Into the limelight for Norwegian design and crafts

Author and art historian Mats Linder wants to put the icons of Norwegian design in the limelight. He has been collecting and documenting Norwegian and Scandinavian history of design for decades. This formed the starting point for his series of books about a topic that has been under-communicated. 

Closing a gap in our knowledge about Norwegian design 

The aim was to bring in a range of experts that would be able to close a gap in Norwegian cultural education. A group of readers was involved from an early stage of the concept development process. 

This told the promoters that the books ought to be designed as a low-threshold offer, function as reference books, include product information and provide text in both Norwegian and English. They would need to be physical books, and they would need to lend themselves to being textbooks as well as books for general consumption – by a Norwegian and international readership. 
 
The first book was launched only six months after the first brainstorming session. Two years later we have a series of high-quality books that are infused with creativity and a love for design. 

Sustaining Norwegian craft-based businesses 

When Norway closed down in March 2020 due to the COVID-19 pandemic, the design studio Studiogeist set up their own publishing company. They called it ‘Papiret’ – the paper. This is the company that publishes the books. 

It was important for the project’s credibility that the production should be as sustainable as possible. As their topic is Norwegian cultural heritage, the publishers and author felt they carried responsibility for helping to sustain the businesses of Norwegian craftsmen, like printers and book binders. The books were therefore printed and bound in Fredrikstad and Skien. 

An international success 

The books received an overwhelmingly positive response and attention, internationally as well as nationally. The series has sold well and has been acquired by auction houses, museums and educational institutions. They are distributed to Australia, Canada, England, Japan, the Netherlands, Singapore and Germany. 

The author and publishers have found that there is a great interest in the topic, but that there is little specialist literature available about Norwegian designers compared to their Danish, Swedish and Finnish counterparts. 

They accept their new role as public educators by going forward with publishing more volumes at regular intervals. There will be four new books every year, and in the time ahead they wish to bring more female designers into the limelight.