Vintage view

The pinch-faced war regarding the copying of mid-century design by modern manufacturers in continental Europe and the Far East rages on — a lucrative trade that apart from statutory moves in the US and UK, remains largely unchallenged.

Just last week, I sat inhaling a hamburger on a firmly legal, Eiffel chair ‘inspired’ by Charles Eames — in MacDonald’s here in Ireland. However, as teary eyed purists exchange aesthetically aimed pot-shots (many wounded commentators are socially insecure and just showing off, to my mind), something far more wholesale, apparently acceptable and blimmin’ irritating continues down the ages.

Branded as ‘original’ there is in fact little offered new for our interiors that is not borrowed, copied or closely plagiarised from bolder, older, more deft designers. Shelves, lamps, chairs, desks —I wonder how large commercial manufacturing houses and even independent makers suppress a blush when taking these pieces to market.

Beyond the knowing glances of their peers, there is of course, the money. Fresh forms are rare, and there’s an atom slim line between crisp, clean, respectful inspiration and those who bounce rudely on the shoulders of greatness.

A tweak here, a tickle of a bracket there, a wry change of materials, a jumble of the ingredient adjectives — who’s to know? As journalists wading through thousands of worthily toned press releases, we endure this lazy artifice from designers here and overseas daily.

Give me a bold, well made ‘inspired by Van der Rohe’ to these limp pretenders any day. Authentic, affordable, fun — now I’m insulting the division of design snobs who rely on the lack of accessibility to mark them out as having a great eye, deep pockets or a social ‘in’ with the maker.

You’ll know when you are trapped in the heavily curated lair of such a being — the shelves are generally empty as to not interrupt the line of the furniture. The truth is that even great design is and should be available to everyone. Insist on quality in the materials and making however, whether it’s a turned Irish wood bowl at a craft fair or an Italian 1970s swivel chair in need of TLC. And admit your venal response — your heart should bounce, your toes curl, the hairs on your forearms bristle.

Illustrating the point that you can buy in to the good stuff brand new, I’ve settled on the house of Normann Copenhagen, whose products, despite the occasionally euro-trash wink, are already trusted classics. Danish, ultra cool, highly available in smalls and furnishings, this is a team who take chances in their youthful, mass-produced and useful products and simply never disappoint.

Perhaps it is because they are a design house who partner up in 75% of their wares with independent makers and also because they avoid a cynical mock up of mid-century favourites. Cartoonish and elegant offerings from Normann Copenhagen are regularly featured in museum collections and Lars Dybdahl’s new book ‘101 Danish Design Icons’ from the Design Museum Denmark includes two pieces currently available online.

The Krenit bowl by Herbert Krenchel (c1953 and relaunched 2008) and the folded edge washing up bowl by Ole Jensen (c2002) were delivered the same year as the company’s much feted lamp, Norm 69, seen in rock star pads and family rooms all over the World.

Founded by Poul Madsen and Jan Andersen in 1999, the company has always had strong ties to the fashion industry, including clothes in their landmarks store in Copenhagen. The colour shifts in their seasonal arrivals strongly reflect the shades clacking down the catwalk in Paris, London, New York and Milan. The inspiring window display of the Danish store is changed daily. The age of their contributing designers ranges from 27 to over 90 years old — the genius is the thing. As the mission statement of the firm remains ‘to bring something new to the world of design’, they remain open to submissions from anyone (drop them an illustrated submission to [e-mail] — the senior designer is Simon Legald).

In furniture, the Era lounge chairs by Legald, and launched in April 2014 in Milan, take the iconic shell shape firmly out of the office in a choice of legs and fabrics. Era seating (priced from €1,080) nudges the 2015 trend for comfortable luxury and would fit into a period or modern interior with ease. Andreas Lund and Jacob Rudbecks wonderful Bell lamps (from €215) are just as described and channel the tone of the bell in shape and sound as a traditional means of calling people together.

The Ding table created by Ding3000, uses a support inspired by a hand puzzle and a simple round of glass. Priced from €375, the smoked glass and black version is nicely on trend.

For under €50, pick up a Warm Dish by Ole Jensen, a beautifully executed piece of organic design with a pouring lip, ideal in singles or sets as a spring wedding gift. From €40.

As what is termed a ‘legacy’ piece, the Norm 69 and its angular plastic familiars are still on offer from €90, and arrives in 69 pieces to fold and slot up into a spectacular light fitting. You can even detach it and take it for a refreshing shower with you during spring cleaning.