marimekko paper spring 2013
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SPRING ISSUE
THEME:
COLOUR FOR A REASON
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NO. 1/201302
© Marimekko Corporation
Puusepänkatu 4
00880 Helsinki
Finland
Tel. +358 9 75 871
Fax +358 9 755 3051
www.marimekko.com
http://village.marimekko.com
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www.twitter.com/marimekkousa
www.pinterest.com/marimekkoglobal
www.youtube.com/marimekkovideo
www.weibo.com/marimekkooffi cial in patternsVille Silvennoinen
Playful coloursfor the little ones
Colourfullycombined
Intr
od
ucti
on
Colour fora reason
Spring is always full of expectation. We hope for new-found
energy and look forward to the fi rst warm day when we can cast
aside our winter coats. We welcome the blossoming of cherry trees.
We touch the fi rst blade of grass as it rises up from the earth. As
light and colour surge into life, we too feel wonderfully alive.
At Marimekko we’ve always been fascinated with colour –
its conscious use in design, its presence in nature, its profound
mystery. Colour comes to us naturally, because we’ve been
working with it for over sixty years. Yet at the beginning of every
season we rediscover the power of colour to bring joy.
Colour for a Reason is our desire to encourage you not only
to use colour more boldly, but also to explore the emotional
signifi cance of colour in your daily life. Whether you’re going out
for an evening party or enjoying a relaxed breakfast on a Sunday
morning, colour is always there for a reason. It can be used to set
the mood or inspire new ways to celebrate. It can make us feel
special on the most personal level.
Yet our design language is not just about colour. It is also
about the unique combination of colour, patterns and shapes
behind every Marimekko collection. With this spring season,
we’ve explored items for the home inspired by compelling
landscapes and the natural wonders of a spring day. We’ve also
created a clothing collection that combines stand-out hues with a
bold graphic language – a modern interpretation of Marimekko’s
essence, the art of print making.
Over the year, we will tell you more about our Colour for
a Reason theme and how colour can be a building block to a
positive life. We will share insights and ideas and – perhaps most
importantly – have plenty of fun along the way.
Wishing you a colourful year!
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SPRING ISSUE 03
in patternsTeresa Moorhouse
The many shades of colour
Spring 2013
Moments in timethat last a lifetime
A visit to theMarimekko fashion team
New YorkFashion Week
Springclothing
Newshops
Two curatorsand China
Dance of colourand pattern
Marimekko and Finnair –travelling together
in brief
Co
nte
nts
NO. 1/201304
Ville worked on the Kippo pattern by cutting pieces of paper.
When he feels inspired, Ville stays at home. His dream is to find a bigger workroom, where he could work on large-scale projects and try out new techniques. Ville’s current workspace is no bigger than a closet.
The large-scale Kippo fabric is printed on the flat screen printing machine in Marimekko’s Helsinki factory. Eight different screens, one for each vibrant colour, are used in the process.
The Muse of patterns can show up in the most unex-pected of places. Ville is always keeping his eyes and ears open for new ideas. The new Kippo design came to Ville while he was enjoying a cosy moment at home.
Ville tries not to take his work too seriously. If it’s not happening, it’s not happening. You can’t force it. But if you work systematically, you’ll eventually reach your goal.
Photos Robert Lindström & Marimekko
In patternsVille Silvennoinen
SPRING ISSUE 05
Maja is Ville’s first design for Marimekko. He designed the pattern (foreground) as part of his master’s thesis work.
SURF’S UP. “Engineering – not my thing,” says Ville,
who switched to studying crafts and design after one year of
engineering studies. He had acquired an interest in working
with his hands from his mother who sewed for a living. Finding
his own passion, however, took some time. Ville wanted to
see the world, travel to white sandy beaches, experience the
freedom of youth, and of course learn to surf. He was in no hurry
to settle down in a pattern.
After spending a year in Australia, Ville returned to
Finland full of enthusiasm and energy. He was already planning
a new journey, but he had to put his travel plans on hold,
because there were no job opportunities in his hometown. Ville
moved to Helsinki, where having fun was his top priority.
MY OWN PATH. “It can’t be true. I got in.” Ville was
accepted into the textile design programme at Aalto University’s
School of Art and Design on his fi rst try. Bored with the party
life and lying on his friends’ couches, he had focused all his
energy on the entrance exam. Ville felt that he was gradually
fi nding his own path in life. “I wouldn’t have been accepted if
I’d applied straight from high school. The timing couldn’t be
better.”
HOMEMADE DESIGNER. Ville spent his childhood and
adolescence near Kouvola – a city in south-eastern Finland
known for its paper industry. His father was a surveyor and his
mother a self-employed seamstress. The family also included a
brother and a beloved dog. Getting the pet, however, required a
little begging from both of the children. It was life sweet life.
In the mid-90s, Ville got interested in snowboarding
and discovered Burton, the legendary snowboard brand.
The company made a huge impression on Ville, who would
study each new Burton catalogue with monk-like devotion.
“Totally relaxed. I really like Burton’s workmanship and design
philosophy.” Even today Ville talks about how these catalogues
inspire him visually.
As a kid, Ville loved spending his summers in
grandmother’s home in eastern Finland, near the border with
Russia. It was a place where he felt free. “I could go fi shing,
crave pieces of wood with my knife or build all kinds of things.”
When Marimekko asked Ville to design a pattern for his master’s
thesis, the young designer returned to his grandmother’s home
for the fi rst time in many years. There he would sketch away
the day as he worked on Maja – a pattern design inspired by his
childhood building projects. The pattern would eventually make
it to Marimekko’s autumn 2012 collection.
Practice makes patterns. Ville’s relationship with
Marimekko began through an apprentice programme. He
spent two intensive months in Marimekko’s artwork studio,
learning how pattern sketches are transformed into industrially
manufactured textiles. “At fi rst I wasn’t at all certain about doing
my apprenticeship at Marimekko. A lot of people I knew wanted
to go there. I also realized that only a few make it as a designer
or earn a living through their design work. I felt that I had to
keep my options open and not just focus on textile design.
Nevertheless, I applied for a designer apprentice at Marimekko.
Looking back – I’m really happy with my decision.”
After Ville had completed his apprenticeship, Petri Juslin,
manager of Marimekko’s artwork studio, suggested that Ville
could do his master’s thesis work for Marimekko. Ville took up
the offer. The original plan was to use Ville’s pattern design as a
way to test the limits of the new print machine in Marimekko’s
Helsinki factory. But the test pattern proved to be so successful
that it was included in the autumn collection. A new talent had
arrived.
Ville’s Kippo design for this year’s spring collection
is all about everyday moments. “I like how I was inspired
by something as ordinary as the bowls in my cupboard. I
was fascinated with the way they look – all stacked up and
colourful.”
Marimekko and Ville Silvennoinen will defi nitely continue
to work together in the future. But before that Ville has his
sights on riding the next big wave. “When I’m surfi ng, I feel free
and at one with myself. There’s room to think.”
“Colour gives character to textile design. It can make a pattern glow with warmth or be calm and cool. You can even design patterns using the most unexpected combination of colours. You just have to be bold and ignore your own favourite colours. To me, the relationship and harmony between colours is more important than the colour scheme I happen to be working with.”Ville Silvennoinen is one of the newest members of Marimekko’s design team. In 2012, Ville’s Maja (Hut) pattern was included in Marimekko’s autumn collection. For this year’s spring collection Ville has designed Kippo (Cup) – a new playful pattern in which stacks of colourful bowls bob up and down like apples in a barrel.
NO. 1/201306
Every time she chooses colours for a pattern design, Teresa gets excited. The first colourway for the Onnen omenapuu pattern had a white background.
Designing patterns calls for plenty of peace and quiet. When Teresa stops by Marimekko’s factory in Helsinki, she meets designer colleagues and collaborates with printing professionals, many of whom she’s known for years.
Teresa’s pattern is being printed on Marimekko’s new rotary printing machine in Helsinki. The machine was acquired at the end of 2011.
In patternsTeresa Moorhouse
Photos Robert Lindström, Paavo Lehtonen & Teresa Moorhouse
The Onnen omenapuu pattern did not reach its final form until a year after Teresa made the original sketch. She usually discards her initial pencil drawings, but this time she made an exception.
Natural light floods into Teresa’s home through large windows. The designer likes to spread her sketches and colour samples on the floor or a large table. She says that it’s the perfect way to get a bird’s eye view of work. Teresa’s children have also started to spread their drawings around the flat in the same way. Teresa can’t help but smile.
SPRING ISSUE 07
APPLE TREE. “I’d sketched the apple tree a year before
it was chopped down. The original sketch hung over my
worktable, but I was not ready to work on it yet.”
The sketch was inspired by an apple tree in the courtyard
of Teresa’s childhood home, a fl at in Helsinki. Over the years
Teresa had grown attached to the old tree. “Two generations of
Moorhouses have climbed and swung on the branches of the
apple tree, as my family and I live in the same block of fl ats
where I grew up.”
The inspiration to refi ne the sketch came after the apple
tree was chopped down unexpectedly. Teresa wanted to
immortalize the tree’s deep leafy green and the plump shape
of ripe apples. Once she had made up her mind, Teresa was
quick to put the fi nishing touch on her cherished pattern idea.
To create a powerful contrast, she placed apples made of solid
colour blocks on a detailed yet sensitively drawn background.
The fi nished pattern also shows the subtle infl uence of
Surrealism and Teresa’s skill to combine different techniques
fl uently. “I have to admit that I was nervous when I showed
Onnen omenapuu to Marimekko’s design team. I had invested
so much in the design on a personal level that I was relieved
when I heard that they liked it.”
DESIGNER AT WORK. Having graduated as a fashion
designer from a Parisian school, Teresa went on to complete her
master’s degree at the University of Art and Design Helsinki.
Her fi rst job was designing knitwear, though soon she was also
working as a graphic designer. This detour sparked her interest
in illustration and textile design, and encouraged her to show
her sketches to the former managing director of Marimekko,
Kirsti Paakkanen. Kirsti liked what she saw, and Teresa started
designing for Marimekko. Her fi rst patterns were called
Metsänhenki (Forest spirit), Koirat (Dogs) and Englantilainen
puutarha (English garden). Almost ten years have passed since
Teresa joined Marimekko. “Time fl ies like that.”
From the very beginning, Teresa’s design work has been
characterized by a clear yet highly personal style. “I’ve always
had my own style. I like to be playful and fanciful – while also
being sensitive and distinct at the same time.” Teresa draws
all her pattern designs by hand. After sketching and scanning
the design, she literally shuffl es selected details and motifs
around on her computer. It’s an approach that can lead to a very
multifaceted and imaginative design. “The fi nal stage is always
the most interesting! I never know what will emerge from my
drawings when I’m spinning them around on my computer.”
Teresa has honed her work process over the years. She used
to draw an incredible number of sketches. Now she thinks harder
and longer before she begins to sketch a pattern design. “It’s
funny that even with my experience, I feel like I’ll never design
again once my pattern is selected for production. But you always
get over the feeling and become inspired by something new.”
THE BEST OF TWO CULTURES. In their childhood, Teresa
and her sister, photographer Joanna Moorhouse, would spend
their summer holidays at their maternal grandparents’ cottage,
rollicking in the Finnish countryside. They would also draw
inspiration from their English father and his relatives.
At their grandparents’ cottage in Finland, the two city girls
experienced the pastoral side of life, witnessing cows give birth
and running barefooted in nearby meadows. The family also
enjoyed reading fairy tales to the girls, which meant that Teresa
and her sister were introduced to a world rich in imagination
and creativity. She has continued this storytelling tradition with
her own children. Teresa also says that fairy tales play an even
more pronounced role in her design work today.
A ROOM OF MY OWN. Teresa works from home and her
workroom is the designer’s own personal space. When things
are especially hectic, no one is allowed in the room – not even
her three- and six-year-old children. “I often ask my children for
their opinion – especially when it comes to choosing colourways
for a pattern design. I like their spontaneity, even though I can’t
take all their comments seriously. My husband is an architect,
whose opinion matters a lot to me. When I start working, he is
the only grown-up person I will show my unfi nished pattern
sketches to. His comments can get me to rethink my work, and
sometimes the pattern design begins to go in a completely new
direction.”
But now back to the apple tree in the pretty courtyard. A
sapling has been planted near the stump of the old apple tree.
The new tree will grow and strengthen in the coming years until
the next generation of children take to its branches and swing
with joy.
Teresa Moorhouse is an experienced textile designer, who has worked with Marimekko since 2004. Her newest design is called Onnen omenapuu (the apple tree of happi-ness), and it is part of the Marimekko 2013 spring collection. The colour combinations of this summery pattern were inspired by Impressionistic art.“Colour makes a powerful impression and lets us experience different moods. With the Onnen omenapuu pattern, I wanted to capture my favourite moments of summer – the clarity of morning light, a bright summer day, and the magic of Midsummer.”
The courtyard of her flat is like a secret garden in the centre of the city. Teresa had dreamt about using apple trees as design motif for a long time. To her, apple trees are magical, with each tree being unique in its own way.
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Kippo, design: Ville Silvennoinen
Kippo (cup) was inspired by piles of colourful bowls in the cupboard.
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SPRING ISSUE 09
Onnen omenapuu, design: Teresa Moorhouse
Onnen omenapuu (the apple tree of happiness) is a tribute to all the apple trees that play an essential role in childhood summer memories.
NO. 1/201310
Colour is one of those things we take for granted in our daily lives. But if you look deeper, you will discover that colour is an intriguing topic that defi es easy explanation. It is also a story that touches our lives often in the most unexpected ways.
At the end of 2012, Marimekko had the opportunity to talk with three experts about their views on the role of colour in design and the emotions colours evoke in us. Each of the interviewees is a leading authority in graphic design, interior architecture and design consulting in their home country. The ensuing conversations were truly colourful, and we hope you’ll fi nd them to be as inspiring as we did.
Universal. Cultural.Personal.
The many shades of colour.
SPRING ISSUE 11
Shashi Caan is an interior architect, educator, advocacy
icon, and founder of The Shashi Caan Collective, a US/UK
multidisciplinary and international architecture and design
fi rm, in 2002. She is the current President of the International
Federation of Interior Architects/Designers (IFI) and the author
of Rethinking Design and Interiors: Human Beings in the Built
Environment.
In her own work, she seeks to use design as a way to
improve social conditions and quality of life. Shashi Caan has
received major industry awards and accolades from Interior
Design Magazine, International Interior Design Association
(IIDA), GlobalShop and NeoCon. Shashi was kind enough to
take time out of her busy schedule and share her insights about
design and colour with Marimekko.
WHAT IS THE ROLE OF COLOUR IN DESIGN?
Colour is an incredibly multifaceted phenomenon, covering
so many aspects of design work and everyday life. It’s a topic
you can spend a lifetime studying yet feel you have only
scratched the surface. From a design standpoint, the key point is
that colour is one of the primary design criteria. When making
any matter of design, you are working with three absolute
fundamentals: light, colour, form.
The order also matters: you always begin with light and
then proceed to colour and form.
DOES THAT MEAN REALITY IS
ALWAYS COLOURED BY COLOUR?
Absolutely. The moment you change a light bulb or the
sun comes up, we begin to have perception. And all perception
is tempered through a gradation – which is colour. Even depth
perception is tempered through colour. It is the interaction of
light and colour that creates the ultimate gestalt or forms, which
are the building blocks of how we perceive reality. These are
elements of universal colour perception that bring us together
as human beings.
WOULD YOU DESCRIBE YOUR FASCINATION WITH
COLOUR AS A LIFELONG AFFAIR?
I was born in Asia, educated in Europe, and now make
my home in the USA. I would also describe myself as a visual
person who has always been interested in the arts and design.
I became fascinated with colour as an undergraduate student.
I wanted to understand how our use of colour in marketing,
fashion, design and architecture affects quality of life and
social conditions. For instance, marketing and advertising are
constantly coming up with new colour names to encourage
consumers to buy new products and services. So colour is not
just about light wavelength and visual perception. There is also
a social, cultural and economic dimension to colour.
IS OUR KNOWLEDGE OF COLOUR COMPLETE?
There is much we don’t know. For example, there are
plenty of commonplace myths surrounding colours and their
emotional impact on us. We use sky blue in nursery schools and
hospital waiting rooms because we have been trained to believe
that blue is soothing and relaxing. Yet there is evidence that
certain shades of blue in fact increase anti-social behaviour.
The other challenge is trying to isolate the effect of a
certain colour on our mood from other environmental factors
like culture, tradition, and marketing. The truth is that colour
has a major impact on our everyday life. But because we tend to
take colour for granted, we don’t necessarily build an awareness
of colour and its impact on design.
It’s also important to consider the role of personality in
how we choose and use colour. I’ve noticed in my own students
that quieter, more introverted students seem to prefer more
muted or neutral colours, while louder, more extroverted
students tend to be on the opposite end of the colour spectrum.
AS AN INTERIOR ARCHITECT/ DESIGNER, DO YOU
HAVE THE FINAL WORD WHEN IT COMES TO COLOUR
SELECTION AND USE?
When I’m working with a private client or private
residency, colour choice is completely personal or subjective.
There must be a clear understanding that there are no wrongs!
Through our space, through our home, we invite people to see
who we are.
My job is to make sure I bring to the particular project the
best possible knowledge of design and colour use, while at the
same time interpreting the customer’s expectations to the best
of my ability. I prefer to listen patiently than advise people what
to do. I want the environment I design for my private client to
be so well done that they are proud of it.
When I’m working with offi ces, commercial properties
and other public spaces, I have to take into account how design
and colour choices affect groups of people and their interaction.
In this professional context, I can make more decisions based
on my expertise and recommend ideas that have been proven
successful in similar cases. The goal of these projects is often to
express the identity and brand of the company.
YOU LIVE AND WORK IN NEW YORK. IS THERE
MORE TO COLOUR IN AMERICA THAN RED,
WHITE AND BLUE?
In the USA, different regions have different colour schemes
and quality of light. In less than four hours, you can fl y from
the northern evergreen forests of Maine to earthy, even Latin
tones of New Mexico and southern Texas. And if you travel cross
country in the winter, you can’t help but notice the contrast
between sunny California and grey New York.
You also have people settling in the country from different
parts of the world. Because the cultural background of cities,
states and regions is infl uenced by patterns of immigration,
you get an immense patchwork of ethnic colour schemes. From
a commercial standpoint, many manufacturers use specifi c
palettes for different regions: clearer, brighter, happier colours
for the West Coast; muted, perhaps even conservative tonalities
for the East Coast; and a neutral colour palette for the Midwest.
Fascinationwith colour
In conversation with Shashi Caan
NO. 1/201312
Pan Jianfeng is an award-winning graphic designer and
artist based in Shanghai. A graduate of the China Academy of Art,
Pan has also studied in the UK and visited Finland as an artist in
HIAP (Helsinki International Artist Programme). His free-wheeling
originality reveals a new understanding of Chinese daily life and
defi nes an artistic output that is full of vigour and whimsical
curiosity. For Pan, the main task of a Chinese contemporary
graphic designer is to fi nd their own visual identity.
We asked Pan to tell us more about how he uses colour in
his design work, Chinese colour symbolism and why seeing red
in China is something to celebrate.
WHAT IS YOUR FAVOURITE COLOUR?
I’ve always been attracted to a very particular shade of
blue I call labour blue. It was immensely popular in the 70s and
80s, when clothing and uniforms were one and the same in
China. Today only construction workers wear labour blue.
In my design work, I especially like how labour blue can
be unconventionally trendy and traditional at the same time.
You can be playful with this colour. I also like how it brings back
childhood memories of my parents.
CAN A CERTAIN COLOUR BE HAPPY
AND SAD AT THE SAME TIME?
It depends on your mood at the moment. If you’re happy,
it carries over to how you perceive colours, and if you’re feeling
blue, the opposite holds true. Cultural differences also play a big
role. In China, red and its many shades are positive. You could
say that red is a very happy colour for the Chinese. If I get angry
about something, I would never say that I see red.
HOW DO YOU CHOOSE
COLOURS FOR YOUR WORK?
I like to challenge people’s ideas about what is right
and what is wrong. If I’m designing a brand logo for a
chocolate company, I don’t want to use dark brown because
it’s uninteresting. Instead I enjoy using colour and texture in
a conceptual way. Why not pink or even green for a chocolate
brand? Who says you can’t do that? Colour is a good tool for
doing something crazy or unexpected.
HOW DO YOUR CUSTOMERS RELATE
TO COLOUR DIFFERENTLY?
I work a lot with international companies in China, and
provide them with local insight. It can be as simple as telling
them what a certain colour means in China. If I’m working with
Chinese clients, tradition is all important and colour use is more
conservative. I have to respect the unique meaning of colours in
my culture.
Green is a great example of how a colour may have a
hidden meaning in China. If a Chinese man is seen wearing
a green hat, it means his wife is having an affair. So using a
cap with a green logo might not be the best way to promote
your brand in China. Your educational background and home
region also affect your choice of colour in China. There is a
big difference between colour schemes used in Peking and
Shanghai.
CAN PEOPLE HAVE A TALENT FOR COLOUR?
CAN YOU DEVELOP YOUR EYE FOR COLOUR? HOW?
I think people can have a talent for colour and that you
can develop it. You can start by trying to unlearn some of
the common beliefs surrounding colour use – the kind where
people say that only this colour goes with that. You also need to
create a space inside yourself, so you can accept new ideas and
inspiration.
Sometimes taking a risk is the fi rst step to using colour
creatively. I enjoy the way children work with colour – they just
take out their crayons and get going. Nothing is holding them
back when it comes to having fun with different colours.
HOW NOT TO USE COLOUR? DO YOU SEE
A RISK IN OVERUSING COLOUR?
The danger with too much colour is that it becomes a
mess. You need to trust that the simplest choice is often the
strongest from an emotional and design standpoint.
ARE SOME COLOURS MORE SPECIAL THAN OTHERS?
Yes. Again, this has to do a lot with tradition and customs
in China. For example, only the emperor could use yellow in
Imperial China. Even today yellow symbolizes freedom from
earthly cares in Chinese Buddhism. Timing is also important.
Labour blue in the 80s would have been ordinary, but now it’s
interesting because it is somehow out of place.
HOW DO THE CHINESE USE COLOUR IN
THEIR HOMES AND CLOTHING?
People in China appreciate colourful brands like
Marimekko, but are not comfortable wearing colourful clothes
especially in the workplace. When the Chinese use colour,
they’re more concerned with people’s opinions than pleasing
themselves. Of course, attitudes are changing. On weekends,
people are more relaxed and you can defi nitely spot colourful
street wear in bigger cities like Shanghai, where you’ll also fi nd
all the major Western clothing and design brands.
The younger generation is also more open to using colour
to decorate their homes than my parent’s generation, who still
prefer white paint or simple wallpaper. You could say that we
are gradually discovering the colourful side of Western home
decor and interior design in China.
WHAT CAN WE LEARN FROM HOW
PEOPLE USE COLOUR IN CHINA?
Ink painting and calligraphy are at the heart of Chinese art
and visual culture.
So when you look at the layered use of black in a
traditional Chinese painting, you realize that black is always
colourful in China. It is also a very sophisticated way to use
colour, and a source of inspiration for designers and home
decorators in the West. Sometimes you can discover colour
where you least expect it.
Labourblue
In conversation with Pan Jianfeng
SPRING ISSUE 13
Tuija Seipell is a speaker and consultant to businesses, and
a writer for popular blogs and print publications, including The
Cool Hunter and travel blog Jaunted.
Her work focuses on creativity, innovation, design,
branding, trends, retail, consumer behaviour, customer
experience and communications strategy. She also leads and
participates in corporate and product naming projects, and
branding assignments for international clients.
Originally from Finland, Tuija has a unique perspective
on the similarities and differences between Scandinavian and
North-American sensibilities. Her history with Marimekko goes
back to the 80s, when she managed a company in Toronto that
imported Marimekko products to Canada. Today she lives in
Vancouver, British Columbia, where she feels at home in the
misty Canadian Pacifi c.
No surprise, then, that colour is one her favourite topics
and a very personal part of her life. “I’ve always been interested
in my own reaction to colour and the emotions that colour
evokes.”
WHAT IS YOUR FAVOURITE COLOUR?
I prefer to talk about colour schemes rather than a
particular colour.
In fact, working with colour is similar to learning a language.
Imagine trying to learn a language and learning just the words. It’s
impossible. You’ll automatically become aware of the culture and
customs of the people who speak the language too. So whenever
you talk about colour, you also end up talking about light, nature,
culture, history and your own unique experiences.
In my own life, my favourite colour scheme has varied
over the years. For the last twenty-fi ve years, I have really felt at
home in the marine or ocean-side colours you fi nd on the west
coast of Canada. It’s an amazingly rich colour scheme with all
kinds of earthy hues like sand, ash and clay, and dozens of hues
of blue as well. If someone gives me a bright pink vase, I can’t
use it, not because I have something against pink, but because it
just feels out of place in my home.
HOW DO THESE COLOURS AFFECT YOU EMOTIONALLY?
Again, it has a lot to do with how I relate to my own home.
For me, home is a sanctuary – a place where I feel peace. That
means that I’m always surrounding myself with the colours
that bring calm and balance. I also enjoy how these colours
communicate the deep harmony between my home and my love
of nature.
IS COLOUR THEN JUST ANOTHER WAY TO TALK
ABOUT FEELINGS?
Not necessarily. Colour can have a very specifi c function in
design and communications. For example, in a nearby hospital,
colour is used to help people fi nd their way around. To get to
the X-ray unit, you follow a yellow line painted on the fl oor. This
works especially well in multicultural communities, where not
everyone speaks the local language.
Because colour is a language everyone speaks, it’s often
the easiest and most practical way to convey information. In
this way, colour is a powerful tool that is closely tied to form and
function in design.
DO WE SOMETIMES OVERLOOK THE POWER
OF COLOUR IN EVERYDAY LIFE?
Yes. Computers and electronics are a great example. I’m
not saying your computer has to be bright red. But when you
think about the basic colours in an offi ce, they’re awful.
Many of us also spend more time in the workplace than in
our homes. So the real question is, why do we as designers and
consumers accept this ugliness? I don’t have a defi nite answer
to this question. But one reason could be that at some point we
lose touch with the way children use colour. We start to worry
about what goes with what and start consulting the Internet for
trends and style and tips.
I’ve also noticed that even children can have a very
personal relationship with colour. My niece’s daughter breaks
every rule in the playbook, but still looks perfect in her
outlandish costumes. At the same time a friend’s daughter, who
is just learning to speak, always matches the blue saucer with
the blue cup in her toy tea set.
ARE DESIGNERS THEN MORE OPEN ABOUT COLOURS?
I think designers need to experience freedom in relation
to colour. Even if everyone else is working in grey or black-and-
white, you want to feel that colour is something that is never
limited or predefi ned. You also don’t have to be a designer to
benefi t from this attitude.
IS THERE A NATIONAL DIMENSION TO HOW
WE PERCEIVE AND USE COLOUR?
Where you live always affects how you see and use colours.
This is especially evident in a multicultural and online world,
where people and cultures interact in the most surprising ways.
Think of someone whose parents came from China or India
but is born in Canada or Finland. What will they see? How will
they relate to colour? These are interesting questions, because
you’re moving beyond the stereotyped use of colour.
WHAT MAKES MARIMEKKO USE OF COLOUR UNIQUE
– PERHAPS EVEN TRIBAL?
Words that come to mind are clear, bold, bright, and non-
ornamental. The company’s history is also incredibly colourful.
Sixty years ago, business was still mostly male domain, and
women like Marimekko founder Armi Ratia were not only ahead
of their times, but also creating a new space, if you will, for
women in business life. In a similar way I think Marimekko has
the potential of constantly creating a new colour space for its
customers, while also challenging their thinking about colour.
Back in the 80s, when I was working on bringing
Marimekko to Canada, people said they loved Marimekko’s
patterns and colours, but were not sure how to use the dresses
and fabrics. But when I showed them examples and told them
about the rich and cool history of Marimekko, the lights started
to go on. It seemed that they wanted to like and use them, but
just weren’t sure if it was “appropriate.” I felt they were looking
for advice, information, examples and encouragement. It almost
felt that they needed permission to use such unusual patterns
and colours. I think that’s a big part of Marimekko’s allure – and
opportunity – still today: Giving that freedom to be bold.
In conversation with Tuija Seipell
Powerof colour
NO. 1/201314S
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Art ofprint making –
colo
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a reason
PESTEL coat dressPRIKKA dress, VANGO tights, WILMA jacket, JOOA trousers
PhotosMikko Ryhänen
SPRING ISSUE 15
KANTAPAIKKA cardigan, MUSTA VIRTA fabric
NO. 1/201316
KOSMOS dress, VALOVUOSI dress, VALSSI necklace
SPRING ISSUE 17
NO. 1/201318
PIILOPAIKKA knitted dress, ASTRO fabric
SPRING ISSUE 19
GUASSI dress, TANGO necklace, VANGO tights
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TILKKUTÄKKI apron, KOMPOTTI tea towel, KOMPOTTI chopping board OIVA tableware, MARJORIE bag, KUJU dress
SPRING ISSUE 21
SUKLAAJÄTSKI dress, HULA necklace
NO. 1/201322
HALLU dress, OIVA tableware
SPRING ISSUE 23
NO. 1/201324
KOSMOS dress, PLUTO hat
SPRING ISSUE 25
JURMO, HENNIKA, UJO, NIMIKKO and RÄSYMATTO towels
NO. 1/201326K
ids
Playful coloursfor the littleones
KORTTELI fabric, PÄÄRYNÄ and SATSUMA cushions, JAKARI pillow case and bath towel, MEKKOPÄIVÄ dress, MENOKKAAT trousers, TASARAITA T-shirt
KETUNLEIPÄ dress, NITTA leggings
JAKARI fabric, IISA t-shirt, MARIPUPU toy
JELMERI shirt, KETUNLEIPÄ dress, NITTA leggings
SPRING ISSUE 27C
lassics
Marimekko classics is our permanent collection of iconic
patterns and clothing design. Together with our seasonal
collections, these timeless designs bring new meaning to enduring
colour and joy.
And with each year or two, a new classic joins the collection.
Moments in time that lasta lifetime
TASARAITA duvet cover and nightdress
JOKAPOIKA shirt
PIKKUPOJANPAITA shirt, TASARAITA T-shirt, PALLO nightdress, KISSAMEKKO dress
TASARAITA nightdress, UNIKKO umbrella
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Vatruska, design: Aino-Maija Metsola
Vatruska (vatrushka pie) and Kompotti (compote) are jolly mixes of various fruits – and an onion has managed to slip along, too.
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SPRING ISSUE 29
Tilkkutäkki, design: Maija Louekari
Tilkkutäkki (patchwork) follows in the folkloristic footsteps of Louekari’s earlier prints Lappuliisa (meter maid) and Ryijy (rya rug).
NO. 1/201330
With the turn of every season, Marimekko shops around
the world welcome a new collection of clothing designs. Hung
from racks or folded creatively, these works of inspiration soon
become cherished belongings for many of us.
But before that can happen, a colourful team of designers
must get together in Marimekko’s Helsinki factory. The team
is made up of clothing and pattern designers, assistants and
creative managers. The fl oor is open for discussion. Everyone can
share their views and current interests. It is an inspiring day.
The team gets to work soon after their meeting. Noora
Niinikoski, Marimekko’s Head of Fashion Design, begins
to weave together the team’s creative ideas. The petite yet
determined designer is responsible for the look and feel of all
Marimekko fashion collections. To think, Noora manages this
intricate process alongside her own design work.
Noora begins by creating a colour chart based on the
team’s input. The right shade might turn up anywhere – a leaf
or a child’s raincoat. The process is now rolling forward, and
many of these nuances become an essential part of the fi nished
collection. Besides choosing the right colour scheme, Noora
and her team also select pattern designs for the collection.
Some of these patterns are brand new – others are gems from
Marimekko’s pattern archive.
The next stage is sketching and drawing. Each of
the designers creates unique pieces of clothing in their
own personal style. Noora keeps an eye on the process and
encourages the designers to be open and innovative. The ready
sketches are then sent to Marimekko’s assistant designers, who
help turn the sketches into more detailed drawings. With the
drawings complete, the team gets to work on the collection’s
colour scheme and fabric selection. They also get together
to inspire each other, and keep a tight rein on quality and
workmanship. Compromises are unacceptable.
Marimekko’s talented pattern makers and seamstresses
turn the team’s ideas into prototypes. Noora and her team then
make sure the sample garments fi t perfectly. They also check
the garments’ quality, arrange photo shoots, and continue to
fi ne-tune their designs. The work is intricate and challenging –
and the hectic pace can be overwhelming at times. Marimekko
is full of colourful personalities, and that’s what matters. There’s
always plenty of room and air for inspired creativity.
And once the job is done, or maybe even before the
collection is complete, the team is already working on the
next three collections, sharing ideas and inspiration. Soon
someone will come up with a design that may become your
personal favourite.
A visit to the Marimekko fashion design team
Photos Paavo Lehtonen & Marimekko
SPRING ISSUE 31
Noora Niinikoski and her team get together regularly as they work on a collection.
Ideas take wing during the team’s inspiration day. There is no such thing as a bad idea.
Designer Satu Maaranen joins the fitting session for this year’s spring collection.
Pentti Rinta’s humorous Hattara pattern from 1970 is part of the spring 2013 collection.
Noora Niinikoski, Marimekko’s Head of Fashion Design, presents her ideas during the inspiration day.
The prototypes are sewn at Marimekko’s Helsinki factory according to detailed guidelines.
Every detail matters. Nothing is left to chance.
NO. 1/201332
SPRING ISSUE 33
New YorkFashion Week
Photos Billy Farrell Agency & Marimekko
Marimekko’s story began with a fashion show in 1951.
A seamless union of original patterns and colours with timeless
women’s clothing.
In autumn 2012, Marimekko debuted its spring and summer
2013 collection at the New York Fashion Week. It was a fi rst
for Marimekko. Smiling models of all ages took to the runway,
celebrating the easy-to-wear colour and joy of Marimekko clothing.
See the show at youtube.com/marimekkovideo.
Photos Billy Farrell Agency
+
+
NO. 1/201334
KOMPOTTI pot holder
KOMPOTTI oven mitt
TILKKUTÄKKI apron
OIVA bowl
Create contrast and comfort by combining different colours with white. Then step back and enjoy the peace and clarity.
OIVA plate
Colourfullycombined
If you want to add a little colour to your home, why paint the entire
wall yellow? Upbeat patterns can live happily in kitchen cabinets or on
handy oven mitts.
Start your own Oiva tableware collection or give a white bowl as a gift. You can later combine them with patterned cups and bowls or match them with colourful goodies from our new Kompotti kitchen collection.
TILKKUTÄKKI oven mitt
OIVA teapot
OIVA/TONKKA jug
+
+
SPRING ISSUE 35
PÄÄRYNÄ cushion
OIVA/KOMPOTTI plate
RAANU apron
RAANU oven mitt
KOMPOTTI apron
OIVA/KOMPOTTI mug
OIVA/KOMPOTTI bowl
KOMPOTTI chopping board
KOMPOTTI chopping board
Colourful fabrics can make all the difference in a student fl at. This simplest of gifts is guaranteed to bring joy.
Chores are a breeze in a colourful kitchen – especially if your cutting board is the apple of your eye.
NO. 1/201336
Springclothing
PURJE dress
GUASSI dress
GAIA dress
KLUPUKUKKA dress , TELLU socks
KIEPPI scarf
MARJORIE bag
SPRING ISSUE 37
KUOVI bag PINKKI dress, PIPA tights PIILOPAIKKA knitted dress, KINSA socks
VALSSI necklace
WILMA jacket, OKTAAVI tights
PASTELLI dress
SANTORINI scarf
PLANEETTA dress, PLUTO hat, KINSA socks
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Astro, design: Jenni Tuominen
Astro describes the movement of planets and new shapes that form in outer space.
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Lakia, design: Aino-Maija Metsola
Lakia (expanse) depicts the beauty of a Finnish field landscape with its rivers, log piles and haystacks from a bird’s-eye view.
NO. 1/201340
Beverly Hills
Sydney
Tokyo, Ikebukuro
Tokyo
Tokyo
Helsinki
SPRING ISSUE 41
New shops
The past autumn was incredibly hectic for
Marimekko’s shop design team. From Boston to Tokyo
with a few detours on the way. From Lappeenranta in
Eastern Finland to Palo Alto in sunny California. And
from there the journey continued to Australia and
the iconic cities of Sydney and Melbourne. A quick
stopover in Helsinki, and then off to Beverly Hills,
where the mood is always colourful.
In total, 15 new Marimekko stores were opened
around the world at the end of 2012. The icing on the
cake was our fi rst online shop in Finland.
Let’s see where the journey takes us next!
Hollywood™ & Design © 2012 Hollywood Chamber of Commerce. All Rights Reserved.
Photos Michael Bradfield, Paavo Lehtonen, Jaakko Manninen, James Ray Spahn & Marimekko
Sydney
Sydney
NO. 1/201342
SPRING ISSUE 43
Two curatorsand China
Photos Toni Rosvall & Marimekko
The Museum of Contemporary Art in Shanghai (MoCA) hosted the Design Colours Life – Contemporary Finnish Design and Marimekko exhibition in late 2012. The exhibition offered a new and fascinating look into how Marimekko brings colour and emotion to people around the world through its design. The exhibition was the spearhead project of the Radical Design Week Shanghai event. Heading the project for Marimekko were designer Sami Ruotsalainen and brand development manager Jeremiah Tesolin. For them, the exhibition was the culmination of several years’ hard work and meticulous research. The curator for the Contemporary Finnish Design part of the exhibition was Tuuli Sotamaa, who also designed the exhibition architecture under Sotamaa Design along with Kivi Sotamaa.
NO. 1/201344
THE FIRST STEP
In November 2009, a group from Marimekko took part
in a design seminar in Shanghai and visited the Museum of
Contemporary Art (MoCA). They immediately fell in love with
the museum and its surroundings, and felt that it would be the
perfect place to hold an exhibition about Marimekko in China.
Shortly after the visit, the museum’s representatives were
invited to Finland. In 2011, the guests from China arrived in
Helsinki and visited the Marimekko 60th anniversary exhibition
in Design Museum and experienced the legendary annual
public Marimekko fashion show in the Esplanade Park in
Helsinki. They then invited Marimekko and the Radical Design
Week team to arrange an exhibition at MoCA.
Sami and Jeremiah made their fi rst trip to Shanghai in
November 2011, and they would travel to China frequently in
the following year, presenting ideas to the museum staff and
learning more about the museum as an exhibition space and
a cultural venue for people in Shanghai. The creative team
needed to take into account the distinct architecture of the
MoCA site and the museum’s unique standing in China as one
of the nation’s principal window to Chinese and international
contemporary art.
TEAMWORK AND TRUST
Although Sami and Jeremiah had considerable experience
organizing exhibitions, they realized that the scope and depth
of the new exhibition would require careful investigation not
only into Marimekko’s rich legacy, but also into Chinese culture
and history. They also had to contend with the numerous
practicalities of organizing a large-scale exhibition, from safe
transport of items to China to eventual installation of the
exhibition.
SAMI: “We had to learn a lot of new things, and also do
a lot of background research. We had to put our imagination
to work, because we had to organize pretty much everything
– starting with shipping the exhibition items to China. The
responsibility was huge.”
JEREMIAH: “It was mainly Sami and I working on the
project, and there was so much to do that we naturally helped
each other out. Sami had a lot more experience with the actual
collection and items and tended to work out those things, while
I was working more on the communication around them –
writing and concept work.”
MARIMEKKO IN A NEW LIGHT
MoCA had made it clear from the beginning that they
wanted to present Marimekko’s cultural and design legacy in a
completely new light. The museum was especially fascinated
with how Finns took design for granted in their daily life, and
felt that this perspective would interest Chinese visitors.
Sami and Jeremiah felt that the best way to tackle this
challenge was to visit Marimekko’s extensive archive. They
went through several shelves of articles, books, news clippings
and designer notes before they identifi ed eight central themes
that conveyed the Marimekko story.
Some of these themes were universal in nature, but some
were uniquely Marimekko: the constant collaboration between
artists and the company, the Nordic emphasis on equality, the
desire and ability to change, and the creativity and courage of
Marimekko designers.
MOTHER AND DAUGHTERS
The eight themes were explored in different installations
and environments during the exhibition. For instance,
Marimekko dresses from different decades highlighted the
continued relevance of Marimekko design to contemporary
audiences. The exhibition also sought to re-examine the
assumption that Marimekko patterns are designed for printed
textiles exclusively.
One of the highlights of the exhibition was Marimekko’s
longstanding collaboration with artists and the unique
relationship between mothers and daughters of the Isola family.
Maija Isola had a close collaborative partnership with her
daughter Kristina Isola, and today Emma Isola is carrying on that
tradition with her mother Kristina. This bond of family and artistic
expression continues to speak to the essence of Marimekko.
The work of Astrid Sylwan, a Swedish contemporary artist,
was also on display, showcasing how Marimekko transforms
complex abstract paintings into industrial design objects.
Throughout the exhibition, sketchbooks, drawings, photographs,
notes and poems were used to communicate the thinking and
creativity of Marimekko.
TOUGH CHOICES
Finding the right mix of new and classic Marimekko
items was a key priority from the beginning. The architecture
SPRING ISSUE 45
of the museum also affected the choice of exhibition items.
Originally a greenhouse, MoCA was fl ooded with light in the
day, and the building’s glass walls and grey concrete fl oor were
a challenging surface.
SAMI: “There was so much to choose from – I felt happy
and anxious at the same time. I had to fi nd the right balance
between new and classic. I also wondered if the people in
China could relate to Marimekko – we were sailing in uncharted
waters. We also had to consider how the building would impact
lighting and installation design. Fortunately, the grey fl oor and
glass walls established a powerful contrast with the Marimekko
patterns and dresses.”
TWO-DAY MARATHON
Organizing the exhibition was like running a marathon:
you just had to keep on going and not look back. In the fi nal
months just before the opening, new challenges were emerging
almost daily.
For instance, Jeremiah and Sami had reserved a week for
installation work, but when they arrived in China, they learned
that the exhibition items were held up in customs. Once the
items had been cleared, they had only two days to put up the
exhibition.
JEREMIAH: “When we were building the exhibition, I
turned to the same tricks I use when riding a 150km bicycle
ride for example. I packed energy bars because I knew I
wouldn’t be able to eat regularly and made sure to drink water
constantly, and also made sure the people I was working
with had water. It was an athletic marathon, no other word to
describe it! ”
SUCCESS IN SHANGHAI
“The exhibition is a wonderful and engaging experience.”
That’s the message we heard from museum staff, media,
and thousands of visitors. Many of the Chinese visitors were
interested in the original sketches and ideas of Marimekko
designers – and how these fi rst creative thoughts eventually
became printed textiles. Visitors were fascinated with Maija
Isola’s Ihminen pattern series, which is based on photographs
depicting different parts of the human body. The model for the
series was Kristina Isola, who was photographed by her husband.
SAMI: “It was strange how the exhibition was just what
I had imagined. If I had to design everything again, I’d hardly
change anything. Maybe I would reserve more time for transport
and research certain things more thoroughly. And I would
defi nitely try to anticipate things before they happen. But again
I would change very little in the exhibition itself.”
JEREMIAH: “It was one of the highlights of my career in
Marimekko in terms of what I could accomplish for the company
and hope for more to come from this. I’ve been working in the
company for nearly three years, and felt I had the experience
and fresh viewpoint to show a familiar yet new side of
Marimekko. And judging by the reaction of visitors and press it
went really well.”
ONCE IN A LIFETIME
For Sami, the exhibition was as an incredibly rewarding
experience. “Since I was involved in every stage of the
exhibition, from design and installation to shipping the items
back to Finland, I realized that packing pieces of art and even
ordinary items is demanding work. Sticking to agreed schedules
is also no easy task. The people in Marimekko’s stockroom and
sewing department were an amazing help – a really big thanks
to them!”
JEREMIAH: “I learned to stay patient and keep at it.
Sounds obvious but you need to train your mind to just deal
with things as they come up. You also need to know when
to react immediately and when to stand back. I am proud of
working on this project and succeeding the way we did. It was
an opportunity you get only once in your lifetime.”
NO. 1/201346
SPRING ISSUE 47
In 2012, Marimekko came to China with a splash of colour and
curiosity. As part of the Design Colours Life – Contemporary Finnish
Design and Marimekko exhibition at the Museum of Contemporary Art
Shanghai (MoCA), Marimekko plunged into a journey to observe and learn
from one of the world’s oldest civilizations. In April, Marimekko teamed up
with the Aalto-Tongji Design Factory to explore the meaning of colour in
China. The collaboration, which took place in Shanghai and included both
Chinese and international design students, represented a novel way to
observe how the Chinese experience and use colour in their daily lives.
The highpoint of the project was a week-long workshop that
investigated how Chinese people bring colour into their daily lives and the
impact of colours in the daily habits, traditions, and rhythms of China. The
design students also looked into how colours and patterns can improve
general wellbeing and quality of life. The project centred on the Wen Xin
Xiao Wu retirement home in Shanghai. This community for the elderly is
known for being socially active and is unique in that it organizes activities
such as sports, games, walks, dances, and cooking. These help the
elderly to maintain a sense of connectedness, with each other and their
surroundings.
Working in small groups, the students and the community members
used donated Marimekko fabric to create colourful items that would
improve the emotional wellbeing of the people living in the building. The
community took to the Marimekko patterns right away and really enjoyed
the creative challenge of bringing colour to their immediate surroundings.
Jeremiah Tesolin, Marimekko’s brand development manager,
who created the Tongji University collaboration project, explains:
“Marimekko is often described as a natural fi t in the lives of people from
around the world, even though the fabric prints have been designed
and manufactured in Finland. Yet many claim that design and colour
preferences are culture specifi c, not universal. We wanted to fi nd out
what makes Finland and China more similar than different and explore
this through Marimekko’s colours and patterns. What we noticed was that
there is a certain commonality of needs and interests between different
people. We found that the use of colour is often personal – and no culture
can be completely oblivious to the impact of colour on our emotions.”
HOW DID THE CHINESE REACT TO DIFFERENT
MARIMEKKO PRINT PATTERNS?
“Marimekko’s simple, geometric designs seemed to evoke a sense of
childhood and youth in many Chinese, while black-and-white prints were
seen as representing the past and history. We also found that bold use of
colours especially in fl oral prints was associated with positivity,” Jeremiah
sums up.
Nıhao Marimekko!**Hello Marimekko! in Mandarin Chinese
Aalto-Tongji Design Factory and Marimekko
Professor: Lou YongqiAssistant Coordinator: Song Dongjin
NO. 1/201348
Dance ofcolour andpattern
People’s Park in the downtown Shanghai is a green oasis in one
of Asia’s most dynamic cities. In October 2012, the mood in the park
was expectant as people gathered under the glare of spotlights. They
were waiting for something to begin – something they would later
describe as magical.
In 2010, Jin Xing, a world-renowned choreographer and
pioneer of modern Chinese dance, collaborated with Marimekko at
the Shanghai World Expo. Now, two years later, the choreographer
and her troupe were again working with Marimekko, bringing
Finnish design and modern Chinese dance on to the same stage.
The Jin Xing Dance Theatre was ready to dance down the runway
in Marimekko’s autumn and winter clothing collection. Earlier in
the day, Design Colours Life – Contemporary Finnish Design and
Marimekko exhibition had opened to the public at the Museum of
Contemporary Art, which also happens to be in the People’s Park.
The celebrated choreographer’s style is honest, with a
sense of aesthetic, rooted in Chinese culture and enriched with
the experience from the Western world. The inspiration for her
Marimekko choreography came from the collection’s bold and
expressive patterns. Jin Xing made sure the Marimekko clothing
matched perfectly with each dancer’s persona. She then asked her
troupe members to express the emotions evoked by the clothing
through the movements of dance. For the show, Jin Xing combined
the different movements into a single choreography.
To our knowledge, Marimekko and Jin Xing Dance Theatre
have danced their way into history. The magical performance was
allegedly the fi rst fashion show ever held in the park. Marimekko’s
design philosophy and Jin Xing’s spirited choreography joined
together beautifully under the night sky, and the audience, sitting
only an arm’s length from the performers, was enthralled. Jin
Xing says that she has met a kindred spirit in Marimekko. Her
choreography was an unforgettable dance of colour and pattern.
See the show at youtube.com/marimekkovideo.
Photo Toni Rosvall
SPRING ISSUE 49
NO. 1/201350
Unikko in the big blue sky. Kissapöllö, Koppelo and Seireeni in the
passenger cabin. Marimekko and Finnair are now travelling together in
an original pattern.
Symbolizing the new-found partnership is a Finnair passenger
aircraft clad in 36 Unikko fl owers. Since October 2012, the colourfully
patterned aeroplane has been fl ying to destinations in Asia from Helsinki.
In 2013, Finnair’s entire fl eet will get a fresh touch of colour as classic
Marimekko patterns gradually make their way into the passenger cabin.
Along with Maija Isola’s Kissapöllö, Koppelo, Seireeni, Silkkikuikka and
Kivet patterns, Finnair fl iers will enjoy tableware and textiles from the
Ilmo collection by designer Sami Ruotsalainen. The collection is purpose
designed for catering use in commercial aircraft.
This spring a second Finnair aircraft will take to the air in a
Marimekko pattern. But the pattern and launch date are still a secret.
See the partnership take wing at youtube.com/marimekkovideo.
Marimekkoand Finnair –travellingtogether
SPRING ISSUE 51
Lace up! New Marimekko patterns for Converse in shops this spring!
Converse MarimekkoEvents, stories, special offers and lots of surprises – Marimekko’s customer loyalty programme Marimekko Village invites people from around the world to get inspired with colours and patterns.
Register in Marimekko shops or online at http://village.marimekko.com.
We number over 100,000. Click Like and stay in touch with Marimekko.facebook.com/marimekkoglobal
In Patterns: Marimekko –a book about our passionfor patterns
Join Marimekko Village!
Marimekko on Facebook – Like!
In Patterns: Marimekko tells the story behind our design gems and their creators – from the early pioneers to the 21st century masters.
Available at Marimekko stores and selected distributors for Marimekko and WSOY.
Elle Decor Japan chose Teresa Moorhouse’s Kaunis kauris pattern as the fabric of the year for 2012. In April, we’ll see how the popular pattern fares in the global Elle Deco International Design Awards finals.
Satu Maaranen, who designs clothes and prints for Marimekko, was presented with the Newcomer of the Year prize in the Finnish Elle Style Awards 2012 gala.
Congratulations Teresaand Satu!
In brief
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