During 3daysofdesign in Copenhagen, an event where it stands as a cornerstone, Carl Hansen & Søn reaffirms its unique identity. As a custodian of Danish Modernism, the company specializes in reviving timeless classics, transforming historical heritage into contemporary design. This year, however, the experience transcended the showroom. We were invited to the private residence of CEO Knud Erik Hansen: Hellerup Manor, a neoclassical gem on the island of Funen dating back to 1670. Within its historic walls, iconic pieces by Wegner, Wanscher, and Klint are not mere display objects, but an integral part of an active family life. The manor itself becomes a powerful metaphor for the company’s mission: a historic structure that continues to thrive in the present. It is in this deeply personal setting, a living museum of Danish heritage, that we sat down with Knud Erik Hansen, a man whose stories are as rich and compelling as the designs he champions.

The new collection you are presenting is quite exciting. What are the highlights for this year?
It is exciting because we have acquired Getama, a historic manufacturer of Hans J. Wegner’s furniture whose factory unfortunately burned down in 2024. The owner contacted me, and we purchased it. We are now reintroducing their iconic products, like the CH290 series, and developing new ones. For the global market, this is essentially a new collection, as Getama, founded in 1898, had become very inactive outside of Scandinavia. The previous owners were, to be blunt, lazy. Now we have the opportunity to bring these splendid designs to the world.

How do the Getama products merge with the existing Carl Hansen & Søn catalogue?
They mix perfectly because Wegner designed them to work together. In the past, different companies produced different parts of a furnishing system: Getama made the sofas, Carl Hansen the dining chairs. They were all designed by Wegner to create a cohesive whole. Over the years, we have slowly brought these pieces under one roof, and today we are proud to hold a very large share of Wegner’s total collection.

Beyond the masters, you also collaborate with contemporary designers. Could you tell us about your work with Rike Frost?
Yes, we don’t just work with the “dead ones”! We actively seek out young talent. Rike Frost’s collection is a statement against the modern habit of being together but disconnected, staring at our iPhones. She wanted to create a sofa whose curved shape naturally turns you towards others, encouraging conversation. The story is fantastic: she called me, a complete stranger, the night before winning a TV design competition. We met, and while I loved the prototype, I told her we had to replace the veneer with steam-bent solid wood to ensure its durability. Our collaboration was excellent, and the collection is doing very well.

Your collaborations seem built on strong personal relationships. The story with the Austrian studio EOS is another perfect example.
It is. Relationships are everything. I was very good friends with the late Mr. Bulthaup. One day he called and insisted I drive to Germany that very evening. Upon arrival, he had me evaluate a new kitchen concept by two young architects from EOS. It was the B2 kitchen. He asked me, “If you were me, would you put it into production?” I replied, “Absolutely.” And he said, “Good, start it up.” He completely trusted my judgment. Later, EOS wanted to design for us. It took them nine years, because they are very strong-willed designers, but they finally came back with a chair that perfectly fit our aesthetic. I said, “This could be made by Carl Hansen,” and so our collaboration began.

Many of your pieces have incredible stories. Could you share the story behind the CH20 chair?
Of course. In 2003, at Inga Wegner’s 85th birthday party, she showed me a chair in Hans’s old studio. “It’s nothing,” she said. “It was designed in 1956, and nobody ever wanted to produce it.” I fell in love with it and insisted. She finally relented, convinced my carpenters would refuse – and they did! But I was determined. A month later, John Pawson saw the chair in his London studio and suddenly shouted, “I want two thousand!” I had nine months to deliver them to Barcelona.
Four months later, he called to cancel the order. The hotel management had changed and wouldn’t accept wooden chairs for a banquet hall. He asked what he owed me. I replied, “Nothing. You owe me a favor.” He agreed. That favor was paid back when he recommended our furniture to Mr. Bulthaup, sparking that incredible partnership.

The company has seen incredible growth under your leadership. What is the secret, and how does sustainability fit into your vision?
I think the secret is that I truly believe in what we do. Sustainability is fundamental. All the waste from our factory is compressed and burned in a special furnace at 4,000 degrees, generating zero CO2 emissions. This process heats our entire factory and 400 homes in the surrounding town. Even the smallest off-cuts are used to make accessories for our flagship stores. Nothing is thrown away.

Finally, what do you envision for the future of Carl Hansen & Søn?
The fourth generation is coming: my son. He will be taking over before long, and my wife and I can retire a bit. Generational change can be difficult. When my father first saw Wegner’s furniture in 1950, he called it “garden furniture” and was immediately sent into retirement! My grandfather knew this was the future. It was a huge risk – at first, no one in Denmark would buy the Wishbone Chair, so he had to go to New York to find the first customers. But he seized the opportunity, and today you see the result. It is necessary to embrace the future, and I am confident my son will do just that.