We were at a cottage of pure Gustavian style, romantic to a fault, a construction of clear lines and rough, strong materials, contrasted with soft and bright colours. On one side, there were shining tin coloured surfaces of the Straits of Øresund, where silver grey clouds merge into the waves. On the other, dense vegetation, just like dark green velvet covered an enormous garden. Sandwiched between the two, was a wooden cabin. It is a child’s room, rather a teenager’s... an adolescent, who loves to paint and writes poetry, who hasn’t yet given up her stuffed animals. Charlotte Lynggaard’s family home, to which she invited us, was without a doubt spectacular. Rebellion is not a characteristic of the Lynggaard family, who, for the last 50 years, has ruled over the world of Scandinavian jewellery, apart from being the official jewellers of the court of Denmark. Charlotte is Ole Lynggaard’s daughter, who founded his jewellery company in 1963.


In this house there is a certain joy, expressed through a myriad of little things, the attention that has been paid to detail. Charlotte’s husband, Michel, who is the commercial director of the jewellery house, has been over the stove since seven in the morning to ensure the creaminess of the lamb. Her brother, Soren, who manages the family enterprise, is there to exchange pleasantries.

The patriarch attentively supervises the quality of the refreshments. The youngest of the family is off to fetch an ashtray, and even the dog seems to be looking at us with immense gentility. It isn’t surprising then that the house is done in the image of its owners: vibrant and welcoming.

The light of the north streams in through a large, glazed glass bay window onto the cedar floors of the living room. The bedroom on the first floor is painted with an immaculate white colour. Thanks to an attached balcony, sleeping in such a room one can’t help but wake upon the right side of the bed every morning. The kitchen, clearly the centrepiece of the house, was designed by an architectural firm, Simonsen and Czechura. Our favourite bit was the massive counter, where all the chopping and cooking is done.

Come to think of it, every object in this dwelling — whether it’s the books that have been casually placed on the parquet floors near the living room fireplace, the flowers plucked from outside the house, the Living Divani sofa with cushions in vintage fabric covers or the lithography of Picasso or Braque over a chest of drawers — seems to come together to express its utilitarian character.


Amid the jubilant clanging of cutlery, earnest conversations and laughter, Charlotte tells us of how it all began, the influence of Japan, affection for coloured stones — the moonstone, rose quartz, aquamarine, coral, tourmaline — and love for nature. “All our jewellery, the old ones and the new, which have been designed by my father or by me, can be worn together making them so unique. Charlotte Lynggaard’s inspiration in furniture and jewellery comes from Scandinavian way of life, combined with the rigours of Japanese style.

Ole, now in his 80s, designs jewellery to this day, making a trip to the ateliers in Hellerup, north of Copenhagen every day. He greets each of his 40 odd artisans, who put the finishing touches, with their expertise to the curves of the jewellery pieces collections. The bestsellers, Lotus, Snakes, Golden Forest Leaves and Nature lines, have handcarved gold that makes every piece unique, sublime finish.

Reflecting the same finesse, the Lynggaard home is a place to be taken an inspiration from.

Chitman Kanwar Ahuja

Chitman Kanwar Ahuja is a feature writer at L'Officiel India. She is a silver jewellery hoarder and an aesthete of all arts. You can find her unraveling new stories day in and day out.