Patrik Fredrikson and Ian Stallard began their collaboration in 1995 and have since become internationally recognized as leading exponents of British avant-garde design. They are well known for their ability to translate their creativity into simple yet emotionally engaging furniture and product design. Their cutting edge, conceptually rigorous work has been regularly discussed and praised in the design press and is sought after by both collectors and furniture producers.

Their work has been acquired by the French National Art Collection and twice by the Victoria and Albert Museum, and shown at the Design Museum in London, MOMA and the Museum of Art and Design in New York. Their clients include some of the leading names in contemporary design, including Swarovski, David Gill Galleries, Brioni, Jaguar, Chanel, Gieves & Hawkes, Veuve Clicquot, Wallpaper*, Comme des Garçons, Driade, The British Independent Film Awards, Dunhill, The London Design Festival, Bernhardt Design, Contrast Gallery, Tools Gallery, Mitterand & Cramer, The Savoy Hotel, Soho & Tribeca Grand, Tarkett and Iittala.

Fredrikson Stallard has exhibited widely including in London, Milan, Paris, Madrid, New York, San Francisco, Shanghai, Beijing, Basel and Miami. Their work is given extensive coverage by press and print, featuring in books and publications such as; The International design Yearbook, The Furniture Machine by Gareth Williams, Collection Design in a Contemporary Market, 21st Century design by Marcus Fairs, The New York Times, Art & Auction, The London Times, Architectural Digest, Vogue, Wallpaper*, Art Review, Blueprint, ID and many others. Fredrikson Stallard has been the recipient of some of the most prestigious design awards, including the Red Dot Design Award and The Arts Foundation Furniture Design Fellowship, a competition held only every 10 years. The work of Fredrikson Stallard was also voted in the top ten designs of the last decade by The Financial Times, and in the top 3 most collectible designs by HSBC Private Bank. 

They joined David Gill Gallery in 2006 and shortly afterwards their first pieces, the shocking pink Bergere armchairs made in rubber and highly polished steel, were exhibited at the Design Museum. David Gill had been watching them for a while, attracted by their fusion of artistic creativity and technical perfection. His subsequent support has enabled them to pursue some complex projects that have stretched the possibilities of both materials and ideas. “They work against the odds and with great optimism,” says Gill. “But the ultimate reward for this process, this refusal to give up, is work that offers extraordinary resolution.”


selected Works