ReFramed: Hi Daniel, you're now living in Copenhagen, but where did you grow up?

Daniel Schofield: I grew up in the Midlands, in England. My parents were always doing something around the house, decorating, fixing things, especially my dad, who was always tinkering with cars or working on a project. So there was always a lot of hands-on activity going on.

At one point, they bought this tiny house in the middle of nowhere in Brittany. We used to spend our summers there, slowly rebuilding and repainting it bit by bit. I just remember being in the countryside without a phone or TV or much else to do, so we’d just work on this old barn.

You had to get creative because that was pretty much the only option.

RF: Looking back, what moments would you say were really formative in shaping who you are today?

DS: I feel like I went through a few distinct phases growing up. First, there was the skating phase, I was always out on the streets, just this little rat tearing around on my board or skates.

That gradually shifted into a music phase during my teens. I got really into drum and bass, hip-hop, DJing, scratching, all of it. I threw myself into it completely.

Looking back, both were creative outlets in their own way. I was always expressing myself somehow.

Then, when it came time to think about a career, I tried out a few different things before I found what stuck. And now, I’d say I’m in what feels like my third obsession, design.

In a weird way, it feels like a natural progression. I’ve met a lot of people in the design world who’ve had a similar path: they started with skating, got into music, and then ended up in design. There’s this creative thread running through all of it.

RF: If you could pick a song that captures that shift, your transition into design, what would it be?

DS: Oof, big question... but maybe Passin’ Me By by The Pharcyde. That’s a banger.

RF: Definitely. So when did you make the move to London, and what brought you there?

DS: After school, I went to art college and studied graphic design, then moved into carpentry. For a while, I was basically working as a builder back in the Midlands. But eventually, I felt this pull to do something more creative again.

I got tired of spending my days fitting skirting boards, you know? So I decided to study design at Sheffield Hallam University. I moved up north, lived there for a while, it was a great shift.

After graduating and trying to find my footing, I quickly realised how London-focused the design industry is in the UK. If I wanted to really grow, I had to be there.
At the same time, loads of my friends were moving to London too. There was just more going on, more work, more people, more energy. So I followed that, and ended up in the city.

RF: And where do you find yourself now?

DS: It’s been five years since I moved to Copenhagen. I think I’m just in this phase of building a home, really. We bought our place just over a year ago - actually, is it more than a year now?

Anyway, we’ve been renovating it slowly, it’s still a work in progress.

And about a year ago, I left my job to go fully freelance. So I’m sort of juggling building a career and building a home at the same time. That’s where I’m at right now.

RF: What’s that like?

DS: It’s good, exciting and tough at the same time. But it feels right. I’m genuinely excited about it. The first couple of months felt more like squatting than actually living here. We started from scratch: walls, floors, literally everything. For a while, it was just a mattress in the middle of the living room, surrounded by dust, bricks, and chaos.

RF:And where do you find yourself now?

DS: It’s been five years since I moved to Copenhagen. I think I’m just in this phase of building a home, really. We bought our place just over a year ago - actually, is it more than a year now?

Anyway, we’ve been renovating it slowly, it’s still a work in progress.

And about a year ago, I left my job to go fully freelance. So I’m sort of juggling building a career and building a home at the same time. That’s where I’m at right now.

RF: What’s that like?

DS: It’s good, exciting and tough at the same time. But it feels right. I’m genuinely excited about it. The first couple of months felt more like squatting than actually living here. We started from scratch: walls, floors, literally everything. For a while, it was just a mattress in the middle of the living room, surrounded by dust, bricks, and chaos.

RF: Damn, congrats! Do you feel like everything’s kind of aligning right now? Like you're in a whole new era, fresh starts, stripping things back, rebuilding from the ground up, just like you said. It all seems connected.

DS: Yeah, it definitely feels like a fresh start. It’s interesting, when we bought the place, we intentionally set it up knowing I’d be going out on my own professionally. So we designed it to be a bit of a live-work space. There’s a large desk by the window and that was always meant to be my studio area. The apartment isn’t huge, so it has this kind of blended live/work vibe, which actually suits us pretty well.


RF: Can you talk a bit more about that? You haven’t really touched on it yet, but essentially, you’ve created a space that’s like a piece of clay, it’s your home. And on top of that, you’ve started your own practice. How do all those layers influence how you’ve designed the space, both functionally and emotionally?

DS: Honestly, we just wanted to keep things simple. The main living area is fairly spacious, but the two bedrooms are pretty small. So we had to get creative, we installed oversized wooden sliding doors to maximize space, and they ended up becoming a bit of a feature. That, along with the desk area, are kind of the focal points of the home.
But when we were searching for a place, the number one priority was really just having a good view. That mattered more than anything. And this one overlooks the park, which felt like the perfect fit. That’s what really sold it for us.

RF: How do you feel you've evolved as a designer over the past few years? I mean, we’re all constantly changing, right?

And now that you’re coming up on five years in what’s arguably one of the most important design cities in the world… How have you changed? Not just as a designer, but also as a person, in how you think about space, design, what matters to you, your goals, things like that.

DS: How have I changed… hmm. I think, if anything, I’ve been trying to make things even simpler, if that’s possible. Lately, I’ve become more focused on the idea of longevity, thinking about what makes something last, and why that matters. I don’t know if I have a clear answer yet, but I find it fascinating.

There’s always a reason why someone holds on to one object for years and discards another without a second thought. I'm really interested in those subtle triggers, what creates that emotional connection or sense of value that makes someone want to keep something. I think if we can understand that, what makes something worth keeping, that’s where real sustainability lies. Not only in how things are made, but in how long they’re used, appreciated, and part of someone’s life.

RF: Now that you have your own practice, do you ever wrestle with the tension between making something small-scale and lasting versus wanting to scale it up through a bigger brand? How do you think about that balance, is it about craft and longevity, or is there still a part of you that wants to reach more people?

DS: Yeah, I think it’s about finding a balance. It’s hard to make a living as a designer without some level of scale, that’s just the reality. But at the same time, what I’m learning is that the real key is partnering with the right brands. Brands that genuinely care about good design, that want to produce things well, that value quality and longevity.
If scale happens as a byproduct of that, amazing. But that’s not really the goal. I’m more focused on creating things that are meant to be kept. That’s become kind of a personal filter: is this something someone would hold onto?

It’s hard though, because that’s so subjective. What one person treasures, another might toss. And I guess that’s what I’m trying to unpack, how to tap into that desire to keep.

RF: Do you ever think about going back to a “normal job”? Or do you feel pretty settled now?

DS: It depends how ‘normal’ the job is, haha. But I think we’re pretty settled, to be honest.

RF: Now that it’s been a year since releasing your first book and now you’ve just released your second, how do you reflect on that process, what did it mean to bring something like that into the world?

DS: The idea was always to make it a series, almost like Penguin books, something collectible. So in that sense, it’s been a really positive experience.

It created a kind of community, too. I got to speak with a lot of different designers, some friends I brought into the book, and others I’d never spoken to before but admired from afar. It gave me a reason to reach out and say, “Hey, I love your work. I’m doing this book, would you like to be part of it?” The response was great. We actually sold out the first edition, and we’re now reprinting for the next launch.

It’s been a really rewarding experience, even if it is a lot of work, tons of admin, emails on emails. But it’s worth it.

RF: How has hearing about other people's sketching processes, and how they interpret sketching, shaped the way you think about your own process?

DS: It’s fascinating to see how varied people’s drawing styles are. Some are really loose and expressive, others super detailed. It’s all so personal, which I find inspiring. And it’s also a good reminder that sketches don’t have to be perfect or polished. They’re just a conversation between your hand, your head, and the paper.

For me, the most interesting sketches are the ones where you can see someone thinking through something. That raw, initial idea. I think that’s what makes the "first sketch" concept so powerful, it gives you a glimpse into someone’s thought process. That’s what I find most inspiring.

RF: Do you feel there’s a connection between sketching and creating an archive, something you’re leaving behind for others to hold onto?

Or is it more of a deeply personal, internal process for you? I mean, over time, you’ve accumulated all these sketches. Have you ever thought about them as your own kind of legacy, your personal archive?

RF: That’s so good. OK, last one, what song would you say captures your time in Copenhagen?

DS: Hmm. That’s tricky because I listen to so much music, and it changes all the time, like, hourly. But we did go see Jungle play in the park recently, and they were amazing live. That was such a good gig. So maybe that album sums it up. Summer in the park, good energy, Jungle absolutely smashed it.

RF: That’s perfect. A great summary, it’s a whole vibe.

DS: Exactly. It just felt right.

DS: I don’t know… I always keep my sketchbooks, but I rarely go back and look through them. For me, once a thought is out, it either develops into something or it gets left behind. So I don’t think of my sketches as something I’d intentionally leave behind. But having said that, when I go to a museum and see old sketches from a past designer, those are often the most fascinating parts. It’s like this little window into how someone thought. So yeah, maybe one day, someone might want to keep mine. But I don’t think about them that way now. It’s just part of my process, and then they go in a drawer.

RF: But it does make me think about legacy. We touched on it a little, but when you think about what you want to leave behind, what does that look like for you? And it doesn’t have to be a product.

DS: I guess… if people said I was a nice guy and a decent designer, I’d be pretty happy with that. That’d be enough for me.

TS: That’s a good vibe, man. OK, I always ask this, what are the most sentimental or meaningful objects in your home? Like, if there was a fire and you had to grab a few things, what would you take and why?

DS: Well, first, I’d probably take the cats. Then there’s a picture that me and my partner bought in Japan, I’d definitely take that. It’s full of good memories and I really like it. And probably a limited edition Mayday lamp from Flos, I just love it.

RF: That’s so good. OK, last one, what song would you say captures your time in Copenhagen?

DS: Hmm. That’s tricky because I listen to so much music, and it changes all the time, like, hourly. But we did go see Jungle play in the park recently, and they were amazing live. That was such a good gig. So maybe that album sums it up. Summer in the park, good energy, Jungle absolutely smashed it.

RF: That’s perfect. A great summary, it’s a whole vibe.

DS: Exactly. It just felt right.