Let's see...
Until the late 70's-early 80's, a "good pipe" meant it came from England with few exceptions. Charatan, GBD, Dunhill, etc. French pipes were (and still are, pretty much) considered tradition-bound and value oriented. The Scandinavian companies were fairly one-note, and tended toward a factory mindeset (Larsen and Stanwell), the same as the Brits. American carvers were few and far between, and not highly regarded in general (though smokers in the know just laughed and stocked up.) Italian pipes mostly stayed in Europe, with the exception of Savinelli.
What changed? The MegaTalent working at the best of the Scandinavian shops broke away to test the limits of the possible, as individuals under their own name, and succeeded spectacularly. Some of the best of that group are still at it and their work regarded as Planet Earth's high water mark for "art pipe" craftsmanship and design. Though not all, MOST of this group came out of Denmark.
Then came a batch of carvers who were inspired by that new aesthetic. Germans, Americans, Swedes, Italians, you name it. Nationality didn't matter. Age didn't either, only the reason they got into pipe carving. Rad Davis for example, is in his 50's. Karlo Joura is in his 60's. The list of names is long. (No need to catalog them here because everyone knows who they are, and it is naming the group that's the point of the thread.)
Without exception, the reason was that "art pipes" had proved to be a legitimate concept, and had a ready market. Had such a proof of concept never come along, it is doubtful these same people would have gone to work in a pipe factory.
Following the naming custom of art and music movements, then, only one label fits: Post Danish
