F Chair, Now in Burgundy

Some colors arrive as a statement, whereas burgundy arrives as a decision.

When Brdr. Krüger began working with designer Rasmus Bækkel and his studio Khrōmatek on a new finish for the F Chair; the question was never simply which color, but what the color should do.

How it should feel in a room. How it should age. What it asks of the people sitting in it.

The result is a deep, lacquered burgundy on solid oak. A shade that sits somewhere between wine and earth, neither too warm nor too cool.

Brdr kruger FChair Armrest OakBurgundyLacquered PaperCord Credits SifBangMikkelsen 5 Brdr kruger F Chair Armrest OakBurgundy SifBangMikkelsen 2

The Story behind the Color

Burgundy carries depth in a way that black does not. Where black absorbs, burgundy holds. It has history in it, centuries of dye and pigment, mineral and plant, and yet it reads as almost contemporary against the pale geometry of a Nordic interior.

On the F Chair, the lacquered burgundy oak contrasts deliberately with the natural paper-cord seat. The warmth of the woven cord lifts the darkness of the frame; the frame gives the cord something to lean against. Neither material tries to dominate. Over time, as the cord develops a honey patina with use, the two will only grow closer together.

The shade was developed in close collaboration with Margrethe Odgaard, colorist and co-founder of Khrōmatek. Odgaard approaches color as a sensory experience. Something that affects how we feel in a space, not just how a space looks. Her work is rooted in the idea that color perception is holistic: shaped by light, material, and the body in the room. The burgundy on the F Chair is a direct expression of that thinking.

bækkel odgaard

Designed by Rasmus Bækkel

Rasmus Bækkel is a Copenhagen-based designer whose work moves between furniture, space, and material. Together with textile and color designer Margrethe Odgaard, he recently co-founded Khrōmatek, a studio whose practice centers on the intersection of color and form. The name itself points to a certain rigor: not color as decoration, but color as structure.

Bækkel and Odgaard have collaborated before on projects that treat pigment and material as co-equal forces. This includes exhibition design centered on hematite, the reddish-brown mineral that has marked human surfaces since the earliest cave paintings. That instinct to ground color in something old, something physical, runs through their work with Brdr. Krüger as well.

Brdr kruger Fchair