The iconic Grace rattan lounge chair returns with a contemporary twist, as Danish design house Gubi unveils a new outdoor edition that honors the legacy of architect and designer Tove Kindt-Larsen. Originally reinterpreted in 2022 from a 1936 sketch, the Grace Outdoor Lounge Chair finds its natural habitat under the open sky.
“From the first time I saw the Grace chair, I was captivated: the generous proportions, the fluidity of posture it encourages, the poetic interplay of light through its form. While the natural rattan had undeniable charm, there was always a call for an outdoor version. With this edition, we pay tribute to Tove by merging her vision with materials that speak to today,” says Marie Kristine Schmidt, Brand Director at Gubi.
Grace was initially conceived for transitional spaces—sunrooms, greenhouses, glazed terraces—but now it opens fully to the outdoors. Its sculpted silhouette, which converses effortlessly with light and space, retains the soft, enveloping presence that made it an icon.
Built with an advanced synthetic fiber that faithfully echoes rattan’s texture, and set on a powder-coated aluminum frame, this outdoor edition balances aesthetic fidelity with technical innovation. UV- and weather-resistant, the Grace Outdoor Lounge Chair becomes an elegant and functional sanctuary for patios, terraces, or balconies.
“My mother found endless inspiration in nature. This outdoor edition reflects her connection to the organic world, extending her legacy through materials that ensure its relevance. It is a natural evolution of her body of work” says Ebbe Kindt-Larsen, son of Tove Kindt-Larsen.
Craftsmanship, technology, and the poetry of form
Though the aluminum frame is precisely curved by machine, each woven section is hand-finished, preserving that vital dialogue between hand and material. The result is a piece that honors the past while looking toward the future.
Grace’s curvilinear silhouette remains intact but now speaks in a more contemporary dialect, underscored by a sober and versatile palette: Black, Alabaster White, and Mushroom Grey. The synthetic fiber mimics rattan’s flexibility, adapting to the body and casting a gentle choreography of light and shadow under the sun.
“With this version, my mother’s vision—where beauty and comfort converse effortlessly—moves beyond walls and into gardens, patios, and terraces. Her aesthetic language flourishes in these new landscapes,” adds Ebbe Kindt-Larsen.
Designed to move between worlds
Lightweight, durable, and easy to relocate, the Grace Outdoor Lounge Chair gracefully transitions between indoor and outdoor settings, following the rhythm of weather and mood. A deep, plush cushion made with breathable, waterproof foam ensures comfort regardless of rain or shine. Upholstered in Gubi’s selection of outdoor fabrics, it merges textile technology with the softness of Danish design.
Product: Grace Outdoor Lounge Chair.
Design: Tove Kindt-Larsen
Reissue: Gubi. 2025.
Dimensions: W: 78,5 cm | D: 71 cm | H: 74 cm
Seat height:: 45 cm | Seating area: 65 x 60 cm
Materials: Aluminum frame with polyethylene fiber
Cushion: Foam with waterproof membrane
Upholstery: Gubi outdoor fabrics (see gubi.com/upholstery)
Colors: Black | Alabaster White | Mushroom Grey
Tove Kindt-Larsen: A sensitive eye at the heart of modern design
For decades, her name was overshadowed by the joint signature she shared with her husband. But today, in a long-overdue act of historical justice, Tove Kindt-Larsen (1906–1994) is emerging as a pivotal figure in Danish modern design. With a refined sensitivity to natural materials, a flair for organic curves, and a quiet determination, Tove was among the first women to carve out an independent path during Denmark’s design golden age.
A trailblazer in a man’s world
Born in Reddersen, her career began in 1931 alongside architect Thyge Hvass, where her talent was immediately evident. Before marrying fellow designer Edvard Kindt-Larsen, she had already earned first prize from the Cabinetmakers’ Guild and third place from the Danish Wicker Guild for her natural-fiber furniture.
In 1938, designer Mogens Voltelen described her as someone “unafraid to solve challenges from a completely new angle.” She was ahead of her time—working with noble materials, creating flexible solutions, and championing an aesthetic stripped of excess.
The art of designing without rigidity
Trained as an architect and later a student of Kaare Klint—the father of Danish modernism—Tove pursued a radical path: rather than designing full interiors, she focused on individual pieces that empowered users to create their own spaces. Her early adoption of rattan and molded wood made her a pioneer.
It was at Klint’s school that she met Edvard. United by a shared passion for natural materials and the balance of form and function, they would go on to leave a collective mark.
A shared Studio, a joint legacy
Married in 1937, the couple opened their studio in 1945. Rejecting the heaviness of Victorian furnishings, they introduced a clean, functional, and honest design language. Their work spanned furniture, textiles, jewelry, tapestries, wallpapers, and even architecture. Among their most renowned pieces: the Fireplace Chair (1939), the Pagoda Sofa (1956), the Pagaj Chair (1960), and the Prisma Sofa (1964).
But their influence extended beyond objects. From 1943 to 1966, Edvard curated the prestigious Copenhagen Cabinetmakers’ Guild Exhibitions—crucibles of Scandinavian design. These exhibitions, conceived together, reflected their unified vision: poetic yet practical pieces adapted for modern life.
A quiet yet indelible presence
Alongside Danish greats like Wegner, Klint, Juhl, and Jacobsen, they introduced Scandinavian design to the U.S. Edvard received accolades including the Eckersberg Medal (1949) and an honorary Guild award (1957). Queen Ingrid of Denmark even purchased one of their leather swivel stools. Tove’s name, however, often remained unmentioned—though her imprint can be felt in every fiber of those designs.
Today, through the revival of her solo work—like the Grace Chair, born from a 1936 sketch—Gubi reclaims Tove’s role as a singular creative force. Her style, deeply organic and subtly radical, didn’t merely complement 20th-century Danish aesthetics: it expanded them with a freer, more human sensibility.siglo XX: la enriqueció con una nueva sensibilidad, más libre, más humana.
Source: Gubi.
Gubi
Sønder Voldgade 11
1300 København K
Dinamarca
gubi.com
Project by Tove Kindt-Larsen
