Fernweh

There’s a word in German – Fernweh – that describes the almost physical and certainly visceral longing for ‘that other place’. An elsewhere – not necessarily exotic, just remote. Not here. But there. That is the kind of yearning that seizes me when I open the Instagram page of the Swiss furniture manufacturer de Sede. The name is derived from Latin and means “to take a seat”.

With travel plans officially thwarted indefinitely by a pandemic, the rediscovery of de Sede’s designs, which populate some of the most luxurious estates around the world, also evokes an even more poignant longing – for familiarity, security or even home.

Since its origins in 1965, de Sede has been known for its classical designs and traditional Swiss elegance. Recently, however, there’s been a subtle but significant shift happening regarding sustainability. SLEEK sat down with one of de Sede’s designers, Simon Busse, and Joe Griesbach, the brand’s product developer, project manager and designer.

SLEEK: As you know the theme of this issue of SLEEK is desire. So how does your company function and what is its ‘desire’?

JG: These days, I think, we’re spending a lot of time sitting down. Our focus is to create furniture that is sustainable, of good quality and that survives for generations. We often experience customers walking in here, wanting to renovate pieces they inherited from their grandparents. I think that is such a cool thing, that the upholstered seat or chair withstands the test of time. The desire to hold on to something constant is mirrored in this work.

SB: For me, pursuing a desire is to follow your impulse all the way to the end, to start out with a sketch and then to actually have the opportunity to develop it into a finished piece.

I mean, there’s a lot of furniture out there, all kinds, but when you operate from a place of desire, you follow through, you insist that this piece is exactly what needs to be made right now.

SLEEK: And where does your own work come in? How would you describe your desire there?

JG: I originally studied design and worked in a more technical context. Here at de Sede, I get to combine the two. I can see the concept and also apply my technical knowledge to see whether the plan is technically feasible. And I don’t just get a peek at one stage of the production process but instead overlook the whole journey of the object, from conceptualisation to final creation.

SB: In my work with de Sede, I’ve come to appreciate that we have the same understanding of quality. They have the manufacturing know-how, the love of detail and the proximity to the object itself, all of which allows me to go deeper into the process.

SLEEK: What is happening with de Sede and Simon Busse’s new foldable, portable and flexible designs? Is this a new era for de Sede?

JG: I think the word “era” might be a bit strong but it is definitely different, yes. The main material in Simon’s work is felt. And felt was not a typical material for de Sede before. We work with high-quality leather, fine fabrics and solid woods. The marriage of de Sede materials and, let’s say, a deliberately imperfect, unfinished look is new and, I guess, young.

SB: The original briefing I received from de Sede was that customers should experience an “aha moment” when they see an object. Creating a footstool was a great basic choice to start with. After all, the constellation of people is changing. Furniture should change accordingly.

SLEEK: In terms of your office furniture, there seems to be a nod to a younger customer these days. Is this the sign of a new aesthetic, or a ‘younger’ strategy, maybe?

JG: That’s a tough one to answer. I think I see both, which is why I guess I’m a little “in love” with our products. Traditionally our customers are in their prime age-wise, but I think what all people love about de Sede is the sustainability of our products. This is a value that is growing more and more important now. We don’t create trends that will then be disposed of because suddenly that shade of yellow is no longer in fashion. When you buy something here, you buy it for a lifetime. I think this conscious nod to sustainability will appeal to younger crowds, like what we created in tandem with Simon.

SB: I have this image where the paperless office, as we now know it, is translatable to furniture. Instead of carrying around piles of paper, you’re now moving your furniture from one office to another. There’s also the idea of the “envelope” concept that we thought about at de Sede, where the whole office should “fit” into an envelope. This is a logistical consideration as well, of course.

SLEEK: What do you yourself dream of in terms of design and the creative process, Mr. Griesbach?

JG: Well, we don’t really work by designating specific designs to individuals per se, but instead share a work culture where one person has an idea, brings it to the table and then everyone looks to see if it is doable. And yes, sometimes, it does happen that I also share my own designs but I like the way we work here and the fact that we have a recognisable look.

SLEEK: Simon, what’s left? What moves you in these strange times?

SB: What’s been really great is the access to people you don’t normally get a hold of. I just had a meeting with someone I’ve been trying to speak to for a while and suddenly he had a whole week available to meet. Also, what’s been good for the business in general is that homebound people now want to improve their living spaces, since after all, they won’t be likely to splurge on a trip these days [laughs]!

This conversation has been nuanced, and at times playful, yet sobering. I feel hesitant and pensive one moment, inspired and curious in the next. But Fernweh remains.