Nanna Ditzel & Illum Wikkelsø Easy Chairs by Søren Willadsen Møbelfabrik

The work of furniture designer Illum Wikkelsø wholly embodies the spirit of Scandinavian modernism. With their organic forms and wealth of angles inspired by the Danish countryside, his vintage lounge chairs, sofas and other seating pieces offer ergonomic comfort and lasting visual appeal. 

Born Kristian Illum Wikkelsø and raised in a town near Faaborg, Denmark, the designer grew up around carpentry and cabinetmaking. He apprenticed with a cabinetmaker in his teens and enrolled in classes at the Technical Society School in Copenhagen as well as the Danish School of Arts & Crafts. At the latter, Wikkelsø studied under Kaare Klint, an architect and designer widely recognized as the father of modern Danish furniture. 

After completing his studies, Wikkelsø went on to work with famed Danish architect and furniture maker Jacob Kjær. After a time with Kjær, he moved on. He went to work for designer and architect Orla Mølgaard-Nielsen at Hvidt & Mølgaard, a firm established by Mølgaard-Nielsen — Wikkelsø’s former instructor at the Technical Society School — and Peter Hvidt that yielded more than 250 designs and lasted over 30 years. 

In 1954, Wikkelsø opened his own design studio in Aarhus, Denmark. Throughout the 1950s and 1960s, he made quite a name for himself, with designs that were new and innovative to the industry at the time. He created furniture for Holger Christiansen and secured commissions from the Danish government. While he’s likely best known today for his inviting teak and leather lounge chairs or slender rosewood dining chairs, some of Wikkelsø’s 1960s-era lounge chairs merged Danish craftsmanship and Pop art with their unconventionally shaped chrome frames and vibrantly colored upholstery. 

Wikkelsø passed away in 1999, but collectors around the world continue to prize his outstanding designs. 

Find vintage Illum Wikkelsø tables, seating and case pieces on 1stDibs.

Nanna Ditzel was the most versatile and creative female designer that Denmark produced in the 20th century. Ditzel brought her talents to bear on a staggering array of forms — she designed furniture, jewelry, tableware and textiles; and she shaped her pieces using an equally astonishing variety of materials, from wood and wicker to silver, ceramics and fiberglass.

Born in Copenhagen, she trained as a cabinetmaker at the Royal Academy's furniture school — overseen by the great craftsman of the day, Kaare Klint — and graduated in 1943. Ditzel’s early work adhered to the classic Danish modernist tenets of simplicity, comfort and quality, and her armchairs, with their softly curved backrests are much in the spirit of Hans Wegner. Ditzel’s signature piece of that time is her Ring chair. Designed along with her husband, Jørgen Ditzel, a fabric maker, the chair has a semicircular padded armrest that seems to embrace the sitter. Ditzel began designing in wicker and in 1959 produced the Hanging chair. The piece, suspended from the ceiling by a chain, became a favorite for fashion shoots and may be as iconic of the 1960s as Eero Aarnio’s plastic Ball chair of 1963.

In 1956, Ditzel began designing for the Danish silverware firm Georg Jensen. In an association that lasted some 40 years, Ditzel would create organically shaped jewelry, barware, ceramic tableware and even tablecloths. Like her fellow Dane Verner Panton, Ditzel was not afraid to embrace industrial materials, and she began designing fiberglass chairs in the mid-1960s. Some of her most flamboyant work came toward the end of her career, in pieces such as 1989’s Bench for Two, with its shocking Op-art finish, or the Trinidad chair of 1992, with it’s sunburst-like, cut-though backs. Such feats of creativity were a fitting coda to one of the most imaginative, prolific and remarkable women of modern design.