The Case for Copper Cookware
Copper cookware glows. It radiates like Arthur’s grail. Camelot’s galley must’ve been filled with the stuff. Buckingham Palace still is. Same with the kitchens of Monet, Montgeoffroy, and Martha. There’s a reason for this: Copper isn’t just nice—it’s obviously nice. The metal’s pure and the vibe’s the most electric. Point being, copper rocks and—when molded into casseroles by famed Dansk designer Jens Quistgaard—it performs. For Quistgaard, copper’s beauty boosts its performance. According to Stig Guldberg, author of the biography, Jens Quistgaard: The Sculpting Designer, the Dansk designer sought to create casseroles that would “not be reserved for the stove,” meaning they could double “as an attractive centerpiece” on any dining table and thus eliminate the need of owning—and subsequently washing—serving bowls. As intended, Quistgaard’s copper, which debuted in 1960 and descends from his Ankerline and Købenstyle collections, is rich with stove-to-table benefits. Read More >>
Copper cookware glows. It radiates like Arthur’s grail. Camelot’s galley must’ve been filled with the stuff. Buckingham Palace still is. Same with the kitchens of Monet, Montgeoffroy, and Martha. There’s a reason for this: Copper isn’t just nice—it’s obviously nice. The metal’s pure and the vibe’s the most electric. Point being, copper rocks and—when molded into casseroles by famed Dansk designer Jens Quistgaard—it performs.
For Quistgaard, copper’s beauty boosts its performance. According to Stig Guldberg, author of the biography, Jens Quistgaard: The Sculpting Designer, the Dansk designer sought to create casseroles that would “not be reserved for the stove,” meaning they could double “as an attractive centerpiece” on any dining table and thus eliminate the need of owning—and subsequently washing—serving bowls. As intended, Quistgaard’s copper, which debuted in 1960 and descends from his Ankerline and Købenstyle collections, is rich with stove-to-table benefits.
