Anki Gneib is born in London and educated in the Department of Interior Architecture and Furniture Design at the University College of Art, Crafts and Design in Stockholm. Her studio works on a wide range of projects, such as total interior design solutions for private homes and public spaces as well as furniture, lighting and product design. She is also creative director for Adolfsson & Partners and works with projects such as the game maker King (creator of Candy Crush Saga) and the music-streaming service Spotify and their new headquarters in Stockholm. She typically runs projects from an early stage to the final result with a big amount of creative thinking and focus on facility branding.


“All good things come in threes, I think. That is very true with regard to Anki Gneib, who has great integrity, is an absolute individualist with a strong personal style, and who also has a great deal of common sense. I am fairly sure – yes, I am actually completely sure! – that these characteristics sum up what designer Anki Gneib stands for: it is so clear in everything she has designed so far, from that slightly crazy lampshade made of metal shavings (which looked like Jimi Hendrix’s fuzzy hair, and was called Jimi) and the rug patterned with Anki’s own fingerprints (L.A.P.D., 2001 for Adesso), to the mirrors set inside double circles or ovals that she is doing now. But how does common sense enter into this, you ask? It does, because it is common sense that design products should be useable and free from tricky instructions for use. Anki’s design objects are straightforward – they are useable. It is their appearance that stands out from the crowd. But that involves the form of expression, the personal and individual. As with everything else that involves artistic style, the recipient must understand or sense the aesthetic value. I mean that if you like what Anki Gneib designs and want it in your home, then the exact same preferences apply as if, for example, you want a work of art by, say, Lukas Göthman or Håkan Rehnberg on your wall. It is just a matter of opinion and taste.

Anki Gneib doesn’t really care about either of those. At least, unless she is designing office interiors or private kitchens, for example. She has, in fact, been doing interiors for a long time, and with them she is sensitive and responsive, because she also believes it is important to cooperate. Again, it is a matter of common sense. Most often, when designing furniture and objects, the designer must have independent freedom – to do what he or she wants and believes in. In such cases, the designer has no other client than him- or herself. That is why many of Anki’s design projects (they are often both unusual and controversial, but equally often they are “commercially viable”) started from her own ideas and continued, often with lengthy attempts to approach the right kind of manufacturers. Eventually, in many cases her original concepts, stubbornness and technical skill have resulted in manufactured products, albeit in limited series. As a designer, she is one of a kind – and not like all the others.

The first time I met Anki Gneib “for real” was in a bar. Our encounter was both fun and controversial. Long after we had become both acquaintances and friends, it interested me greatly that she met her husband-to-be in a bar; accordingly, such encounters are not so foolish and clearly offer future advantages. The next time I met Anki “for real” in a more serious context was when I interviewed her for a chapter in the book 17 Swedish Designers: chez Pascale (Langenskiöld, 2007). At that time, I began by jotting down three key terms: personal, independent, high integrity. I thought then that the chapter should be entitled “An apostle of independent thinking”. It didn’t turn out that way, but the chapter made it clear that it was about a designer with an absolutely independent approach. That still holds true today: Anki will never abandon her own ideas – that would be to betray herself.

And now I must make an important addition: Anki Gneib also has a quiet and subtle sense of humour. So perhaps all good things really come in fours…. ”
Lotta Lewenhaupt – Swedish design journalist and author.



2017 – Roundabout Baltic – Museum of Decorative Arts and Design, Riga.
2016 – ROCKING MIRRORING Wiener GTV Design – IL PICCOLO Architettura degli Interni.
Roundabout Baltic – Estonian Museum of Applied Art & Design, Tallin – Form Design Center, Malmö.
2015 – LAMP – Vancouver Canada. Twelve – Established Nordic Designers, Stockholm Furniture Fair.
2014 – Swedish Design Goes Milan – In Real Life, Salone del Mobile. Austere – Los Angeles. Hommage – Dahl Agenturer.
2013 – Ett, Två, Trä! Artipelag.Eyeshine – Mortimers Eye, Area 41.WoodPunk. Form och Design Center, Malmö.
2012 – Superstudio Piu, Milano. Kh+ Konsthantverkarna, Östermalmstorgs tunnelbana. Eksjö Museum. Welcome Design Stockholm-Berlin. NK Inredning  Stockholm Design Week.
In The Mood,  Formex. 17 Swedish Designers, Laurtitz, Mood Gallerian. Made In Sweden, NK.
2011 – Holy Silent-Cargo Area 41. 17 Swedish Designers, Formex, Philadelphia, Seattle, Washington and Las Vegas. Salone del Mobile, Milano.
2010 – 17 Swedish Designers, Minneapolis, Chicago, Las Vegas, San Diego and Washington DC.
2009 – Swedish Love Stories, Superstudio Piu, Milan, Italy. Design Småland, Eksjö Museum, Sweden. 17 Swedish Designers, Cleveland, USA.
2007 – 17 Swedish Designers, New York, Vienna, Prague and Bratislava. Nordiska Galleriet, Stockholm, Sweden
2005 – Swedish Style Milan, Townhouse 12, Italy. DeSign, Örebro Art Museum, Sweden
2004 – Nordic Cool, Hot Women Designers, National Museum of Women in the Arts, Washington DC. New Swedish Glass, Swedish Consulate, New York, USA. Stafet, Design Forum Helsinki, Sweden.
2003 – Transformation, New York, Iowa State University, USA. Relay, Danish Design Centre, Copenhagen, Denmark, Design Center Malmö, Sweden.
2002 – New Brave Glass, Totem Gallery New York, USA. Nya Rum, Örebro Museum, Sweden. Swedish Style Tokyo, Swedish Embassy, Japan. Rosa, Rosare, Galleri Pascale, Stockholm, Sweden.
Do Not Disturb, Casarredo, Fano, Italy. Ruotsi Finland, Artek, Helsinki, Finland.
2001 – Swedish Style Tokyo; PG Style COAD, Tokyo; Swedish Feminine Form, Matsuya, Japan.
2000 – Svenska Former, NK, Stockholm, Sweden.
1999  – Living In Sweden, New York, USA. New Scandinavia, Munich, Germany.
1998 – Vistet, Ett Hem, Nordiska Museet, Stockholm, Sweden.
1997 – Swedish Good Design, Tokyo, Japan.
1996 – Excellent Swedish Design Awards Exhibition: Sweden and numerous other countries.
1995 – Peepshow, R.O.O.M, Stockholm, Sweden.
1994 – Futurniture, Espace Commines, Paris, France. New Scandinavia, Munich, Germany.
1993 – Konstfack Graduating Class Exhibition, Sweden. The Kingdom of Scences, Futurniture, Stockholm, Sweden. Frövifors Bruk, Sweden.
1992 – The Victoria Exhibition, Örebro, Sweden


2016 – Overall Winner prize at The SBID International Design Awards 2016 for the King office at Sveavägen 44 in Stockholm.
2013 – Scholarship from the Swedish Arts Grants Committee.
2010 – Featured in the book 100 New Designs 2 by Jennifer Hudson
2008 – Portrayed in King Size Interni Magazine.
2007 – Represented in the permanent design collection of the Röhsska Museum of Design and Decorative Arts, Sweden. Featured in the book 17 Swedish Designers by Gallery Pascale.
2006 – Winner of Lamp of the Year contest organized by the Swedish design magazine Residence. Scholarship from the Swedish Arts Grants Committee.
2005 – Featured in the book DISH. international Design for the Home, Princeton Architectural Press.
2004 – Project funding from the Swedish Arts Grants Committee.
2002 – Scholarship from the Iris Foundation, Sweden
2000 – Featured in the book Swedish Design by Susanne Helgeson and Henrik Nygren.
1997 – First prize in the Svensk Form and Woodex competition for
innovative furniture inspired by the folk culture of the province of Hälsingland. Winner, Excellent Swedish Design Award.
1996 – Winner, Swedish design magazine Sköna Hem’s Furniture of the Year award. Scholarship from the Swedish Arts Grants Committee.