntary and that I am free to withdraw at any time, without any given reason. 3. I agree to take part in the above study. 4. I agree to the interview/observational study to be audio recorded and video recorded.

Submit this completed form to your module leader. Research may not go ahead until this form has been approved by the School Ethical Monitoring Group.

APPENDIX 3.0. RESEARCH INFORMATION SHEET

RESEARCHER: Hannah Goodeve

COURSE AND FACULTY: ADBE – BA(Hons) Furniture and Product Design

RESEARCH TITLE: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

CONTACT DETAILS: hannah.goodeve2017@my.ntu.ac.uk

ABOUT This study aims to investigate into Scandinavian design and it’s relationship with the UK, with a direct focus on the British consumer. This will examine, effects of retail and its advertisement and what encourages the perception. It is to delve further into the stereotype of ‘blonde wood and simple form’, where this came from and what encourages it. What is it that the British consumer attracted to; price, aesthetic, scandi values etc…?

DATA Myself, the primary researcher, will collect all data. It will be collected through the interview, survey and ethnographic student study. Each research method’s data will be stored on my own personal laptop, which is password protected and will be deleted once the research has ended. If photography is taken throughout the student study, it will be anonymous with no clear photos showing a persons face. It will not be shared with anyone else besides marker, the moderator and myself. The Nottingham Trent ethics team has approved all research.

RESEARCH PROCESS The research will be collected through a series of interviews, surveys and a focus group/ethnography with students to design a piece of Scandinavian furniture. Further information may be required after the session. This could include any clarification on responses.

PARTICIPANT RIGHTS The participant can withdraw from the study at any time. Please contact the researcher if this is the case. All participant’s data and information will be deleted.

PAYMENT/BENEFITS This research study is voluntary and involves no benefit from partaking.

CONCERNS If you have any concerns or further questions, please contact; hannah.goodeve2017@my.ntu.ac.uk

APPENDIX 4.0. RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

Please sign next to each statement

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

Name of Participant Date

Hannah Goodeve 06 / 01 / 2021

Name of Researcher Date Signature

Signature

APPENDIX 4.1. SURVEY CONSENT

APPENDIX 4.2. INTERVIEW CONSENT

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from Please initial next to each statement

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

Alexandra Record 02 / 02 / 2021

Name of Participant Date

Hannah Goodeve 06 / 01 / 2021 Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise Please initial next to each statement

Molly Haslam 27 / 01 / 2021

Name of Participant Date

Hannah Goodeve 06 / 01 / 2021 Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: ‘Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

Please sign next to each statement

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions. Jason Keal

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason. Jason Keal

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study Jason Keal

Jason Keal

I agree for my name/profession to be used Jason Keal

I agree for the use of direct quotations from the interview to be used Jason Keal

I agree to be recorded in order to transcribe from Jason Keal

Jason Keal

Name of Participant

Hannah Goodeve

Name of Researcher 08/02/2021

Date

06 / 01 / 2021

Date Jason Keal

Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: ‘Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

Please sign next to each statement

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions. AJ

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason. AJ

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study AJ

I agree for my name/profession to be used AJ

I agree for the use of direct quotations from the interview to be used AJ

I agree to be recorded in order to transcribe from AJ

Adam James Fergusson 10/02/2021

Name of Participant Date

Hannah Goodeve

Name of Researcher 06 / 01 / 2021

Date

A.J. Fergusson

Signature

APPENDIX 4.3. CULTURAL PROBE CONSENT

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study Please initial next to each statement

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise LD

Lauren Dyer

Name of Participant 02 / 02 / 2021

Date

Hannah Goodeve 06 / 01 / 2021 Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from Please initial next to each statement

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

Jack Buttling 26 / 01 / 2021

Name of Participant Date

Hannah Goodeve 06 / 01 / 2021 JB

Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from Please initial next to each statement

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

Lucy Bernstein

Name of Participant 29 / 01 / 2021

Date

Hannah Goodeve 06 / 01 / 2021 LB

Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from Please initial next to each statement

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

James Woolley

Name of Participant 28 / 01 / 2021

Date

Hannah Goodeve 06 / 01 / 2021 JW

Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form

I understand that I am under no obligation to take part in the study

I agree to participate in this study

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from Please initial next to each statement

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise

Darcy Hill

Name of Participant 29 / 01 / 2021

Date

Hannah Goodeve 06 / 01 / 2021

Name of Researcher Date DH

Signature

RESEARCH ETHICS: CONSENT FORM

Full title of Project: Blonde wood and clean lines: Exploring the British Romance with Scandinavian Style

Please initial next to each statement

I confirm that I have read and understand the information sheet for the above study and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving reason.

I agree to take part in the above study.

I have read and understand the information sheet and consent form AS

I understand that I am under no obligation to take part in the study

I agree to participate in this study AS

INTERVIEW ONLY

I agree for my name/profession to be used

I agree for the use of direct quotations from the interview to be used

I agree to be recorded in order to transcribe from

STUDENT CULTURAL PROBE ONLY:

I agree for the use of my design to be used for research analysis

I agree to be photographed/recorded if necessary, during the exercise AS

Abigail Slade

Name of Participant 28 / 01 / 2021

Date

Hannah Goodeve 06 / 01 / 2021

Name of Researcher Date Signature

Signature

APPENDIX 5.1. SURVEY QUESTIONS

APPENDIX 5.2. SURVEY REFERENCES

Chair 1 - Country of Origin – France

STANLEY Folding Garden Chair by Phillippe Starck

Magis, 2017. STANLEY Folding Garden Chair. [online image] Available at: <https://www.archiproducts.com/en/products/magis/folding-garden-chair-stanley_243574> [Accessed 19 November 2020].

Chair 2 - Country of Origin – Denmark

CH07 ‘Shell’ Chair by Hans Wegner

labelfarm GmbH, 2., 2020. Carl Hansen & Søn CH07 Shell Chair. [online image]. Available at: <https://www.smow.com/en/designers/hans-j-wegner/ch07.html> [Accessed 19 November 2020].

Chair 3 - Country of Origin – Denmark

The Pelican Chair by Finn Juhl

Diiiz, n.d. The Pelican Chair. [image] Available at: <https://www.diiiz.com/en/lounge-chairs/35lounge-chair-pelican-inspiration-finn-juhl.html#/196-color-cashmere_blue_42> [Accessed 19 November 2020].

Chair 4 - Country of Origin – Sweden

Chair 2025 by Josef Frank

1st Dibbs, 2010.Chair 225. [online image] Available at: <https://www.1stdibs.com/furniture/seating/chairs/contemporary-swedish-josef-frank-chair-redpainted-wood-bamboo-textile/id-f_18979742/ > [Accessed 19 November 2020].

Chair 5 - Country of Origin – Austria

NORA Dining Chair by Salih Teskeredžić for Gazzda

Heal’s, n.d. Gazzda Nora Chair. [online image] Smow.com. Available at: <https://www.heals.com/nora-chair.html> [Accessed 19 November 2020].

APPENDIX 5.3. SURVEY RESULTS

Survey Comparison Results

APPENDIX 6.0. INTERVIEW

APPENDIX 6.1. INTERVIEW TRANSCRIPTS

6.1.1. Interview with Alex: Transcript

Hannah: Hey Alex: Hi H: How’s things? How are you? A: Yeah, not bad thanks. Slowly getting through lockdown H: Oh I know, hopefully it’ll be over soon A: Yeah H: So I just have a couple of questions to ask you regarding your placement year in Sweden if that’s okay? A: Yeah sure, go ahead H: Okay to start with can you just tell me a bit about the company and what your role there was? A: Yeah so basically it was a company called Modernity in Stockholm and they specialise in 20th century Scandinavian design so they buy and sell on 20th century furniture, ceramics and art work as well. They won’t just restrict themselves to Scandinavian though, they like cool and snazzy pieces, quite a few from Italy but it’s mainly Scandinavian. Erm regarding my role I did quite a lot. I did a mixture of sales, talking to customers as well as working in the gallery, helping ship stuff and organising shipping. We never did any of the buying as the owner did that as he knew everyone and everything haha. I basically just did a range of things. H: Right, so what were those key characteristics of the 20th century Scandinavian design? A: Oo H: Was there a main theme? A: Just thinking, yeah in the sense it was very focused on craftmanship H: Right A: So a lot of things were handmade, if not everything and a lot of the stuff I guess because 20th century, mass manufacturing wasn’t really a thing so it was very limited on what you could get made. We worked with a lot of Alvar Alto stuff that can now be mass made like his bent wood chair. Those all used to be done by hand. A lot of the pieces were unique and one-off H: Yeah A: I think the main thing is anything we got was very different to the others, a number of Alvar Aalto products of similar models were completely different because they were all handmade and unique in their own way. The art didn’t follow a trend like the furniture did so was completely different. H: Right, so the products were very different to your stereotypical IKEA furniture that a British consumer is used to? Like the blonde wood and affordability. So why do you think that IKEA presents it in that way?

A: I’m going to firstly start by saying that when I said I was moving to Sweden for a year, everyone mentioned me working for IKEA haha H: yeah I bet hahaha A: Erm so I don’t know I guess Scandinavian design as a whole is identified as simple, clean and as you said very minimalist, I guess IKEA uses that for their benefit and extenuates these key things but then they almost add the notion of being cheap and I think that’s the issue. The idea of IKEA is great but the execution is quite poor. Like, IKEA is a go to for me, I own many things from there because of it’s simplicity but yeah I think they take the idea of Scandinavian design and kind of remake it. The image they portray is wrong as yes it’s simple but they take that as making it cheap. I wouldn’t say it’s tacky as I think overall their products are wellmade and you can get things that last but to me Scandinavian look changed when I moved to Sweden because I assumed people in Sweden would own IKEA products but actually they tend to steer away from it. In our flat for example, the furniture looked expensive and of exceptionally good quality. I think people in Sweden are a lot more up market than back in the UK which really surprised me. H: That’s an interesting point. A: I went to one IKEA in Sweden and I was surprised with how small it was. H: So it’s nothing like it is over here then, like a massive warehouse? A: Yeah so like here it’s like an experience and a day out but in Sweden it was like a small building with a few floors and almost unrecognisable as an IKEA. Erm, so it isn’t big in Sweden. H: That’s very interesting, do you think the British perception of Scandinavian design majorly comes from IKEA and people don’t realise how upmarket it is supposed to be? A: Yeah and I think everything thinks it’s great because you can get a scandi style look for really cheap but actually in the market that I was in which was using interior designers for well off people, their idea of Scandinavian design was entirely different because their first thought is never IKEA like it is over here. There’s a few interior designers like Rose Uniacke, who specialises in Scandinavian interiors who would never go into IKEA for her furniture. They prefer expensive, well made products that will last forever H: So in Sweden, they care a lot more about the craftmanship than getting something which is affordable? A: Yep H: So when you think of Scandinavia as a whole do you think of any particular country or a collection of countries? A :Erm definitely Norway, Finland, Sweden and Denmark. I see them all as very similar regarding their products and also lifestyle. I was fortunate to go to Norway and Denmark on placement and they had a similar feel to Sweden. H: Right got you, so in my literature review I discovered that their lifestyle was based a lot around values. How did you find the lifestyle? A: Expensive haha definitely expensive H: Really?

A: Yeah, very posh, very expensive. There was no rubbish area in Stockholm as you find in many cities around the world. Like in London when you get to the outskirts, it’s a bit more run down and we lived in the outskirts of Stockholm and it was still so nice. If anything, more beautiful. All the buildings looked new even if they’d been there for fifty or sixty years and you just wouldn’t be able to tell. Even our furniture for a relatively cheap flat was really nice and no IKEA stuff in sight. Of course there were a couple of buildings that weren’t as nice but everyone I knew had such snazzy apartments or houses and it was all very upmarket H: So the furniture almost reflected the architecture? A: Yeah for sure H: The furniture that you mentioned in your flat, what was that like, light wood or dark wood? A: Erm I’ll have to think back, it was predominantly light wood and very heavy. Even if we wanted to move something, we couldn’t. It was way to heavy. It was very minimalist. The flat was furnished but just had one simple sofa, one dining table. The bedrooms were just a bed, bedside table and wardrobe. Very clean. It was just limited and the basics. It was really nice though. It involved lots of neutral colours and we had maroon red rugs and décor and some blues. H: Oh lovely. So mentioning the colour, those maroons and blues aren’t what I personally assume as Scandinavian. Were those colours common in a lot of interiors? A: Well our flat was but my boss’ flat for instance also had a lot of colour like emerald greens. They like colours over there which are associated with wealth like your emerald and maroon. His flat was light walls and light floors with just those accents through the art and décor. Colour was actually quite a big thing and had random pops of colour which I didn’t expect. I thought it would just be monochrome but they were tasteful colours. H: Perfect. Thank you so much Alex A: Yeah no worries at all, let me know if you have any other questions for sure H: Amazing thank you, have a lovely rest of your day in lockdown. A: Oh I will, thanks Hannah H: Bye A: Bye

6.1.2. Interview with Molly: Transcript

Hannah: Hi Molly Molly: Hi you okay? Hannah: Yeah good thank you, you? Molly: Yeah not bad thanks Hannah: Thanks again for doing this

Molly: No worries at all, happy to help Hannah: Amazing thanks so shall we begin? Molly: Yeah sure Hannah: Okay so if we start by just talking about your job in IKEA if that’s alright Molly: Yeah sure so my job title was basically a Visual Merchandiser at the Nottingham store so I basically helped setting up the rooms to showcase all of the items in like ranges and items that went together well. Hannah: Ah nice, so did you enjoy it Molly: Yeah I loved it, as I got to show a bit of my design flare in the process Hannah: Did you have to follow briefs Molly: No we were given like ideas from higher up on what they wanted for the rooms and certain items and then we were given a bit of free reign Hannah: Did you stick to colour palettes Molly: Yeah so some rooms were monochrome, others neutral and others more colourful Hannah: Oh right so there were more colourful rooms Molly: Yeah but people more think of us for neutrality over the colour but in my opinion those rooms are most exciting and interesting Hannah: In another interview, I discussed the idea of IKEA being almost an experience and day out, what are your thoughts? Molly: Yeah I’d agree with that, you see a lot of families and by going room to room and into different departments it is like an experience. It’s comparable to that of a museum where you walk round looking at things. I’d say a lot of people come for that day out without initially knowing what they wanted to get by looking at the website first Hannah: Ah right so do you think your visuals help with that Molly: Yeah definitely, by placing the products in an in situ room it allows the consumer to visualise easier Hannah: Yeah I’d agree with you there, I think that’s something IKEA does very well. Okay so what personally does the term Scandinavian design make you think of? Molly: Erm probably like light airy, minimalist on one side but after working at IKEA there’s another bright and colourful side that isn’t as recognisable as being ‘scandi’ and I reckon it isn’t but IKEA use it so they can cater for all consumers, even those that prefer a more colourful interior and that’s why they’re successful as they have something for everyone. Hannah: Right so you think some IKEA bits aren’t really Scandinavian Molly: I think that the colourful products won’t be clearly recognisable as scandi at an initial glance but then if you look further into a product, it’s still minimalist and simplistic. So some products don’t have all the characteristics associated with scandi yet has some aspects Hannah: Right so do you think a product can be deemed scandi without having all those features Molly: Yeah definitely, they’re just different variations I reckon

Hannah: Okay nice so what words and characteristics would you deem most important? Molly: Probably clean, minimal, efficient as I think the product needs to be functional and completely recognisable as like a chair is completely obvious that it’s a chair if that makes sense Hannah: Yeah I get you. So regarding Scandinavia, do you know anything about it? Like what countries make up of it Molly: You know what I’m actually not that sure, obviously Sweden I know but maybe Norway? Hannah: Yeah they’re both included. When you say obviously Sweden is that because of IKEA Molly: Yeah I know that IKEA is predominantly Swedish and has other countries, oh Denmark as well Hannah: Yeah for sure. My literature review determined British ideologies about the Scandinavian lifestyle. Are you personally attracted to the Scandinavian culture or know anything about it? Molly: I think I do like the Scandinavian designs but since working for IKEA, looking at the furniture they sell I sometimes only think of cheap furniture which isn’t correct when thinking about Scandinavian furniture. But I am really into the clean lifestyle so I would give it a go but It has to be done right. Hannah: When you say ‘cheap’ can you explain Molly: Yeah so it’s affordable so it can be retailed at a wide market like we spoke about earlier regarding colour. I think that’s what they want to do, have such a large target market. However, this isn’t always ideal as the product won’t always last if it’s cheaply made and assembled primarily by an inexperienced consumer and then they’ll just go back to IKEA to buy a new product to replace it, it’s like a cycle. It’s definitely a business tactic. Hannah: So do you think that’s a problem in retail, the whole beauty of design is lost within the business? Molly: Yeah I reckon so but that’s just business isn’t it Hannah: Yeah definitely, so to finish up I just want to talk about perceptions and stereotypes so do you think that IKEA promotes a stereotype of blonde wood furniture, neutral hues etc ? Molly: I do think that IKEA does have a stereotypical style, of very white and natural colours and that’s the reason why people go there. Its clean simple and that’s what people look for when they go and that design style has been working for them for a very long time. Hannah: And is that stereotype a stereotype of IKEA furniture or Scandinavian furniture? Molly: A bit of both really I’d say predominantly IKEA but they take aspects of Scandinavian design that would work within the UK for the consumer. So they focus on the blonde wood and simplicity as that would attract the British consumer, whereas the handmade darker furniture that’s 1900’s Scandinavian most likely wouldn’t

Hannah: Amazing, thank you so much Molly. There were some really good discussions there Molly: Yeah no worries at all Hannah: Okay thank you bye Molly: Bye

6.1.3. Interview with Jason: Transcript

Hannah: Hi Jason Jason: Hi Hannah how are you? Hannah: Very well thank you how are you? Jason: Good thanks, thank you for wanting to interview me for your dissertation Hannah: No worries at all, thank you for wanting to participate. I thought you were perfect to interview as you fit into two categories of a retailer as well as a designer so it would be definitely beneficial for me to get your opinion about a few of my topics I want to discuss Jason: Yeah no worries Hannah: So if it’s okay to just explain your job role Jason: Of course so I am a designer and in sales at Danish Homestore in Nottingham. We specialise in mid-century as well as modern Danish furniture. We create a lot of restored furniture from designers like Hans Wegner and Finn Juhl and so on. Hannah: Amazing, who would you say your customers are? Jason: We get a bit of a range from some people who just want some beautiful handmade furniture for their home as well as some smaller dealers Hannah: Great so obviously your expertise is in Danish designs but I just want to know a bit more about Denmarks part in Scandianvia and what Denmark brings to the movement or trend so what countries in your opinion are included within Scandinavia? Jason: I’d say just Denmark, Sweden and Norway are Scandinavian and all other territories of these countries as well as Finland be under the term Nordic rather than Scandinavian. Hannah: That’s interesting, my literature review was a bit blurred in the sense of whether Finland Hannah: So you spoke a minute ago about restoring midcentury and modern furniture so how would you describe this? Jason: At the shop, we use the word as vintage really and that’s what we’re renowned for beautiful vintage Danish furniture Hannah: What would you say the key characteristics or occurring trends in these vintage pieces? Jason: Elegance, simplicity and quality that is not found nowadays with places like Ikea where they are meant to be replaced. The vintage pieces we deal in are designed and built to last for a long time and they most certainly have, with several items we have being between 50-70 years old.

Hannah: Regarding IKEA do you think a retailer like them has impacted a British Consumer’s view on Scandinavian Design? Jason: I personally believe it has skewed perception of Scandinavian furniture. Ikea furniture is mass produced, flat packable, and cheap. While these things are by no means bad, they have led customers to expect, if you excuse the rude language, cheap shit due to the lesser quality materials used by Ikea. I am sure you are familiar with the joke of how long it takes for Ikea furniture to break. The main difference of course is that in this age of mass-produced easily replaceable pieces, Ikea furniture isn’t designed to last. Meanwhile, the Danish furniture produced in the 50s, 60s and 70s were designed to last a lifetime, especially when you consider that these designs came out of the post-Second World War period where resources were scarce. One thing we see on a regular basis is customers not understanding the prices which match the quality and design behind a piece of Danish furniture, due to this difference in perception. They expect to pay for high quality, rare items for cheap mass-produced prices. While these customers exist, fortunately the majority of British customers we deal with have done their research, so there is hope at least. Hannah: Yeah I agree in the sense of my research has highlighted that opinion a lot, that IKEA furniture is cheap however that’s what the British consumer wants Jason: Yes definitely Hannah: But why do you think the consumer is attracted to Scandinavian design, like the aesthetics of it? Jason: I am going to sound like a broken record, but the above points about the elegance, comfort and quality of Danish design furniture are what attract consumers, and British consumers are no different. At least nowadays. Prior to the rise of popularity around Scandinavian design furniture, British furniture was selfmade within Britain and British consumers could not get their hands on anything else. This why you see heavier Victorian and Edwardian design furniture. With the advent of Scandinavian furniture being designed for export to other countries, you see the rise of its popularity with the British consumer as it was something new and interesting, completely different to what they were previously able to get. Anyone can design chair; you, me or a random person down the street. But to truly construct a chair that is both comfortable, elegant and practical, it takes an architect. As such in Denmark, designers are referred to as Architects and have gone through years of practical training and experience. The result is pieces that are designed and produced with ergonomics in mind. They are well built, comfortable and utilise high quality materials. In regards to values, there is the Danish Control Board self-regulates to verify that every product is assembled from the best quality materials available in its construction and is up to standard. Hannah: What would you say personally attracts you to a piece of Danish design? Jason: The quality and simplistic elegance of the pieces. In general it is the ergonomics of the design, not only do they look good, they are also practical. Not to mention the space-saving benefits of minimalistic design. Look to box sofas by Borge Mogensen are an example of this, where the sofa doesn’t waste space. As well as the fact that the majority of Danish furniture was designed for the outside

market and to be able to flat-pack / store easily inside of a shipping container. The result being that it is very easy to transport Danish design furniture. Hannah: Ah I’ll have to have a look at that sofa, I’ve never heard of it Jason: It’s just like your classic 3 person sofa really, a really simple and sleek piece of furniture Hannah: Ah nice, what other Danish designers do you feel influential? Jason: The best Danish designers I’d say are Hans Wegner, Niels Moller, Grete Jalk, Borge Mogensen, Peter Hvidt & Orla Molgaard, Illum Wikkelso, Finn Juhl, and Niels Koefoed. There are many designers with their own niches in Danish design and all with beautiful pieces to their names. But, for the sake of your dissertation, I would suggest taking a look at specifically Hans Wegner and Niels Moller. It comes down the points we mentioned about before that they execute well; elegance, quality and comfortability. These aspects of Danish design are well appreciated by a variety of people and thus gained a reputation for quality and popularity followed. With that popularity and success, you have other designers and furniture producers looking to get in on the success. Thus you see the influences of Scandinavian / Danish design all over the place. Hannah: Great I’ll definitely take a look Jason: Yeah I recommend it Hannah: I just have one more quick thing to discuss Jason: Sure go ahead Hannah: In my literature review, the Danish notion of ‘hygge’ became apparent? Do you think the idea of comfort is reflected within Danish design? Jason: Absolutely. Although I would say that hygge applies more so when it comes to lighting, the desire and need for a practical comfortable piece of furniture is definitely intertwined with Danish design aspects. While comfort is definitely subjective, on the whole a person is able to find a piece of Danish design furniture to suit their tastes and needs Hannah: Yeah I see what you mean, I’ve found a piece of furniture can encourage the hygge feeling but can’t really allow a person to initially evoke the feeling Jason: Yeah I agree, I only see products like lighting candles and maybe some rugs that make a room have ambiance and texture. I think that’s what makes hygge Hannah: That’s great thanks Jason we’ve touched on a lot of interesting things there Jason: No worries at all best of luck with your dissertation Hannah: Thank you Jason: No worries Hannah: Bye Jason: Bye

6.1.4. Interview with Adam: Transcript

Hannah: Hi

Adam: Hey you good? Hannah: Yeah not bad thanks you? Adam: Yeah good thanks Hannah: Perfect how’s life as a graduate? Adam: Ha different, how uni at the moment? Hannah: Obviously different as well but not as bad as I initially thought. Anyway. Yeah. Okay. So it's basically just talking about your major project a bit, because what I'm looking at basically is trends how when society changes and modernises, so does like Scandinavian design and trends. So looking at like, Japandi for example so hence why I thought of you. So can you just explain your major project and the inspiration behind it please? Adam: Yeah, so Originally, I set out to sort of focus on like my dissertation, and everything was about like micro learning. So I sort of, I suppose I started off looking at, like modular furniture, or like small bits and things like that. But I wanted to put it in a trend that just sort of worked and light furniture is timeless, and everyone was like and suggested minimal Scandinavian design. And then I put like, a bit of like, a weird page up there that was to do with like, Japanese joint work.. Yeah, so like, what happened was, like, I ended up moving away from like, modular because scandi isn’t modular, it's like way too complex, basically. Yeah, there's a lot of like, the forms of modular stuff isn’t really simple like scandi. So it's just way too complex, although it's really nice. I was like, started to look at stuff that was more simple. So I was just looking at like trends and stuff out there. And there's like loads of companies that work with like plywood and stuff like that, and suddenly I ended up like stumbling across Japanese contemporary furniture. The design as like, the big trend of 2019. And I like stumbled across that on Google. And there's only there's only like three images at that time. Like, it wasn't big at all. It was like one designer. I forget her name, but she was just like, putting out these really cool bits, but they weren't. They were more Scandi than Japan. If you know. Hannah: Yeah. Adam: Yeah. Like it's, there's a bit of a fine line between it. So I think my whole project at that point, like took a bit of a spin. I was like, like fuck modularity, or, like, get rid of that. I don't want to do that anymore. Like, I just want to do this trend, basically. So I made like, my whole project just trends based, right. It's probably like a lot. But yeah, so I just started looking at like, really basic forms. Just to like fit in with Japandi, they just seem to be like really basic, like Japanese minimalism. Hannah: So you didn't know much about like the trend beforehand? Adam: Yeah. Because I found that like, barely anyone knows about it. And it's like, whether it's going to take off or not Hannah: But definitely like how you say that was like three images. In 2019. When you looked at it, there's so much more out there now. But I find personally, it's really hard. Like you said about that fine line? Like when I look at something japandi it either looks more Scandi or more Japanese. So like, how did you think about like finding a balance? Adam: What are your thoughts on my piece? More Japanese or Scandi?

Hannah: I'd say more Scandi. But I think if you like to design and look into the details, it's like you say about the Japanese woodwork. So when you first look at the aesthetics, you don't really think of it. But if you knew about it, and about the design process, you would if that makes sense. Adam: So that was sort of the point in terms of providing details at the front are like heavily like Japandi or Japanese. And basically, and they have a lot of that a lot of slat work that like opens up the space but provides privacy. So I just wanted to drag that through. But it was just like finding the balance between Japanese and Scandinavian to get the trend. I suppose it would be like really Japanese if I just didn't add the like, the slats that I've gotten it. Yeah, like they're really, they're really standing. On the other hand, they're like dialled in on the side. And they just cut through the piece. And obviously they round which isn't like typically, Japan so it's not like really intricate stuff. I mean, it comes down to like the bevels , Scandi is softer than Japan. Hannah: Yeah. Adam: Yeah. So it was just I felt those two offset each other quite nicely. Hannah: And what I think about yours is because you use like the blonde wood that's what makes it look very scandi as well. Adam: Yeah, definitely. Because obviously, I wanted it to be sold. At this point. Like right now. That colour is way more appealing than darker woods. Hannah: So did you have like a target user or a specific retailer in mind when designing originally? Yeah. It was originally for made.com and that sort of user. Okay, it's not IKEA and you'd like there's like a really big issue with IKEA by just trashing it at the end. If you were to buy something from made.com it's like a little bit more informed. Hannah: Yeah, like a life cycle with IKEA Isn't it like you buy a piece of furniture then it doesn't last then you have to go back to IKEA. It's a very business base. So yours was like one off in the sense but it was remained affordable? Adam: So that was sort of the original target market for me. And like you can still make it japanese within that sort of made.com budget. But I think now mine sort of moved away from that. Since the last time I did it, I think it's now become, like a bit more bespoke. And like a bit more of that because it's not so easy to assemble. So, yeah. Hannah: Yeah. Adam: It's like, maybe a step, a little step above? I don't know. Yeah, I'm still waiting to see where it goes. Hannah: Why did you choose to like change it and adapt it? Because it was so heavily sort of user led at the start. I think that's the issue with product design and being product designer, and then moving into furniture is that ultimately product designers like user led, isn't it? Hannah: Yeah, definitely. Adam: It's like user considered, but it's like your style. You know, because it's furniture, there's like a bit more freedom on it. And like, my original one was like,

user led completely. And like, that was end of. And it just came out awful. And I was just like, I’m going to put my twist on it now. Hannah: Yeah, I feel like you have to to an extent Alex: I put my twist on it And it was like, way more popular. So it's got to be a bit more. There was a passion. Passion. Hannah: Yeah, I get where you're coming from. Yeah. So it is a lot different in the sense like you've made it longer. Adam: Yeah longer. I think it's about 1800. Long, maybe Hannah: Yeah. Adam: It's quite a long piece. I'm gonna make three sizes. Hannah: Okay. And what was it? Was it plywood used? Adam: It was originally plywood, but now it's just oak Yeah. Your best bet for a scandi piece always because it goes with everything. Hannah: Heavy, though, isn't it? So is everything was made from Oak? Adam: Yeah some of it and then a lot of it was veneer because of the weight factor. Hannah: Okay cool well, thanks for the interview. Adam: Yeah, no worries hope it helped Hannah: Yeah definitely it's nice to hear other people's design processes as well Adam: Yeah. Hannah: Thank you so much. Adam: Bye Hannah: Bye bye bye.

APPENDIX 6.2. TABLE OF INTERVIEW SUMMARY

Theme Findings Craftmanship ALEX “very focused on craftmanship…a lot of things were handmade, if not everything”

Quality JASON “beautiful handmade furniture” “ergonomics in mind” ALEX “[IKEA] execution is quite poor” “looks expensive and exceptionally good quality” “[People in Sweden] prefer expensive and well made products that will last forever”

MOLLY “go back to IKEA to buy a new product [then] replace it”

JASON “Danish Control board, formed by various furniture producers which self regulates to ensure that each piece produced uses the right quality materials” “[IKEA]…meant to be replaced” “built to last a long time” “[IKEA]…lesser quality materials” Mass-manufacture ALEX “2Oth century…mass manufacturing wasn’t really a thing” “a lot of the pieces were unique and one off”

Flat-pack JASON “mass produced, flat packable and cheap” “being designed to export to other countries” “flat pack…store easily inside of a shipping container”

ADAM “bespoke…it’s not easy to assemble” Blonde Wood ALEX “predominantly light wood”

MOLLY “blonde wood and simplicity…attract a British Consumer”

ADAM “light [coloured] furniture is timeless” “blonde wood…that’s what makes it look very scandi as well” “that colour is way more appealing than darker woods” Affordability ALEX “IKEA…notion of being cheap”

MOLLY “[IKEA] … cheap furniture” Perception ALEX “[I] assumed people in Sweden would own IKEA products”

MOLLY “people more think of us for neutrality” “predominantly Swedish”

JASON “Finland under the term Nordic rather than Scandinavian” “skewed perception” “not understanding the prices which match the quality and design” “difference in perception” “new and interesting, completely different to what they were previously able to get”

Hygge ADAM “minimal Scandinavian design” “scandi isn’t modular” “you first look at the aesthetics” JASON

IKEA “hygge applies more so when it comes to lighting, the desire and need for a practical comfortable piece of furniture is definitely intertwined with Danish design aspects.” “comfort is definitely subjective”

ADAM “barely anyone knows about it” ALEX “day out…experience”

MOLLY “Comparable to that of a museum” “in situ room…consumer can visualise easier” “something for everyone” “stereotypical style”

Design Exercise

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Appendix 7.2. Student Reactions

Design Exercise

PARTICPANT 1

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Design Exercise

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Design Exercise

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Design Exercise

PARTICPANT 4

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Design Exercise

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Design Exercise

Please design a piece of Scandinavian Design. Take into consideration the use of aesthetic, colour and form of what you think a piece of Scandinavian design should look like. Label key features of your design on the page. *PLEASE DO NOT PUT YOUR NAME*

Appendix 7.3. Focus Group Discussion Transcript

NOTE FGP-*number* is Focus Group Participant *number*

Hannah: Hi guys, is everyone here? FGP-5: I think we’re just waiting for ***** Hannah: Ah, no worries. We’ll give her a minute. How is everyone? FGP-3: Good thanks FGP-4: All good FGP-2: Yeah good you? Hannah: Very well thank you, ah here’s **** FGP-6: Hey, sorry I’m late Hannah: No worries at all, thanks again for all joining the call today. I’ll just quickly explain how we’re going to do this if that’s okay with everyone? FGP-2: Yeah FGP-3: Yeah sure FGP-6: For sure, go ahead Hannah: Fabulous. So basically you were each asked to design something Scandinavian, whether this was an interior or a product. I think you all did products to be fair, which is great. You were asked to use colour and form to show the scandi aesthetic in your opinion. FGP-1: Sorry I didn’t use colour Hannah: No worries at all [FGP-1] as you can just explain what colour you would use when we discuss your design FGP-1: Oh great thanks Hannah: In the chat I’ve put the link to all your designs labelled participant 1 to 6 so when we discuss each of them, you’ll be able to see what we’re talking about. So if we start with you [FGP-1] , which is participant 1 guys. FGP-1: Perfect Hannah: Okay [FGP-1[ can you just explain your product to us and just state how you think it is Scandinavian FGP-1: Yeah no worries so basically I designed a range to fit into a Scandinavian interior. I designed a stool and two bookshelves that fit with the same theme of a narrow and slim design. It has a mild, steel frame and timber shelves and seat which I think would be a light hardwood such as Oak or Ash. Hannah: Why did you choose those timbers? Also guys please feel free to also comment on each other’s designs and ask questions FGP-1: When you first mentioned Scandinavian light wood instantly came to mind so I knew my design would include it. Then the form itself, I just wanted to create something a bit more original as I find a lot of Scandinavian design quite simple Hannah: Ah so you wanted to adapt your product to almost a bit more of creative form FGP-5: I get where [FGP-1]’s coming from as I also think a lot of Scandinavian design like IKEA just revolves around simplicity and functionality too much

FGP-2: Yeah so it’s like she’s used the main features of Scandinavian design but just modernised it Hannah: What are those main features that you’ve just mentioned [FGP-2]? FGP-2: Like the simplicity and functionality and just like clean and simple lines, not too much depth to the product. It’s not a criticism of it but just how Scandinavian design comes across FGP-6: Yeah like [FGP-2] said it comes across that way to us because of IKEA. Their stuff is so simple Hannah: Anyone want to add to that FGP-4: Yeah I will. When I was initially asked to design something Scandinavian, I was thinking of what I owned from IKEA and to almost develop that Hannah: Is that the same opinion across the board, do you all initially think of IKEA? FGP-4: Yeah FGP-3: Yeah FGP-6: Yeah FGP-5: Yeah FGP-2: Yeah definitely FGP-1: Yeah Hannah: Interesting, I’m sure we’ll touch upon the IKEA obsession again. If we move onto [FGP-2]’s now? FGP-2: Yeah sure Hannah: So we’re going in order guys, so participant 2’s design. Take it away [FGP2]. FGP-2: Okay thanks so mine is a sideboard. I wanted to initially create something simple like I said earlier as that to me is key but I wanted to add an extra element to it that I found more interesting and added more colour, texture and the use of another material to the design. As you can see I’ve just added this metal framing with a glass top to a traditional white oak sideboard Hannah: Sorry to interrupt you, so you’ve modernised the sideboard in essence FGP-2: Yeah, it’s got this powder coated black metal frame Hannah: Why did you choose black FGP-2: Because to me Scandinavian colour schemes are relatively neutral so I wanted to stay in that palette like neutrals and monochromes Hannah: Right so colour is important FGP-2: Yeah definitely, I think that’s how Scandinavian design is recognisable because of the neutral colours Hannah: Anyone agree or disagree FGP-3: Yeah definitely soft colours like a lot of beige and whites FGP-4: Yeah I think white is definitely Scandinavian FGP-5: I personally think there’s room for a bit of colour, but I’d definitely keep it as soft colours and more like accents on a product or in an interior and keep the main and base colour something simple like quite neutral Hannah: Great thanks guys, so participant 3’s design is yours FGP-3 if you’re ready?

FGP-3: Yeah sure, so like FGP-2, I didn’t go too crazy, I just wanted to modernise something traditional. Instead of picking something like from IKEA like the others said, I chose Arne Jacobsen’s egg chair as to me that epitomises real Scandinavian design as Arne Jacobsen was from Denmark if I’m not wrong which is obviously at the centre of Scandinavian design like Hans Wegner. Hannah: Ah okay so you just wanted to almost adapt something that was 20th century for someone in the 21st century to use FGP-3: Yeah I just wanted something that would go in any interior Hannah: Do you think it’s important that Scandinavian design should fit into many interiors FGP-3: Yeah definitely FGP-2: Yeah I reckon so too and that again links back to the colours schemes being suitable for that FGP-1: Yeah that’s a fair point, if it’s white it can literally go anywhere Hannah: Brill thanks guys, has anyone got anything to say about [FGP-3]’ s design? FGP-6: Yeah I’ll just say that I like the idea of almost moving Scandinavian design forward and modernising it. I think it is a bit outdated and just assumed to be like IKEA furniture when it actually is so much more Hannah: What do you mean so much more [FGP-6]? FGP-6: Well if you look at designers like Arne Jacobsen, his focus was centred around good quality and craftsmanship and that is definitely not IKEA. IKEA is just something that can be easily put together and quickly Hannah: Ah good point so you think that the focus of real Scandinavian design has moved almost in the wrong direction FGP-6: Yeah I think so like I only know that because obviously studying design but if I didn’t I would just look at IKEA and think of affordable and quick to put together FGP-5: Yeah definitely FGP-2: Yeah good point to be fair Hannah: Great thanks [FGP-6] that was a really good comment. [FGP-4] shall we go to you next FGP-2: Okay Hannah: So yours looks great also can you just explain it for us please? FGP-2: So I’ve done a rustic sofa that I think is quite traditional Scandinavian looking. So it’s got a wooden slat frame. I’m not sure what wood, probably oak like [FGP-1] and its got black detailing around the frame that would just be painted on the wood. So it’s quite similar to [FGP-2]’s in the face he’s used natural wood and contrasted it with black Hannah: Yeah FGP-2: Great taste [FGP-4] Hannah: Haha FGP-4: Haha yeah so it’s got cream cushions and I’ve designed something similar for a project before that stemmed around hygge so making something really comfortable. So I wanted lots of cushions and pillows and stuff to make it as comfortable as possible

Hannah: Ah amazing, does anyone have any knowledge of hygge FGP-5: Yeah I just know that it’s Danish I think FGP-4: Yeah it is FGP-5: Isn’t it like the idea of almost feeling like you’re in a Scandinavian country and you’re in cosy in your house with a fire FGP-4: Yeah basically Hannah: Yeah so it’s the idea of having lots of warmth around you through candles, lights, fireplace etc FGP-1: Ah I’ve never heard of it FGP-3: Neither FGP-5: Learn something new every day haha Hannah: Haha, good so shall we move onto the next? FGP-2: Sure Hannah: So that’s you [FGP-5]. FGP-5: Ah is it great. Okay so basically, this is something I designed a couple of months that I’ve just changed a bit for this exercise. So it’s Japandi seating. Hannah: Amazing that’s different. Can you just do a quick explanation of what Japandi is please? FGP-5: Yeah of course so Japandi from what I know is basically a mix of Japanese contemporary and Scandinavian design hence the name haha. Hannah: And what are they key features of Japandi design? FGP-5: They both centre around simplicity really and combining wabi-sabi with that hygge that was mentioned before. So creating a product that is warm and comforting and having a closeness to nature. I feel this closeness to nature is also depicted through the chair being relatively close to the ground. So it’s like a metaphor through design. Hannah: Nice. Does anyone have any opinions about Japandi? FGP-3: Yeah it shows that modernising that I spoke about so Scandinavian design is evolving into something different by creating new trends FGP-4: I think it’s really interesting how it can be combined with something of similar features FGP-1: Yeah it’s still a relatively new concept but I think it would be really popular if more people knew about it. Hannah: Amazing thanks guys, so [FGP-6] it’s just you left now if you want to go through yours? FGP-6 Yeah no worries so mine is basically surrounding the idea of nature also like [FGP-5]’s and a person’s relation to it. Therefore, I designed some outdoor furniture. I liked the idea of doing a daybed, a place for a person relaxes as when I think of Scandinavia initially I thought of relaxing furniture. Hannah: Ah interesting. Why is that? FGP-6: I think it’s because of their minimal living and this maybe stereotypical, but their lives seem to be not as manic but that could just be perception I guess. Hannah: No that’s great, its great to get your initial ideas when you hear the word Scandinavia.

FGP-6: Yeah so I did a couple of variations of a day bed, which focuses on big, thick pillows to make it really comfortable. I kept the colour palette relatively neutral as again I don’t think Scandinavian design is very out there. I incorporated a wooden side table as it added more depth and interest to the design without losing the simplicity aspect. Hannah: I really like the design FGP-2: Yeah me too FGP-4: Yeah I think it’s like almost a modern approach to the brief, like [FGP-5] however she went round the mixing of trends path and [FGP-6] chose to stick to the initial characteristics and just modernise them. FGP-6: haha thanks guys Hannah: Yeah it’s definitely a good approach. FGP-6: I guess I made it modern by using different textures and materials, so there is a bit of upholstery and `a wooden element and then powder coated black legs. I guess the metal makes it more modern FGP-2: Yeah cause generically I just think of wood and I think that may be outdated so adding metal elements with the initial wood is really nice FGP-3: Yeah it’s a nice design Hannah: Amazing [FGP-6] thank you. So that’s everyone’s designs. Has anyone got anything else to mention. FGP-5: No, I don’t think so FGP-6: No but this was fun FGP-3: Yeah, a really interesting topic Hannah: Thanks guys, I had fun and was lovely to speak to you all. Please let me know if you have any additional points FGP-4: thanks Hannah FGP-3: Thanks, bye FGP-2: Bye FGP-6: Bye FGP-5: See ya

END OF CALL

Appendix 7.4. Comparison Visuals