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TMBO Collection

Magnus Læssøe Stephensen, 1935

INTRODUCING TMBO

In the archives of design history, the year 1935 marks the beginning of a sofa and chair that have gracefully resurfaced as the TMBO collection. Designed by renowned architect Magnus Læssøe Stephensen Mazo has the exclusive rights to relaunch and manufacture the furniture.

Reviving timeless comfort

Magnus Læssøe Stephensen, the visionary designer behind the design, sought to distance himself from the ornate and opulent trends of traditional furniture design at that time. Dismissing the use of rare overseas materials and lavish ornaments merely for flaunting wealth, Stephensen envisioned furniture that transcended mere aesthetics. Instead, he wanted to craft pieces that were not just functional but also enhanced the quality of everyday life through impeccable craftsmanship and a devoted focus on purpose.

“My grandfather intentionally drew TMBO so you can sit in various ways. The backrest is designed to support your back even in a rotated position and at the same time use the ‘ears’ to rest your arms on. The comfort is truly excellent.”

Magnus Stephensen
partner and grandson

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Japanese design influence

Influenced by the laid-back yet confident attitude found in Japanese design tradition, the TMBO collection takes shape as a celebration of life. Stephensen, inspired by the dramatic simplicity inherent in Japanese design, infused the TMBO chair and sofa with a distinctive curved form. This design choice, coupled with the promise to support your back as you lean back, reflects a harmonious blend of comfort, purpose, and an optimistic outlook.

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A departure from extravagance

Shifting away from extravagance, the TMBO series captures Stephensen's move toward simplicity and practicality in design. Departing from flashy aesthetics, he embraced a philosophy where furniture is more than delicate showpieces but is crafted for everyday use.

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ABOUT DESIGNER

Magnus Læssøe Stephensen

To his contemporaries Magnus Læssøe Stephensen was known for his particular style. A warm functionalism with tentacles reaching both Bauhaus and Japanese arts and crafts. He had a flair for the Japanese and ancient take on simplicity, and combined that with local Nordic materials – and it is safe to say that his relentless versions and variations of chairs found their way into many homes, where they have survived for generations.

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