According to Tollgard, for someone to be successful, one must work
hard and be passionate about what they do. He was quickly listed
in the House & Garden Top 100 which was his first boost toward
international recognition; his openings in showrooms and work
abroad were also additions to his renowned status.
His style is characterized by two principles: finding the read thread
and creating the functional sculpture. The former represents the es-
sence of the project, a sort of returning point; the latter expresses
the uniqueness and practicality of a certain piece.
He started a showroom due to the fact that he wanted to repre-
sent wonderful pieces that were non-existent or misrepresented and
personalized them in agreement with the Staffan Tollgard Design
Group’s style. Exhibited in the showroom are some Scandinavian
design classics, pieces from famed Italian brands, small brands from
Holland, and brands from Portugal and Asia as well. The distin-
guished designer values honest products and not so much mass
produced art.
In regards to favourites, Tollgard clarifies that it is impossible to
have one because it is something that is constantly varying. Among
many projects, the design group is currently finishing a unique lat-
eral space in Knightsbridge in London, a chalet in Switzerland, and
also have an amazing project in Amman.
Clients are for Tollgard the biggest inspiration, as he explains, “As
a designer, you are like a director of a narrative. You find a story
within your clients who are like the characters of a movie and the
interior has to suit them.” He goes on to say that, “it is our responsi-
bility as designers to understand who they are and therefore design
the most appropriate.”
His philosophy is to be humble, to respect the client, the buildings,
and your peers. By being humble there is a less probability of de-
stroying certain matters, such as interiors, architecture or even rela-
tionships. He comprehends that if a building is listed it is for a rea-
son, he believes that “maybe we shouldn’t head down cornices that
are two hundred years old, maybe we need to keep staircases that
have been there for centuries, and I think that is understanding that
you are not above all of this, you can’t just come in and tear things
down.” He views designers as generalists instead of specialists. As a
whole, Tollgard advises new designers to work with their heart, “I
don’t think there are any shortcuts, you can be lucky, but in order
to be lucky I still think you need to work hard.”
Staffan Tollgard project