Historien om SØREN WILLADSENS MØBELFABRIK presents a detailed and richly documented account of the evolution of the Søren Willadsen furniture factory, founded in the town of Vejen, Denmark. Compiled from extensive archival material gathered for Vejen Kunstmuseum by Mette Mærsk, the book goes far beyond the chronicle of a single company. It offers an invaluable window into the development of twentieth-century Danish furniture design and manufacturing, revealing how one factory—and the people behind it—helped shape an era.
The factory began in 1904 under the name “Nielsen & Willadsen.” In 1908 it was taken over by Søren Willadsen, who renamed it “S. Willadsens Møbelfabrik og Maskinsnedkeri.” Willadsen was known for combining master craftsmanship with modern machine woodworking. Early production ranged from furniture based on architectural drawings to more utilitarian items such as coffins. The business rapidly expanded, acquiring a plant in Kolding in 1927 and relocating to Vejen in 1930. After a devastating fire, the factory was rebuilt with a new production building designed by architect Frans Dahl-Nielsen. During wartime shortages, the factory relied on domestic Danish woods—pine, oak, ash, and beech—demonstrating both technical skill and remarkable adaptability.
Throughout its history, Søren Willadsens Møbelfabrik—and later Søren Willadsens Eftf.—worked closely with many of Denmark’s most notable designers and architects. In its early decades, the factory collaborated with Magnus L. Stephansen, Oscar Gundlach-Pedersen, and others, transitioning from traditional styles to functionalism and eventually modernism. From around 1949 onward, the factory produced several of Finn Juhl’s most iconic works, helping to bring his sculptural and groundbreaking designs to life.
The list of collaborators is extensive: Jørgen and Nanna Ditzel, Peter Hvidt & Orla Mølgaard-Nielsen, Kai Lyngfeldt Larsen, and particularly Christian Solmer Vedel, whose MODUS series was produced and exported internationally by Willadsens Eftf. The designers drew inspiration from a wide range of sources—Egyptian furniture, European modernism, and contemporary industrial design—resulting in innovative collections that blended cultural influences with Danish craft traditions.
The factory became known for exceptional quality, symbolized by the “Grøn Pris” (Green Prize), a mark of excellence. Visitors often remarked on the high level of craftsmanship. By combining efficient factory processes with meticulous handwork, the company was able to produce furniture that was both structurally refined and aesthetically distinctive. Advanced production methods, including steam-bending of wood, further set the factory apart.
Søren Willadsens Møbelfabrik gained broad exposure through exhibitions both in Denmark and abroad. It participated in major events such as the Paris Exposition, the Stockholm exhibitions, and important national showcases like Købestævnet. In 1974, the MODUS series received acclaim at the Cologne Furniture Fair, strengthening the company’s international profile. Export marketing was a major focus, led by John D. Lavets, Søren Willadsen’s son. During the decades when Danish furniture was increasingly sought after abroad, the factory became an important contributor to this global movement. Its cultural significance is further highlighted by the appearance of the Wikkelsø sofa series in Jean-Luc Godard’s 1963 film Le Mépris.
Ownership passed from Søren Willadsen to his children—John D. Lavets and Grethe—as well as partner Einar Pedersen, and the company continued under the name Søren Willadsens Eftf. The factory’s development was shaped not only by these key figures but also by the designers, craftsmen, and collaborators who shared close working relationships with the company. Its history is intertwined with the Vejen Kunstmuseum, local industry, and the cultural heritage of the region.
Ultimately, the book reveals how the Søren Willadsen factory played a vital role during a transformative period in Danish furniture history. It captures the story of a company that upheld the highest standards of craftsmanship while embracing new materials, innovative design, and international export strategies. Through archival documents, photographs, design drawings, and personal accounts, this volume illuminates how a family-run factory helped define the values and aesthetics that made Danish furniture world-renowned.
About
Author
Mette Mærsk
Publisher
Vejen Kunstmuseum
Size
22 × 28.5 cm (560 pages)
Content
- STIFINDER I
- FORORD (Preface)
- SNEDKERMESTER SØREN WILLADSEN
- BEGYNDELSEN (The Beginning)
・Wiener Chairs
・Early Furniture Production - MIDTEN (The Middle Period)
・Functionalism
・Co-Creation
・Furniture & Ceramics
・A Boudoir
・The Sample Warehouse
・40-Year Anniversary
・Postwar Years
・Generational Shift
・International Exhibitions
・Furniture of the Times – Home Equipment 1952
・PORTEX (AX series by Hvidt & Mølgaard) - SLUTNINGEN (The Final Period)
・Modern Modules
・Models Ending in 9
・Family Ties
・From Sample Warehouse to Showrooms
Review
Historien om SØREN WILLADSENS MØBELFABRIK is a comprehensive and long-overdue study of the influential furniture factory rooted in Vejen, Denmark—an institution that played a central role in the golden age of Danish design. Compiled from documents gathered for the Vejen Kunstmuseum, the book transcends the boundaries of a typical company history, instead illuminating the craftsmanship, industrial development, and creative partnerships that shaped mid-century Danish furniture.
Founded in 1904 and revitalized in 1908 under Søren Willadsen, the factory combined master-level woodworking with modern machine production. Its output evolved dramatically—from early utilitarian work to a varied catalog of high-quality furniture developed in collaboration with Denmark’s leading designers.
The book highlights the factory’s close relationships with major figures such as Finn Juhl, Jørgen & Nanna Ditzel, Christian Solmer Vedel, Magnus L. Stephansen, Oscar Gundlach-Pedersen, and several others. Many of their most significant designs—including internationally recognized modular systems like MODUS—were manufactured here with exceptional precision and craftsmanship.
Exhibitions in Paris, Stockholm, Cologne, and across Denmark introduced the factory’s furniture to global audiences. The company embraced export markets at a time when Danish furniture was achieving international acclaim. Its cultural reach even extended into cinema, with Wikkelsø sofas appearing in Jean-Luc Godard’s Le Mépris (1963).
Richly illustrated with archival photographs, workshop documentation, and original design drawings, the book offers a vivid look into the world of Danish furniture production. It provides both historical insight and a deeper appreciation of the skills, relationships, and design values that defined the era.
This volume is essential reading for enthusiasts of Danish design, scholars of industrial and craft history, and anyone with an interest in how a single factory contributed to one of the most influential design movements of the twentieth century.