It’s often said that form follows function. But at Konstfack this year, it feels more like form follows creativity. Here’s a look at the new graduates from Sweden’s largest design school.
The Class of 2026 is, as always, a wide-ranging crowd. Among the 175 students are textile designers, sustainability thinkers, industrial designers, craftspeople, and much more. Finding a common thread is not easy. Is there something distinctly generational here? The school itself points to war, destruction, and overconsumption as defining influences. But I’m trying to navigate this generation in my own way.
Last year, I noticed a strong urge to actually do things — not just discuss ideas, but work hands-on and make something happen.
This year, I see rituals, repurposing, and an ongoing fascination with waste. But before we get there: does form still follow function, or has creativity become the real driving force?
My report for this generation will start with this piece. A set by Karl Salomonsson.
It is interesting – and of course sometimes fristrating – running around and looking at 175 works. That means you really just give things a glance. This piece I passed, and gave it little thought. Didn’t really get it. But I happened to stop at talk to Peter Andersson who was tutoring this guy.
He explained that Karl started his process by following a creative thought. In this case the cow skin. His mind drifted and came to think of cowboys. And he built his set or collection around this thought or dream of cowboys. Not focusing on functionality or selfexpression. Basically just dreaming.
And this is new. Form follows creativity.
You can of course argue that this is classic Memphis style, but there were a lot of things at Konstfack where one looked at other values than strict functionality. And that is interesting.
Emma Stocklassa made a kitchen set where everything is a bit off balance. Not functional – but something else. Perhaps this non-flat surface would force us to focus on what’s on the table and skip the phones in our hands?
There were a lot of tables. Or “bring my people to the table”. Meetings, seeing eachother, rituals. Here Lilly Ellen Dormeier
Meeting eachother on a gigantic wool carpet. By Elvira Staf and Fanny Stengårds.
A tableware set that looks like a poppy. By Ida Wallin.
Rituals… I think this will be one of the most talked about student works. Here Carl Martinsson made a setting for a hospital when someone is passing.
Rituals and symbolism. Is it a Swedish maypole?
By Molly Björlind
More rituals and symbolism. Candle holders and a flower crown in metal. “Remember you are mortal”. By Emma Hansson.
At department of graphic design, there was even a book about rituals.
A second theme among the students, was the fascination to work with waste. Here textile designer Klara Djamila Kassman Soukkan
Åke Andersson built a system of bolts and screws so you easily can use waste and build your own chairs.
Waste as in pine cones. Grind the pine cones to a dust, add binding materials and then start 3D printing.
One student even went through the garbage at the school to find materials and make beautiful things. By Wendy K Skogstad
Not necessarily built from waste but perhaps AVOIDING waste. A collection of pieces where you easily can change fabrics and update your lamp or easy chair. By Isabella Werner.
And finally, just three things that spoke to me. Nothing about form follow creativity or waste. Just nice things.
Dimitra Konstantinidi made five textile pillars about her roots in Greece. Embroidery that made me think of Britta Marakatt-Labba.
Also just beautiful. Veneer work by Anna Hedström (for textile department…)
And this lamp. The whole piece is 3D printed – with moving, adjustable parts. Just add a light source and cords. And done! One material. So nicely done. By Nils Fallenius.