Only the very best and most original thoughts, ideas and creations have the strength and might to survive their originators and give rise to new schools, new cultures and new concepts. This is especially true of artistic creativity in general and interior design in particular. For 80 years, Svenskt Tenn has been one such rare and original concept - a school of its own with a following that extends far beyond our Swedish borders.

In purely physical terms, of course, Svenskt Tenn is first and foremost our classic store on Stockholm’s elegant waterside boulevard, Strandvägen. It’s home to an extensive and richly varied collection of modern classics ranging from furniture, textiles, lamps and glass to porcelain and other interior décor objects.

As a concept, however, Svenskt Tenn represents so very much more than these wonderful objects could ever, even collectively, achieve. Svenskt Tenn is an idea, a lifestyle, a philosophy and an ideal – a distinct culture in its own right.

This culture was established by the lady who created Svenskt Tenn back in the 1920s, Estrid Ericson*, and was later refined and honed to perfection during her 33 year’ artistic collaboration with urban planner, architect and designer Josef Frank. Frank was Austrian which is somewhat paradoxical as this man is considered to be the most influential artist in Swedish interior décor in modern times, quite possibly the most influential ever.

As a team, Estrid Ericson and Josef Frank were able to develop an exuberant, lavish and imaginative style, fearlessly drawing inspiration from a multitude of cultures and periods and fusing these impressions into their own personal world of timeless beauty and expression.

This is the unique legacy we have inherited at Svenskt Tenn today. We mean to preserve and nuture this gift, and prepare it to face the modern challenges of tomorrow.

The timeless quality of this heritage is best demonstrated by the recent growing interest in Svenskt Tenn among young people throughout the world. The survival of the fittest applies here too - only the very best survive the test of time!

80 years dedicated to beauty

Svenskt Tenn was opened in October 1924 by Estrid Ericson, a thirty-year-old art teacher, and Nils Fougstedt, an established pewter artist. The premises were small, housing a store and a workshop on Smålandsgatan in central Stockholm. Estrid had recently given up her job as an art teacher and was working at the reputable interior design firm Wikman & Wiklund. It was there that she met Fougstedt, who first aroused her interest in pewter, which was very much in vogue at the time.

As the name implies, Svenskt Tenn (Swedish Pewter) initially sold only pewter objects – artistic pieces designed by Fougstedt and other contemporary designers, and not least by
Estrid Ericson herself. Estrid also managed the store, and Svenskt Tenn rapidly became an established and highly appreciated store among Stockholmers. Accordingly, Estrid Ericson’s own good name and reputation also grew as she received press acclamation for her creativity and talent, as well as her lively imagination and genuine sense of beauty.

In 1925, just one year after opening its doors, Svenskt Tenn made its breakthrough. Beautiful, modern pewter pieces, all stamped with the firm’s angel hallmark, were displayed at exhibitions in Europe and America, and Svenskt Tenn was awarded a gold medal at the World Exhibition in Paris.

Estrid Ericson soon earned a reputation not only for her artistic talent, but also as a resolute and determined businesswoman. By 1927, she had already decided, in a bold move, to relocate her store to larger premises on Strandvägen, one of Stockholm’s most fashionable boulevards for leisurely waterside strolls - despite the fact that several people in her immediate entourage advised against it.

Swedish Modern

The breakthrough for the “new” Svenskt Tenn came in 1934, the year that Josef Frank joined the firm, with an exhibition at Liljevalchs featuring a living room designed by Estrid Ericson using Josef Frank’s furniture. Svenskt Tenn’s international breakthrough came at the World Exhibitions held in Paris in 1937 and in New York in 1939. Svenskt Tenn’s showcased rooms attracted considerable attention and were a major influence in the international coining of the “Swedish Modern” concept, which made its first appearance in Paris and later became firmly established in New York.

A new era begins with Ann Wall

In 1979, Ann Wall took over the helm at Svenskt Tenn and was to spend the next 20 years working on the business concept she herself had coined: preserving the legacy and spirit of Estrid Ericson and Josef Frank in a modern form. It was under Ann Wall that the company underwent the thorough modernisation it so badly needed. Estrid Ericson had run Svenskt Tenn with the help of antiquated administrative and financial systems and routines that needed an extensive overhaul. Towards the end of Estrid Ericson’s period at the helm, Svenskt Tenn was making a loss, but it now became a well-run modern company that posted excellent profits year after year. Major investments were also made in the staff. One of the many improvements involved giving them the opportunity to gain work experience abroad, which benefited both the employees and Svenskt Tenn’s international standing. It was also under the leadership of Ann Wall that Svenskt Tenn began to market itself in the true sense of the word.