Caia Leifsdotter

CREATIVE TALKS

The Swedish founder's organic designs rooted in Scandinavian nature

Based in Copenhagen, Swedish creative director Caia Leifsdotter draws inspiration from the scenery of her native country: pine forests, rugged coastlines and the countless lakes scattered across the land. A setting where nature is ever-present and its contours inform the organic lines of her creations. It comes as no surprise then, that this adopted Dane freely experiments with raw materials such as wood, steel and glass throughout her practice. An aesthetic rooted in simplicity, inherited from her cabinetmaker father and her aesthete mother. From this deep appreciation of beauty, she developed a strong affinity for craftsmanship and, subtly, her own intuitive approach to creating "without rules". Step into her nature-inspired universe, soon to be unveiled at 3daysofdesign within our installation, 'The Jewellery Box'.

Caia, could you introduce yourself?

The restrictions I experienced in my former workspaces eventually led me to start my own design studio. The project grew out of my passion for cabinetry and furniture, and from an interest in the meeting point between crafted details and high functionality. I have always been curious about working with materials in new ways — exploring new forms, techniques, and expressions while keeping function at the centre. Caia Leifsdotter became a way for me to create more freely, combining careful craftsmanship with thoughtful, practical design. We manufacture our designs in Europe wherever possible, working with countries that possess genuine expertise and a tradition of craftsmanship closely linked to the materials they work with. This includes Denmark and Sweden, which have a long tradition of metal and woodworking, Italy for its marble, and Lithuania and Poland for certain wooden components.

You grew up in Sweden, yet it was in Denmark that you settled and developed your eponymous brand. What is it about the Danish way of life and its acute sense of design that resonates with you most?

The move did not have much to do with my career, or with Danish or Swedish design — both of which I have great respect for. It was more about a way of living, and perhaps a little less of the “you can’t do that” attitude. That sense of openness has been important to me. Denmark gave me space to explore, to try things out, and to build something on my own terms.

Since your father was a furniture maker, what kind of craft education and relationship to objects did he pass on to you?

My father passed on a strong sense of material knowledge and an understanding of the limitations that come with craftsmanship — which also triggered the side of me that thinks, “I’ll try my own way anyway.” I have never been very good with rules. He also gave me a fascination for the journey from idea to sketch to finished product. And of course, my childhood was filled with everything except IKEA furniture, which naturally shaped my relationship to objects and design from an early age. My grandparents’ house, for example, was a four-storey mansion comprising countless rooms filled with antique furniture and precious objects. Le Bohult is inspired by a small wooden box carved by my great-grandfather. Growing up surrounded by pieces like this fostered my love of craftsmanship, attention to detail and timeless design. My mother also had a huge impact on me. She rarely said no to any of my ideas. I was always allowed to repaint, rebuild, and experiment, which gave me a lot of creative freedom as a child.

"Nature is my never-ending source of inspiration and a place where I can recharge. It has shaped both my visual language and my respect for materials, forms, and the strength found in natural environments."

Nature plays a central role in your everyday inspiration, whether in form or in your choice of materials. Which memories, environments or experiences have shaped your visual language?

I grew up surrounded by the Swedish forest, with summers spent by the ocean. That closeness to nature has had a lasting impact on me. Nature is my never-ending source of inspiration and a place where I can recharge. It has shaped both my visual language and my respect for materials, forms, and the strength found in natural environments.As a child, I loved counting the growth rings in a tree trunk after it had been cut down. The Silver Roots table is inspired by these patterns and by the stories embedded in the forest landscape.

Your collection reveals a complete universe across different scales: from tableware and lighting to smaller furniture pieces, as well as kitchen fit outs and bespoke projects. Could you explain the thinking behind this holistic approach to interior design?

A beautiful kitchen with an ugly lamp can ruin everything, right? I am a very visual person, and I love when all the bits and pieces around me feel genuine and beautiful — although that does not mean everything has to be perfect. For me, it makes sense to work with several aspects of the home. The atmosphere comes from the whole, not just one object or one room. Tableware, lighting, furniture, kitchens, and bespoke pieces all contribute to the same feeling, so I see them as connected parts of one larger universe.

Within your collection, which pieces have found their way into your own home?

Many objects begin in my own home. I have the first sample of many pieces around me. At the moment, I have the first Bow kitchen and wardrobes, a Silver Root dining table, and a Psychedelic Mirror. In our summer house, we recently installed the Vento Pendant. It is gorgeous.

A selection of your pieces is now available through Modern Metier. What led you to partner with our platform?

I was drawn to Modern Metier because of its focus on authentic, material-led, sculptural pieces. That resonates strongly with the way I work and with the kind of objects I want to create.

Can you tell us more about your pieces that will be showcased in our exhibition The Jewellery Box for 3daysofdesign? What is your suggested itinerary for this 10th edition of the Danish design festival?

We will be exhibiting our Eden collection — a series of sculptural glassware pieces. As a child, I had many dreams, and one of them was to become a glassblower. Glass has always fascinated me. It is a radiant, almost magical material, and working with it requires an exceptional level of craftsmanship. For this 10th edition of 3daysofdesign, I would recommend beginning in the city centre, where so many impressive locations open their doors for the occasion. But I would also suggest making time to explore the emerging areas around the centre, where both smaller studios and larger brands have the space to unfold in more expansive settings. These neighbourhoods often offer a more unexpected and intimate perspective on the festival, and they are well worth the detour.