Left Continue shopping
Your Order

You have no items in your cart

Japan and Scandinavia

Japan and Scandinavia

We have seen a new trend recently, with an unwieldy and ugly name: “Japandi” – the merging of Scandinavian and Japanese design and style.

Obviously, this isn’t a new trend, someone has just come up with a vaguely absurd name for the way that Japanese and Scandinavian design can complement each other. Several recent articles have tried to pin down where this complementary may come from.

In the words of Lars Akerlund, founder of the New York-based Swedish coffee chain Fika, “both countries uphold design principles that use natural materials, clean lines, and straightforward construction” and that same article also claims that both places enjoy a “cheerful, unadorned aesthetic”.

The famous Japanese interior designer Koichiro Ikebuchi even reflected on the similarities that still exist between the two today: “I don’t see any obvious differences,” he muses. “Both are particular about details, both pursue simplicity, both prefer crude beauty rather than decorative and both have sympathy to craft works.”

Much of this is arguable: for example, is Raku cheerful? Does it use clean lines? Clearly not. And maybe Ikebuchi san’s comments were taken out of context, but Marimekko, Ikea and Svenskt Tenn can hardly be said to prefer ‘crude beauty’ over the decorative.

Raku Tea Bowl

Of course, one of the problems is that any place has diverse strands of designing, making and living, and it is virtually impossible to generalise without being able to find exceptions. And in the end we don’t need to define why they are similar, just why they happen to complement each other so well.

One of the main connections must be that both areas have a strong sense of the seasons and a yearning for Nature. Nature has a big impact on both countries, whether it is harsh, dark winters or natural disasters and this shared appreciation of and respect for the seasonal and the natural is one foundation of the connection between the two cultures.

Leading on from this, simple, even rustic lifestyles are valued in both places and both societies also value humility, modesty and restraint. This feeds through into a mutual appreciation of simplicity, functionality, a quiet beauty, the unadorned, and the not-too-ostentatious.

There are clear overlaps with wabi-sabi: valuing the simple, unrefined and rustic, but Sen no Rikyu went even further, sometimes valuing the broken over the functional, which would alienate the pragmatic Scandinavians. And the undertones of mortality, impermanence and decay implicit in Sabi have no real parallel in Scandinavian cultures.

There is also a Nordic focus on democratic design, where everyone should be able to enjoy good design in their lives, and we can see parallels with the Mingei or Arts and Crafts movement in Japan, but this focus on the good of society and democracy isn’t really part of the Mingei ethos. The Mingei movement was already harking back to a time of rustic simplicity when it started rather than having a forward looking, overtly democratic motive. But nonetheless, the similarities are there, and it may be that these small differences and tensions actually make the two cultures designs work better together – to be too similar would be dull, but here the tension between the similarities and differences create a dynamic combination.

Japanese aesthetics influenced all parts of Europe in the 19th century, but I think this explains why Japan has had a particularly long-lasting and deep effect in Scandinavia, and in Denmark and Sweden especially. This was most obviously represented in the Studio Ceramics movement, where these similarities are just as prevalent today and Copenhagen’s Designmuseum Denmark recently hosted an exhibition called Learning From Japan which documented how Japan has influenced Danish design since 1870.

But it is not all one-way, Scandinavian design is now also incredibly popular in Japan, because of these same underlying reasons. In fact, during the 1990s it was Japanese collectors who saw the value in Scandinavian Mid-Century furniturebecause of the simplicity of design, the beautiful wood grain and the skill of the carpentry, sparking the whole Mid-Century modern trend.