The Danish design brand GUBI is reviving the lamps of Finnish designer Paavo Tynell and boldly introducing them to a global audience. GUBI’s Chief Brand Officer, Marie Kristine Schmidt, shares her insights into this shared journey.
JACOB GUBI OLSEN, a Danish admirer of Finnish designer Paavo Tynell’s (1890–1973) iconic creations, has spent years curating a collection of vintage lamps designed by Tynell. Jacon Gubi Olsen also happens to be at the helm of GUBI, a company established in 1967 by his parents, Bjarke and Lisbeth Olsen.
GUBI is dedicated to producing contemporary furniture designs while reviving vintage classics deserving of a new life in production. Based in Nordhavn of Copenhagen, in a historic industrial area, GUBI’s headquarters and showroom pay homage to its creative legacy. Chief Brand Officer Marie Kristine Schmidt offers insights into the collaboration between GUBI and Tynell.
• Read also: Paavo Tynell’s coveted lamp classics come to life in GUBI’s new collection >
Hello Marie Kristine! How did GUBI come to start reviving Paavo Tynell’s iconic lamps?
“The original Tynell lamps are now out of reach for most consumers due to their high price. Jacob wanted to ensure the story of these lamps continued. We reached out to Paavo Tynell's estate, and the first lamp created in collaboration – the 1965 pendant light – was launched in 2018 in Milan at Palazzo Serbelloni.
Currently, there are nine lamps in production from Paavo Tynell’s vast portfolio of several hundred models. A generational shift is inevitable in the Tynell family, and we are committed to ensuring their family legacy lives on.”
“If you place an original Tynell lamp and the GUBI version side by side, the only difference is the patina.”
What challenges did you face while launching the re-production process?
“The product development phase took quite a long time. The creation of the lamps was time-consuming due to the level of craftsmanship they required. We conducted a thorough examination of the original models and began a comprehensive trial process involving manufacturing tools and materials.
By studying each detail of the pieces in Tynell’s archives, we were able to uncover solutions and master the metalworking and craftsmanship techniques essential for bringing the original designs back to life. A challenge we faced was also finding artisans with the necessary expertise to execute Tynell’s designs the way they were originally made at Taito. But if you place an original Tynell lamp and the GUBI version side by side, the only difference is the patina.”
• Read also: Paavo Tynell created artistic light >
How can you be sure that the vintage pieces you find haven’t been altered over time?
“Sometimes, it’s impossible to acquire old lamps for more detailed research, but we are constantly on the lookout for them nonetheless. Pieces occasionally appear for sale from various sources, as Tynell's lamps were sold worldwide thanks to his breakthrough in the American market during the 1950s.
These vintage pieces often have parts that have been replaced, and we are very meticulous about ensuring we bring to market products that are as close to the original as possible. We don’t proceed with re-developing a found lamp unless we can find evidence from Tynell’s extensive archives proving the existence of the original, unaltered product.”
“We are very meticulous about ensuring we bring to market products that are as close to the original as possible.”
You’ve used bamboo for the shade of the 9602 floor lamp, a material that wasn’t part of Tynell’s original selection, why is that?
“That’s true! In GUBI’s most recent collection, you can see shades made from bamboo – instead of the aspen slats or even rye stalks that Tynell originally used. This is because bamboo is more sustainable and quickly renewable. Additionally, the Tynell 9602 Special Edition lamp features a shade crafted from the 'Le jardin du palais' cotton fabric by Parisian Maison Pierre Frey. Originally, Tynell designed this lamp for the Aulanko Hotel in 1935.”
Where in the world has interest in the re-production of Paavo Tynell’s lamps been the most significant?
“We’ve seen strong interest in North America, particularly in cities like New York, Austin, Los Angeles, and Miami. There’s also been great interest in Finland, which has been a pleasant surprise.”
How does Tynell’s work align with the rest of GUBI’s collection?
“As with all of our products, we place the story at the forefront when it comes to Paavo Tynell’s lamps, but we make sure that the story is framed with a focus on the future. We’re not about dwelling in nostalgia, even though we draw from it. It has also been very important for us to highlight the public spaces Tynell originally designed these lamps for, as it helps our audience better understand his work. People don’t just want to be told a story – they want to become part of it. And for them to connect with your story, you have to connect with theirs. It’s all about dialogue, and that’s the conversation we want to have with our consumers.”
“It has also been very important for us to highlight the public spaces Tynell originally designed these lamps for, as it helps our audience better understand his work.
What connects the people in the GUBI community?
“GUBI’s customers are deeply passionate about design. Just like design, their homes are always evolving. I would say that their homes are only 60% finished, and the remaining 40% is waiting for new ideas and products. These people can be found all around the world, from Shanghai to New York.
We’ve managed to create a brand that resonates with both us and our customers, where we all feel comfortable and inspired. On Instagram, we have 800,000 design-conscious followers whose images we love to share on social media. This interaction further strengthens the sense of community. Ultimately, it’s all about how you curate your collection. Stay true to your style and the things that inspire you.”
• Read also: Paavo Tynell’s lamps can be found in surprising places >
You are also on the board of the fashion brand By Malene Birger. What similarities do you see between fashion and design?
“Trends play a significant role in how we dress, live, and decorate, which makes the topic incredibly interesting. We draw inspiration from the fashion world and its cycles. Design brands have much to learn from how the fashion industry works and how to keep their followers engaged. While we’re not a company that updates its furniture collection every six months, we can still refresh and tell current stories about our products regularly. We mustn’t fall behind – we need to stay in tune with the times, follow global events and trends, and respond to them.
Certain products rise to massive popularity in an instant and fade just as quickly. Since trends cycle, the same product may return to prominence later. This is how the cycle of trends forms a full circle. On the other hand, some products form the backbone of a collection. Their popularity gradually increases, and they remain among the most popular for a long time without the hype. Both are important for a company’s success.”
“We mustn’t fall behind – we need to stay in tune with the times, follow global events and trends, and respond to them.”
Can you give a good example?
“A great example of a product that suddenly gained massive popularity is the Pacha chair, designed by the French designer Pierre Paulin in the 1970s. Its soft and ample shape resembles a cloud. The demand for this product skyrocketed in the aftermath of the pandemic, as consumers craved flexibility and lightness in their daily lives.”
What design approaches or designers truly catch your attention?
“GUBI’s products vary greatly, and each one tells its own compelling story. We collaborate with designers by clearly communicating our needs without micromanaging the design process. For example, we’ve had a long-standing partnership with the design duo GamFratesi. Together, we’ve grown and evolved. They’ve embraced our philosophy and have created key pieces for us – such as the Epic stone table, the Violin chair, and the Beetle chair, our best-seller. The Beetle chair belongs to a category that’s not often associated with hype, but its sales are consistently rising.
Another way we grow our collection is by exploring our old archives, researching, and reintroducing selected furniture and lighting pieces. Paavo Tynell’s collection is by far the largest in terms of product numbers, followed by the collections of Greta M. Grossman and Mathieu Matégot.”
“One Finnish success story helps others to thrive. So, join forces!”
Can you think of any other Finnish brands, besides Paavo Tynell, that could achieve global success alongside GUBI?
“We are always keeping our eyes and ears open. Since I’ve worked with GUBI since 2020, only one Finnish design company has reached out to us with a collaboration proposal. To succeed in the design world, you need to be hungry, bold, and fearless. Nobody will come looking for you in your studio. It’s better to work together than alone. One Finnish success story helps others to thrive. So, join forces!”
See also:
• Paavo Tynell's lighting at Finnish Design Shop >
• Shop GUBI at Finnish Design Shop >
Text: Mila Pentti Edit: Mira Ahola Images: GUBI
The article was originally published in Avotakka.