REMARKABLE ARTISANS — TVERMOES ARTISAN
A conversation with Stephanie Tvermoes, founder of Tvermoes Artisan, about breathing new life into vintage furniture.
Step into the world of Tvermoes Artisan and the woman behind it, Stephanie Tvermoes. Based in the Danish countryside, she works with furniture selected for its form and history. Stephanie shares her reflections on vintage finds, fabric, and the craft that defines her practice.Stephanie has a rare eye for finding vintage furniture with rare proportions and unique constructions. Pieces that others might overlook are carefully taken apart, cared for, and re-upholstered — not to erase their past, but to extend it. The process is deliberate and slow, led by personal taste, experience and an instinct for beauty.
Puff in the making with our Silky Linen, Gold
HB: You have a strong eye for vintage furniture — what do you look for when sourcing pieces?
ST: I am drawn to furniture that carries a story within it. I place greater trust in older pieces than modern ones. I once came across a quote that has stayed with me: “Antique furniture holds the confidence that it will outlive not only its maker, but generations to come.” They were built to last and rafted with care, patience, and intention. So much of what is produced today feels fragile, as though it could dissolve the moment you look at it the wrong way.
HB: You work with both restored and newly made pieces. How do these two approaches influence each other?
ST: My inspiration always comes from antique furniture and classical forms. There is a strong sense of timelessness that I try to capture in newly made pieces.
It is not that everything was better in the past, but there was a deeper attention and respect in how furniture was made. I have always been a collector, and I draw constantly from my archive of pieces.
HB: What does working with existing furniture give you that starting from scratch does not?
ST: It tells the story of a life already lived. Each time I restore a piece that was handcrafted a century ago — and prepare it to endure for another — I feel I am preserving a fragment of history.
I grew up watching my father restore floors with his hands. He ran a small restoration company called Artisan, and it is from there the name comes. It represents the dedication, patience, and mastery that define true craftsmanship.
Working with my hands has always been my purpose — the rhythm, the repetition, and the small imperfections that prove presence.
Stacked vintage chairs awaiting Stephanie’s care, one already reupholstered in our Stitch Linen in Graphite
Stephanie working on a Ottoman ind Hugo Strié, Rust
HB: When choosing a textile, what matters most to you — and what usually comes first, the furniture or the material?
ST: When I work with existing furniture, the piece itself always leads the way — its proportions, history, and character guide every decision. But when creating something like an ottoman, it is often the fabric that defines the direction, shaping the details and ultimately the design. I love sourcing unique fabrics from markets and old shops, and at times, I also allow my own inventory to guide. In upholstery, the purpose of the textile must come first. I might fall in love with a particular fabric, but if it does not serve the function, the design must be reconsidered. I am not inclined to let practicality dominate the creative process; however, my work is meant to last for decades. For that reason, I honor the purpose of each piece — whether it is intended as a decorative presence or as an object to be lived with and used every day.
HB: How do you balance intuition with technical precision in your process?
ST: I am deeply thoughtful in my approach and grounded in classical methods, yet I am not afraid to challenge them. At times, tradition can feel confining — as though there is only one “correct” way to achieve a result. But occasionally, bending the rules can lead to the very same outcome, approached with fresh perspective.There is great pride in time-honored techniques, and rightly so. Still, I am open to doing things differently — not as a shortcut, but as a conscious choice.
HB: Your process is so careful and considered. How does that way of working affect the final piece?
ST: Each time I begin working on a piece of furniture, I start by carefully removing the fabric, then restoring and polishing the wood to reveal its true character. Afterward, I let it rest. I step back and allow the piece to settle, to feel renewed, before deciding how its next chapter should unfold.In this process, I consciously release its previous expression, ensuring I am not confined by its former life or style. Working with antique furniture is not only about preservation — it is also about transformation. It is about reimagining the piece so it can live harmoniously in a contemporary home, often very different from the world for which it was first created.
