Cookies are used both for making the website work correctly and for avoidance of giving repeated information and in order to facilitate log on to various services.
There are two types of cookies: A permanent cookie is stored as a file on your computer to adapt the website according to your wishes, preferences and interests, or to identify if you have previously visited the site. Session cookies are sent between your computer and the server while you visit the website and they disappear when you close your web browser.
Svenskt Tenn’s website uses both permanent cookies and session cookies. The permanent cookies are used so you won’t repeatedly receive certain information and the session cookies are used so you can log on to various services.
You cannot opt out from cookies that are necessary for the website to work. However, you can choose whether to accept cookies designed to improve the user experience for the website. That is, cookies that are used to customize the site according to your wishes, choices and interests, and remember that you've visited the page before or meant for avoidance of giving repeated information. You can later change your cookie settings by changing settings in your web browser so that cookies are not accepted.
Josef Frank’s textiles with the 315 linen designation are best suited for curtains, pillows and other textile products.
Josef Frank designed more than 160 prints for Svenskt Tenn, the majority of which contained imaginative botanical motifs. For Josef Frank, using nature’s colours and forms in interior design was a way to breathe and feel free in the enclosed space of a room. The Mirakel (Miracle) print probably got its name after Josef Frank’s comment: "It was a miracle that such a small repeat could be the source of something so grand". Mirakel is one of his earliest prints, designed back in the late 1920s.
Josef Frank grew up in Vienna and studied architecture at Konstgewerbeschule. In the 1920s he designed housing estates and large residential blocks built around common courtyards in a Vienna with severe housing shortages. In 1925 he started the Haus & Garten interior firm together with architect colleagues Oskar Wlach and Walther Sobotka. Svenskt Tenn hired Josef Frank in 1934 and just a few years later he and Estrid Ericson made their international breakthrough. Although he was already 50 when he left the burgeoning Nazism in Vienna for Sweden, Frank is considered one of Sweden’s most important designers. Read more
Use a mild detergent without bleach. Avoid soaking in water and temperatures below 40 degrees Celsius as the colour can fade. Do not spin dry on a vigorous cycle. Drip dry. Fabrics can shrink by approximately 3-5 percent when washing.
The flax used by Svenskt Tenn in its textiles grows along the coast of the North Sea, between northern France and southern Holland. Both the climate and the soil here are ideal for cultivating flax. The company that supplies Svenskt Tenn with linen is also based here and has been in operation since 1864.
Already back in the late 1200s there were flax trading houses in Flanders. In the middle of the 1800s, no less than 71 per cent of the population in the city of Tielt was involved in the linen industry. Linen has been used for more than ten thousand years and is nature’s gift to man, not least because the entire flax plant can be put to use. The seed is turned into oil to colour and treat wood surfaces and the oil is also used in cosmetics. Linen fibres are used as sutures (surgical seams). Additionally, paper and fibre plates can be made from flax by- products. Most well known, however, is the flax that is turned into fabric. In this case, the stems are used and processed in various ways before they can be spun into thread and woven into linen, which is both durable and beautiful with its distinct texture.
Flax grows quickly and naturally. It takes just one hundred days from sowing to harvest and flax doesn’t need to be watered, fertilised or sprayed. Svenskt Tenn’s suppliers work with so-called dew retting of the stems. It is a process whereby the fibres are extracted naturally, without adding water.
Since 2014, Svenskt Tenn’s linen supplier has reached the silver level in accordance with the Cradle-to-Cradle philosophy (C2C) for all of the steps in the process right up to the weaving of the linen. C2C is a holistic design approach, which aims to close material cycles of different kinds. Already on the drawing board it is important to think through what and how the product will be manufactured so that it can be reused and recycled in an optimal way. Everything is done to be as gentle as possible when it comes to the impact on humans and the environment.
Industrial spinning and weaving of linen have a minimal impact on the environment. Svenskt Tenn’s supplier, which wants to be at the forefront of these efforts, has been running its mill in a carbon-neutral way since 2014, due to its use of wind power.
Screen printing is a printing technique in which a fill blade is moved across a screen stencil, forcing ink or dye through the mesh openings. But before you reach this stage you have to produce the stencils.
The first step is to scan the original pattern in a computer and separate the colours. In a multistage process the pattern is then transferred onto a stencil. Each colour requires a separate stencil. For example, Josef Frank’s pattern “Hawaii” is printed in seven different colours, and because each core of the pattern has to have two stencils, a total of 14 stencils have to be made.
You can print with two different methods, either by moving the frames or by moving the fabric. Svenskt Tenn's suppliers use both of these techniques.
The printing table upon which Svenskt Tenn’s fabrics are printed is 60 metres long. Here one colour is printed at a time, for each core, so that the dye has time to dry before the rest of the cores are filled in. Nowadays a robot takes care of the hard work of moving the heavy frame, but nevertheless, two people are required, one on each side of the frame, to pour in dye and to control the process.
When the printing is finished, it is time to fixate the dyes under heat. Surplus dye must be rinsed off and the fabric has to be re-stretched. Before the fabric is ready for delivery, it is inspected manually. Stencil printing on textiles has a long history. The printing method was employed thousands of years ago in Egypt, China and Greece, where the “open” sections of the stencil let dye through. Stencils were made by leather, greased paper or metal. In order to fix them during printing, they were fastened with thread of silk or hair, which sometimes appear on old prints like thin lines between the stencils.
The next step of the development was to stretch a weave of silk onto a wooden frame and then fasten the stencils directly on the weave. The technique spread from China and Japan throughout Asia and arrived in Europe in the 18th century. It was frequently used for printing exclusive wallpaper on linen or silk. The first photo-based method was introduced in the early 20th century in the United States and revolutionised the technique. William Morris, who inspired many of Josef Frank’s patterns, is one of many designers and artists who have worked with screen printing. Louise Bourgeois, Roy Lichtenstein and Andy Warhol are others.
Sustainability in focus
Read more about Svenskt Tenn's Sustainability Philosophy below.