Kvadrat Tord Boontje collection brochure
Design Howard Wakefield and Maria Farrugia
Photography Casper Sejersen

About the Tord Boontje collection
Tord Boontje and Kvadrat first got acquainted through his Happy Ever After installation for Moroso at Salone del Mobile in 2004. There, Tord Boontje brought couture to the world of furniture, draping his furniture creations with Kvadrat’s Divina upholstery fabric cut out as collages in shapes and patterns inspired by fairytales and fantasy. Kvadrat was spellbound, so naturally they continued exploring fabrics together.

The result is a collection of 5 upholstery fabrics and 7 curtain designs based on the same theme, so that the individual designs are suitable for use in combination as well as on their own. This represents the culmination of a long process which began when Tord Boontje designed patterns with motifs and figures inspired by flora and fauna.When you look at the elements of Tord Boontje’s patterns, there is no doubt that they have been hand-drawn. That is how Tord Boontje’s patterns become personal, unpredictable interpretations of the naturalistic motifs that inspire him.The sketches are then transferred to the fabric by means of the latest digital printing, laser cutting and burning out technologies. This combination of traditional motifs and modern technologies gives Tord Boontje’s fabrics a contemporary, modern appearance, yet their warmth and sensuality bring life to rooms and furniture.


About Tord Boontje
Tord Boontje was born in Enschede, Netherlands in 1968. He first studied industrial design at the Design Academy in Eindhoven (1986 - 1991), and followed this with a Masters from the Royal College of Art in London (1992 - 1994).
Studio Tord Boontje was founded in 1996. 
Tord Boontje lived and worked in London from 1995 to 2005, when he moved his home and studio to Bourg-Argental, France. In 2009 he took up his appointment as Professor and Head of Design Products at the Royal College of Art, and continues work at his own studio now located back in London.
 
The challenge and opportunity the Studio has long sought is a delicate marriage of design with emotion that is as broadly accessible as it is enticing. The Studio’s work draws from a belief that modernism does not mean minimalism, that contemporary does not forsake tradition, and that technology does not abandon people and senses. The Studio’s designs often temper edges with softness, take inspiration from nature, and employ a décor of forms and layers to engage and entice an observer’s imagination and emotions. But these references to nature and emotion reflect only an outcome, not the process of design itself. Although the use of technologies and material properties is never celebrated (and is always subsumed within the final product), there is nonetheless a conscious insistence that the Studio’s work employ the latest production and material technologies in pursuit of its vision.
Biography sourced from www.tordboontje.com