Arne Jacobsen is one of those rare designers whose work feels both utterly contemporary and unmistakably mid-century. His chairs, lamps, and architectural flourishes look as if they could have been released yesterday — yet they were conceived by a softly spoken Danish architect who disliked fuss, dodged the spotlight, and preferred to let his forms do the talking.
If the world of design had a quiet overachiever, it was Jacobsen.
A Man Who Designed Entire Worlds
Jacobsen didn’t see himself as merely creating objects. He believed that true design required a holistic approach — architecture, furniture, lighting, cutlery, textiles, everything. When he designed a building, he also designed the chairs, the doorknobs, the light fixtures, and even the teaspoons people would use inside it.
This “total design” philosophy produced some of the most coherent interiors of the 20th century. It also explains why his furniture feels so balanced: every curve, every angle, every proportion is considered, intentional, and quietly brilliant.
The Icons: Pieces That Defined a Century
The Egg Chair (1958)
Probably the most recognisable of Jacobsen’s creations, the Egg Chair was originally designed for the SAS Royal Hotel in Copenhagen. Jacobsen wanted to create a sense of privacy in large, open hotel lobbies — something that wrapped around the sitter like a sculptural shell.
It worked. The Egg remains a masterpiece of organic form, still produced today, still commanding eye-watering retail prices, and still a magnet for collectors on the second-hand market.
The Swan Chair
Also designed for the SAS Royal Hotel, the Swan is lighter, more fluid, and wonderfully elegant. No straight lines, no harsh edges — just smooth, sculptural curves. The sort of chair that makes even an accountant feel effortlessly chic.
The Series 7 Chair
If the Egg is dramatic, the Series 7 is Jacobsen’s quiet revolution. Lightweight, stackable, adaptable, and produced in astonishing numbers, it’s the best-selling chair in design history. It’s a favourite in homes, cafés, offices — anywhere people appreciate good design without the pretence.
This is also one of the strongest pieces on the second-hand market: it ages beautifully and remains in perpetual demand.
Why Jacobsen Endures
Jacobsen’s genius lay in stripping away everything unnecessary while preserving warmth, comfort, and a touch of playfulness. His work never feels cold or clinical; it feels human. The curved plywood of the Series 7, the cocoon-like embrace of the Egg, the gentle swoop of the Swan — these are designs that understand how people live and move.
And because they were so beautifully engineered, they last. That’s why second-hand Jacobsen pieces have such a strong appeal: they’re built to survive decades of daily use, and they often gain character with age.
Why Jacobsen Belongs at HFOC
Jacobsen’s designs are precisely the kind of pieces that thrive in the pre-loved market. They’re iconic, they hold their value, and they attract a buyer who knows exactly what they’re looking at. They also fit beautifully into contemporary Australian homes — light, sculptural, versatile, and timeless.
When a Jacobsen piece appears on the HFOC website, it’s more than furniture; it’s an authentic piece of design heritage. A small slice of Danish modernism that still feels startlingly contemporary.
And unlike showroom-fresh models, pre-owned Jacobsen chairs and tables often come with a bit of history — the patina of real life, the softening of materials, the depth that only time can give. They’re design classics with stories to tell.