HRH Prince Carl Philip, during last months, many designers have reflected on the possibility of developing new methods of design and production growth aptly related with the current historical situation shaped by the COVID-19 pandemic. What were your personal thoughts?

CPB: “As always when we design, we are strongly committed to trying to develop design pieces that bring joy and truly enhance the user experience. That focus has not shifted on our end and probably never will. However, not being able to meet our business partners and travel in the same sense, while at the same time watching a dramatic shift in the retail landscape, does of course affect us all. From a historic perspective, we will probably look back at this period in time and remember it as a reset button of sorts. A period when we were able to take the time to reflect on the “why” of all of our doings. As designers, we are both very detail-oriented and hands-on in our creative process, so I guess that we have possibly become even more picky in the selection of designs and collaborations that we chose to move forward with. Both time and resources are too precious to waste, we have spent so many hours discussing how to move forward in the most sustainable sense as well.”

Sigvard Oscar Fredrik Bernadotte, the grand-uncle of Prince Carl Philip, was a famous industrial designer. Is there something in his work which influenced your research?

CPB: “Of course I draw inspiration from my great uncle and his work. But both of us have many influences, I myself look up to the classic furniture of Carl Malmsten and Axel Einar Hjorth, as well as the tapestries of Märta Måås-Fjetterström.”

You have been working together for almost 10 years now. How did you start your journey?

OK: “We discovered quite a long time ago that we had many common interests and friends, as well as the same design education. The Bernadotte & Kylberg design agency will be celebrating 10 years next year and we feel very humble to be working with so many talented brands.

We decided early on to only commit to design that we ourselves would be proud to use and be associated with. From the first launch with Gustavsbergs Porcelain Factory to our latest joint collaboration with Nordic Nest – introducing a completely new design and lifestyle brand – NJRD, we stay true to our commitment.”

Through your new brand NJRD you set out to create design for “Scandinavian moments.” What exactly does that mean? What are the distinctive characteristics of the collection, composed of carpets, porcelain table services and textile complements?

B&K: “Scandinavian minimalism is in our nature – close to our hearts. In creating NJRD and designing the brand’s first collection, we wanted to be able to share those meaningful moments of contentment and calm. Having a moment to yourself, when you feel that you have found something worth keeping for a long time to come. To share the design and those moments globally with other people who enjoy NJRD and Scandinavian contemporary design is so meaningful. Thanks to our partner Nordic Nest, the collection is already available in Italy and 70 other markets, and in 11 languages; we went global from the start here, thrilling! The first collection ‘Shapes’ is unified by several graphic elements. The pattern of first product we made – the rug Stripes – can be seen throughout the entire collection, as the line moves from different surfaces and materials. Where it ends up is in the eye of the beholder.”

Has your creative process some recurrent rules and stages, a sort of method?

OK: “Yes. We are true believers in having and following our design process: Research, Insight, Theory, Idea and Shape. In that order. Always. Each part of the process is equally important and needs to have its place and time.”

Are there some territories in design you'd like to explore? I mean some fields or areas you didn't engage in so far…

OK: “Over the past decade we’ve had the opportunity to try out many different fields in the design world. We like doing the unexpected and trying new things, for instance we have designed both fashion clothes and eyewear before. More recently, we loved designing beds for the now global Swedish premium company Hästens Beds. We also made smaller furniture pieces and feel strongly that furniture is indeed something we are eager to explore even more. Developing furniture is a very comprehensive process, and we feel drawn to it.”

CPB: “What’s more, we love working with brands from all over the world. It is within the cultural mix and sharing of experiences that exciting things and solutions tend to happen. That’s something we will always embrace.”

In your opinion, what are the common traits between Scandinavian design and Italian design? And what are the main differences?

B&K: “We are shaped and inspired by our surroundings. Scandinavia is basically dark for the winter period which makes us long for the light and sunshine when it returns in spring. We even celebrate it. Not only as people but also in our design – by not letting anything stand in the way of the light. That’s why we tend to have a minimalistic approach to design, because we feel the need to see objects and spaces clearly and for what they are. For us, the beauty of a design doesn’t necessarily come from what you can see or touch – but what the design (and designer) leaves for the brain to see.

Traditionally Sweden has a strong and quite a colourful design tradition, full of pattern, folklore and craftmanship. It’s something that we are slowly coming back to. Italian design, in our eyes, is typically very expressive and decorative, free of compromise. Something that very practical Scandinavians – like us – can see from the outside.”