CHS-Storyteller_2025

THE STORYTELLER

CRAFTING A LEGACY - A NEW HISTORIC LOCATION

A tribute to the history and new beginnings for Bredgade 33

Introducing

THE FUTURE OF CRAFT

Meet The LAB

CH290 SERIES

Bringing versatility to living spaces

Interview

IN CONVERSATION

Notes on Hans J. Wegner

IN CONVERSATION

Notes on Nanna Ditzel & Jørgen Ditzel

Design is a collaborative process. It starts with an idea, a vision, a conversation. Bringing together diverse points of view, experiences, and skills allows for new and innovative ideas to come into being.

As Carl Hansen & Søn moves into a new chapter at the historic location of Bredgade 33, we invite you to discover how these different connections contribute to our heritage of design. From the original designers, our development team and cabinetmakers to those who transformed our new location, we recognise how their influences present new perspectives from which to experience the Carl Hansen & Søn collection. Discover playful forms by Nanna and Jørgen Ditzel in the ND52 Vita Sofa and ND55 Coffee Table; the rare, industrial CH621 Swivel Chair by Hans J. Wegner; and his robust and familiar CH290 Series.

The 2025 Novelties explore adaptable designs to enhance our living spaces. Vilhelm Lauritzen’s sophisticated VLA75 Bench is reimagined in a smaller size, while Børge Mogensen’s BM1160 Hunting Table offers flexibility for entertaining in a wider version. Anker Bak’s AB019 Wall Desk presents elegant work-from-home solutions, Marianne Tuxen’s Tulip Pendant brings sophisticated ambience into the home, and the new Embrace Outdoor Lounge Series by EOOS offers comfortable outdoor living solutions.

FRAMING

Setting the scene in our new and grandiose Flagship Store, FRAMING COMPOSITIONS showcases classics and novelties from multiple angles, exploring how material and tradition unite in a dynamic and timeless expression.

CRAFTING A LEGACY — A NEW HISTORIC LOCATION

Overlooking Sankt Annæ Plads, drenched in light, Bredgade 33 has witnessed over 200 years of history and culture. Part of the fabric of Copenhagen, the building was home to shipping magnates, writers and artists before making its name in the 20th Century as a prominent antique auction house. A year-long renovation project heralds a new beginning for Bredgade 33 as it becomes the new Carl Hansen & Søn Flagship Store, where craftsmanship and design unite, with classical architecture.

20th Century

WALLPAPER

The original walls were discovered under several layers of wallpaper, a window into the trends and popular colour schemes of the last century, and installed when the building was an auction house.

1956

MEZZANINE STAIRCASE

Originally extending to the first floor, the elegantly restored functionalist staircase now leads to a mezzanine level. Featuring oiled oak steps and softly curved brass handrails, the staircase connects the building’s modernist era with our mid-century modern designs.

1794/1900

FACADE

When the building became shop premises in the 1900s, the ground floor was lowered to street level, introducing three arched windows and entrances on either side. The windows were replaced with energy efficient frames and the upper part of the facade was painted in a warm colour to enhance the quality of light from across the square.

1920—1930

PARQUET FLOOR

On the ground floor, the oiled herringbone planks were individually restored, replacing some with pieces from the mezzanine. Traces of the building’s previous life are revealed in brass inlay details and other beautiful imperfections.

WALL PANELLING

Classical Beginnings, Modern Future

Despite its impressive, neoclassical facade, years of use by previous tenants, including dividing the property into two separate shops, meant a great deal of work was needed to sympathetically restore the building to something close to its original classical proportions.

During its time as the Bruun Rasmussen Auction House, the walls were clad with plywood, presumably to easily display framed artworks and antiques. In a process of decluttering and simplifying the space, these panels and layers of wallpaper were removed, revealing the original brick walls. Fresh plaster and sophisticated colour palette help to harmonise the interiors with the building’s classical architectural style, displaying the generous high ceilings and oiled oak herringbone floor.

Restored to its full majestic glory, the 1950s functionalist staircase, which once extended to the first floor, now connects the ground floor to the mezzanine level. Featuring beautiful oiled oak steps and brass handrails, the staircase is a bridge that connects the building’s modernist history with Carl Hansen & Søn’s core furniture collection.

Finally, the jewel of the crown and part of the 1927 side extension, is the new roof terrace, a serene space in which to experience the comfort of our outdoor collection.

Combining two hundred years of craft and local history with Carl Hansen & Søn’s design heritage, the sophisticated surrounds of Bredgade 33 set the stage for our collection under one roof.

PAST & PRESENT

NOTES ON

Striking a balance between respecting an original design while making it relevant for contemporary use is no mean feat. Head of Production at Carl Hansen & Søn, Mads Holm Rabjerg, explains the different processes in revitalising a rare Hans J. Wegner design and adapting an existing one for the collection.

HANS J. WEGNER

“When we take Wegner’s drawings, done by pencil, and put them into a 3d program, he mathematically knew how it looked from different sides and put the exact same lines that we need now, that they needed in the past, on a piece of paper”.

In conversation with Mads Holm Rabjerg

— Head of Product Development, Carl Hansen & Søn

Although he designed over 500 chairs in his lifetime, Hans J. Wegner created only a handful of swivel chairs, giving them a rare status in his portfolio. Searching for office furniture in an online auction, Mads found what would become the CH621 Swivel Chair. A departure from Wegner’s signature wooden frame, the chair combines an industrial stainless steel frame with hand-upholstered leather. With just a photograph for reference and unable to locate an original model to develop from, Mads and the team consulted Hans J. Wegner’s family, running Wegner’s Design Studio, which, thanks to his meticulous record-keeping, located the original drawings of the chair from 1948.

Reinterpreting the comfort of the chair for contemporary use revealed several challenges. Unable to experience the design first-hand, the team created a backrest and seat in a series of prototypes to test for support, collaborating closely with Wegner’s Design Studio to get the best result. The armrests were tested in various heights using 3D printing and models before settling on the proportions from the original drawing: “All our furniture goes through the same testing procedures as any new product. So we are looking at the old drawings with a critical mindset and saying, “We know we need to make some adjustments. Can we do that without ruining the design?”

As the original drawings would not pass current safety standards, the team was tasked with adjusting the base without compromising with Wegner’s initial design: “On the original drawings, the swivel chair only had four legs, and they were quite narrow. The drawings didn’t show any castors, but the achival images did. So we added a fifth leg onto a welded base for strength and made custom castors in an industrial style to fit the design. All of this was done in dialogue with Wegner’s Design Studio and we ended up with a design that has a recognisable Wegner-identity.“

The final hurdle was to make it easier to adjust the height of the chair. The original drawings showed options for height adjustments, but nothing specified. The original photos showed a spindle, requiring the user to rotate the seat to achieve their desired height: “We needed to modernise the height adjustment and come up with a solution that fits into 2025. Together with Wegner’s Design Studio, we decided on a modern gas lift cylinder that is easy to operate and created a custom made lever that is simple and logical.”

The CH621 Swivel Chair is the result of a considered collaboration between the past and the present - an elegant, ergonomic design with industrial appeal that blends seamlessly with the modern home office.

“It’s a very classic Wegner series, you can see his lines in it, and that’s why it fits so well into our collection.”

Expanding Carl Hansen & Søn’s collection, the CH290 Series by Hans J. Wegner carries his straightforward signature style in rigorous carpentry details and relaxed, customisable upholstery. Designed in 1962, this robust series features a visible hardwood frame with dynamic legs and wide armrests, characteristic of Wegner. Comprising a 2 and 3-seater sofa, a low and high-backed lounge chair and a footstool, the series sits beautifully within the existing Carl Hansen & Søn collection, offering something new while remaining distinctly Wegner.

“It’s a way for people to customise their own look on a Wegner design. Here you have an upholstered piece, so you can play with it and make it your own.”

The two sofa designs set themselves apart from others in the collection because of their distinctive, exposed wood frames. It was a conscious choice of Wegner’s to reveal the craftsmanship in the joinery, from the side rail that embraces the front of the seat cushion before tapering off to the slatted backrest, to the dynamically angled back legs and elegant, wide arm rests.

In contrast to Wegner’s hallmark paper cord seat designs, the CH290 Series features soft upholstery with a classic expression, bringing warmth to the strict lines of its wooden frames. “It’s a way for people to customise their own look on a Wegner design. Here you have an upholstered piece, so you can play with it and make it your own.”

Mads explains that taking on a collection that has already been in production meant that the process was fairly straightforward, as nothing too radical could be changed. Where a few angles went astray over the years, small adjustments were made to bring the shape of the designs back to the original drawings. Closer examination of the high-backed CH291 Lounge Chair revealed a rather complicated process in order to remove the cover of the neck cushion. “The top stretcher holding the neck-cushion was mounted with visible brass screws, and you had to disassemble the top of the chair to remove the cushion. We decided to simplify it by removing the brass screws and adding a hidden zipper to the cover for easy removal.”

The CH290 Series brings a warm versatility to living spaces, beautiful in their own right, while complementing the wider lounge collection.

NOTES ON

Nanna and Jørgen Ditzel revolutionised expectations of modern living in a landscape dominated by strict functionalism. As Carl Hansen & Søn welcome the ND52 Vita Sofa and ND55 Coffee Table to the collection, we explore the Ditzels’ innovative and playful approach to design with curators Sara Staunsager and Kristian Roland Larsen from Trapholt Museum for Modern Art and Design.

DITZEL & JØRGEN DITZEL

In conversation with Sara Staunsager and Kristian Roland Larsen

— Curators, Trapholt Museum for Modern Art and Design

Nanna and Jørgen Ditzel were united by a shared vision that would disrupt the status quo of the Danish modern era, creating imaginative furniture that encouraged a sense of freedom and liberation in the modern home.

The couple met at the Danish School of Arts and Crafts in Copenhagen, establishing their studio in 1946. Keen to explore innovative materials and shapes that eschewed the traditional foundations of functionalism, the Ditzels experienced post-war optimism as a fresh impetus for design:

“Nanna and Jørgen are part of the new wave of architects, artisans and artists who, after having lived through five dark years of occupation and resistance, throw themselves into defining and designing the life that awaits them now. A life of light, freedom and faith in the future.” (Nanna DitzelEmbracing the World by Christina Kjeldsen)

Throwing themselves into a fruitful and prolific period of collaboration, Nanna and Jørgen Ditzel develop a free and organic design idiom, emerging from a broad range of mediums, including jewellery, furniture and textiles. Influenced by Jørgen’s background as a trained upholsterer, fabrics would become a cornerstone in the Ditzels’ sensory approach to design, centring modern materials that played with vibrant colour and supported fluid shapes, in contrast to the Klint school of thinking, which focused predominantly on natural materials such as leather or rattan. Sara Staunsager explains:

“Designers at the time were focused on showing the qualities of wood, and if they used upholstery, it was always in natural materials such as leather or wool. Nanna and Jørgen Ditzel were looking for something else. They were focused on colours and comfort, the overall aesthetic. They wanted to start a renaissance with upholstered furniture.”

Navigating careers in design at a time when the societal expectations of women were bound by the home and family, Nanna and Jørgen Ditzel worked together as equals, challenging the ideals of family structure and gender roles. Progressive by 1950s standards, the Ditzels set an example of unconventional family life as they balance work with their three daughters, Dennie, Vita and Lulu, employing a nanny to give them the freedom to continue their collaboration.

“The set-up is fruitful, full of familial fellowship and infused by their shared yearning for freedom and rebellion against conventions - including how a woman and mother like Nanna chooses to spend her time.” (Nanna DitzelEmbracing the World by Christina Kjeldsen)

The need for versatile and practical furniture in the Ditzel family home brought about the opportunity to redefine traditional silhouettes. Designed in 1952 and named after their daughter, the ND52 Vita Sofa signalled a new and elegant style of furniture in which upholstery became a key part of the design. Supported by a soft, organic shell with a rolled edge, the sofa almost cradles the sitter, offering a lounging experience that feels more relaxed than the typically staid designs of the era. Colour contrasting buttons in the upholstery bring a playful flair to the seat, which almost floats in a solid wood frame.

Kristian Roland Larsen illustrates how Denmark’s developing social and economic landscape brought exciting new opportunities for designing textiles:

“Nanna Ditzel was enthusiastic about the era’s various experiments with shaping new ways of life through more relaxed furniture with a direct sensory appeal to the body, fitted with exuberant coverings and soft upholstered surfaces. In these experiments, fabrics often took centre stage as space-defining and cohesion-making elements of great aesthetic and cultural importance.”

As a fitting tribute, the ND52 Vita Sofa features upholstery from her 1965 Hallingdal collection. One of her most popular textiles, which has been in constant production ever since, the fabric is made from a blend of durable wool interwoven with viscose and holds colour beautifully.

“My first husband and I were both designers, so our work was exactly the same. None of us ever said “I”. We actually always said “we”. Neither of us ever said, “you came up with this, and I came up with that”. We just did it.”

QUOTES LIFTED FROM:

Collaboration was an essential part of Nanna and Jørgen’s relationship, as Sara Staunsager explains:

“Their collaboration was based on sensual intuition and concrete knowledge, which formed a symbiosis, becoming a driving force behind their thinking while at the same time stimulating them to come up with ideas that challenged the other.”

The ND55 Coffee Table is a playful example of a shared aesthetic and the Ditzels’ singular vision to revolutionise modern interiors. Designed in 1955, the table combines the simple elegance of wood with clever functionality. An integrated fold-out extension leaf which pushes towards the centre of the table gives the user the option to increase the surface of the tabletop or fold it away to save on space.

Nanna and Jørgen Ditzel had a successful partnership of curiosity, innovation and play. The two new Ditzel additions to the Carl Hansen & Søn collection continue the collaboration of craftsmanship and explore different expressions through cabinetmaking and upholstery.

THE LAB

Carl Hansen & Søn’s apprentice workshop. The next generation of cabinetmakers.

EXPLORING CABINETMAKERS

At Carl Hansen & Søn, it is important to take up the mantle of preserving the future of our classic designs and secure the continuation of traditional Danish craftsmanship.

In 2019, THE LAB apprentice workshop was introduced as an in-depth training program for furniture cabinetmakers, technical cabinetmakers, and upholsterers. Functioning as a small cabinetmaker workshop within the factory in Gelsted, the training combines hands-on technical practice and experience in production with study programs at technical college. During a period of three years and nine months, apprentices learn fine woodworking techniques commonly found in our iconic designs, spanning finger and dovetail joints, sanding methods, repair, and restoration.

With a solid foundation in furniture craft, most of our skilled graduates choose to work at Carl Hansen & Søn as the next generation to continue the legacy of our design heritage.

The workshop was founded with the vision of keeping traditional cabinetmaking alive and training the next generation of highly-skilled furniture and machine cabinetmakers. At any one time, 20-25 apprentices aged between 17-50 years old are enrolled in THE LAB.

In keeping with tradition, the first task set for all apprentices is to make their own tool cabinet. Made from soft wood like pine, which is easier to cut, shape and sand, the students practice key techniques such as dovetail joinery. The cabinet takes around two weeks to produce, housing approximately twenty tools and is something they can take from technical school into their professional life.

Restoration is an important part of ensuring the longevity of our furniture. The majority of these designs are circular by nature, meaning the joinery can be repaired and refurbished. Apprentices learn the skills needed to breathe new life into well-loved pieces and take on these responsibilities as part of their training: “We often receive chairs for repair that are family heirlooms and hold specific meaning, so our students have the delicate job of deciding the best way to revive it without removing the history and patina.” - Martin Tolberg Muller, Project Coordinator.

Students are required to work on a variety of special projects as a way to develop their skills and take on made-to-order pieces that are too complex to incorporate into Carl Hansen & Søn’s modern production. Perhaps one of the most intricate designs to work on, Kaare Klint’s Spherical Bed from 1938 offers apprentices experience in crafting precise geometry by hand, taking approximately fifteen weeks to make one bed. Klint’s exceptionally crafted KK44880 English Chair also presents a number of challenges, including a frame cut from hand-held templates, delicate intarsia detailing, handmade French weaving and leather upholstery.

NOVELTIES

Discover the latest addition to the Carl Hansen & Søn collection of timeless furniture pieces.

VLA75S Foyer Bench

Recreated in close collaboration with Vilhelm Lauritzen Architects, the VLA75S Foyer Bench is part of a series of three exclusive custom designs by Vilhelm Lauritzen for Copenhagen’s Radio House. Today, the heritage-listed building from 1945, which previously housed national Danish broadcaster, Danmarks Radio, is one of the finest examples of Danish Functionalism. Adapted for comfort, the bench is available in two sizes. The long version of the Foyer Bench is an ideal choice for public environments such as reception areas, while the short bench is better suited for smaller spaces and private residences.

Vilhelm Lauritzen

1894-1984

Vilhelm Theodor Lauritzen was one of Denmark’s most influential architects and a father of Danish Modernism. Today, many of his projects remain as lasting examples of what was then a new and revolutionary approach to architecture in which form followed function. Throughout his career, he maintained that architecture should be an applied art that serves all, not just the privileged few. Among Lauritzen’s most famous and acclaimed works are Copenhagen Airport’s first terminal (1939), which is now known as the Vilhelm Lauritzen Terminal, Radiohuset broadcasting building in Frederiksberg (1945), Vega music venue in Copenhagen (1956), and the Danish Embassy in Washington D.C. (1960).

Vilhelm Lauritzen was born on 10 September, 1894, in the town of Slagelse, Denmark. He graduated high school from Sorø Akademi in 1912 and from the Royal Academy of Fine Arts’ School of Architecture in Copenhagen in 1921. The following year, he founded Tegnestuen Vilhelm Lauritzen (known today as Vilhelm Lauritzen Architects).

Lauritzen’s talents extended to interior design. Over the course of his career, he created everything from door handles, ashtrays and railings to lamps, sofas and chairs.

Børge Mogensen

1914-1972

In line with the core concepts of Danish Design, Børge Mogensen’s central ambition was to design simple and functional wooden furniture for private and public spaces. Mogensen swore by the combination of solid wood and leather, and his work avoids unnecessary adornments.

After completing his training as a cabinetmaker in 1934, Mogensen studied furniture design at the Copenhagen School of Arts and Crafts and the Royal Academy of Fine Arts. As a student of Kaare Klint, Mogensen was inspired by Klint’s straightforward approach. Both men believed a successful design should always radiate calmness and functionalism, but Mogensen’s work placed emphasis on furniture for informal interior spaces.

Later in life, Mogensen taught design at the Royal Academy and participated in the annual Copenhagen Cabinetmakers’ Guild furniture exhibitions. Just before his death in 1972, Mogensen was appointed Honorary Royal Designer for Industry at the Royal Society of Arts in London.

Børge Mogensen

BM0121 Dining Table

Børge Mogensen presented the BM0121 Dining Table as part of a series of democratic furniture at the Arts and Crafts Spring Exhibition in Copenhagen in 1952. Balancing elegance and functionality, this seemingly simplistic dining table conceals highly skilled carpentry details. Ideal for smaller living spaces, the BM0121 Dining Table is a circular, extendable table that demonstrates Mogensen’s vision for human-centric, adaptable design. Crafted from FSC™-certified* solid oak, it features a lightweight tabletop, just 19mm thick which is supported by steel profiles for added stability on the underside. Slightly tapered legs and an upwardly curving apron offer more leg room and give it a light, elegant expression.

Børge Mogensen

BM1160 Hunting Table

Børge Mogensen designed the BM1160 Hunting Table for the Copenhagen Cabinetmakers’ Guild Furniture Exhibition in 1950. The table combines excellent woodwork with elegant metal brace bars, creating a bold and organic whole. The name refers to the “Hunting Cabin” theme of Guild’s exhibition, a detail which is also reflected in the robustness and wood-focused design of the table.

The table has rounded corners and edges in solid wood, which reveals Mogensen’s passion for accessible design. Stability is ensured by two diagonal brace metal bars connecting the tabletop and frame with an aesthetically pleasing effect. The BM1160 Hunting Table is available in two sizes, versatile for small spaces or to accommodate larger social gatherings.

EOOS

Embrace Outdoor Lounge Series

Designed by EOOS, the Embrace Outdoor Lounge Series is characterised by balancing soft upholstery and stringent wood perfectly.

Echoing the clean lines and contemporary casualness of its indoor counterpart, the Embrace Outdoor Lounge Sofa brings customisable comfort to outdoor spaces. A sturdy hand-woven flat rope back and wide armrests give the sofa elegant structural detail, supporting cushions in colours inspired by the Scandinavian landscape. With a balance of relaxed upholstery with a durable untreated FSC™certified teak frame, this modular sofa is adaptable for residential and public environments.

The Embrace Lounge Table references the dynamic, floating expression of the existing tables of the Embrace Series. Crafted in FSC™-certified untreated teak that develops a beautiful, silver-grey patina as it ages, the tabletop consists of meticulously cut pieces, mounted into a daisy formation. An elegant steel frame gives it a lightness of form, grounded by a solid wood base.

Est. 1995

EOOS was founded in Vienna in 1995 by Martin Bergmann (b. 1963), Gernot Bohmann (b. 1968), and Harald Gründl (b. 1967), after they graduated from the University of Applied Arts.

Today, EOOS is considered one of Austria’s most successful design studios, known for its poetic approach to design. The design trio developed a method called Poetical Analysis®, a process that involves analysing a theme from a contemporary perspective while at the same time studying its historical roots and examining relevant images, texts, myths and rituals in the human subconscious.

EOOS has registered more than 15 technical patents and received over 170 international design awards, including the renowned Italian design award Compasso d’Oro, a string of Red Dot awards, iF awards and Wallpaper* design awards.

Marianne Tuxen

B. 1958

Marianne Tuxen strives to create beautiful experiences with her light fixtures, guided by the belief that light has the power to transform everything. Throughout her career, she has created light fixtures and designed lighting solutions in everything from churches, museums and galleries to hotels and airports across the globe. Always with an eye for the whole, the underlying story and the environment in which the lighting is being installed.

Tuxen’s light fixture designs are always based on a specific need. Nevertheless, there is a common thread in her designs in terms of their simplicity and logic. The products appear obvious, functional and harmonious in almost every context. The quality of light serves as constant inspiration, as she experiments with curves, proportions, materials, surfaces, colours, light and shadow to craft light fixtures that create a perfect ambience.

Marianne Tuxen

MT221 Tulip Pendant

Designed in 2022 by Marianne Tuxen for the restoration of Carlsberg founder J.C Jacobsen’s historic villa in Copenhagen, the MT221 Tulip Pendant balances classic elegance with modern aesthetics.

Influenced by Tuxen’s background in sculpture, the Tulip Pendant emulates the organic, curved shape of a tulip’s petals in a shade expertly crafted from three layers of mouth-blown white opal glass. Even layers of glass allow for a uniform, glare-free glow and the small aperture at the base provides downward task lighting.

A precise, solid brushed brass suspension contrasts the softly curved glass, merging with the shade to complete this sophisticated, understated design. Ideal for creating a warm, general ambience, the Tulip Pendant is available in two sizes.

AB019 Wall Desk & AB020 Wall Desk Drawer

Anker Bak’s experiences of nomadic living and fascination with the ever-changing needs of society are what drive his empathetic approach to human-centric design. Drawing on his experiences of living in Japan, the AB019 Wall Desk displays clear influence of the Japanese tiny living culture.

Intended for smaller living spaces, the desk displays a refined, minimalist idiom in the clean lines of a lightweight FSC™-certified oak or laminate tabletop. A gently curved edge provides a natural place to rest an arm and sleek stainless steel wall-mounts allow for uninterrupted leg room underneath. With a focus on versatile functionality, an additional AB020 Wall Desk Drawer in solid FSC™-certified oak featuring a charger outlet can be mounted in a steel support underneath or placed on top. Ideal for both work and play, the AB019 Wall Desk comes flat-packed for easy assembly.

Designer and cabinetmaker Anker Bak is known for his problemsolving and human-centric design approach. His designs are characterised by a profound understanding of needs, functionality and a deep respect for wood.

Bak creates designs for people in different life situations and typically meet a need that he or close family members have experienced. Often, he is inspired by observing and talking to people where they live and work, and after working in Japan, the country has become a great source of inspiration.

Bak trained as a cabinetmaker at a boatbuilding company in 2004, where he focused on making custom fittings for sailboats, which earned him a silver medal, the highest decoration possible, at the end of his apprenticeship. In 2014, he graduated with a bachelor’s degree in furniture design from VIA University College. Since the age of 19, he has earned numerous awards and recognitions.

EUROPE

Amsterdam Flagship Store

Van Baerlestraat 10 1071 AL Amsterdam

The Netherlands

T. +31 20 370 8150 amsterdam@carlhansen.com

Antwerp Flagship Store Schuttershofstraat 43 2000 Antwerp

Belgium

T. +32 (0) 47 20 58 300 antwerp@carlhansen.com

Barcelona Flagship Store Carrer del Rosselló 222 08008 Barcelona

Spain

T. +34 931 929 845 barcelona@carlhansen.com

Carlsberg Byen Flagship Store Flaskehalsen 2 1799 Copenhagen

Denmark

T. +45 2146 7738 carlsbergbyen@carlhansen.dk

Copenhagen Flagship Store Bredgade 33 1260 Copenhagen

Denmark

T. +45 6447 2360 copenhagen@carlhansen.dk

Gelsted Flagship Store Hylkedamvej 77 5591 Gelsted Denmark

T. +45 2947 7580 gelsted@carlhansen.dk

Hamburg Flagship Store ABC-Straße 10 20345 Hamburg

Germany

T. +49 (0) 151-25 14 50 05 hamburg@carlhansen.com

London Showroom

16A Bowling Green Lane

London EC1R 0BD

United Kingdom

T. +44 (0) 20 7632 7587 showroomlondon@carlhansen.com

Milan Flagship Store Via Mercato 3 20121 Milan

Italy

T. +39 02 89 01 18 37 milan@carlhansen.com

Munich Flagship Store Residenzstraße 22 80333 Munich

Germany

T. +49 89 32 19 76 64 munich@carlhansen.com

Odense Flagship Store Flakhaven 1 5000 Odense

Danmark

T. +45 2478 2720 odense@carlhansen.dk

Oslo Flagship Store

Drammensveien 126 0277 Oslo

Norway

T. +47 4682 0322 oslo@carlhansen.com

Paris Flagship Store

53B Quai des Grands Augustins 75006 Paris

France

T. +33 (0)7 68 77 62 77 paris@carlhansen.com

Stockholm Flagship Store Karlavägen 76 114 59 Stockholm

Sweden

T. +46 8 25 50 83 stockholm@carlhansen.com

ASIA / PACIFIC Tokyo Flagship Store 1F, 3-5-12 Kita Aoyama Minato-ku

Tokyo 107-0061

Japan

T. +81 3 6455 5522 tokyo@carlhansen.jp

Osaka Flagship Store 1-15-22 Minami-Horie Nishi-ku

Osaka 550-0015

Japan

T. +81 6 6606 9026 osaka@carlhansen.jp

Singapore Flagship Store

28 Ann Siang Rd

069708 Singapore

Singapore

T. +65 8939 2381 singapore@carlhansen.com

NORTH AMERICA New York

Midtown East Flagship Store

145 East 57th Street

10012 New York

United States

T. +1 646 559 0200 midtowneast-newyork@carlhansen.com

New York

Soho Flagship Store

150 Wooster St 10012 New York

United States

T. +1 212 242 6736 soho-newyork@carlhansen.com

San Francisco Flagship Store

111 Rhode Island Street, Suite 3 94103 San Francisco

United States

T. +1 415 658 7198 sanfrancisco@carlhansen.com Carl Hansen & Søn Flagship Stores and Showrooms

Helsinki Flagship Store Erottajankatu 19 00130 Helsinki

Finland

T. +358 (0)10 508 2040 helsinki@carlhansen.com

London Flagship Store 48A Pimlico Road, Belgravia London SW1W 8LP

United Kingdom

T. +44 (0) 20 7730 8454 london@carlhansen.com

Toulouse Flagship Store 8 Rue des Arts 31000 Toulouse

France

T. +33 09 73 68 25 05 toulouse@carlhansen.com