Nanna Ditzel

The Unhailed Rebel of Danish Design 

By Bonnie Langedijk

Known as the ‘Grande Dame of Danish Design’, Nanna Ditzel is considered one of the most iconic figures of mid century Danish design. Throughout her 60-year career, Ditzel applied her philosophy across many disciplines, from furniture to jewelry and textiles, freeing herself from the constructs designers so often find themselves in. Throughout her career, the Danish designer worked with renowned brands including Kvadrat, Georg Jensen and Fredericia Furniture. Her distinct point of view merged color, organic forms and timeless functionality while embracing innovation in production and materials, making her one of the most forward-thinking and rebellious designers of her time. “Being told you have good taste can be a dubious compliment because it means you make some pretty predictable choices,” Ditzel shared during a lecture she held at the Royal Danish Academy of Fine Arts in 1997. While Ditzel has had an undeniable influence on the history of Danish design, her legacy hasn’t been as celebrated as some of her male peers like Arne Jacobsen and Hans J Wegner. 

And, sadly, Ditzel isn’t the only one. Many of the women whose work has had an impact on architecture and design have historically been overlooked. Bauhaus professor Lilly Reich spent over a decade working with architect Mies van der Rohe without receiving any of the recognition, Charlotte Perriand is inextricably linked to Le Corbusier and Pierre Jeanneret and Aino Marsio-Aalto – architect and co-founder of Artek – is mostly recognized as the wife to Finnish architect Alvar Aalto over the accomplishments of her own. But a wider reassessment and acknowledgment of the influence women have had on design and architecture history is under way. An increasing number of brands are shining a light on the legacy of women in design like Fredericia Furniture who recently celebrated the 100th anniversary of Ditzel’s birth with an exhibition of her designs, and Ditzel’s daughter Dennie Ditzel – CEO of Nanna Ditzel Design – aims to continue to push the designer’s existing oeuvre to the forefront.

Intrigued by Ditzel’s design principles, we reached out to her daughter Dennie Ditzel to find out more about the leading lady of Danish design.  

Do you remember your first design-related memory?

I was brought up surrounded by design, so for me it’s always been an everyday thing. I simply never noticed it. I remember when my parents made some pots for Nymølle in 1955, I was five. My father took me with him to the manufacturer, and we watched how they produce the pots and pans. One of the pots had this light yellow color while all the pots I had seen in my life were black and brown. Suddenly there was this beautiful pot in a happy color, so distinctively different to the heavy, colorless pots I knew. I think that experience was the first time I had a sense of what design was. 

Your mother was a highly celebrated woman in the world of design, and still is. Has it ever been strange for you to see her as both your mother and this design legend? Did they ever feel as separate people to you?

Never. Her work and her private life were one. My mother and the designer Nanna Ditzel have always been one person. During the 10 years that we worked together, she was always this combination of the two. 

“Nanna POSSESSED an inherent urge to create.”

How would you describe your mother’s approach to design?

Nanna possessed an inherent urge to create. She had a great deal of persistence, never stopping until she was satisfied with the result. Her aim was for whatever she designed to look like it had always been there. 

And still she was always able to create something unexpected, or new. 

If you look at Nanna's designs in general, they always have very organic shapes. When I was growing up I asked her why all her designs had such round shapes. She answered: “Look out of the window, Dennie. In nature, there are no right angles.” Nanna was deeply inspired by nature. She also had this philosophy that you could think more freely when you were sitting down. She spent her entire life drawing seating arrangements. 

Through her philosophy, did she shape your point of view on design?

Of course. She gave me the joy of living in a colorful world. Through her I learned to see if something is aesthetically right, or not. Being connected to her work also allowed me to keep up with the world of design.

She was a true polymath, focusing more on creating rather than the medium itself. From designing jewelry for Georg Jensen to designing fabrics for Kvadrat. We’re seeing more and more designers move between disciplines – fashion designers design furniture, jewelry designers create homeware. What are your thoughts on this development?

It’s important that designers focus on where their real interests lie. They must have a great deal of knowledge within their field of expertise as well as an understanding of the craft and experience in applying it. When Nanna designed something within a new discipline, she would spend a significant time on acquiring knowledge of the craft, whether it was the production of jewelry or textiles. 

I agree. Sometimes I think in trying to do everything, we risk losing the ancient crafts we’ve spent centuries perfecting. Next to Georg Jensen and Kvadrat, Nanna also worked with Danish design company Fredericia who are now celebrating the legacy she left behind. What’s it like for you to see those design pieces and images again?

In April, Fredericia celebrated 100 years of Nanna Ditzel design with a party and exhibition. Over the years, the company has become one of our most important business partners as they’ve helped us to keep Nanna’s name and designs alive. Nanna started the collaboration with Fredericia in 1992, when she was nearly 70 years old. The Trinidad chair she developed for the brand in 1993 is still in production and has become what most would consider a classic. 

It’s definitely made its mark on the world of design. Speaking of Nanna’s designs, what do you think is the most important one and why?

Nanna’s designs were so multifaceted, it’s difficult to point out one specific design. Internationally the Hanging Egg Chair has been of great importance. And the Hallingdal textile, which has been in production since 1965.

Your mother is sometimes named the Grand dame of Danish design. What makes design ‘Danish’?

It’s a difficult question, I think that Danish design is characterized by its simplicity and functionalism. Nanna never liked the term Danish design. She would always say: “We’re all individual designers.”

And what’s the biggest misconception about Danish design?

People indiscriminately think that Danish design is good.

That’s actually true. It’s funny how we associate certain countries with design. As the CEO of Nanna Ditzel Design, what’s your main focus? 

I see my task as CEO of Nanna Ditzel Design as carrying on her design legacy. I do my best to relaunch old models, and to ensure that the quality and origin of the designs are preserved. I’m continuously nurturing both my parents' life's work. In terms of the day-to-day, every day is different. I spend a lot of time speaking with the manufacturers, but I also focus on PR, taking care of our warehouse. I wear all the hats.  

What’s the most important lesson your mother taught you?

Her approach to problem solving. She believed problems exist to be solved and that problems could always be solved.

I love that. What would she have thought of what’s happening in the world of design right now?

The future always excited her. Perhaps, she would’ve thought designers should experiment more, and dare to think about how we’ll live our lives in the future. I think she would’ve been excited about all the new materials and possibilities in terms of sustainability. But the lack of color in the past 20 years would’ve definitely disappointed her. The muted white, gray, beige and black color palette – Nanna would’ve cried. 

She definitely knew how to use color. Having grown up around and raised by a renowned designer, what advice would you give to someone wanting to start a career in the design industry?

If you constantly want to create, then do it. Otherwise, find another way of making a living. You have to be so dedicated that nothing can stop you.  

This interview has been edited and condensed for clarity.  

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