How do you remember your first meeting with WOUD?
I first met WOUD at the Stockholm Furniture Fair in early 2015. What stayed with me was the team’s sense of enthusiasm, wholeheartedly investing their time, energy and savings into a shared vision of creating their own design identity. At the same time, they appeared highly professional and genuinely welcoming.

What made an impression on you at that time?
From the very beginning, I was drawn to the clarity of the visual direction and the curatorial eye that shaped WOUD’s expression. I immediately recognised the strength of their first product choices and the consistency and cohesion of their art direction. What also stood out to me was the obvious and personal enthusiasm that surrounded the launch of the brand.

As a designer who often works with established houses, what was it like stepping into a new brand?
I often collaborate with established and traditional design brands such as Georg Jensen, Le Klint and Lyngby Porcelæn, where their long and well-defined design histories naturally shape the creative process. It is a self-imposed framework that can be both deeply rewarding and, at times, limiting. Working with a new brand like WOUD brought an exciting creative freedom, allowing me to explore ideas that felt more original and personal. It was an opportunity to step outside familiar frameworks and develop my own designs more freely.

How do you remember the early days of the collaboration? Was there something particular about those first conversations that still stands out to you today?
What stood out to me in the beginning was WOUD’s ambition for their collection. Their vision to embrace such a broad range of products was, and still is, a strategy that I believe can build a strong and cohesive brand identity. This approach, however, also demands a clear and uncompromising aesthetic direction.

How has the collaboration evolved over time, and what characterises it today?
Today, I would describe our collaboration as open and founded on mutual trust. Over the years, it has grown into something more than simply creating products together. Beyond developing our shared collection, we have become sounding boards for one another’s ideas and future visions, something that has developed through the trust between us. It has evolved into a creative exchange that brings a deeper dimension to the collaboration.

What do you value most in a collaboration between designer and brand?
For me, meeting in person is essential to any creative process. It is in the small, immediate reactions, when an idea is shared or a sketch placed on the table, that the process gains energy. It is the spontaneous dialogue and dynamic exchange that drive the work forward.

It is fair to say that your designs have proven their timeless quality. In your opinion, what makes an object retain its meaning and relevance over the years?
The conceptual strength behind a product is the most important element in creating a timeless design. It can be a functional idea, a sculptural quality or a narrative dimension. What matters is having a clear and solid foundation on which to build. If the concept is strong, the design can maintain its relevance and continue to live far beyond the moment of its creation.

How do you usually begin a new design project?
My projects always begin as hand-drawn sketches in my black notebooks, exploring initial ideas and concepts. At this stage, I focus on stripping away anything superfluous, distilling and clarifying the idea so that it appears as simple and precise as possible. As the concept gradually takes shape, the lines become more deliberate and defined.

Could you tell us about the process behind some of your designs for WOUD?
The Illusion hanger actually originated as the solution to a practical problem. I was working on an experimental felt wardrobe for The Cabinetmakers’ Autumn Exhibition in 2014, where there was not quite enough room for a standard hanger. This led to the idea of angling the hanger and turning the angle into a defining visual feature of the design.

The Stone lamp emerged through a creative exploration of forms inspired by stacking stones. I see it as one of the most primal human gestures, and a phenomenon that continues to fascinate us in nature. I reduced the form to two stacked shapes, which also reference the silhouette of a classic filament bulb.

What do you hope people experience when using your designs?
With Illusion, I hope people experience a brief moment of surprise when they see the hanger swing into its angled position and notice how the movement and the visual concept are intertwined.With Stone, I aimed to evoke calm. To me, the two shapes embody a balance that reflects the ancient simplicity of stacked stones, a feeling I wish to see carried into everyday life.

What does it mean to you that your designs are still part of WOUD’s collection today?
I am proud that my designs are still part of the collection ten years later. It confirms that the idea and the expression still resonate with people after all these years.

Looking at your current practice, which themes or ideas are you particularly engaged with at the moment? What is capturing your attention in your work these days?
At the moment, I am exploring larger acoustic objects for interior spaces. Some are designed to emit light, while others simply shape and divide spaces. I feel an increasing need to create calm in the spaces around me, and this has become a clear focus in my work. Many of these pieces are made from recycled materials and thoughtfully designed to be recycled again.

As you look towards the future, what are some of the things you still wish to explore in your work as a designer?
In an increasingly digital world, I appreciate working with physical objects. Things that can be touched, gathered around, and experienced together. In that context, I would like to explore how design can help preserve and perhaps even strengthen our shared physical presence, creating moments where people meet in real spaces rather than behind screens.