Godt Lavet at 3daysofdesign 2025 inquires what's a well-made design

What makes, or is, 'good design' in the present climate? Last year, design studio Pearson Lloyd posed the question at the London Design Festival 2024, through the exhibition Well Made: What it means today. The studio, based in London, United Kingdom, collaborated with 40 designers and creative practices to present a series of objects that communicated their perspectives on the subject. For its second edition, the design exhibition travels to Copenhagen, Denmark, for 3daysofdesign 2025, manifesting as Godt Lavet, which is Danish for 'well made'.

Curated by the British design studio's co-founders Luke Pearson and Tom Lloyd, Godt Lavet takes place on June 18 and 20, 2025, at the Design Museum Denmark during the annual design event. Established in 1890 to propagate 'good design', the museum stays true to its original purpose and contributes to shaping the Danish design landscape. "[Godt Lavet] is so aligned with our purpose and presents a wonderful opportunity to engage with the contemporary design community," says Anne-Louise Sommer, the design museum's director, in the press release.

Under the theme Keep it Real, the design festival prioritises self-expression, informed by individual experiences, encouraging a more conscious approach to design. It is a call to action to stay true to your creative self and personal vision, conveyed through a series of talks, exhibitions, installations, tours and experiences, including the Godt Lavet design exhibition.

To further the inquiry and spark discourse on well-designed objects, the British designers add cultural perspectives in the mix. Exploring Europe's design landscape, this edition also features contributions from the students of the Royal Danish Academy, steering the conversation towards the future of design. From everyday objects to experimental product designs, the exhibits are accompanied by an insightful text from their contributors that explains the significance of the chosen things in a broader context of the design discipline.

STIR takes a look at some of the distinguished presentations from the showcase:

While Lloyd chooses a second-hand brick, underlining its modular and reusable properties as a stellar example of circular design, Pearson presents safety matches as 'an alchemy of science, industrialisation, and design'. Sommer brings Life Straw, designed and manufactured in 2005 by Danish brand Vestergaard, a plastic tube that acts as a water filter, allowing the user to drink from a polluted water source directly.

Among other contributors is STIR's curatorial director, Samta Nadeem, who chooses the ancient tool, pestle and mortar, discussing its relevance in the modern world. "Originating in the Stone Age, the pestle and mortar remain vital today. Spanning millennia, continents and uses, from pharmaceuticals and cosmetics to kitchens, it pounds, grinds and mixes with a simple shift in motion. Reinvented often, yet never surpassed, its tactile utility and timeless design endure into the 21st century," states Nadeem's exhibit note.

The contributors present several designs that set new standards for utilitarian objects in their respective times, spotlighting tools related to the disciplines of textile design and architecture. Dutch designer Sabine Marcelis and SCP founder Sheridan Coakley present a can opener—which traces the periphery of the lid to open a can with ease—and renowned brand Stanley's 1937-designed retractable knife, respectively. Shaping objects, textiles and installations, Danish designer Sia Hurtigkarl Degel presents a piccolo print, designed by Finnish textile designer Vuokko Eskolin-Nurmesniemi. Also on view at Godt Lavet is a natural thistle weaving tool from Colombia, by German product and furniture designer Sebastian Herkner, representing regional artisanal traditions.

Collectively, the exhibits embody the socio-economic, cultural and environmental constructs of their respective eras, discussing their functional, aesthetic and technological relevancy in the modern age. The 'well-made' objects, many of them being from conventionally unfamiliar contexts, reflect the perceptions of creative professionals and students towards the dialogue between traditional and contemporary design. Godt Lavet examines layers of design evolution by exploring materiality and production systems, centring sustainability and ecological responsibility.