Louise Campbell stainless steel cutlery

Published on December 1, 2017

Louise Campbell cutlery aims to be beautiful without being pretentious. It refers to the history of Georg Jensen by paying great attention to every tiny detail and respecting basic given proportions, but it is not afraid to emphasise its main purpose – being a useful, flexible, modern toolkit.

Books full of sketches and hundreds of models were made in order to find the right form language for this set of cutlery. It seemed necessary to shape and detail these tools by hand, as they are for hands. Plasticine, rubber, paper, steel, silver was used in the model making process.

With her playful and experimental aesthetic, award-winning designer Louise Campbell is recognised as one of Denmark’s leading design talents, transforming and twisting everyday objects into beautiful, yet functional works of art. Taking materials and manufacturing processes in new directions, Campbell combines Scandinavian design traditions with feminine forms, and her work often melds the sensibilities of her dual heritage.

Born to a Danish father and English mother, Campbell grew up in both Denmark and the UK. A design graduate of London College of Furniture and The Royal Danish Academy of Fine Arts, Campbell set up her own studio in 1996, where she works independently. This season, she collaborates with Living Georg Jensen to produce a beautiful and functional collection of cutlery.

Cutlery is among our most important household tools. Used many times daily, at times formally, most often casually, but always to move food from dinnerware to mouth as smoothly as possible. Almost as intimate as our toothbrushes, yet objects we share with other people. Of course the aim has been to create a beautiful set of cutlery, but function has come first, and any unnecessary ornamentation has been avoided, allowing the food, not the tool moving it, to be kept in focus.

This project has been designed through a long, detailed hand modelling process. Several hundred more or less practical / detailed / appealing models have been made in various materials, and the final result is very directly linked to these models. Although 3d computer work and printing was introduced at what was expected to be the final stage of this project, it was abandoned in favour of returning to the hand made. There was no alternative with these tools for hand holding than to continue by hand through to the final prototypes, which were made in solid silver by spending many afternoons side by side with a silversmith at Georg Jensen. Louise’s eyes and Adnan, the silversmiths, steady hands joined forces until the perfect balance and every detail on each model was satisfactory.

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