The Stockholm Furniture Fair 2025, held at Stockholmsmässan in Älvsjö, showcased a transforming design landscape amidst uncertain times. Reflecting the evolving nature of the industry, the fair witnessed a shift from large-scale furniture manufacturers to smaller, more innovative players, emphasizing sustainable practices and creative collaborations. The venue itself mirrored this transition, having served diverse purposes in recent years, from a field hospital during the pandemic to a padel hall and vaccination center. Now facing potential demolition and redevelopment into residential housing, the Stockholmsmässan’s future underscores the dynamic backdrop against which this year’s fair unfolded.
The theme of adaptability resonated throughout the exhibition. Designers and manufacturers responded to the ”interesting times” by prioritizing sustainable materials and forging new partnerships. The aptly named ”Interesting times gang” (ITG) exemplified this approach, 3D-printing shelves and chairs from a mixture of invasive oyster shells and PLA, a cornstarch-based plastic. Their collaboration with veteran designer Jonas Bohlin, repurposing his 1994 table base design “Liv” with tabletops made from recycled yogurt containers and discarded fishing nets, further highlighted the emphasis on circularity. The collective, ”The value of wood,” similarly embraced resourcefulness, utilizing various forms of ”waste wood,” including construction offcuts and elm trees felled due to Dutch elm disease. This resource-conscious ethos extended to textiles, with producer Verk collaborating with designer Ingegerd Råman to create furniture upholstery from Gotland wool, showcased on Abstracta’s acoustic panels.
Repurposing and reinvention were central themes in several exhibits. Jenny Nordberg, featured in the ”Älvsjö gård” exhibition, transformed unsaleable sound absorbers into comfortable seating, demonstrating a creative approach to upcycling. This trend of “furniture collages” was also evident in the work of Ung Svensk Form scholarship recipient Carl Lindström, who crafted new lighting fixtures from discarded fluorescent light reflectors. The fair also provided a platform for critical dialogue, with designers Finn Ahlgren, Jenny Nordberg, and Fredrik Paulsen presenting their simply assembled magazine, ”Jag hör inte” (I can’t hear), calling for constructive criticism within the design industry.
The aesthetic and intellectual highlights of the fair were equally compelling. Producer Johansson’s Art Deco-inspired booth, designed by interior architect Tekla, captivated visitors with its elegance. Meanwhile, designer Emma Olbers’ ”Material Dialogues,” a 500-square-meter informational exhibition, offered a deeper exploration of sustainable design principles. Complemented by a dedicated café and a stage for industry seminars in partnership with the Swedish Wood Trade Association (TMF), Olbers’ exhibit showcased low-carbon materials like wood-fiber textiles, aiming to stimulate conversations and accelerate fossil-free innovation. The urgency of this mission was underscored by Olbers, referencing the rapidly approaching deadline for meeting the Paris Agreement goals.
Olbers’ focus on sustainability highlighted the industry’s growing concern with environmental responsibility. Her presentation of materials and methods aligned with the ”nine planetary boundaries” framework, a concept developed by environmental scientist Johan Rockström, provided a tangible connection between design choices and their global impact. The emphasis on materials like wood fiber for textiles underscores a shift towards renewable resources and circularity, moving away from traditional, often environmentally damaging, materials. By incorporating this framework, the exhibition aimed to educate and inspire designers and manufacturers to prioritize ecological considerations in their creative processes.
Beyond the practical discussions about materials and production, the fair also explored the philosophical dimensions of design. Designer Alexander Lervik, in collaboration with the trade journal Ljuskultur, presented an evocative installation exploring the nature of light. Lervik’s exhibit, housed in four red rooms, highlighted the subjective experience of light, emphasizing that it becomes perceptible only when refracted in the observer’s eye. Quoting Erik Blomberg’s poem ”Jorden” (The Earth), Lervik invited contemplation on the interplay of light and darkness, reminding viewers, ”Do not be afraid of the darkness, for the light rests there. We see no stars where there is no darkness.” This philosophical perspective, juxtaposed against the pragmatic focus on sustainability, offered a nuanced and thought-provoking exploration of design in a world facing both environmental and existential challenges. The Stockholm Furniture Fair 2025, therefore, served not only as a showcase of innovative products and collaborations but also as a platform for reflection on the role of design in shaping a sustainable and meaningful future.
