FEATURE
Martin Clausen
ORGANIZATION
Adorno
Type
Interview
Contact
Meet Martin Clausen – a cofounder of Adorno, the new platform flipping the collectible design industry on its head. Branded as an online gallery, Adorno reaches far beyond the scope of its title. The platform represents an impressive and well-curated array of designers and artists across more than 60 countries. Though Adorno’s vision of a worldwide web of creators, clients, and craftsmen appears Herculean, their vision is already taking shape.
We first became aware of Martin through a number of stories from designers, ranging from a latest exhibition invite to career-altering branding advice. At his core, Martin is a true champion for independent design, and it reflects in all facets of his life. His home is a treasure trove of the latest design finds, his daily life is a mishmash of ongoing collaborations with designers and visits to design destinations, and his Instagram feed is a constant flow of the latest and greatest in design news and innovation. Martin is predicting the future of design lies in globalization, technology, and a designer-friendly landscape; we believe the future may lie in Adorno and Martin himself. Read our conversation below as we discuss how Adorno began, what a modern-day collector looks like, and just how far design can go:
What is your background and what made you want to start Adorno?
I studied Visual Communication at the Academy of Arts in Copenhagen, but over time, I realized that my real passion lay in the world of craftsmanship and furniture design. As I navigated the design world, I saw how many talented designers were constrained by the traditional norms of the industry, particularly in places like Denmark, where design was often influenced by mid-century modernism. This environment left little room for independent voices or diverse perspectives. I co-founded Adorno with Kristian Snorre Andersen to create a space where designers could break free from these boundaries and showcase their unique visions. Our mission has always been to promote individuality, craftsmanship, and cultural diversity, giving voice to design communities that are often overlooked.
Adorno connects designers all over the world, can be seen at major design fairs and events, functions as a digital gallery, and comes up as a champion for independent designers in many conversations we’ve had with people in design. At its core, what are Adorno’s main functions and goals?
Adorno’s essence lies in its commitment to curating and supporting contemporary functional art. We exist to give independent designers a global platform that not only showcases their work but also tells their stories. Our main goals are to celebrate the diversity of design, foster cross-cultural dialogue, and bring the voices of underrepresented design communities to the front. By functioning as a digital gallery, we break down the geographical barriers that often limit exposure, allowing designers from all corners of the world to connect with collectors, professionals, and consumers. At its heart, Adorno is about understanding contemporary culture through design that is both functional and meaningful, where each piece carries a unique narrative.
Could you break down what Adorno offers each member and what that ongoing relationship is like?
The relationship between Adorno and its members is deeply collaborative. We offer designers a curated platform where they can showcase their work to a global audience, but it goes beyond just a transactional relationship. We work closely with our designers, helping them tell their stories and navigate the complexities of the design world. Each designer benefits from visibility through our platform, participation in exhibitions and design fairs, and access to an international network of collectors and enthusiasts.
Our platform ensures that each designer’s work is showcased to the right audience, competitively priced, and marketed in a way that attracts collectors and buyers. From the moment a designer joins, they have access to an array of tools that allow them to focus on what they do best—designing. We handle the heavy lifting, including promotion across our global network, editorial features, social media campaigns, and inclusion in curated collections. Our team offers personalized support to help each designer maximize their showroom’s visibility and sales potential. The relationship is about mutual growth—we champion the designer’s individuality while making sure their work reaches the right hands effortlessly.
Furniture ecommerce has always been a difficult field due to a number of issues such as shipping, fulfillment, lead times, price point, etc. How have you navigated all these issues as a startup? What have been the biggest learnings that have allowed you to accomplish all this?
It’s true that furniture ecommerce comes with its challenges, particularly in terms of logistics, but we’ve always approached these hurdles as part of the process. We’ve also built strong relationships with logistics partners who understand the complexities of handling unique, often delicate, pieces.
Shipping design pieces across the globe is always a challenge, especially when dealing with unique, delicate objects that require special handling. We’ve made it a priority to remove that burden from the designers, allowing them to focus solely on their craft.
Our dedicated logistics team manages every aspect, from customs clearance to ensuring full insurance coverage. We are continually refining our systems, optimizing shipping routes, and partnering with trusted couriers to streamline the process. The goal is simple: ensure every piece arrives safely, on time, and without complications, all while making the process hassle-free for the designer.
You’ve knocked down many barriers for independent designers around the world and made strides in accessibility for both creator and consumer. What are the current difficulties you’re still working through as a logistics company? How are you working to alleviate them?
The biggest challenges right now revolve around scaling up while maintaining the personalized, hands-on approach that we’re known for. With logistics, the difficulty lies in navigating different regulations, customs processes, and ensuring that our pieces arrive safely at their destinations. Competing with Amazon and other online giants isn’t easy, as the general consumer is now used to 2-day free shipping and free returns. In order to live up to these expectations, we’re actively working on optimizing our logistical infrastructure through various methods such as warehousing and relocating pieces closer to buyers.
Do you notice that the online customer is different from the typical in-person one? How so? We’ve heard you use the phrase “Collectors who don’t know they’re collectors” to describe some of these emerging online design customers.
The online customer is you and me and the same as the in-person customer. The difference lies in the thinking process that arises before acquiring the piece. An online purchase gives you more time to think and has less sense of urgency. Also, it requires solid and accurate information in order to build a level of trust. Many don’t think there’s actually a human behind the screen, but our chat function shows that we’re one message away, and always ready to help. Looking at our main customer, they are usually younger people living in the bigger cities. Many of them don’t necessarily consider themselves traditional collectors, but they are drawn to pieces that speak to them on a deeper, more personal level. These customers are often more experimental in their choices, blending different styles and genres in ways that might not happen in a more conventional, in-person gallery setting. The beauty of online platforms is that they make design more accessible, both geographically and in terms of the kind of pieces people feel comfortable exploring. That phrase, “Collectors who don’t know they’re collectors,” captures the essence of this shift—people who might not have seen themselves as part of the design world are discovering a passion for pieces that resonate with their personal identity.
A key aspect separating Adorno from a traditional ecommerce platform is how involved it is with the community, in terms of hosting events and popups. What are some of your favorite events that you’ve hosted or attended, and why?
One of my favorite events was our collaborative exhibition “Animism” during Milan Design Week. It brought together designers from vastly different backgrounds and cultures, creating an atmosphere where you could feel the energy of the pieces interacting with each other. There was this incredible exchange of ideas, and it truly highlighted what Adorno is all about—breaking down barriers and creating spaces where diverse voices can be heard. I also loved Collectible’s inaugural edition in New York, which brought designers and galleries with the same love for cultural design together under one roof. Many participants said they felt there was a “summer camp” vibe, which shows just how personal this field is compared to the more traditional world of competitive art fairs.
As someone that has seen the range of design that’s out there globally, what’s currently exciting to you in design?
Right now, I’m really excited by the exploration of materials that are both unconventional and sustainable. Designers are becoming more and more interested in biomaterials, and the way they’re experimenting with these is really fascinating. There’s a rawness and honesty to it that I find appealing. Geographically, I’m particularly drawn to the work coming out of regions like Latin America, where there’s a deep connection to local craftsmanship, yet designers are pushing the boundaries of what these traditional methods can achieve. Also, regions like South Korea, who don’t necessarily have a long history within design, seem to have a very direct and honest design language that captures the zeitgeist of what contemporary culture looks like there right now. The mix of heritage and innovation is something I’m always on the lookout for.
We can all agree that nothing will ever replace seeing and touching design in the physical world. But what are the advancements/solutions that will help bring ecommerce in design to the same level as other industries?
I think augmented reality (AR) and virtual reality (VR) are game-changers for design ecommerce. These technologies allow customers to experience pieces in their own space before they commit to a purchase, which is incredibly valuable when buying high-end or collectible furniture. Detailed 3D renderings and interactive tools can also help bridge the gap between the physical and digital experience, allowing users to see the texture, scale, and presence of a piece more accurately. As these technologies continue to evolve, I believe they’ll bring us closer to replicating the tactile, emotional experience of interacting with design in person.
Adorno does a great job at staying connected not only to the designers in this industry but also staying close to crossovers with the other creative industries. What industries do you foresee Adorno tapping into in the future? What will those activations look like?
I see Adorno deepening its connection with the art world and expanding into collaborations with fashion, music, and even film. The lines between these industries are becoming more fluid, and design is a key part of that conversation. We’ve already seen how design can enhance the narrative of a space, and I believe this can translate to other creative forms as well. Future activations might include more immersive, cross-disciplinary events where we combine live performances, exhibitions, and design to create experiences that appeal to all the senses.
Lastly, we know that you have accumulated a number of unique design pieces in your apartment. What’s currently on your Adorno wishlist to add to your personal collection?
(Laughs) Yes, I’ve amassed quite a collection. Right now, I have my eye on a few pieces that blend organic forms with more industrial materials—there’s something about that contrast that I find really compelling. I’m particularly drawn to some of the new work from Studio S II, including their latex lamp, but also the super raw biomaterial pieces by Sabrina Merayo Nunez. Their work has this perfect balance of raw, tactile quality and conceptual depth, which speaks to me both as a collector and a curator. I’m always looking for pieces that have a presence, something you can live with and continue to discover over time.
