be able to come up with more than five names of Danish designers working today, but the question points up a significant phenomenon in today’s Danish design: it is the brands – not the designers – that we hear about and refer to. The brands that have made names for themselves are young, some barely ten years old, and yet they are defining what Danish design is. How did this come about and how has it affected the values associated with the concept Danish design and the country’s design industry in general? The purpose of this book, in essence, is to find answers to these questions and put them in their proper context — that is, in the second golden age of Danish design.