"We must not forget to cherish freedom within our homes, to not abstain from pieces just because they could jeopardise our aesthetic formalism. It is never a fabricated colour chart that gives a home its personality, but all the things one collects through life. All the things we once loved, alongside all the things we love today. Our homes are never completed; during our entire lives, we continue to build upon them.” — Estrid Ericson

This timeless philosophy, drawn from The Catechism of Interior Design in 1939, captures the heart of studio Svenskt Tenn’s aesthetic and approach to home decor. Now, in celebration of the Swedish design institution’s centenary, the heritage brand has unveiled its most comprehensive exhibition to date at Liljevalchs, kunsthalle in Stockholm. Curated by Jane Withers and Karin Södergren, Svenskt Tenn: A Philosophy of Home invites visitors to explore the company's 100-year journey across 13 uniquely designed rooms, tracing its legacy from a small pewter shop to one of the most influential names in Swedish design.

The retrospective runs from September 27, 2024 to January 12, 2025 and guides viewers through an immersive experience that showcases the studio’s history and illuminates the design principles and collaborations that have shaped it. Since its founding in 1924 by Estrid Ericson, Svenskt Tenn has evolved through a dedication to quality craftsmanship, a modern yet welcoming aesthetic, and a belief in the home as a deeply personal space. Each room celebrates a chapter of the company’s legacy, from the early pewter works to modern table designs, textiles and interior designs, with highlights that include both historical artefacts and contemporary interpretations of their signature style.

One of the design exhibition’s key focuses is the extraordinary partnership between Estrid Ericson and Austrian designer Josef Frank, which began in the 1930s and defined the studio’s identity for decades. The two shared a belief in creating homes that were warm, inviting and adaptable to the needs and personalities of their inhabitants. Their collaboration spurred a transformation in its aesthetic, shifting from minimalist functionalism to a more expressive, colourful approach. Frank’s design philosophy, encapsulated in over 3,000 sketches and 250 textile patterns, celebrated organic forms, natural motifs, and a layered, eclectic style that remains distinctive today. The exhibition includes rare glimpses of Frank's original textile sketches and furniture designs, underscoring his unique perspective on modernity; one that embraced colour, comfort and individuality.

Withers states in the official release, "This exhibition tells the story of a remarkable company and the individuals behind it. It is intended to illuminate the founder Estrid Ericson and her key collaborators, including Josef Frank, but also give insight into the unique philosophy of home they forged together. Their human-centric view of the home as a place of refuge, warmth and joy that could embrace the vagaries of real life is uniquely compelling today.” This warm, inclusive vision is mirrored in the installations, such as the recreation of the living rooms from both Ericson’s and Frank’s apartments in Stockholm, as well as the São Paulo room they designed for the Swedish Consulate in the 1950s.

Beyond its aesthetic impact, the atelier’s journey reflects a commitment to craftsmanship and sustainability. Since 1975, the Kjell and Märta Beijer Foundation has owned Svenskt Tenn, a unique model prioritising the company’s core values of quality, longevity and respect for the environment. This foundation-supported ownership ensures that the design house remains focused on its mission rather than on commercial pressures, allowing it to maintain high standards in materiality and quality of design. The exhibition includes installations showcasing these practices, with demonstrations of artisanal processes, from glass-blowing to upholstery and fabric printing.

As visitors navigate the exhibition, they are invited to explore the roots of the institution’s philosophy through key artefacts and designs. The journey begins with Pewter for a Modern Age, a room dedicated to the company’s early years when pewter was a popular, affordable alternative to silver, and their designs earned acclaim for their elegance and affordability. In the room Estrid Ericson: The Founder of Svenskt Tenn, visitors learn how the entrepreneur, visionary, artist, designer, producer and scenographer’s vision and knack for combining design with commerce were instrumental in establishing Svenskt Tenn as a prestigious brand. Her early choice to incorporate functionalist furniture, particularly black and white pieces, into bright, uncluttered interiors exemplified her vision of modern Swedish elegance. By the mid-1920s, Ericson was already receiving accolades on the international stage, including a Grand Prix for pewter art at the 1925 Paris International Exhibition.

A room titled Nature Rewilded: Josef Frank’s Textile Designs showcases Frank's vibrant, nature-inspired prints and textile patterns that have become icons of the country’s design identity. Another room, A Sustainable Model: Craft, People, and Production, explores the company’s dedication to responsible production and its support of artisanal skills, reinforcing the theme of sustainability.

Additional highlights include a space titled The World Beyond: Exhibitions at Svenskt Tenn, which traces the brand’s history of innovative displays and collaborations with artists and designers worldwide. An exhibit room, The Past and the Present: Svenskt Tenn Today, reflects on the enduring influence of Ericson and Frank’s philosophy in contemporary design interiors, showing how the studio continues to balance tradition with innovation.

Walking through each room, visitors encounter elements that illustrate the evolution of Svenskt Tenn’s philosophy, including one hall that presents the company’s iconic archive. Here, furniture, textiles and decorative objects are organised by type, offering a view into a collection that serves as both a historical record and an inspiration for future designs. Karin Södergren, the exhibition’s co-curator and Svenskt Tenn’s head curator, describes this aspect of the retrospective as “a celebration of Svenskt Tenn’s rich 100-year history” that also “captures the ongoing dialogue between the past and the present, which is at the heart of our work. In the final room, we've designed interiors where time converges; a space that blends the timeless with the contemporary, the exquisite with the everyday.”

Svenskt Tenn’s relationship with Liljevalchs, the iconic art venue in Sweden spans nearly a century, dating back to its first exhibit in 1925, just one year after the company’s founding. This centennial retrospective brings Svenskt Tenn’s story full circle, from its early days to its current status as a beloved fixture in Scandinavian design. In one of the exhibition halls, visitors can view the original Lijevalchs sofa first unveiled in 1934. Its soft, curvaceous design and inviting shape stand in contrast to the stark minimalism typical of the era, embodying the architect’s belief that furniture should evoke warmth and ease. This piece, which challenged the rigid functionalist trends, remains a powerful example of human-centred philosophy that has defined the studio.

Reflecting on the exhibition, Withers mentions, “It is a space where tradition and modernity coexist, inviting visitors to discover their own inspiration in the interplay of history and innovation.” This retrospective does more than honour Svenskt Tenn’s century-long legacy; it invites viewers to consider their homes as living spaces, shaped over time by the stories, objects and personal histories we gather; a tribute to Ericson’s belief that our homes are never truly finished.