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Kvadrat Re-Wool 2 Fabric

c. 2018

by Margrethe Odgaard
for Kvadrat

Kvadrat re wool 2 insitu 4 2

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Kvadrat Re-Wool 2 Fabric

by Margrethe Odgaard
for Kvadrat

Designed by Margrethe Odgaard, Re-wool 2 is a richly textured uphol­stery textile made with 45% recy­cled wool. Woven from post-indus­trial fibre scraps collected from Kvadrat’s own Wooltex mill, it exem­pli­fies a closed-loop approach to textile produc­tion — deliv­er­ing consis­tent quality while reduc­ing wool waste to near zero.

The updated palette intro­duces 14 new hues, expand­ing the orig­i­nal Re-wool collec­tion to a total of 25 color­ways. While the first palette drew from Odgaard’s Shades of Light — a hand-painted study of Scan­di­na­vian light tran­si­tions — Re-wool 2 explores bolder terrain. Odgaard discov­ered that the mélange warp could support more satu­rated tones, prompt­ing the addi­tion of vivid blues, rusty reds, vibrant greens, and deeper, grounding shades.

These new colors amplify the textile’s contrast and bring out the subtle irreg­u­lar­i­ties of the recy­cled wool, creat­ing a tactile, almost embroi­dered surface with a unique three-dimen­sional quality. Odgaard explains: For Re-wool 2, I dared to cele­brate the unde­fined tones of recy­cled wool by combin­ing them with bolder colors… offer­ing slow colors with built-in longevity, as well as energy-shaping, cheeky colors.”

Elegant, resilient, and sustain­able, Re-wool 2 is ideal for both resi­den­tial and commer­cial inte­ri­ors — offer­ing a refined mate­r­ial story with endur­ing visual character.

Margrethe Odgaard

Denmark

Margrethe Odgaard is a Danish textile and color designer whose work centers on the emotional and sensory power of color. Her practice is rooted in the belief that thoughtfully designed objects—those that engage both body and mind—can create meaningful, lasting connections with users.

A graduate of the Royal Danish Academy of Fine Arts, School of Design, Odgaard also studied at the Rhode Island School of Design. Before founding her own studio, she worked with the French fashion house ÉPICE and later as a printing assistant at The Fabric Workshop and Museum in Philadelphia—experiences that shaped her approach to material, surface, and color.

Today, Odgaard balances commercial collaborations with an independent artistic practice focused on self-initiated research. Her work explores how color interacts with form, light, and space—often resulting in subtle yet striking patterns that feel deeply intuitive. Rather than treat color as decoration, she approaches it as a material in its own right, using it to enhance emotional resonance and sensory perception.

Odgaard’s nuanced palettes and minimalist compositions continue to influence contemporary textile and product design, redefining how we experience color in everyday life.

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