MAZŌ is composed of a ful l sp e c t r um of function alism: With ro o t s i n Sc andi nav i an t ra dition, a love of t he si mp l i c i t y of t he Bauhaus era, and a remin isce nce of anc i e nt Jap ane se c ult u re, we aim to prov i de p e o p l e of t hi s ce nt ur y t he opportu nity to c ho o se fur ni t ure w i t h l o ng last i ng de si g n.
N ew a r r i va l s
Every day we strive to do our best to combine the classical no-nonsense with the well-crafte d, in order to fo r m a p e r fe c t uni t y. Thi s i s ou r b e l i e f i n re s p on s ib l e d e s ig n i n g . We s e e ou rs e l ve s a s p a r t o f a n i n te r n a t i o n a l m ove m e n t i n d e b t e d t o t h e b a s i c p r i n c i p l e s o f S c a n d i n a v i a n d e sign , the G e r man Bauhaus move me n t, a n d J a p a n e s e cra f ts. O u r n ewe st a r r i va l th e A RC H lou nge se r i e s b ui l ds up o n t he se co re va l u e s, w i th its con tra stin g e le m e n ts ch a ra cte r i ze d b y ligh tn ess and we i g ht , st rai g ht l i ne s a n d s of t cu r ve s th a t for m a d u a li ty a n d e m b od i m e n t of th e ´ m i dce nt ur y ´ func t i o nal i sm t ha t i s d e e p ly roote d i n ou r m in d s et a n d h a s p e r m e a te d ma n y of ou r d e s i g n s.
KYO vase se r i e s i s an addi t i o n to o u r on g oin g col l a b ora tion w ith ce ra m ist a n d d e s i g n e r Sn orre Læssø e Ste p he nse n, whi c h re fl e cts u p on h i s e a r l y y e a rs w h e n h e wa s li v in g in Ky oto, Japan and c ame up w i t h t hi s si mp l e y et e cle ctic s e r ie s of va s e s th a t for m a p e d e sta l for season al fl owe rs. The si mp l e g e o met r i ca l s h a p e s e m e rg e f rom th e rob u st p or ce la i n a n d a re p e r fe c t l y g l aze d i n a v i b ra n t b lu e a n d a s u b tle cre a m y w h i te.
It is that k i nd of i co ni c de si g n si g ni fi c a n ce, m a te r i a l i ty a n d h on e st q u a li ty th a t s u r rou n d s u s in o ur eve r y day l i fe and fi l l s us w ith j oy , th a t we wou ld li ke to s h a re w i th y ou .
ARCH Lounge Chair in Dedar Artimidor, TMBO Lounge Chair in Jennifer Shorto Seamfoam
n ew rel e a ses
4-5
a b ou t mazō
8-9
d esi g n ers mag nus l æssø e ste p h e n s e n
20
ARC H
12-19
TMBO
26 - 3 1
WNG
3 2 - 37
MZO
38-43
b unn st udi o
44
4 8 - 51
C OLUM N
sno r re l æssø e ste p h e n s e n
53
1 6P LUS
5 6 - 61
K YO
62 - 67
t h e c ol l e ct i on
69
8
A b o u t m a zō
M azō is a de si g n b rand w i t h a ful l co l l ection
f u n ction a li s m th a t s e e p i n to a ll of M a zō’s
of furnit ure and l i g ht i ng . The i r co nt ra sti n g
d e s ig n s. H u m b le d to b e tr u ste d w i th th e
design s w he re st rai g ht l i ne s me et soft cu r ve s
exclu s i ve r ig h ts to m a n u fa ctu re a n d la u n ch
- charact e r i ze d b y l i g ht ne ss and we i g h t a t
f u r n i tu re b y th e Da n is h a r ch ite ct M a g n u s
on ce - is an e mb o di me nt of t he ‘ mi dce n tu r y ’
Læ s s øe Ste p h e n s e n (1 9 0 3 - 1 9 8 4 ), we b e l i eve
the most fo re si g hte d de si g n c an b e c re a te d
M a zō p rod u ce a n d re - la u n ch b oth th e icon ic
by embrac i ng t he exp e r i e nce of t he p a st.
i n te r n a tion a l
We aim t ho ug h to al so stay t r ue to th e
h id d e n g e m s th a t h a ve on ly b e e n p rod u ce d
revolu tionar y p ar t of t hi s he r i tag e. T h a t
i n a s m a ll n u m b e r in th i s d e s i g n u n i ve rs e.
is wh y we p ar t ne r wi t h new and de dica te d
We a re s e r iou s a b ou t a u th e n ti city , a s i t is
design ers, w ho no t o nl y share o ur fo n d n e s s
th e core of ou r ex i ste n ce. M a zō f u r n i tu re
of the No rdi c and Jap ane se ae st het i c s a n d
i s m a d e for p e op l e, re s p e ctf u l of th e p a st,
u ndersta nd t he b al ance of b e aut y a n d
y et m i n d f u l of th e p re s e n t. Look i n g for th e
f unction, b ut al so c re ate new de si g n s, in
b a l a n ce b etwe e n b e a u ty a n d f u n ction . I n
quality mate r i al s, sui te d fo r humans a n d
a h om e. At th e n e a re st ca fé or re sta u ra n t.
h omes of o ur day s.
At th e of f ice or i n th e h ote l lob b y .
design
cl a s s i cs,
and
th e
“M azō furni ture i s m a d e for pe op l e, re s p e ctful of the past, yet m i n d ful of th e p re s e nt.”
TMBO Lounge Chair in Sheepskin Moonlight, TMBO Pouff in Sheepskin Moonlight, ARCH Sofa 3-Seater in DAW Mohair Sand, KYO Large Vase in White, 16PLUS Table Lamp in Bone China
13
Ma gnus L æssø e Step h en sen
M agnus
Læssø e
Ste p he nse n
( 1 903- 1 9 8 4 )
sty le, a wa r m f u n cti on a li s m w ith te n ta cl e s
was a m ul t i tal e nt , an ar c hi te c t who a ls o
re a ch in g b oth Ba u h a u s a n d J a p a n e s e a r ts
design ed fur ni t ure, c ut l e r y et c . an d for
a n d cra f ts. H e h a d a f l a i r for th e J a p a n e s e
establishe d b rands as Fr i t z Hanse n an d Ka y
a n d a n ci e n t ta ke on s i m p li city , com b i n e d
Bojesen. He was k nown fo r hi s p ar ticu l a r
th a t w i th l oca l N ord ic m a te r i a l s.
It was n o t me ant as a co mp l i me nt whe n old cabin etmake rs c al l e d t he y o ung ar c h i te ct M agnus Læssø e Ste p he nse n a revolutionary . B u t in a se nse t he y we re r i g ht . Hi s c ura tin g of th e i mp o r tant Annual G ui l d Exhi b i ti on was on e of t he star t i ng p o i nt s of the
revolution , whi c h l ate r c ame to b e k now n a s th e Gold e n Ag e of Dani sh D e si g n.
“ D esi g n wa s a b ou t i mp rovi n g p e op l e’s l i ves, and a mi n d set t h a t resu l te d i n a n u n p retent i ou s a est h et ic, w h ere fu n ct i on a n d resp e ct for c ra f tsma n sh i p i s c ent ra l.
”
A s a cu rato r, Mag nus Læssø e Ste p h e n s e n deman de d t hat t he c ab i net make r s h ou ld coopera te
wi t h
ar c hi te c t s
to
p re s e n t
a v ision of an e nt i re i nte r i o r fo r a two bedroom fl at , l i ke t ho se mo st o rd i n a r y people we re mov i ng i nto ! Bang ! A n ew democra t i c mi ndset , sug g e st i ng t hat d e s ig n was abo ut i mp rov i ng p e o p l e ’s l i ve s, a n d a mindset t hat re sul te d i n an unp rete n ti ou s aesthetic , whe re func t i o n and re sp e c t for craf tsma nshi p i s ce nt ral . Thi s ae sth eti c h as since b e co me syno nymo us wi t h N ord i c design .
TMBO Lounge in Bute Storr Pebble, TMBO Sofa in Dedar Linear, WNG Chair in Bute Storr Pebble, COLUMN Side Table in Glass/Solid Beechwood, 16PLUS Adjustable Wall Lamp in Bone China, KYO Large Vase in White
17
Th e AR CH c o lle ction
mazō x Magnus Læssø e Stephensen, 2020
With the new ARCH collection, mazō forges
interaction
new
forward-looking
sculptural lines are flanked by the curves of the
modernism. At the same time, they continue
armrest, an embodiment of the ‘midcentury’
to lean towards the past with a tribute to
functionalism that permeates all mazō’s
the renowned Danish designer and Architect
designs.
paths
with
their
Magnus Læssøe Stephensen (1903-1984).
ARCH,
whose
architectural
name arches
is
inspired of
the
by legs,
the is
designed based on Scandinavian modernism. A time that was characterized by simplicity, functionality and stripped of superfluous details. ARCH originates from a basic study of forms and embodies a mixture of lightness and
weight
as
contrasts
in
discreet
with
each
other;
straight
19
“ With AR CH, we have b e en i n sp i re d b ot h by my grandfat h er’s d esi g n s, a n d the mo de rnism of t h e 1 9 3 0 s i n Den mark, a move m ent of w h i c h h e wa s a gre at expo ne nt .
”
mazō has b e e n t hro ug h t he ar c hi ve s a n d h a s h a n d picked de si g n e l e me nt s fro m Mag nus Læ s s øe Ste ph ensen’s e ar l y fur ni t ure de si g ns. The a r m re st, for example, i s st ro ng l y i nsp i re d b y a c h a ir d e s i g n e d in th e 1 920s b y Læssø e Ste p he nse n a n d th e b a s e is a trib ute to Sc andi nav i an mo de r n i s m . W i th its arch etyp al de si g n, ARC H i s a shar p l y cu t col l e ction wit h b o t h e dg e and p ure e l e g ance com b i n e d . It pays ho mag e to b o t h t he ar c hi te c t’s stroke a n d Scan dinav i an mo de r ni sm, whi c h i s ch a ra cte r i ze d by simp l e and func t i o nal de si g ns.
The ARCH collection
23
ARCH Lounge Chair in Jennifer Shorto Kongaline, ARCH Lounge Chair in Dedar Artimidor, COLUMN Side Table in Glass/Black, KYO Teapot & KYO Cup
Th e TMB O c o lle ction
Magnus Læssø e Stephensen, 1935
1935 is the date on the first draft of this
life with the same dramatic simplicity that
sofa and chair which have now been revived
he found in Japanese design tradition.
under the name TMBO. Magnus Læssøe
The TMBO chair and sofa alike, with the
Stephensen
wanted
from
traditional
the
to
distance
himself
significant curved form, send a promise to
furniture
design
hold your back whilst you lean back and
made with rare overseas materials and lavish ornaments, solely for the sake of showing off wealth, and too delicate to be used. Instead Magnus Læssøe Stephensen wanted to make furniture that was made for living, and which, through the quality of the craftsmanship and focus on purpose, could raise the quality of people’s lives. The TMBO series was designed in a shape that, in the laid back confident attitude, celebrates
enjoy the ride into the future.
27
28
TMBO Lounge Chair in Sheepskin Moonlight, TMBO Pouff in Sheepskin Moonlight, KYO Small & Large Vase in White, COLUMN Side Table in Glass/Solid Beechwood, 16PLUS Pendant Lamp in Bone China
Th e WN G Chair
Magnus Læssø e Stephensen, 1937
On ce a sto ol was a mandatory part of every
designers. The chair’s significant design
household.
Stephensen
was no dou bt ahead of its time and truly
gave it wings. The stool, the youngest
a forerunner for years to come. In auction
sibling in the family of chairs in Magnus
this
Læssøe Stephensen’s design, was assigned
signature/statement
a character of its own to fully match that
stylish studios of the modern metropolis.
Magnus
Læssøe
of armchairs and sofas. The chair’s rounded shape is puffed up with the upholstery, which enhances its childlike chu bbiness, and invites you to sit, like a baby elephant tempting you to take a ride on its back. The wings that Magnus Læssøe Stephensen gave the stool became an element that continued to inspire not only his own designs in the coming years, but many other furniture
chair
has
proven
to
chair
be
the
ideal
for
the
small
33
The WNG Chair 34
WNG Chair in Bute Storr Eggshell, COLUMN Dining Table in Smokey Blue Linoleum, KYO Teapot
Th e MZO Chair
Magnus Læssø e Stephensen, 1931
This iconic chair played a leading role in
also to serve the human need for comfort
one of the fairy tales of Danish furniture
and modern beauty. Thus Magnus Læssøe
design. However - more curiously - it is
Stephensen pulled and slipped both the seat
also on display at The Workers Museum
and the back, curved and flattened, refined
in Copenhagen. This chair was designed
and rounded, until he ended up with a simple
specifically with the ambition to create
chair with support and curves at the same
a chair that working class Danes could
time.
afford. Amongst the many designers who took on this challenge was a young Magnus Læssøe
Stephensen.
Michael
Thonet’s
ground-breaking method of steam bending wood was of course the inspiration, but in Magnus Læssøe Stephensen’s version the aim is to make the technique serve not only as a tool to keep the cost down, but
T h e M ZO C h a i r
T h e M ZO C h a i r
45
Bun n Studio
What feeling would we like to evoke in the
the design are there at the beginning and
person this product is designed for? What
the end. Maybe this is why furniture in
sensation?
functionality,
the tradition of Danish functionalism and
durability and material are always at the
Bauhaus became the common ground for
core of BUNN’s process, the people using
the two partners of Bunn starting off at two
Even
though
opposite ends of the spectrum of design;
atmosphere, a tradition, a memory. A bit of
Louise Sigvardt educated in fashion, and
themselves. And for their own part, though
Marcus
incarnated
Hannibal
in
industrial
design.
international
and
based
Though passionate about materials and
in New York, they recognise their own
durability, tactility and construction, it is
Scandinavian design upbringing in their
still a must in the design that the human
perfectionistic approach to material, detail
factor stands out. And though they like to
and quality.
develop and create things for the future, it is important to Bunn that one can recognise something in their design: a move, an
“ T h e cl ue to th e CO LU MN s i d e ta b l e is the ke rne l , cut i nto i n th re a d s, s o t hat on e c a n a d just th e h e i g ht w i th a s i n g l e s p i n. ”
Th e COLUMN c o lle ct i on
Bunn Studio, 2018
The clue to the COLUMN table is the kernel,
transforming it into an object of sculptural
cut into in threads, so that one can adjust
beauty, with the lightness of a ballerina,
the height with a single spin. A feature
on her tip toes, ready for her pirouettes.
that is obviously functional, but also adds
The result is a table full of vivacity; which
a swinging sophistication to the simple
elevates the traditions into a new era.
side
table.
BUNN
found
the
inspiration
when they came across Magnus Læssøe Stephensen’s desktop chair, which had this very feature. By transforming the frame from the chair to a table frame, BUNN paid tribute to a traditional technical feature by
49
51
The COLUMN collection
53
Sn orre L æssø e Ste p h en sen
Porcelain and clay has been Snorre Læssøe
his design is categorically modern with
Stephensen’s passion for over half a century,
a strong character, whilst remaining simple
and his techniques and inspiration reach
and delicate. In Snorre Læssøe Stephensen’s
back thousands of years to the ancient
design
Japanese ceramic tradition. Nevertheless,
accentuated: both fragile and robust.
the
paradox
of
porcelain
is
Snorre Læssøe Stephensen’s path into the world of
clay
and
porcelain
started
with
a
playful
collaboration with his Father, designer and architect Magnus Læssøe Stephensen. Soon, t h o u g h , it was Snorre Læ ssø e Stephensen who was creating designs for Royal Copenhagen, and later became the leader of the unique items line of the Royal Danish Academy of Arts, whilst he continued to carry out his innovative ideas in his own brand. Snorre Lassoe Stephensen’s ambitions to challenge the unruly immanent potential of the porcelain led him to new arenas, designing clocks,
thermo
porcelain,
and
not
least:
lamps.
Typically for Snorre Lassoe Stephensen he did not limit the porcelain to play the role of stem, but let it shine in the role as shade instead.
“Hi s desi gn i s c a te gori c al l y m o d e rn w ith a st rong cha ra cte r, w h i l st rema i ni ng s i m p l e a nd del i c ate.”
Th e 16 PLUS c o lle cti on
Snorre Læssø e Stephensen, 1979
A design that once again reveals the twofold
warm glow that emerges from the porcelain,
beauty of the porcelain, shielding the eye
with a whiff of the feel of a hot cup of tea.
and yet letting the light emerge though the crisp bone-china. Partnering with the curved wooden bracket the lamp’s no fuss form allows the material to appeal to our senses and attracts us like moths to the
57
59
The 16PLUS collection
COLUMN Dining Table in Smokey Blue Linoleum, 16PLUS Table Lamp in Bone China, WNG Chair in Sheepskin Moonlight
Th e K YO c o lle ctio n
Snorre Læssø e Stephensen, 1962
Young
Snorre
Læssøe
Stephensen
was
perfectly with mazo’s take on form, function
introduced to the world of Japanese design
and craft. The shapes are clean and without
by his Father. Even though he spent four
superfluous
years in Japan, he still sees his childhood
simplicity define these products. They are
as the beginning of his fascination with the
simple and with an almost stern expression,
Japanese approach: “I remember having a
yet with a delicate touch.
lathe and an oven installed in the basement while I was still living at home. Down there I would create models alongside my father, constantly refining the shapes” remembers Snorre Læssøe Stephensen.
The KYO collection carries traces of both Scandinavia and Japan. Even though KYO was drawn decades ago, it corresponds
elements.
Functionality
and
63
The K YO collection
65
The collection
TMBO S ofa
TM BO P o u f f
T M BO Lo u ng e
AR CH 2 S e ate r S ofa
A R C H Lo u ng e
A R C H 3 S e a te r S ofa
MZO Chai r
M ZO C ha ir
M ZO C ha ir
WNG Chai r
C O LU M N S id e ta b le
C O LU M N D ining ta b l e
16 PLUS Pe ndant l a mp
1 6 P LU S P e nd a nt la m p
16P LU S wa ll la m p
16 PLUS wall la mp
1 6 P LU S ta b le la m p
K YO
K YO
K YO
K YO
A R CH Lo un ge Design based on drawings by Year Materials
Mazo X Magnus L æssøe Stephensen
Various textiles /leather/ sheepskin
Kvadrat, Dedar Milano, Pierre Frey, Jennifer Shorto, Skandilock, Stolz Leather, Sørensen Leather, Danish Art Weaving, Bute Fabrics, Romo Textiles
2020 Textile, leather or sheepskin upholstery & oak
AR CH S ofa 2-S e ate r Design based on drawings by Year Materials
Mazo X Magnus L æssøe Stephensen
Various textiles /leather/ sheepskin
Kvadrat, Dedar Milano, Pierre Frey, Jennifer Shorto, Skandilock, Stolz Leather, Sørensen Leather, Danish Art Weaving, Bute Fabrics, Romo Textiles COM/COL
COM/COL Dimensions (cm/in)
H: 76cm/29,9in W: 68cm/26,7in D: 79cm/31,1in Seat H: 41cm/16,1in
2020 Textile leather or sheepskin upholstery & oak
Dimensions (cm/in)
H: 76cm/29,9in W: 140cm/55,1in D: 79cm/31,1in Seat H: 41cm/16,1in
A R CH S ofa 3 - S e ater Design based on drawings by Year Materials
Mazo X Magnus L æssøe Stephensen
Various textiles /leather/ sheepskin
Kvadrat, Dedar Milano, Pierre Frey, Jennifer Shorto, Skandilock, Danish Art Weaving, Bute Fabrics, Romo Textiles
2020 Textile or sheepskin upholstery & oak
COM Dimensions (cm/in)
H: 76cm/29,9in W: 200cm/78,7in D: 79cm/31,1in Seat H: 41cm/16,1in
TM BO Lo un ge
T M BO P ou f f
Design based on drawings by Year Materials
Design based on drawings by Year Materials
Standard textiles /leather/ sheepskin
Magnus L æssøe Stephensen 1935 Textile or leather upholstery & solid oakwood Danish Art weaving: Royal 16 Bute: Storr 061 2 Dedar: L inear 001
Standard textiles /leather/ sheepskin
1935 Textile or leather upholstery & solid oakwood Danish Art weaving: Royal 16 Bute: Storr 061 2 Dedar: L inear 001
Kvadrat: Hallingdal, Fiord,
Kvadrat: Hallingdal, Fiord,
Remix & Steelcut Trio
Remix & Steelcut Trio
Stolz: Vegetal L eather 95,
Stolz: Vegetal L eather 95,
Skandilock: Sheepskin
Skandilock: Sheepskin
COM/COL Dimensions (cm/in)
Magnus L æssøe Stephensen
H: 87cm/34,3in W: 90cm/35,4in D: 69cm/27,2in Seat H: 39cm/15,4in
COM/COL Dimensions (cm/in)
H: 34cm/13,4in W: 49cm/1 9,3 in D: 49cm/19,3in
T MBO S ofa Design based on drawings by Year Materials Standard textiles /leather/ sheepskin
Magnus L æssøe Stephensen 1935 Textile or leather upholstery & solid oakwood Danish Art weaving: Royal 16 Bute: Storr 061 2 Dedar: L inear 001
WN G Ch ai r Designed by Year Materials Standard textiles /leather/ sheepskin
Dimensions (cm/in)
Kvadrat: Hallingdal, Fiord, Skandilock: Sheepskin
Remix & Steelcut Trio Skandilock: Sheepskin
1937 Textile or leather upholstery & solid oakwood Danish Art weaving: Royal 16 Bute: Storr 061 2 Remix & Steelcut Trio,
Kvadrat: Hallingdal, Fiord, Stolz: Vegetal L eather 95,
Magnus L æssøe Stephensen
COM/COL Dimensions (cm/in)
H: 76cm/29,9in W: 60cm/23,6in
COM/COL
D: 50cm/19,7in
H: 87cm/34,3in
Seat H: 46cm/18,1in
W: 165cm/65in D: 69cm/27,2in Seat H: 39cm/15,4in
MZO C h ai r
w. upholstery
Designed by Year Materials
Magnus L æssøe Stephensen
Standard textiles /leather Colors
Kvadrat: Remix 173
Dimensions (cm/in)
1931 Textile upholstery & steam bent beechwood Kvadrat: Crystal Field 753 Nature Amber stained Black stained H: 75cm/29,5in W: 46cm/18,1in D: 50cm/19,7in Seat H: 46cm/18,1in
M ZO Ch ai r Designed by Year Materials Colors
Magnus L æssøe Stephensen
Dimensions (cm/in)
H: 75cm/29,5in
1931 Steam bent beechwood Royal Blue (RAL ) Black stained W: 46cm/18,1in D: 50cm/19,7in Seat H: 46cm/18,1in
CO LU M N D i n i n g tabl e Designed by Year Materials Colors Dimensions (cm/in)
BUNN Studio 2018 Solid beechwood linoleum Forbo L inoleum: Smokey Blue 4179 H: 7 4cm/29,1in W(Ø): 110cm/43,3in
CO LU M N Si de tabl e Designed by Year Materials
Colors
Dimensions
BUNN Studio 2018 Solid beechwood glass stainless steel Nature Black White H: 37 -45cm/1 4,6 - 17,7in W(Ø): 45cm/1 7,7in
K YO Vas e Large Designed by Year Materials Colors Dimensions (cm/in)
Snorre L æssøe Stephensen
K YO Vase Smal l
Blue
Designed by Year Materials Colors
White H: 26cm/10,2in W: 29cm/11,4in
Dimensions (cm/in)
1962 Porcelain
Snorre L æssøe Stephensen 1962 Porcelain Blue White H: 21,5cm/8,4in W: 19,5cm/7,6in
K YO Star Large Designed by Year Materials Colors Dimensions (cm/in)
Snorre L æssøe Stephensen 1962 Porcelain White H: 13cm/5,1in W: 12cm/4,7in
K YO Star Smal l Designed by Year Materials Colors Dimensions (cm/in)
Snorre L æssøe Stephensen 1962 Porcelain White H: 19cm/7,5in W: 12cm/4,7in
16 PLU S tabl e l am p Designed by Year Materials Colors Technical output
Snorre L æssøe Stephensen 1979 Oak veneer & bone china
Designed by Year Materials
White transparent CE certified, E14 socket, (light source not included),
Dimensions (cm/in)
16 P LU S wal l l amp
Colors Technical output
adjustable
Snorre L æssøe Stephensen 1979 Solid oakwood, oak veneer & bone china White transparent CE certified, E14 socket,
2 m white PKL cord,
(light source not included),
Switch, Europlug H: 40cm/15,7in W: 14cm/5,5in D: 14cm/5,5in
2m white PKL cord, Dimensions (cm/in)
Switch, Europlug H: 45cm/17,7in W: 1 2cm/4,7in D: 18cm/7in
16 PLU S wal l l am p Designed by Year Materials Colors Technical output
Dimensions (cm/in)
Snorre L æssøe Stephensen 1979 Oak veneer & bone china White transparent CE certified, E14 socket,
16 P LU S P e n dant Designed by Year Materials Colors Technical output
lamp w. hanger
Snorre L æssøe Stephensen 1979 Oak veneer & bone china White transparent CE certified, E14 socket,
(light source not included),
(light source not included),
2 m white PKL cord,
3 m white PKL cord, H: 19cm/7,5in W: 12cm/4,7in D: 12cm/4,7in
Switch, Europlug H: 14cm/5,5in W: 12cm/4,7in D: 17cm/6,7 in
Dimensions (cm/in)
16 P LU S P en dant l am p Designed by Year Materials Colors Technical output
Snorre L æssøe Stephensen 1979 Bone china White transparent CE certified, E14 socket, (light source not included),
Dimensions (cm/in)
3 m white PKL cord, H: 13cm/5,1in W: 12cm/4,7in D: 12cm/4,7in
Contact Web:
www.mazo - design.com
Customer service:
info@mazo-design.com
Sales:
order@ mazo- design.com
PR & Marketing:
press@mazo- design.com
Phone:
+45 2849 3929
Address:
Ryesgade 19, 2200 Cph N
Credential Photographers
Kia Hartelius, Kira Brandt
Styling
Louise Buus, Atelier Cph
Copywriter
Barbara L æssøe Stephensen Henrik Reinberg Simonsen
Curration on Magnus Læssøe Stephensen furniture:
Hannes L æssøe Stephensen
Thanks to Mazō design family:
Marcus Hannibal, Louise Sigvardt (Bunn ) , Snorre Læssøe Stephensen and Magnus L æssøe Stephensen
www.m a zo-d es i g n .c om