Finnish Design Project Research by Rachael Anne Moore

An investigation of the Finnish Lifestyle, Culture and Environment. How do these elements influence Finnish design outputs and creative mindset? What can the UK learn from this Nordic Nation?

Rachael Moore, 12010714. Project Research, DE0929. BA (Hons) Fashion Communication, Northumbria University. 4,020 words

Contents

Introduction and Methodology (page 1) Chapter 1- Context (pages 2-4) Chapter 2- Culture (pages 5-7) • Democratic Design • Social Statistics • A Nationwide Community • Sauna, A Communal Tradition • A Culture of Cool • Education Chapter 3- Brands and Designers (pages 8-13) • Folklore and Storytelling • Sustainability and Nature in Design • Design for Life Chapter 4- Signs of change and connection between the United Kingdom and Finland (pages 14-15) Conclusion- Final summary and recommendations for the UK (page 16) Bibliography (pages 17-18) Image References and List of Appendices (page 19)

Introduction Korvenmaa (2014) states that, in Finland ‘there is no single design to be described - design is everywhere’. This body of research is an investigation into Finland, its natural environment, the lifestyles of Finns and in turn the design culture of Finland. It will explore the importance of storytelling and beauty in everyday life and why these features are so important to Finnish designers. Furthermore, it will aim to formulate recommendations for the United Kingdom, in terms of what the UK can learn from the Finnish lifestyle, the practices and collective ethos of Finnish creatives.

Methodology This investigation is supported by... Primary research in the form of... • Responses, opinions, observations and insights gained from one to one interviews with 6 knowledgeable individuals from within the design and cultural industries, both in Finland and the United Kingdom. • Anonymous, online questionnaires conducted with the general public, based in the UK. • See appendix Folder for further details of Primary Research. Secondary research in the form of... • Printed literature and publications, focused around the thematic areas of Finland and the Nordic region. • Online journals and articles with links to Finland and Finnish Design. • Factual and statistical information about Finland and the opinions, activities and well-being of its population sourced from Finnish national statistic databases such as ‘Findicator’.

‘In Finland there is no single design to be described - design is everywhere’. (Korvenmaa, 2014)

Chapter 1 Context

When you put into consideration Finlands northern subarctic geographical location, the small size of its population (5.4 million people) and its short history as an independent nation (having only gained independence from Russia and the Soviet Union in 1917), the quality and integrity of Finnish design may come as a surprise. Surprising again, is the richness and depth of the cultural and social aspects of this Nordic nation. Finland consists of a land area of 130,093 square miles, of which only 2% is build upon and another 75% of this expanse of isolated land is covered by forest, resulting in 20million hectares of productive woodland. Furthermore there are 187,888 lakes and 179,584 islands in Finland along with its expansive coastline (31,119 kilometres) consisting of vast archipelagos. The kinship Finns feel ‘with their surroundings leaves them less inclined to disturb nature and more interested in appreciating it as it is’ (Gaynor, 1984). Temperatures can range from 35 degrees Celsius in the height of summer, to -45 degrees in winter. It is no coincidence then that the natural environment and climate of Finland has over the past 100 years, influenced the lives and culture of Finns, as well as the creative outputs Finland

inspires and produces. ‘Ever since the Paris worlds fair in 1900, displays of Finnish design have included references to Finnish nature and the lake landscapes of Finland in particular’ (Korvenmaa, 2014). Gaynor (1984) states that ‘Ethnologists have not only confirmed this relationship with nature, but have gone on to show that it is unlike that of any other European Nation’. A result of the vast geographic scale of this nation is that, ‘unlike most European languages, Finnish has eight basic words for the points of the compass, instead of four’ (Aslan, 2014). In the Finnish language there are a collection of ancient words ‘small, soft words describing the body, landscape, weather and the world’ for example... • • • • • • •

‘Kuu’ meaning Moon/Month ‘Suu’ meaning Mouth ‘Saa’ meaning Tree ‘Jaa’ meaning Ice ‘Paa’ meaning Head ‘Maki’ meaning Hill ‘Joki’ meaning River

These words are described by Dan Hill (2014) as ‘chipped sounds, words eaten away by ice and silence’. The emphasis placed upon the physical body, its actions and natural geographical formations is a key starting point for Finnish culture.

Focusing on material qualities, the body and the surrounding landscape. The idea of the ‘silence’ of Finland derives from the solitude that up until only a few generations ago was a fact of life for Finns, particularly those in rural areas.

‘A key Finnish word used to describe the national character is sisu, which essentially means determination, strength of will and perseverance...’ (Hill, 2014)

In ‘This is Finland’ a popular Finnish children’s story-book, Finland is baked ‘in a Finland shaped baking tray full of bedrock, clay, peat, moraine, pine, spruce and birch, with lakes poured on top’ (Hill, (2014). This shows the connection between the physical elements of Finland, its people and the use of storytelling that has shaped the Finnish national character. The physical darkness that pervades Finland connotes a pure and primal relationship to nature, in particular the forest. ‘With half the year spent in a velvety gloom and dusk, even if no longer in the forest, for most Finns the darkness is an utterly defining characteristic of their national identity’ (Hill, 2014). Darkness is an inescapable reality of Finnish life. Hill (2014) states that ‘a key Finnish word used to describe the national character is sisu, which essentially means determination, strength of will and perseverance. This against-the-odds and hardy attitude explains a lot about the Finns and their lives. For example ‘their love of extreme sports and experiences,

such as ice swimming, to the dedication that brings wonderfully inventive creations’ (Houseley, 2014). Houseley (2014) believes that Finland is in some ways a land of extremes ‘on the one hand there is the stereotype of reserved, quiet people shaped by dark, cold winters. On the other there is a wealth of individual thinking and daring design and innovation’. In Finland the natural light has a strong aesthetic effect. Winters and ‘polar nights’ (a phenomenon that occurs in the Arctic Circle, when the sun stays below the horizon all day) find their antithesis in the light filled summers and the annual solstice ‘midnight sun’ (when the sun is visible for 24hours) an ancient pagan ritual and a modern day reminder of Finland’s primeval and turbulent past). Similarly, Finnish isolation, melancholy and reserve are juxtaposed with boldness and progress. Today, a folkloric attitude to storytelling permeates and influences contemporary designs in all sectors. Sointu is the Finnish word for harmony and balance; it ‘typifies the care with which a house is planned so as not to ruin its natural surroundings’ (Gaynor, 1984). In Finland, ‘the long struggle for existence both physically and spiritually has lead to the elimination of non-essentials. Frugality is an essential part to our existence. You

will also find richness and vitality to offset the functionality of everyday life and the long, dark winter’ (Gaynor, 1984). This dichotomy is a source of endless renewal for the world of Finnish design. In an interview Klaus Aalto (see appendix D) stated that ‘in Finland we have four distinctly different seasons, which creates a certain kind of rhythm in life. This kind of a tempo allows things to breathe, there is a good balance. As we are a small population and our cities are small. It is easy for everyone to live at a slow tempo and to get out to the nature to relax. As Finland has been peripheral for centuries, we have always had an active interest in what is going on around us, in other cultures and countries. You should always keep your eyes and mind open, but still maintain an element of personal privacy, I believe this allows you to make your own conclusions and judgements on your experiences’. Gaynor (1984) states that ‘Finland is one of the worlds Mecca’s for modern design’, producing a vast range of creative outputs, encompassing glass, ceramics, furniture, plastics, metal work and jewellery, textiles and fashion design’. Hill (2013) states that ‘technology and design industries are the most important industrial sector in Finland, employing

290,000 people’. Furthermore, in 2012 Helsinki was named the Design Capital of the World. Iconic Finnish creative, Alvar Aalto, the namesake of Aalto University of Design in Helsinki, had a design ethic that ‘combined influences from international modernism (Bahuaus and Le Corbusier) with distinctively Finnish elements, notably a strong connection to the landscape and to natural materials’ (Stritzler-Levine, 1998). Aalto led the way in putting social concerns at the forefront of the creative process (see figure 1). He graduated from the Helsinki University of Technology in 1921, coinciding with a time of national prosperity for Finland. ‘Having seceded from Russia in 1917, Finland was enjoying rapid economic growth and booming industrialisation... Aalto’s timing was perfect and Finland was ready to be sculpted’ (Lawrence, 2014). In an interview (see appendix B) conducted with Elise Burton (an Australian exchange student studying for a Masters Degree in Product and Spatial Design at Aalto University, blogging at ‘www. thenordicnovice.tumblr.com’ and interning at Joanna Laajisto Creative Studio) she stated that ‘Finland really appreciates design and celebrates its design identity a lot, which is something I envy, as

‘Today, a folkloric attitude to storytelling permeates and influences contemporary designs in all sectors...’ (Gaynor, 1984)

Australia lacks its own design identity. Finland really worked hard to establish their own style and character within the design industries. This has produced many outstanding designers and architects that the population still highly respect. The fact that being a designer/architect here is highly regarded helps people to flourish and strive to be like the incredibly talented designers of the past. Whereas some other countries may not hold those professions in such high esteem’. Furthermore, Hannah Thomas (see appendix C) a Welsh exchange student who is currently studying Fashion Design at HAMK University of Applied Sciences in Hämeenlinna believes that Finland’s design success is due to the weather and climate. In a interview she stated that ‘you have so much time on your hands, when it goes dark there isn’t a lot to do, you sit and do work. The environment is so beautiful and so crisp I think it influences everything; it gives you something to think about rather than having all these technologies rammed down your throat. People thrive off each other’s talents, they pass the word around and everything is celebrated, the communities are quite close knit I think and that helps foster a creative attitude’.

In an online survey of 29 anonymous individuals based in the UK (see appendix H), 75% of the respondents said ‘Yes’, agreeing to the statement that ‘Finland was a forward thinking and innovative nation’. A sample of respondent’s general impressions of Finland are... • ‘Contemporary, cutting edge and tasteful’. • ‘Clean, a good standard of living and magical’. • ‘Interesting and scenic, outdoor activities, snow and woods’. • ‘Beautiful scenery, clean and simple lines in terms of design and light and airy colours’. • ‘Healthy and happy’. • ‘They have a total contrast in terms of culture to the UK’. • ‘Great architecture, culture and design’.

‘Being a designer/architect here is highly regarded. People to flourish and strive to be like the incredibly talented designers of the past...’ (Burton, 2014)

Alvar Aalto figure 1

Chapter 2 Culture

Social Statistics According to Forbes.com (2014), Finland is the ‘7th happiest country in the world’, alongside its Scandinavian neighbours. It is also the ‘3rd most enterprising and opportunistic’ nation and ranks ‘3rd highest for a sense of safety and security’. The Finnish online statistic database Findicator (2013), showed that today in Finland, ‘75% of the 10 to 14 age group have some creative art hobby’. Furthermore, ‘83% of the population of Finland aged 10 or over had attended some cultural event during the past year.

means producing, honest and hard working objects and creating spaces that are beneficial and accessible to all. In 1997, ‘SITRA’, the Finnish innovation fund, constructed a report on the current state of Finnish design and the challenges for its future. ‘The report entitled Muotoiltu Etu (The Designed Advantage) placed design within the national innovation system that was being envisioned at the time.

Democratic Design

Government bodies also began to prepare a national design programme through the Ministry of Education’. This programme not only approached design from a cultural viewpoint, but also from industrial and economical perspectives. ‘The wide ranging work of developing design via the national programme ended with ‘design year 2005’, which sought to increase the visibility of design, and raise public awareness of its opportunities to promote individual well-being and the common good’ (Korvenmaa, 2014).

‘Today the icons of Finnish design are more likely to be found in suburban living room than a museum. Good Finnish design remains democratic, with many young designers still speaking about their social conscience and their desire to make accessible, everyday design’ (Houseley, 2014). Democratic design in Finland,

This model of combining design, industry, official policies, culture and economics aroused large international interest and has been mirrored in many other nations. Finland is exporting its design skills and expertise, not only through physical concepts but as immaterial systematic structures.

The most popular cultural events are the cinema and concerts, which more than one-half of the population had attended. Women attend cultural events more frequently than men: 86% of women and 79% of men had attended some cultural event’ (Findicator, 2013).

A Nationwide Community ‘Endurance and a strong sense of community are national characteristics formed by Finland’s tough climate and landscapes’ (Houseley, 2014).

‘Democratic design in Finland, means producing, honest and hard working objects and creating spaces that are beneficial and accessible to all...’

(Houseley, 2014)

Due to Finland’s severe climate, newborn babies must get used to sub zero conditions quickly. In an interview with Tom Stevens from the Guardian (2014) Melissa Georgiou, a native Finn, explained that when her son ‘was born, a snow suit was included in the ‘baby box,’ given to all new families by the government. The box itself can even be used as a crib. Despite any differences in the socio economic backgrounds of parents, every child can have the same start in life. To get used to the low temperatures, parents are often advised to leave the baby outside for their day naps, providing the temperature doesn’t drop lower than minus 10 °C. It’s a common sight to see prams parked outside cafés with babies sleeping, while the mothers are indoors having a coffee break’ (Stevens, 2014). A tradition in Finnish communities is the practice of Talkoot, which ‘began in a time when remote Finnish communities had little option but to pull together to get things done’ (Houseley, 2014). This stoic reaction to the drastic changing of the seasons happens twice a year.

Furthermore, each year on the 13th of October Finns celebrate ‘Failure Day’, the manifesto states that ‘we must envision a new culture where people not only embrace and openly discuss failures, but also reward bravery despite failure and actively share lessons’ (Houseley, 2014). Elise Burton (see appendix B) recalls that ‘although Finnish people may not be the friendliest people when you first meet them, deep down they are very loyal and honest people with a lot of respect for each other. I have really learnt the value and integrity in being real. I think a lot of the world could take a leaf out of Finland’s book, that if you’re going to ask someone how he or she is, actually be interested in the answer and have the time to listen’. Sauna, a Communal Tradition Sauna is a huge defining factor in the Finnish social lifestyle. It is a practise that has existed for nearly 2000 years. Currently, it is estimated by Houseley (2014) that there is ‘one sauna in Finland for every 2.5 people’. Characterised by simplicity, both in the ritual and architectural sense, ‘wood, fire and water are all that is needed’ (Houseley, 2014). This being the case, the practise, central position of sauna in Finnish home

life and society as a whole, has remained unchanged and unchallenged throughout its history. Nowadays it is common for most private homes to have their own sauna, an occurrence that could have potentially lead to the loss of the social, communal aspect of the ritual. However, this has been noted and addressed by ‘NOW architects’ who have established ‘The Kulttuurisauna’, a popular public sauna in Helsinki. ‘The simple, primitive, architectural premises of the sauna; democratic, functional and essential, offers endless attraction for young architects and designers, who continue to reinvent and explore it in their work’ (Houseley, 2014). Gaynor (1984) states that, ‘for a Finn it is as common as a cup of coffee and as special as a holiday feast. Sauna is both a holy ceremony and a way to entertain friends on Saturday night’. In each Finnish family, the rules of sauna are passed down through the generations, enforcing ‘the proper sauna atmosphere (the quiet inside, maintain the sauna as you would a pure and holy place) and the essential purpose of the sauna (purification of the body and the soul)’ (Houseley, 2014).

A Culture of Cool ‘Finland is the largest coffee consumer in the world (the average Finn drinks 4-5 cups of coffee a day) and is the only country in the world to make coffee breaks at work a statutory right’ (Houseley, 2014). In a recent edition of Cereal Magazine, Lawrence (2014) explains that ‘coffee was first imported into Finland from Russia and Sweden in the 1700s, since then its consumption has been steadily woven into the fabric of the countries customs’. Kalle Freese the founder of Freese Coffee Co. in Helsinki is the current Barista champion in Finland. In an interview with Han (2014) at Kinfolk Magazine, he stated that Helsinki’s coffee culture scene is ‘more exciting than the ones in Stockholm, Oslo or Copenhagen’. He sees coffee drinking as a social ritual and believes quality is key. ‘Good Life Coffee’ is the creation of Lauri Pipinen (another champion of the Finnish Barista Championship). Both of these establishments utilise Finnish design within the interiors of their brands, creating beautiful and thought provoking surroundings in which to enjoy this social ritual (see figure 2). Another social ritual in Finland is skateboarding. According to Huck

Magazine (2014) ‘Scandinavia is buzzing on skate-boardings collective radar. From London to San Francisco, people across the planet seem plenty happy to admit that the whole Scandi contingency- the Swedes the Danes, the certifiable Finns and their equally mad Norwegian and Icelandic brethren- are leading the way right now, emitting and effortless kind of cool’ (Seppala, 2014). Education ‘Finnish education constantly ranks high in international comparative studies; the system that delivers these results is unique and innovative’ (Houseley, 2014). One school in Finland in particular is setting the mould of the future, both in terms of teaching and architecture. The ‘Saunalahti’ school in Espoo, designed by Verstas Architects has set a blueprint both at home and abroad for the future design and structure of education. ‘Architecture and design as so succinctly demonstrated at the Saunanlahti, are playing an increasingly important role in maintaining the quality of Finland’s educational system’. The school is a multipurpose building; an undulating copper roof links the different areas of the structure together and even the position of the school yards was a important design consideration. The younger children’s school day is short so their yard gets the most sunlight in the morning, while the

older children who have a longer school day, reap the benefits of the afternoon sun. ‘A uniform quality of education is maintained across schools with teachers being employed from the top percentages of university graduates’ (Houseley, 2014). Design education in Finland has seen a vast expansion in the past 20 years and is now internationally renowned. This has ‘fostered competition over students, raising the standard of design school nationwide’ (Korvenmaa, 2014). Elise Burton explains that ‘the influence of working with so many international students who come from different disciplines has taught [her] to approach projects from different angles. Learning from architects to look at briefs from a wider view and more structurally has been interesting as well as working with furniture designers who are so knowledgeable’. Furthermore, Hannah Thompson (see appendix C) states that ‘at HAMK there is a completely different way of learning, the teachers allow you to mould the studies around your interests. I found this alone really interesting as it gives everyone a chance to truly decide what elements of the career they enjoy the most. Another thing I have noticed is that there is a reduced amount of pressure, the lectures really care and they understand that university is an experience as well as a career ladder’.

Kalle Freese figure 2

Chapter 3 Brands and Designers

Folklore and Storytelling ‘Elias Lonnrot published Kalevala, the Finnish nation poem, in 1849. He compiled his life’s work from his recordings of the poem singers of the forested regions of Karelia and Ingria. Kalevala was a vital early building block of Finnish National Identity, as evinced in its opening lines: I am driven by my longing and understanding urges, that I should commence my singing, and begin my recitation, I will sing the peoples legends and the ballads of the nation. To my mouth the words are flowing, and the words are gently falling quickly as my tongue can shape then, and between my teeth emerging’ (Aslan, 2014). Finland ‘still calls the Aurora Borealis revontulet, which literally translates to Fox Fire. Legend says that an Arctic fox dashed across the tundra swiping snow up into the sky, while others claim his bushy tail caused sparks when brushing the peaks of tall mountains’ (Kinfolk Magazine, 2014) (see figure 3). With a rich past of folklore, mythology and paganism, Finnish design today often encompasses an element of storytelling. Buster (2013) states that, ‘all we have had from our caveman camp-fire days until relatively recently (in historical terms) was the oral tradition. The wisdom of the ages

has been handed down by the shamans, medicine men, or griots from tribal cultures the world over via folklore, fairy tales, myths and legends. This is how each generation psychologically prepared for their future. To know that they would not only be able to survive, but that they would thrive amid life’s inevitable adversities’. Ivana Helsinki is an independent art, fashion & cinema brand, delicately mending Slavic rough melancholy and pure Scandinavian moods which was founded in 1999 by the brother-sister team Prijo and Paola Ivana Suhonen. ‘The Ivana Helsinki clothing line is adorned with humours eastern-bloc inspired prints/patterns and nostalgic 1970’s touches, celebrating Finland’s Russian past’ (Nelson, 2004). Paola, the artist behind the fashion pieces, starts the design process from ‘her dark, naïve mind-landscapes, northern legends and western romantics, creating the prints, graphics and films to supplement her collections’. She states that she ‘never follows fashion trends... its more about stories’. The family run Ivana Helsinki atelier is based in Helsinki, a recurring motif as seen in the labels name. ‘I could easily spend my life as a nomad, raising stories of love and life and going to my road trips... My world is for the ones whom love moonlit fields, pirates, dark forests,

crummy motels, champagne states of drunkenness, fragile butterflies, passionate relationships, cowboys and guardian angels’ explains Ms Suhonen. Today each collection is presented as a complete narrative, encompassing film, installation and photography (see figure 4/5). Sustainability and Natures Influence on Design Finns work and live alongside the wilderness, ‘daily life in cold climates includes the risk of cars and reindeer colliding. In 2013 alone, 3,335 reindeer were killed by cars. The Finnish Reindeer Herder’s Association apply a reflective spray to the animal’s antlers, thus making them visible to drivers in the long dark winter nights’ (Miltenburg, 2014).

Revontulet figure 3

‘That Finns are practically minded, resourceful and skilled at using and appreciating the natural materials around them, has everything to do with history and geography. As does their romantic relationship with summer, light and colour. Place with its many connotations, remains an important creative trigger for young designers and creatives in the region’ (Houseley, 2014). Saana ja Olli is a designer couple and company from Turku (a 782-year-old city on Finland’s south-western coast). Ivana Helsinki figures 4 & 5

In an interview (see appendix G) Saana ja Olli stated, ‘in our works we value rectitude, timelessness and human touch; we produce interesting and time-lasting hemp textiles. Sustainability issues have been our interest since early teens, so the ecological aspect is crucial in Saana ja Olli (see figure 6/7). The design couple are inspired by the cycle of four seasons and their close proximity to the Finnish wilderness. They also state that ‘the quietness of people has an influence on us; this combined with the vibrant cultural scenes makes Finland an interesting environment to work in. We’re extremely lucky to have been born in one of the Nordic countries. Free high-quality education and health service combined with stable infrastructure and high respect for citizen’s positive rights’. They explain that in Finland ‘people are straightforward and warm-hearted. We both love olden day folk craft and want to channel that type of warm-hearted style into our hand-drawn patterns. Finland has a rich heritage of folk history, and that definitely has an influence on us’.

Saana Ja Olli figures 6 & 7

Kirsi Gullichsen of Finnish Architect studio ‘Arx’, believes that with regards to sustainability that ‘the best way to keep consumption at a reasonable level is to make things that people will consider as life companions. If you look at a small community in the Finnish archipelagos, the people there are beautifully frugal. It’s laborious to bring things into these locations, or to take them for repairs. What you bring out there you want around for a long time. It has to do with lasting functionality and beauty as well as quality and reason in manufacturing the objects’ (Sokol, 2010). Naoto Niidome (the Finnish designer behind the cosmetics range Koivikko, which utilises ingredients such as sap from Finnish silver birch trees) believes that ‘a change is happening in the Finnish design world’ and that the ‘younger generation infuses its work with authority and emotion’ (Sokol, 2010). Tapio Wirkkalai was one of Finland’s finest makers, ‘when we talk about the close connection between nature and Finnish design, it is perhaps [Tapio Wirkkalas] work that we have in mind...’ Natural motifs can be see thought-out his work, leaves, flowers, mushrooms, the shapes of fish and birds, ice formations and water droplets. He won over the Finnish public with the way he ‘reinterpreted Finland’s

environment and its traditional culture again and again. He used a Sami knife to carve our forms and designs’ (Houseley, 2014). Nanna Hänninen is a visual artist who lives and works in Kuopio, Finland. Her contemporary works see her capturing and manipulating natural beauty with colour and distortion to highlight representations of reality (see figure 8). Design and Beauty in Everyday Life ‘The Finnish applied arts have a ambient relationship to the everyday philosophy proposed by Nordic democracy, which focuses on the concepts of socialising tastes and more beautiful things for everyday use’ (Stritzler-Levine, 1998). Elise Burton (see appendix B) believes that ‘the beauty of Finland’s landscape helps designers to draw inspiration from what is happening right on their doorsteps. The climate also helps designers to think in alternative ways and presents them with new questions and problems to solve’. Burton (2014) observes ‘that every building has 2 doors to combat the cold and all the windows have at least 2/3 panes of glass to keep inside warm. The climate really dictates the way that designers create, perhaps inhibiting creativity in some way’.

‘Today’s generation of product designers in Finland have a whole host of challenges to face and a rich design heritage to live up to. The large number of design collectives is a manifestation of the community spirit that has always infused Finnish crafts’ (Houseley, 2014). Saara Renvall is a young Finnish product designer and a member of Imu Design, one of Helsinki’s most successful design groups. In an interview (see appendix F) Renvall explains that ‘Imu was founded to promote new Finnish design. It has been a forerunner and trailblazer of new ways of operating and it has encouraged young Finnish designers to work collectively and internationally. Imu has provided a showcase for fresh Finnish design, resting on an old foundation while representing a new kind of expression’. Imu Design calls itself ‘the self appointed national design team and promotes merging designers through the Protoshop exhibition at the Habitare trade fair at Helskinki Design Week’ (Sorrell, 2010). Renvall describes the Finnish design aesthetic and ethos as ‘spacious, equal, seasonal and connected to the nature’ later adding ‘we Finns are quite close to our history and nature, so I encourage everyone working on creative field to look back to old traditions, techniques and lifestyle to be inspired’. When asked

Nanna Hanninen figure 8

‘If you look at a small community in the Finnish archipelagos, the people there are beautifully frugal...’ (Gullichsen, 2010)

‘If you make or create something why not make it as beautiful as you can. I believe you connect and commit to a beautiful object easier and take good care of it...’

about beautiful design found in everyday life, she stated that ‘if you make or create something why not make it as beautiful as you can. I believe you connect and commit to a beautiful object easier and take good care of it. In my perspective, when you talk about a beautiful object, you start the design process with the questions: is this necessary or am I just adding stuff to our lives?’.

(Renvall, 2014)

Muuto is a contemporary, Nordic design platform which strives ‘to expand the Scandinavian design tradition, with new and original perspectives (see figure 9). The name Muuto is inspired by the Finnish word ‘muutos’, means new perspective’ explains Mads Stærk Christensen (see appendix E). ‘To us good design starts with the person. We hand-pick the brightest design talent in Scandinavia and give them the freedom to express their individual story through everyday objects. We produce democratic, social (vs. individual), affordable luxury; we want everyone to be able to afford good design’. Christensen believes that ‘the beautiful nature of all of the North will always be an influential in the designers work. Mainly because a lot of the nature you see in Finland is totally fresh and untouched by the human hand, allowing designers to mould the image and mood into their own designs’.

Muuto figure 9

Sanna Anukka is a Finnish creative living in the UK. Her prints are quintessentially Finnish, featuring a stylised graphic language and bold colours which adorn her fabric designs and illustrations. She has created works for Finnish design power house Marimekko and is undoubtedly inspired by the ecology of her homeland (see figure 10). She states that ‘living in England means [she] can be in a bit of a romantic buddle with [her] representation of Finland. It is the land of a thousand lakes, of age-old granite rock and never-ending forest’ (Houseley, 2014). Finnish design to Anukka represents the bond between nature and man, she believes ‘everyone is nourished by nature, and so design inspired by nature simply connects with people’. She is a great fan of folklore, in particular the Finnish national epic ‘the Kalevala’, which inspired her Kanteleen Kutsu pattern for Marimekko which ‘depicts the heroic character of Vainamoinen who plays a harp made from pike bones’ (Houseley, 2014). Samuji is a creative studio and design house based in Helsinki. Womens wear designer Samu-Jussi Koski (former creative director at Marimekko) produces beautiful, classic clothes based on a love of necessary things, simple functionality, and kindness. The Samuji (2014) webpage states ‘Our ambition is to produce timeless

and sustainable design that serves a purpose yet carries a story’ (see figure 11).

used to cheer people up, Marimekko is a good example of this’.

Aalto & Aalto is a Finnish design agency focusing on product design. They appreciate projects that functionally, aesthetically and emotionally bring something new to the material world. They aim to create special everyday objects with a strong identity and story.

Founded in 1951 by Armi Ratia, Marimekko is the colourful home wares and fashion design brand synonymous with Finland. ‘Marimekkos design is communicative but not ingratiating. It exhibits contradictions and courage to see beauty in everyday life, stemming from a strong passion for creating something new and a belief in intuition’ (Marimekko, 2014).

One half of Aalto & Aalto, Klaus Aalto (see appendix D) believes that ‘the purpose of design is not only to create aesthetic harmony but also functional easiness into life. Designing is strongly connected to problem solving from both of these view points’. He believes the simple Finnish aesthetic of ‘white colour, natural materials, seriousness and pragmatic design’ stems from the time when ‘everyday objects were self built from the surrounding materials such as wood, they were rather simple but over time they had reached extreme functionality’. Aalto states that Finnish design has evolved to ‘protect people from the harsh conditions. The whiteness maximises the amount of light during the dark the long winter. However, lately the designs have become increasingly playful and rich in colour. Strong colours have long been

Today Marimekko is a ‘pattern powerhouse’ (Houseley, 2014) with eclectic prints maintaining the main identity of the brand (3,500 have been created in a myriad of colour ways since 1951) one of the most famous is Maija Isola’s classic Unikko (Poppy) pattern, which was born in 1964.

Sanna Anukka figure 10

‘Marimekko have always sought and found the keys to a beautiful everyday life. We create products that bring people joy for a long time and cause the minimum of environmental impacts. Marimekko creates clear products that do the job rather than complicated and fancy goods’ (Marimekko, 2014). Minna Kemell-Kutvonen (Marimekkos Creative Director) explained to Houseley (2014) that ‘people in Finland are

Samuji figure 11

‘Marimekkos design is communicative but not ingratiating. It exhibits contradictions and courage to see beauty in everyday life...’

basically practical. You can see that in our functionalism and aesthetic. The Marimekko design philosophy is about making something practical that can also be an aesthetic for everyday life. Finlands position is interesting too. We’re in the middle of two different cultures, East and West. I think there is a really interesting culture that we have gained from the east, more romantic and ornamental. Then from the west and Scandinavian comes a minimalistic and graphical tradition, in Finland we have a lovely way of mixing them together’ (see figure 12).

(Marimekko, 2014)

Marimekko figure 12

Chapter 4 Signs of change and connection between the UK and Finland Signs of a correlation and collective, mutual interests between the UK and Finland/Nordic Region are becoming ever present in recent times. A unavoidable Finnish export is the Nokia brand, however ‘Nokia’s leading place in Europe and North America mobile markets came to an end with the iPhone. Today the beautifully designed Nokia phones with their simple, elegant handsets are focused towards a new emerging mobile market, the third world’ (Sorrell, 2010). According to Stritzler-Levine (1998) ‘Nokias mobile telephone is without a doubt the most important object of contemporary Finnish design’. Minimalist, honest and human design is the mantra of Nokia; they state that they ‘provide beautifully visual, relevant answers to everyday questions’ (Housely, 2014). Skandium is a British company (founded in 1999 by three Scandinavians- Finnish, Swedish and Danish), which aims to promote Scandinavian Design in the UK. Skandium is exclusive sales agent in the United Kingdom for Finnish brands such as Arabia, iittala, Marimekko. Schmidt (2014), one third of the Skandium brand explains that, ‘Scandinavian design is perceived by many people as rather boring if they don’t understand it. It is not made to impress you, it is made to

live with you like an old friend. It is just comfortable and easy’. Fin Noir was the exhibition created by Finns, interior architect Aino Kavantera & product designer Federica Capitani at the Spring Summer 2012 Paris Fashion Week, inspired by a mysterious, wintery forest in Finland. ‘Fin Noir showcased works by 16 of Finland’s most influential fashion designers, photographers and illustrators, plus was a satellite event of the World Design Capital Helsinki 2012. The site was homage to Kavantera’s homeland, resembling a Finnish forest when winter days are short and dark’ (Wild, 2011). In 2014 the Nordic Film Festival returned to the UK taking place in November/ December in London, Nottingham, Newcastle, Edinburgh and Glasgow. ‘This year the theme of the year was horizons. The filmmakers explored the diverse and ever-expanding landscape of Nordic culture through cinema - from explorations to journeys, to cross-cultural experiences and collaborations’ (Embassy of Finland, 2014). A selection of Finnish filmmakers were showcased at the festival, for example Petri Luukkainen's film My Stuff and Selma Vihunen, who has worked together with French filmmaker Guillame Mainguet, whos film The Girl and the Dogs is part

of Nordic Factory, collaborative project between young filmmakers. ‘Nordic factory sees four Nordic filmmakers paired working together with filmmakers from around the world. The result is a series of four imaginative and novel short films, each influenced by the coming together of different cultures and cinematic styles’ (Embassy of Finland, 2014). The Finnish Institute London aims to connect the UK and Finland and states that their ‘mission is to identify emerging issues important to contemporary society. We encourage cross-disciplinary and cross-border collaboration by creating networks and building new partnerships. We want to take thinking of social challenges and cultural practices in new, positive directions’ (The Finnish Institute, 2014). HEL/LO – Let’s Talk was a series of four design events which took place in London and Helsinki in 2012, in collaboration with Blueprint magazine and the Finnish Design Institute. Tënu is a conceptual restaurant (which opend in December 2014 at 1 Leicester Street, London) ‘based on ancient Finnish mythology and folklore, created by restaurateur and chef Antto Melasniemi and artist and designer Klaus Haapaniemi (Finnish Institute, 2014). This creative duo have previously collaborated on the travelling food, design and art event

‘Minimalist, honest and human design is the mantra of Nokia; they state that they ‘provide beautifully visual, relevant answers to everyday questions...’ (Housely, 2014).

HELYES! which was a part of the Finnish Institute in London's 'Helsinki-London Design Camp’ project in 2010. The Finnish Institute in London (2014) explains that Tenu is ‘set against a backdrop story of mythical landscapes with strange creatures drawn by Haapaniemi. The food takes its inspiration from the Eastern part of Finland with local ingredients such as reindeer, berries and mushrooms’. The Nordic Bakery in London embraces the Nordic lifestyle currently in the UK like nothing else, its tag line reads ‘a peaceful cup of coffee, a tempting cake, a uncomplicated chat, a honest blueberry drink, a filling dark rye bread sandwich, an unforgettable Cinnamon bun’. The interiors of the three London branches evoke the key components of Finnish/Nordic design, simplicity, honesty and light (see figure 13). Tove Jansson is a Finnish icon, whose creative literature and enriching, iconic imagery have captured the imagination of both her homeland, the UK and all over the globe (her stories, the first of which was published in 1945, have been translated into 44 languages) (see figure 14).

Janssons books have been sold worldwide; many Finnish homes own Moomin memorabilia, Finnair planes feature Moomin insignias’ (National Geographic, 2014) and numerous stamps bearing the image of Jansson and the Moomins have been issued over the years. ‘Her stories feature a fairy-tale cast of drinking, swearing valley dwellers who survive floods, volcanoes and comets. They are no ordinary children's characters’ (Karjalainen, 2014). People now travel to Finland, on a ‘Moomin pilgrimage’, with various galleries and communities celebrating Jansson’s life and works. British screen writer Frank Cottrell Boyce stated in a interview with BBC News Magazine (2014) that one of the things he took from Janssons books ‘was the importance of small pleasures, that life is really worth living if we’re just nice to each other and make really good coffee’.

Nordic Bakery figure 13

Rix (2010) states that ‘£370m of Moomin goods are sold around the world each year’. ‘More than 15million of Tove The Moomins by Tove Jansson figure 14

Conclusion Final Summary and Recommendations for the UK In conclusion, the nation of Finland fully embraces and bravely faces its folkloric past, polar geographical features and distinct seasonal fluctuations. Allowing them to shape every aspect of life, from home to education, design to food and social practices; all of which are elements that the UK could embrace and learn from.

have changed so that sustainability and appreciation of traditional methods are more integrated into design thinking universally. Finnish design both in its traditional form and also in its more modern and conceptual form (such as technology and medicine) could easily gain big growth in the UK market’.

Along with a emphasis on beauty in everyday life and utilisation of story-telling and experiential rituals; a slow, honest pace of life and design aesthetic/ethos has been adopted by the creatives of Finland.

Aalto states that ‘the future is in being open to ideas. We have to maintain the valuable know-how that we have built and we should not let the manufacturing disappear from Finland.

This is beginning to be admired and mirrored in the UK with the influence of lifestyle brands such as Skandium, agencies like The Finnish Institute, establishments such as the Nordic Bakery and events like the Nordic Film Festival.

Aalto believes that ‘it is important to develop and maintain both the hi-tech knowledge and the more concrete skills. We should also be willing to interact more with foreign designers and professionals in order to build creative and innovative pool for design. Lately, Finland have had the biggest success stories in gaming industry such as Clash of Clans and Angry Birds, but bubbling under there are magnificent possibilities in fashion, graphic and furniture design. We need to find a good channel for bringing also these fields and designs into bigger knowledge. I think it would be a great value to have products that would have the label Made in Finland on them’.

In an online survey (see appendix H), when asked to rank their interest in Finnish design on a scale of 1-10, 71% of respondents within the UK said they were interested (at levels of 10-5), showing a positive outlook for Finnish design in the United Kingdom. Klaus Aalto (see appendix D) believes that ‘Finnish designers and companies nowadays have better tools for presenting and marketing their ideas and products to countries abroad. Also the values

Vintage Finnish Travel Poster figure 15

Bibliography

• Bosworth, Mark. (2014) Tove Jansson: Love, war and the Moomins. Available at: http://www.bbc.co.uk/news/magazine-26529309 (Accessed: 16 November 2014). • Buster, Bobette. (2013) Do/ Story/ How to tell your story so the world listens. London: The Do Book Company. • De Wild, Femke. (2011) Fin Noir by Aino Kavantera & Federica Capitani. Available at: http://www.frameweb.com/news/fin-noir (Accessed: 17 December 2014). • Design Forum Finland (2014) Organization. Available at: http://www.designforum.fi/ design_forum_finland_en/organization (Accessed: 13 October 2014). • Embassy of Finland. (2014) News and Current Affairs: Nordic Film Festival returns to the UK. Available at: http://www.finemb.org.uk/public/default.aspx?contentid=316 463&nodeid=35864&culture=en-GB (Accessed: 17 December 2014). • Fallan, Kjetil (ed). (2012) Alternative Histories Scandinavian Design. London: Berg. • Findicator. (2013) Statistical information about Finland. Available at: http://www. findikaattori.fi/en (Accessed: 17 October 2014). • Finnish Institute. (2014) Tenu Restaurant. Available at: http://www.finnish-institute. org.uk/en/articles/1221-from-the-makers-of-helyes-finnish-pop-up-restaurantcelebrates-the-darker-side-of-christmas (Accessed: 17 December 2014). • Gaynor, Elizabeth. & Periainen, Tapio. (1984) Finland Living Design. New York: Rizzoli. • Han, Joanna (2014) Kinfolk: Helsinki: Good Life Coffee. Available at http://www. kinfolk.com/city_guide/helsinki-good-life-coffee/ (Accessed: 20 October 2014). • Han, Joanna. (2014) Kinfolk: Helsinki Freese Coffee Company. Available at: http:// www.kinfolk.com/city_guide/helsinki-freese-coffee-company/ (Accessed: 20 October 2014). • Houseley, Laura. & Hill, Dan. (2014) Out of the Blue the Essence and Ambition of Finnish Design. Berlin: Gestalten. • Karjalainen, Tuula. (2014) Tove Jansson's Moominland: What was the inspiration for Finland's most famous family? Available at: http://www.independent.co.uk/ arts-entertainment/books/features/tove-janssons-moominland-what-wasthe-inspiration-for-finlands-most-famous-family-9883098.html (Accessed: 18 December 2014).

• Lawrence, Robbie. & Aslan, Richard. (2014) Cereal Magazine: Helsinki. Volume 6. Bristol: Cereal. • Manninen, Danuta. (1992) Design in Finland. Helsinki: The Finnish Foreign Trade Association. • Marimekko. (2014) Inside Marimekko. Available at: http://village.marimekko.com/ (Accessed: 17 December 2014). • Miltenburg, Anne. (2014) Works That Work Magazine- Issue Four. Amsterdam: Typotheque Publishing. • National Geographic Traveller. (June, 2014) In the footsteps of Tove Jansson. London: Absolute Publishing. • National Geographic. (November, 2014) Retiring Delayed. London: Absolute Publishing. • Nelson, E, Katherine. (2004) New Scandinavian Design. San Francisco: Chronicle Books LLC. • Rix, Juliet. (2010) The Moomins- a Family affair. Available at: http://www. theguardian.com/lifeandstyle/2010/jul/03/moomins-tove-jansson-sophia (Accessed: 16 November 2014). • Seppala, Sami. (2014). Huck Magazine, Issue 47. Scandinavia Skate. London: TCOLondon Publishing. • Sokol, David. (2010) Nordic Designer. Stockholm: Arvinius Forlag. • Sorrell, Will. (2010) Northern Cool. Available at: http://www.designweek.co.uk/ northern-cool/3018250.article (Accessed: 13 October 2014). • Stevens, Tom. (2014) Living in Finland: readers' perspectives. Available at: http:// www.theguardian.com/world/guardianwitness-blog/2014/dec/06/living-in-finlandreaders-perspectives (Accessed: 9 December 2014). • Stritzler-Levine, Nina (ed). (1998) Finnish Modern Design. London: The Bard Graduate Centre for Studies in the Decorative Arts.

Image References Cover Image- http://media-cache-ec0.pinimg.com/736x/f9/5a/d6/f95ad60dacbd39f6d49e7afe77e4e6a6.jpg Figure 1- http://0.design-milk.com/images/2013/11/Alvar-Aalto-600x792.jpg Figure 2- https://www.kinfolk.com/wp-content/uploads/2014/04/Kinfolk_City-Guide_Helsinki-Freese-Coffee-Co_16.jpg Figure 3- http://www.kinfolk.com/wp-content/uploads/2014/11/Kinfolk_Vol14_AuroraFolklore_1-718x500.jpg Figure 4- http://www.ivanahelsinki.com/wp-content/gallery/collections-diamond-stripes-revolver/thumbs/thumbs_76.jpg Figure 5- http://www.ivanahelsinki.com/wp-content/gallery/collections-diamond-stripes-revolver/thumbs/thumbs_80.jpg Figure 6- http://media-cache-ak0.pinimg.com/736x/e9/c9/3d/e9c93d2e8661820704724c78d2d9a71f.jpg Figure 7- http://media-cache-ak0.pinimg.com/736x/5b/96/8f/5b968f145a878a78a976d9e1886bc544.jpg Figure 8- http://www.lanciatrendvisions.com/images//articoli/nanna-ha-nninen-photography/ltvs-nannahanninen-13.jpg Figure 9- http://media-cache-ec0.pinimg.com/736x/05/1c/05/051c056d635ad3ddc8abb4d0bfd6cab8.jpg Figure 10- http://www.sanna-annukka.com/shoppics/linnunlaulu-main.jpg Figure 11- http://media-cache-ec0.pinimg.com/736x/3b/96/3b/3b963ba0c932bd45a6c974cf3da102b5.jpg Figure 12- http://media-cache-ec0.pinimg.com/736x/e0/56/49/e0564944dd3a6065ef7a89703b16cb63.jpg Figure 13- http://www.roaring-40s.com/wp-content/uploads/2012/11/Nordic-Bakery-Golden-Square-London.jpg Figure 14- http://moominfans.com/wp-content/uploads/2014/07/moomin51.jpg

List of Appendices (see appendix document)

Appendix A- DSEC Ethical Approval Form Appendix B- Elise Burton Interview Appendix C- Hannah Thomas Interview Appendix D- Klaus Aalto Interview Appendix E- Muuto Interview Appendix F- Saara Renvall Interview Appendix G- Saana ja Olli Interview Appendix H- Anonymous Online Survey Results

Rachael Moore, 12010714. Project Research, DE0929. BA (Hons) Fashion Communication, Northumbria University. 4,020 words