I Expected to Love My First 3Days of Design in Copenhagen. But I Could Never Have Anticipated What Would Make It So Great.

If you can believe it, this was my first year attending 3DaysofDesign in Copenhagen, and I went to the fair, now in its 10th year, armed with absurdly high expectations. I knew that just existing in Copenhagen in early June — using Lime bikes to cycle around, drinking natural wine, eating smørrebrød — would set a good baseline for fun. But after my experience at Salone, which I wrote about here, I felt increasingly desperate for Copenhagen to mean something. I told people I was going because, as a chronicler of design fair culture, I felt compelled to see one that had become such a word-of-mouth success. But on a personal level, it’s like I needed Copenhagen to prove to me that design fairs were still worth attending. As hesitant as I am to say this — lest everyone frantically start planning their show next year in Denmark, which is simply not the right move for everyone — Copenhagen actually exceeded my expectations.
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This Parisian Studio’s New Collection Turns Grandmotherly Flourishes, Like Tassels and Cords, Into Something Decidedly Modern

Imagine a place in the Mediterranean — where North Africa meets Europe meets the Middle East — and a time that can’t quite be determined, and you’ll get a feel for the latest collection from the Parisian architecture and design studio Ebur. Racha Guttierez and Dahila Hojeij Deleuze, who founded Ebur in 2020, conjure their respective cultures and histories in their designs: The two of them grew up in Côte D’Ivoire — Ebur means ivory in Latin ­— and the childhood friends spent their summers in Lebanon before going on to study architecture in Paris. Ebur’s first release of furnishings, last year, drew inspiration from their early memories of the seaside. This second act builds on that and continues an elegant exploration of form and material.
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