gance; the next, they could be replaced by sleek, modern alu-

minium, seen as the pinnacle of contemporary aesthetics. The

question arises: How do we honour the past while embracing

the future?

When collaborating with their designers, Fredericia remains

curious and respectful – even when they eschew conventional

brand history. The new generation refuses to let past practices

shape their new work, and is unafraid to stray away from tradi-

tional influences and previous designs to forge a unique path.

They will not let tradition dictate their creations. I find this ten-

dency and way of thinking exciting. This radical approach will

bring fresh perspectives and innovative designs, proving that

sometimes, stepping away from the past can lead to extraor-

dinary results both in the present and in the future.

However, past designs do inform the new. The next generation

of designers brings something new, but they also need to un-

derstand traditional craft. The classics of the past are still rele-

vant, and we must not camouflage when they were made but

instead pay tribute to that time and the designer. There’s un-

deniable value in looking back. Many of Thomas Graversen’s

early designs in the 1990s were informed by the classics—

pieces that, despite being decades old, remain relevant and

exciting today.

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