Danish design is a style of functionalistic design and architecture that was developed in mid-20th century. Influenced by the German Bauhaus school, many Danish designers used the new industrial technologies, combined with ideas of simplicity and functionalism to design buildings, furniture and household objects, many of which have become iconic and are still in use and production. Prominent examples are the Egg chair, the PH lamps and the Sydney Opera House (Australia).

The Danish Culture Canon credits Thorvald Bindesbøll (1846–1908) with early contributions to design in the areas of ceramics, jewellery, bookbinding, silver and furniture although he is known in the rest of the world for creating the Carlsberg logo (1904), still in use today. The Canon also includes Knud V. Engelhardt (1882–1931) for a more industrial approach, especially in the rounded contours of his electric tramcar designs which were widely copied. In the area of textiles, Marie Gudme Leth (1895–1997) brought the screen printing process to Denmark, opening a factory in 1935 which allowed her colourful patterns to be manufactured on an industrial basis. August Sandgren introduced functionalism in the design of his masterful bookbindings.

In the late 1940s, shortly after the end of the Second World War, conditions in Denmark were ideally suited to success in design. The emphasis was on furniture but architecture, silver, ceramics, glass and textiles also benefitted from the trend. Denmark's late industrialisation combined with a tradition of high-quality craftsmanship formed the basis of gradual progress towards industrial production. After the end of the war, Europeans were keen to find novel approaches such as the light wood furniture from Denmark. Last but not least, support in Denmark for freedom of individual expression assisted the cause.

The newly established Furniture School at the Royal Danish Academy of Art played a considerable part in the development of furniture design. Kaare Klint taught functionalism based on the size and proportions of objects, wielding considerable influence. Hans J. Wegner, who had been trained as a cabinetmaker, contributed with a unique sense of form, especially in designing chairs.

As head of FDB Møbler, Børge Mogensen designed simple and robust objects of furniture for the average Danish family. Finn Juhl demonstrated an individualistic approach in designing chairs with an appealing but functional look.

In the early 1950s, American design also influenced Danish furniture. The American Charles Eames designed and manufactured chairs of moulded wood and steel pipes. These encouraged Arne Jacobsen to design his Ant Chair, Denmark's first industrially manufactured chair. Furthermore, as Shaker furniture—and especially its reputation for stripped down chairs—began to be more and more known abroad, it also influenced Danish designers.

Poul Kjærholm, Verner Panton and Nanna Ditzel followed a few years later, continuing the successful story of Danish design. Kjærholm worked mainly in steel and leather, Panton left Denmark during the 1960s to continue designing imaginative but highly unconventional plastic chairs while Nanna Ditzel, who also had a strongly individualistic approach, was successful in helping to renew Danish furniture design in the 1980s.

During the 1970s, Verner Panton made some of his most important designs, including the Pantonova and the 1-2-3 System.