Despite a sterling reputation in architecture and design, Denmark has few manufacturers willing to commission free-lance designers to aid in developing new ideas and products. Although certain interior designers have made a name for themselves in Denmark, industrial designers are still struggling to gain a foothold. Textile designers, in particular, are frequently seen as artisans and thus unworthy of a place in industry. Much of her best work has been done for exhibitions, a format that provides designers with abundant freedom of expression. An expansive setting often reinforces the spatial qualities of her designs.
Exhibitions offer a unique opportunity to sum up a theme that has marked a long period of work.
On the other hand, Rohland also enjoys the stringent demands that come with industrial commissions. A good example is her work for Esprit in 1995 and 1996. She approached the New York company entirely on her own, a rather courageous step that led to an interesting period of collaboration. Some of her designs for Esprit were used for bed linen and other products, but quite a bit of the material that she submitted became a source of inspiration for new trends. Back home, the upholstery for Danish trains crossing the new bridge between Denmark and Sweden is a Rohland design.