Utmärkt Svensk Form 2026 Winners | ScandinavianDesign.com

Svensk Form has named the thirteen recipients of Utmärkt Svensk Form 2026, the organization’s annual award recognizing achievement across Swedish design and craft. The winners span fashion, lighting, furniture, public interiors, video games, book design, and transport, reflecting the range Svensk Form says currently defines the field.

The prizes were presented this evening at Sara Kulturhus in Skellefteå, with H.R.H. Prince Carl Philip, patron of Svensk Form, handing out the awards. Around 140 guests joined the winners and the Prince for dinner following the ceremony. Utmärkt Svensk Form 2026 is a joint production between Svensk Form and Tarkett, held in cooperation with Ekenhuset, Sara Kulturhus, Visit Skellefteå, and Arctic Design Center, with support from Skellefteå Municipality. The accompanying exhibition was designed by architects Julia Bianco Sommer and Anna Erixon, both Tarkett scholarship recipients through Ung Svensk Form, using materials supplied by Tarkett.

The 2026 recipients

The full list of winners, by project and category, each linking to Svensk Form’s own citation:

Acne Studios F/W 2026 — fashion collection, Acne Studios
Buké — lamp collection, Simon Skinner
Candela P-12 — hydrofoil ferry, Candela Technology
Catena System — lighting system, Form Us With Love / Blond
Foajén till Moderna Museet — public interior, JOYN Studio / Moderna Museet
Fruktskål — table, Carl Martinson
Petra Fagerström FW26 — fashion collection, Petra Fagerström
ReAnimal — video game, Tarsier Studios
SIGMA — visual identity, Stockholm Design Lab / Sigma Corporation
Snickeriet — office, Elding Oscarson / Advokatfirman Lindahl and Fastighetsägare Varvsstaden AB
Svensk Bokkonst 2024 — publication, Lundgren+Lindqvist / Svensk Bokkonst
The Perforated Furniture — furniture series, Folkform / Källemo
To-Go Flaskan för Carbonator 3 — bottle, Carl Ljungh & Jonas Groth / Aarke

A ferry among the furniture

The most technically unusual winner is Candela P-12, built by Candela Technology and described as the world’s first electric hydrofoil ferry, developed for public transport at sea. Lifting the hull above the water sharply reduces drag, giving higher speed and longer range at significantly lower energy use, noise, and emissions. The jury cited the project for uniting “Swedish design and engineering” in a transport system where “efficiency, accessibility, and environmental sustainability work together,” recognizing how it opens “new forms of climate-friendly mobility at sea.” Its inclusion alongside lamps, book design, and a video game underlines how broadly Svensk Form is reading “form” this year — as a discipline that extends into engineering and infrastructure, not only objects and interiors.

Furniture and product design among the winners

Several of this year’s recipients work in furniture and product design specifically. Fruktskål, a table by Carl Martinson, represents the category most familiar to ScandinavianDesign.com’s readers.

The Perforated Furniture, developed by Folkform for manufacturer Källemo, is a furniture series in perforated masonite that builds on Folkform’s long-standing engagement with the material, drawing on masonite’s use in Swedish workshops, storage systems, and public settings. The jury credited the series for reinterpreting “an everyday industrial material” into “contemporary furniture architecture” with precision and cultural awareness, awarding it for work “consistently and culturally anchored” in form, material, and manufacturing.

Buké, a lamp collection by Simon Skinner, extends the list into lighting design. The sculptural lamps are made from reused glass objects sourced from second-hand shops and flea markets, combined with new technical components and sandblasted surfaces, and produced in limited editions. The jury praised how “reused glass objects are transformed into sculptural lamps with strong identity and presence,” citing the collection’s “poetic design language” and its “innovative way of giving existing glass objects a new, contemporary expression.”

Catena System, a modular LED lighting system developed by Form Us With Love for Blond, combines a small number of components into solutions ranging from task lighting to larger spatial installations, suspended, wall-mounted, or floor-placed; the jury cited its “modular and flexible systems approach” for opening “new possibilities to shape light, space and use.”

Fashion and craft

Two fashion collections were recognized this year. Acne Studios’ F/W 2026 collection, shown at Collège des Bernardins in Paris across 45 looks, marked the brand’s 30th anniversary; the jury cited its combination of “artistic experimentation and commercial relevance with a strong and independent identity.” Petra Fagerström’s FW26 collection, shown in London and Paris, was recognized for a “visionary” approach uniting craftsmanship, technology, and material experimentation, described by the jury as putting “material and narrative expression” at its center.

The To-Go Flaskan för Carbonator 3, a vacuum-insulated bottle by Carl Ljungh and Jonas Groth for Aarke, extending the Carbonator 3 carbonation system to portable use, was cited by the jury for combining “function, sustainability and formal quality with unusual precision.”

Architecture and public interiors

Two spatial projects were recognized. Snickeriet, the conversion of Varvsstaden’s oldest preserved industrial building in Malmö into offices for law firm Advokatfirman Lindahl, was designed by Elding Oscarson for property owner Fastighetsägare Varvsstaden AB. The architects kept the building’s history, materiality, and construction visible through reuse and carefully weighted additions; the jury praised the “innovation in restoring an environment not traditionally considered worthy of preservation,” noting how the building’s historically utilitarian, seemingly unrefined character had been preserved and foregrounded, transforming the industrial setting into a contemporary workplace through measured intervention and long-term design thinking.

JOYN Studio designed the entrance, foyer, and café at Moderna Museet in Stockholm, working from Rafael Moneo’s original architecture and adding purpose-built furnishings, improved acoustics, new lighting, and site-specific details. The jury cited the project’s “careful and artistically anchored design,” in which natural stone, custom furnishings, and crafted details combine into a whole that “invites visitors to stay and meet,” recognizing it for “understated yet powerful” work in public interior and spatial identity.

Visual identity, publishing, and games

Stockholm Design Lab developed the visual identity for Sigma Corporation, covering logotype, typography, imagery, packaging design, digital interfaces, and communication, built from Sigma’s history of optical precision and technical innovation into a cohesive visual system. The jury described the result as “restrained and expressive, technical and poetic,” recognizing the work for uniting “brand, design, and product culture” into a strong, internationally relevant whole.

Svensk Bokkonst 2024, designed by Lundgren+Lindqvist for Svensk Bokkonst, is the catalogue for that organization’s annual selection of the 25 most beautiful Swedish books. Surplus printed sheets from the selected books are integrated into the catalogue itself, becoming part of its content and materiality — a physical imprint of the works it presents. The jury called it “as simple as it is brilliant,” noting that the catalogue “carries physical traces of the books it highlights,” and cited it for letting “form, content, and production work together in an unusually convincing whole.”

ReAnimal, a narrative horror game developed by Tarsier Studios, follows two children through a dark and shifting world where the story emerges through environments, exploration, and interaction rather than traditional narration. The jury recognized the game for its “consistent and deeply worked” environmental storytelling, atmosphere, and interactive design, praising how it lets the player “explore, interpret, and create meaning” independently.

About Svensk Form

Svensk Form is Sweden’s design association, and Utmärkt Svensk Form is its longest-running and most prestigious award, recognizing design and craft achievement across disciplines each year.

jury 2026

Jury of the year 2026

The winners are selected by an expert jury with broad expertise in design and form.

Annika Berner, Creative Director
Annika Berner is a creative director based in Stockholm and Copenhagen. She works as a curator and producer within design, fashion, and visual communication, and has a background as head of education and programs at Beckmans College of Design. She has previously run a design and communication agency and has been recognized at, among others, the New York TV & Film Festival. Annika has also produced exhibitions at international venues such as the Design Museum in London, the Musée des Arts Décoratifs at the Louvre in Paris, and UCCA in Beijing.

Anya Sebton, Designer, Sebton/Co
Anya Sebton is a Swedish designer known for her innovative and functional furniture. Educated at Beckmans College of Design, she has created a distinctive design style that unites aesthetics, ergonomics, and flexibility. Her work is characterized by a deep understanding of material, form, and function, which has led to several successful collaborations with well-established design companies such as Lammhults, Abstracta, Asplund, and Verk. Sebton’s products are often characterized by modularity and adaptability.

Ivana Kildsgaard, Architect and Head of Sustainability, Tengbom
Ivana Kildsgaard is an architect and sustainability expert with extensive experience developing strategies for a circular and climate-neutral construction and interiors industry. She is a driving force within the industry and has a broad commitment to sustainable development. In addition to her role as Head of Sustainability at Tengbom, she is also active in 100Gruppen, where she works to promote sustainable material choices and circular solutions in interiors and architecture.

Jonas Bergfeldt, Creative Director, No Picnic
Jonas Bergfeldt is an industrial designer and creative director working at the intersection of strategy, form, and user experience. He has collaborated with both global brands and innovative startups, and is driven by creating relevant and meaningful solutions together with teams. Jonas is also the initiator of SEART, which works to elevate and support young artists, craftspeople, and designers.

Katja Pettersson, Designer and Artist
Katja Persson received her MFA from Konstfack in 2004, where she has also worked as a senior lecturer. She is a trained designer and works as an artist. Persson was among the founders of the design group Front. In her work, she explores the relationship between people and nature through material and form. She is an elected member of the Royal Academy of Fine Arts.

Martin Pålsson, Interior Architect SIR/MSA, White Arkitekter
Martin Pålsson is an interior architect SIR/MSA, educated at Konstfack with a background as a carpenter and furniture designer. He has led complex projects within the public sector, worked with reuse and sustainable holistic solutions, and served as chair of the Swedish Association of Architects’ jury for Guldstolen.

Peter Herrmann, Graphic Designer, Purple
Peter Herrmann is an award-winning graphic designer and co-founder of the design agencies Purple, Open Studio, and Garbergs Project. He specializes in packaging design and visual identities and has collaborated with brands such as Moderna Museet, Fjällräven, H&M, and Coca-Cola. He holds an active role in the design world and is a recurring jury member for competitions such as Guldägget, D&AD, Eurobest, and Young Lions.

Victor Leijonhufvud, Game Designer
Victor Leijonhufvud is a creative director in the games industry with a background in journalism and media. He works at the intersection of storytelling, interactive design, and game development, and has written scripts for several narrative-driven game projects. He also runs his own indie studio and is co-creator of the games podcast Virtuellt, where he has spent many years covering and discussing the games medium from a design and cultural perspective.