Paris exhibition 1925

Something remarkable happened in the 1920s. Sweden was invited to participate in the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris—an invitation that would come to define the country’s identity as a design nation for the rest of the 20th century. The exhibition marked the culmination of the Art Deco movement, and Sweden’s contribution not only impressed but helped establish the foundation of what we now call Swedish Grace.

At a world exhibition, each country naturally wants to present its very best—cutting-edge technology, refined craftsmanship, and outstanding art. In the Swedish pavilion, designed by Carl Bergsten, this aspiration was beautifully realised. 

On display were works that married traditional industry with artistic vision: delicate glass from Orrefors, elegant cast iron pieces from Näfvekvarn, as an example this extraordinary garden bench by Åke Bensow in the spirit of what they by then called 1920s classicism. This style, rooted in ancient Roman architecture and ideals, would come to dominate the era known as Swedish Grace—a moment when elegance, clarity, and proportion took centre stage.

Sweden’s presence in Paris did not go unnoticed. The country was awarded an impressive 36 gold medals, a striking achievement especially considering that the exhibition was intended by France to showcase its own excellence as a design nation. 

Among the highlights that captured international attention was the engraved glass from Orrefors—remarkable for its lightness and refinement, and unlike anything previously seen. This poetic interpretation of Art Deco, led by pioneering designers Simon Gate and Edward Hald, stood in stark contrast to more opulent expressions of the style elsewhere in Europe.

Swedish Grace is steeped in classical ideals: athletic forms, clean lines, and a restrained beauty that speaks volumes. The name itself was coined by a British critic, Morton Shand, who—writing in The Architectural Review—expressed his disappointment in the British pavilion, which he found uninspired and outdated. He urged readers to instead look to Sweden, and praised the “fantastic Swedish Grace” of the glass and overall presentation. That phrase took hold and was later adopted in Sweden as a hallmark of its national design identity—Swedish Grace became more than a style; it became a symbol.

Modernity is proud to have, over the years, held an extensive collection of significant works from the Swedish Grace era. The gallery has supplied both private collectors and major institutions with exceptional pieces—among them, the Höviksgruppen, shown in the opening image of this article, which was acquired by the National Museum of Sweden. These works continue to speak to the elegance and refinement that defined a formative chapter in Swedish design history.