Royal Copenhagen’s Jasper Tørøn Nielsen Shares His Vision

Sculpting a modern tale about a porcelain company that’s 250 years old has a lot to do with understanding how younger generations come together, dine and entertain. Nobody knows this more than Royal Copenhagen’s creative director Jasper Tørøn Nielsen, who joined the company founded long ago under the patronage of Queen Juliane Marie in 1775. Prior to 2023, he held senior designer roles for global luxury brands such as Burberry, Givenchy, Brioni and Tom Ford.

Tørøn Nielsen is finding that the past is so much intertwined with the present. Despite changing habits and more casual tablescapes taking over globally, Royal Copenhagen’s Pattern No. One, also known as the Blue Fluted Plain, is still its number-one seller. Juliane Marie established the company with the goal of creating high-quality porcelain using local materials and celebrating Denmark’s natural landscape and maritime heritage which is still the case today.

During Copenhagen’s key design event, 3daysdesign that starts June 18, Royal Copenhagen will open its historic Amagertorv 6 location with an exhibition that offers a contemporary and modern perspective on centuries-old traditions and the story behind iconic patterns throughout history.

Titled “Still Making Waves,” the showcase will explore the craftsmanship behind the iconic Flora Danica collection, which was originally commissioned by King Christian VII as a diplomatic reconciliation gift for Catherine the Great, Empress of Russia in 1790. The event also marks its foray into the world of interior objects with Kontur, which captures the ocean’s timeless beauty in sculptural, contemporary forms and includes a lamp, vase and accessories plate. This year, the firm also expanded its breadth with a design-forward collaboration with Danish artist Klara Lilja, whose three-dimensional sculptures of wild flora and fauna turned the brand’s plates into works of art.

WWD chats with Tørøn Nielsen about the future.

WWD: The 250th anniversary of Royal Copenhagen is about to kick off in its native Denmark. As a Dane yourself, are you reminded of your own personal collection with the brand?

Jasper Tørøn Nielsen: Like most Danes, I have this emotional connection to the brand. I’ve often reflected on why I started collecting Royal Copenhagen when I was in my early 20s. At that time, I was living in London, but every time I visited Denmark, I’d bring back a piece with me. It’s such a pervasive part of Danish culture — it’s woven into our national fabric. My mother was also very interested in collecting porcelain and hosting meals, so growing up, there was always this family story around appreciating beautiful pieces.

WWD: Was Royal Copenhagen porcelain something you used every day, or was it reserved for special occasions?

J.T.N.: It was part of the everyday. My parents were teachers, so there weren’t big budgets for brand-new pieces. Instead, they purchased vintage and antique pieces from auctions. It wasn’t about having the perfect new set but more about curating over time — a mix of cherished items gathered gradually. That was a great way to enter the world of collecting. My mother also had more precious pieces that were strictly for display — definitely not for regular use.

WWD: This year also saw the limited edition Anniversary Mug, illustrated by Queen Margrethe with two charming fish. What was it like to work with her?

J.T.N.: She [Queen Margrethe] is such an icon in art, creativity, and even fashion in her own charming way. I know the team loved working with her. She’s so brilliant, full of personality, and a true creative force.

WWD: Now that the brand is owned by Finland’s Fiskars Group, are royal connections still integral to the brand’s identity today?

J.T.N.: While the royal family isn’t directly involved in the brand now, the heritage of being founded under royal patronage is something we cherish deeply. We carry that history responsibly — it’s part of who we are. Our name reflects that legacy, and even though it’s not a direct connection anymore, it’s very much alive in our story and DNA.

WWD: Having worked at major fashion houses, how is working at Royal Copenhagen different? How does decor differ from fashion?

J.T.N.: It’s a very different world compared to fashion, which is often so focused on constant newness. Here at Royal Copenhagen, the focus often lies on permanence. We create pieces that people live with for their entire lives and even pass down through generations. It’s a big departure from trends and seasonal changes. While there are definitely aspects from the world of fashion — like storytelling and branding — that can inspire our work in porcelain, this world is slower, more deliberate, and deeply emotional. People form lasting connections to the pieces they collect, which is really fulfilling to see.

WWD: Outside of Denmark, which market is most excited about Royal Copenhagen?

J.T.N.: Japan is our biggest market, hands down, and we’ve been there for a very long time. Across Asia, Japan, Korea, Taiwan, and increasingly China, are key markets. People in those regions have a deep appreciation for our craftsmanship, hand-painted elements, history, and the royal connection tied to the brand’s DNA. It’s always fascinating to see how the brand resonates differently across cultures. Plus, when I visit these areas, I often meet local collectors who are so passionate about what we do — it’s really heartwarming.

WWD: What’s your favorite part of Royal Copenhagen’s extensive history?

J.T.N.: Oh, there are so many things! I’ve worked with heritage brands before, but joining Royal Copenhagen, with its 250-year history, is something else entirely. I’m still scratching the surface of all the archives and stories layered into this brand. However, I love the story of our founding. The brand was created under the stewardship of Queen Juliane Marie — a truly fascinating figure — who really championed Danish porcelain. And the fact that our Pattern No. One [Blue Fluted Plain], created on Day One, is still our most popular pattern? That says so much about timeless design.

WWD: What collaborations are you focusing on as part of your creative vision?

J.T.N.: Collaborations are such a brilliant way to push the brand forward, and they’ve always been part of Royal Copenhagen’s journey. Most of our collections were created in collaboration with external artists and designers, so it’s a natural extension of the process. Recently, we worked with a young Danish artist, Klara Lilja, whose wild, colorful ceramics challenged our craftspeople to innovate and experiment. It was fascinating. Collaborations help us explore new techniques and perspectives while keeping one foot firmly rooted in tradition.

WWD: Younger generations’ habits are changing. So is the idea of marriage and weddings and the wedding registry. How has this affected the business?

J.T.N.: That idea of younger generations and their habits is very much part of the storytelling that we really want to repeat at this stage. It’s not necessarily about buying 12 of the same thing. Younger generations are much more interested in showing their personality and how they create the table and showing who they are and their taste. There is also a big shift in the way people dine together but they are still excited about entertaining across the board.

WWD: The Kontur collection of interior objects is quite a departure from the core business. Tell us how this communicates with new consumers?

J.T.N.: We wanted to do something for the anniversary year that would take us a little bit away from the table and to explore, shape and function in porcelain where we really push ourselves in terms of the shape and we’ve always been very attached to the ocean, the logo after all is the three straits and water straits around Denmark. I love this idea of seeing how we could capture the idea of water as an organic moving shape.

WWD: What’s your biggest task right now as creative director?

J.T.N.: It’s about setting one cohesive creative vision for everyone in the company. Royal Copenhagen’s collections exist across centuries, but my job is to ensure they remain relevant today and feel exciting. I also want to push the brand forward with new collaborations and innovative designs while safeguarding centuries of tradition. Balance is key.