DOCSLIB.ORG

Yearbook 2014 20 1 4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yearbook 2014 20 1 4 2014 YEARBOOK YEARBOOK YEARBOOK 2014 www.marimekko.com 1 Bold and true to life Marimekko is a Finnish design and different industries. The theme CONTENTS company. The core of its business was visible in collections as well as is the design and manufacture of various partnership schemes embracing 2 timeless and individual, practical and summer fashion, contemporary art, From the President beautiful consumer goods. The array of fibre research, and aviation. and CEO Marimekko design embraces clothing, Anna Teurnell, who started work bags and accessories as well as home as Creative Director in July, is taking 4 décor items ranging from textiles to Marimekko’s design in new directions. New stage in strategy tableware. The first sight of the new course will be When Marimekko was founded in in autumn 2015. 5 1951, the unparalleled patterns and The Marimekko store network Marimekko’s colours of its printed fabrics gave it a continued to grow in 2014. The most Creative Director strong and unique identity. A heritage new stores were opened in Asia. In acquired over decades, with its values June, a partnership contract was signed 6 and legends, is an inexhaustible to take Marimekko into the Middle East, Vision, goals treasure from which it is good to draw with the first stage being Dubai in the and strategy courage and the strength for renewal, UAE. even today. The unquestioned star of the 8 One of the themes of Marimekko eventful year was perhaps the most 2014 in figures design in 2014 was to explore what popular and best known of all of interesting things can emerge from Marimekko’s innumerable classics: 11 encounters between different cultures the 50-year-old Unikko pattern. Marimekko growing in Asia 12 Highlights of the year 16 Sustainability at Marimekko marimekko.com 18 company.marimekko.com Personnel facebook.com/marimekkoglobal 20 instagram.com/marimekkoglobal Marimekko spirit twitter.com/marimekkoglobal pinterest.com/marimekkoglobal youtube.com/marimekkovideo 2 As of the Annual General Meeting in spring 2015, Marimekko will be co-led by Tiina Alahuhta-Kasko and Mika Ihamuotila. ”To me, 50-year-old Unikko symbolises the heart of Marimekko at its best: it is timeless, positive and bold, and it contains nothing unnecessary.” From the President and CEO Marimekko has a year behind it in Asia-Pacific region, where the number which we celebrated internationally of our stores has doubled to 46 in the what is perhaps our most iconic past three years alone. I am delighted pattern, Unikko, designed by Maija that we entered this growing market in Isola 50 years ago. We took Unikko to time. Now that we have a fairly strong places including fashion shows, the position and recognition factor there, it side of an aircraft and a pop-up café is natural to continue the expansion in in Tokyo, and we stirred an online the region. debate about courage. When I look at In many of our traditional markets Unikko, I can only marvel at how it – particularly Finland and the rest of has gone on to become just as radical Europe – last year was very difficult. and contemporary as it was in the This shows in our overall net sales, year when it was designed, 1964. To which were on a par with the previous me, Unikko symbolises the heart of year’s figure. However, it was positive Marimekko at its best: it is timeless, that there was an increase in our online positive and bold, and it contains sales in Finland. nothing unnecessary. In spite of difficult market Digital matters played an important conditions, we achieved good results part in our work in 2014. I am pleased and a very strong cash flow. Contri- that we got started in time. In today’s butory factors in the strong results world, consumers demand multichannel included operational reorganisations the most striking results of our work service, and in order to succeed, and cost-cutting as well as the royalty on sustainable development is the Allu corporate players like us have to make income from Banana Republic’s dress, produced in collaboration with shopping as simple and as pleasant for Marimekko collection. In the course of Aalto University, which is made of the consumer as possible, regardless the reorganisations, we unfortunately renewable Finnish birch cellulose. of the channel in question. The trend had to engage in consultative A great deal is expected of this award- in our online sales was promising last negotiations which affected all winning material innovation in the year, and we devoted great effort to our operations in Finland with the future. digital marketing communications and exception of the textile printing Another important step forwards the social media. I am convinced that factory in Helsinki. in 2014 was the recruitment of the digitisation will transform retail trade Sustainability has always been part new Creative Director, Anna Teurnell. from top to bottom. I see this largely as of Marimekko’s core, and we did a lot to Our goal is, with Anna’s leadership, to an opportunity for Marimekko – not a promote this in 2014 as before. Ethics create even more attractive products threat. and ecological aspects, respect for and especially in the early stage to In 2014, we continued to invest nature and people in everything we do, underpin our position as a maker of boldly in international expansion and are the cornerstones of our philosophy fashion internationally. in boosting our brand profile. Of the of sustainability. I believe Marimekko And what of the future? The year 19 Marimekko stores opened during acts as a counterweight to the short- 2015 has started quite gloomily in the year, 13 are outside Finland. The termist, disposable culture – Marimekko Finland and the rest of Europe, and main thrust of our expansion was the design should be long-lasting. One of because of this we are under pressure toimitusjohtajaLta 3 in terms of both our net sales and our Board of Directors. Pekka Lundmark, ”In spite of difficult bottom line. However, I am confident who has chaired our Board of that our international growth will Directors since 2008, has declared market conditions, continue, particularly in Asia, and that he is no longer available for the indeed we intend to progress far- post, and I would like to thank him we achieved good sightedly along our chosen path. for his truly excellent handling of results and a very Our target this year is to open 10–20 the job. stores, some of which will be in what I am enormously enthusiastic strong cash flow.” are for us totally new markets: Dubai, about advancing our company Singapore and Bangkok. together with Tiina and all the rest of As of the Annual General Meeting our personnel. I believe we are now in spring, the duties of Marimekko’s superbly placed to make Marimekko President will be the responsibility of an even more attractive brand and Tiina Alahuhta-Kasko. I am very happy an even more international and that we are able to appoint one of our profitable company. own as President. I believe Tiina is an extraordinary person and leader – a visionary, an achiever, inspiring and fair. I myself will continue as CEO and I am also a candidate for chairman of the Mika Ihamuotila 4 New stage in strategy The international growth of Marimekko has been built consistently during 2014–2018 the past eight years. The first stage PROFITABLE AND GLOBAL FASHION & HOME BRAND WITH STRONG DIGITAL OPERATIONS involved laying the foundations for the development of a global company. The aim of the current four- • from a ”niche design cult brand” to a much broader appeal year period is to make Marimekko a for selected target customers profitable, global fashion and home • fashion to an entirely new level brand with strong digital operations. • translating recent growth into stronger profitability • strong store growth with special focus on Asia • new generation steps in digital and collaborations 2010–2014 GLOBAL COMPANY • development of fashion • launch of a global network of stores • launch of US e-comm and focus on digital communication • efficiency improvements • successful global collaborations • launch of a sustainability and CSR organisation 2008–2012 FOUNDATIONS • crystallisation of the brand • building a professional organisation • corporate culture • new categories in home products • store concept • new stores and teams in Asia and the Americas 100 Vuotta ARMIN SYNTYMÄSTÄ 5 ANNA TEURNELL Marimekko’s Creative Director Anna Teurnell started for Marimekko as Creative Director and member of the Management Group in July 2014. She leads Marimekko’s design team and is responsible for the design strategy of all the product lines – fashion, home, and bags and accessories. Teurnell came to Marimekko after serving as Director of Design for the & Other Stories brand, which sells clothing and accessories. She worked in various key positions related to brand-building and design for the Hennes & Mauritz Group for a long time. Teurnell graduated from the Beckmans College of Design in Stockholm, and she also has job experience of print design for clothes. Anna Teurnell aims to make sure that Marimekko continues to look like Marimekko in the years ahead. The strong brand is a good basis for updating the collections: among the things in sight are new materials, new silhouettes and new patterns to accompany the treasures in the archives. The objective is to create the classics of tomorrow, products which people will still want to use decades from today. The autumn 2015 collections already show signs of the direction in which Teurnell wants Marimekko design to advance. The spring 2016 collection will be the first started from scratch under her leadership. ”I am enormously happy that I am able to take Marimekko forward.
Load more

Recommended publications
  • Piel Artificial Metamorfosis Arquitectónica Del Cuerpo a Través De La Superficie
    UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TESIS DOCTORAL BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN Arquitecta 2015 DEPARTAMENTO DE IDEACIÓN GRÁFICA ARQUITECTÓNICA ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE Autora_ BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN. Arquitecta Directora_ ATXU AMANN ALCOCER. Doctora Arquitecta 2015 TRIBUNAL Tribunal nombrado por el Mgfco. y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día de de 20 . Presidente: Vocal: Vocal: Vocal: Secretario: Suplente: Suplente: Realizado el acto de defensa y lectura de la Tesis el día de 20 , en la Escuela Técnica Superior de Arquitectura de Madrid. Califi cación: EL PRESIDENTE LOS VOCALES EL SECRETARIO TRIBUNAL PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TRIBUNAL AGRADECIMIENTOS MI GRATITUD PARA Atxu por sus fundamentales aportaciones, académicas y personales por su predisposición sin límites por dedicarme su precioso tiempo Jorge Sainz por ofrecerme su sincero punto de vista Aliki Economides, Rickard Lindqvist, Jennifer Barrows y Ruth de la Puerta por compartir sus investigaciones conmigo David Delgado por invitarme a acceder a su amplia biblioteca Yolanda Orejas por sus consejos de experimentada modelista Claudia Mitrea por sus habilidades lingüísticas María Mallo por su lección exprés y ser compañera de estrés Mi familia y amigos por la importancia que tiene no sentirse sola en el trayecto Db por experimentar esta metamorfosis junto a mí AGRADECIMIENTOS PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE AGRADECIMIENTOS RESUMEN RESUMEN El cuerpo, como conjunto organizado de partes que confi guran el organismo, es una entidad metamórfi ca.
    [Show full text]
  • Ruth Adler Schnee 2015 Kresge Eminent Artist the Kresge Eminent Artist Award
    Ruth Adler Schnee 2015 Kresge Eminent Artist The Kresge Eminent Artist Award honors an exceptional artist in the visual, performing or literary arts for lifelong professional achievements and contributions to metropolitan Detroit’s cultural community. Ruth Adler Schnee is the 2015 Left: Keys, 1949. (© Victoria and Albert Museum, London); right: drawing, Glyphs, 1947. Kresge Eminent Artist. This (Courtesy Cranbrook Archives, The Edward and Ruth Adler Schnee Papers.) monograph commemorates her Shown on cover background: Fancy Free, 1949. (Photograph by R.H. Hensleigh and Tim Thayer, life and work. courtesy Cranbrook Art Museum); top left: Woodleaves, 1998; top right: Narrow Gauge, 1957; top center: Bells, 1995; bottom center: Funhouse, 2000; bottom: Plaid, 2001 reissue. Contents 5 57 Foreword Other Voices: By Rip Rapson Tributes and Reflections President and CEO Nancy E. Villa Bryk The Kresge Foundation Lois Pincus Cohn 6 David DiChiera Artist’s Statement Maxine Frankel Bill Harris Life Gerhardt Knoedel 10 Naomi Long Madgett Destiny Detroit Bill Rauhauser By Ruth Adler Schnee 61 13 Biography Transcendent Vision By Sue Levytsky Kresge Arts In Detroit 21 68 Return to Influence Our Congratulations By Gregory Wittkopp From Michelle Perron 22 Director, Kresge Arts in Detroit Generative Design 69 By Ronit Eisenbach A Note From Richard L. Rogers President Design College for Creative Studies 25 70 Inspiration: Modernism 2014-15 Kresge Arts in By Ruth Adler Schnee Detroit Advisory Council 33 Designs That Sing The Kresge Eminent Artist By R.F. Levine Award and Winners 37 72 The Fabric of Her Life: About The Kresge A Timeline Foundation 45 Shaping Contemporary Board of Trustees Living: Career Highlights Credits Community Acknowledgements 51 Between Two Worlds By Glen Mannisto 54 Once Upon a Time at Adler-Schnee, the Store By Gloria Casella Right: Drawing, Raindrops, 1947.
    [Show full text]
  • Craft Horizons JANUARY/FEBRUARY 1969 $2.00 Potteraipiney Wheel S & CERAMIC EQUIPMENT I
    craft horizons JANUARY/FEBRUARY 1969 $2.00 PotterAipiney Wheel s & CERAMIC EQUIPMENT i Operating from one of the most modern facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufac- ture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We manufacture forty-eight different models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with vari- able speed and constant torque, but we still manufacture the old "KICK WHEEL" too. ûzùzêog awziözbfe Also available free of charge is our book- let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department." WRITE TODAY Dept. A 353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 772-2SS7 772-2558 horizons crafJanuary/February 196t9 Vol. XXIX No. 1 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Books 10 Three Austrians and the New Jersey Turnpike by Israel Horovitz 14 The Plastics of Architecture by William Gordy 18 The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes 20 Freda Koblick by Nell Znamierowski 22 Reflections on the Machine by John Lahr 26 The New Generation of Ceramic Artists by Erik Gronborg 30 25th Ceramic National by Jean Delius 36 Exhibitions 53 Calendar 54 Where to Show The Cover: "Phenomena Phoenix Run," polyester resin window by Paul Jenkins, 84" x 36", in the "PLASTIC as Plastic" show at New York's Museum of Contemporary Crafts (November 22-Januaiy 12).
    [Show full text]
  • Luxury for the Masses
    uxury for the asses L M A Study of the H&M Luxury Collaborations with Focus on the Images of the Luxury Designer Brands UPPSALA UNIVERSITY Department of Business Studies Bachelor Thesis Date: March 2010 Authors: Carole Ginman Charlotte Lundell Catherine Turek Supervisor: Nazeem Seyed-Mohamed L uxury for the M asses “The media is constantly redefining what luxury is. Luxury can be a dirty sock if dressed up the right way” Zac Posen 1 Luxury for the Masses Executive Summary A strong brand is important for all companies; however, it is imperative for the success of a luxury fashion house as the image is one of its core assets. As strategic alliances are increasing in popularity the effect they have on how customers look at the partner brands is both interesting for the general person, but also – and more importantly – vital knowledge for companies pondering such a strategic move. The major focus of this study is to answer the question of how luxury designers’ collaborations with high street retailer Hennes & Mauritz affect how consumers perceive the luxury designer brand’s image. Theories on both brand extensions and co-branding have been compared to both qualitative and quantitative research conducted for the purpose of this investigation. This comparison has been made by using a model depicting the relationships between the collaborating brands. Through both acquiring a broad scope using the survey and deeper thoughts through focus group interviews the authors were able to gain a more holistic view of how people regard the luxury designer brands. The factors mainly investigated were those of change in awareness and change in purchase behaviour or intention, as they would be indicative of how people felt toward the luxury designer brands.
    [Show full text]
  • 2009 International Surface Design Association Conference
    THE 2009 INTERNATIONAL SURFACE DESIGN ASSOCIATION CONFERENCE KANSAS CITY, MISSOURI, USA off grid Patterns in our life and in our work often develop and repeat in a regular manner, and then something unexpected happens. Something shifts slightly, and the pattern and rhythm become radically new. It is in those moments of unexpected change that great possibility exists. We shift. We transform. We go off the grid aesthetically, conceptually or environmentally. In this conference we will concentrate on how we can seek those points of departure, and, together, go Off the Grid. For more than 30 years, the Surface Design Association conferences have been amazing meeting places where textile artists from all over the world come together to Monday, June 1– Friday, June 5 June 1– Friday, Monday, : be inspired by work, ideas and techniques. The wealth of information, creativity and talent on the podium, as well as in the audience, is astounding. During the four days of the conference, we learn from each other. It is our excitement, knowledge and willingness to share that makes each SDA conference a unique experience. Please join us and become a part of one of the most unforgettable contemporary textile events. POST-CONFERENCE WORKSHOPS POST-CONFERENCE for 2009 conference materials. Carolyn Kallenborn, Conference Chair Beauty In The Deep 2009 INTERNATIONAL SURFACE2009 INTERNATIONAL DESIGN CONFERENCE ASSOCIATION Saturday, May 23–Wednesday, May 27 May 23–Wednesday, Saturday, OFF THE GRID KANSAS CITY, MISSOURI, USA 2009 31, MAY 28–SUNDAY, MAY THURSDAY,
    [Show full text]
  • Fashion in Finland
    FASHION IN FINLAND Fiskars by Maria Korkeila, photo by Chris Vidal Finnish fashion Männistö, photo by Chris Vidal BACKGROUND Modern Finnish fashion was born during the heyday of Finnish design and architecture in the 1950s. Today Finland is looking to the future with the fast development of new material innovations, award winning young designers and successful sustainable brands. Quality and sustainability Finnish brands are designer driven – quality, sustainability and strong artistic vision are at the core of Finnish fashion. During the past few years, Finnish designers and brands have been celebrated in all the important media from Vogue Italy to the New York Times. FASHION HERITAGE JUNI FASHION HERITAGE Vuokko Nurmesniemi Vuokko Nurmesniem Vuokko Nurmesniemi is the grand old master of Finnish fashion. She is best known for her designs for Marimekko in the 50s and 60s. She started her own label Vuokko in 1964. Nurmesniemi´s design has been the inspiration for many current foreign fashion superstars and she is still designing and running her shop in Helsinki. In the late 1960s Nurmesniemi became one of the first designers concerned about the environmental impact of the textile industry. She received the Milan Triennial XIII grand prix and Lunning Prize for design in 1964, the Prince Eugen Medal in 1986 and the Kaj Franck Design Prize in 1997. Marimekko Marimekko is a Finnish lifestyle design house founded in 1951 with a mission to empower people to be happy as they are and to bring joy to their everyday lives with bold prints and colours. In the 1950s Marimekko began making dresses with abstract prints and vibrant colours for women who are bold in expressing their personality through their choice of attire.
    [Show full text]
  • Financial Statements 2019
    Financial Statements 2019 TIINA ALAHUHTA- KASKO, 13 FEBRUARY 2020 13 February 2020 1 © Marimekko A STRONG YEAR 2019 Net sales +12%, comparable operating profit +40% + Net sales rose by 12% with growth in all market areas. + Retail sales in Finland, wholesale sales and licensing income in the Asia-Pacific region as well as wholesale sales in EMEA especially contributed to growth. + Sales in Finland and international sales both grew by 12%. + Comparable operating profit rose by 40%, boosted by sales growth and improved relative sales margin. - Results were weakened by higher fixed costs. 13 February 2020 2 Q4/2019 Net sales +17%, comparable operating profit +87% + Net sales up by 17%, growth primarily from retail and wholesale sales in Finland as well as increased wholesale sales and licensing income in the Asia-Pacific region. Wholesale sales growth in the Asia-Pacific due to part of the region’s Q4 2018 deliveries’ timing in Q1 2019. + Sales in Finland grew by 20% and international sales by 12%. + Comparable operating profit grew by 87%, boosted by sales growth. - Results were weakened by higher fixed costs. 3 KEY FIGURES 2019 Solid financial development EUR million 10–12/2019 10–12/2018 Change, % 1–12/2019 1–12/2018 Change, % Net sales 34.7 29.7 17 125.4 111.9 12 International sales 12.8 11.4 12 54.3 48.3 12 % of net sales 37 38 43 43 Comparable EBITDA * 6.2 2.2 186 29.7 14.7 102 Operating profit 3.0 1.2 144 17.1 17.7 -3 Comparable operating profit 3.0 1.6 87 17.1 12.2 40 Comparable operating profit margin, % 8.7 4.2 13.6 10.9 Comparable earnings per share, EUR *** 0.26 0.15 74 1.61 1.15 40 Cash flow from operating activities * 7.8 5.8 36 29.0 12.2 137 Return on investment (ROI), % 17.9 47.6 Equity ratio, % * 40.2 70.0 Net debt / EBITDA ** 0.35 Gross investments * 1.3 0.2 2.6 1.3 103 Personnel at the end of the period 450 445 1 * IFRS 16 had an impact on the change in comparable EBITDA, cash flow from operating activities, and equity ratio.
    [Show full text]
  • Financial Statements 2019
    Financial Statements 2019 Financial Statements Financial Statements 2019 marimekko.com RISTÖM E RISTÖM E Ä RK Ä RK P K P K M I M I Y Y M M IL T IL T JÖMÄRK JÖMÄRK Printed matter Painotuote 4041 0820 4041 0820 1 Renowned for bold prints Marimekko is a Finnish lifestyle design CONTENTS company whose original prints and colours have brought joy to people’s everyday lives 2 From the President and CEO since 1951. Our product portfolio includes 4 2019 in a nutshell high-quality clothing, bags and accessories 5 Financial targets as well as home décor items ranging from textiles to tableware. 6 Strategy Timelessness has been the cornerstone 8 Sustainability at Marimekko of our design since the very beginning. 10 Report of the Board of Directors Marimekko is not about fast fashion. We aim to offer our customers long-lived products 18 Proposal for the distribution of profit that they will not want to throw away. In 20 Key figures of the Group and formulas for the key figures best cases, our products are passed on from 22 Share and shareholders one generation to the next. When Marimekko was founded, its 26 Financial statements for the financial year unparalleled printed fabrics gave it a strong 1 January to 31 December 2019 and unique identity. Even today, we have 26 Consolidated financial statements, IFRS our own printing factory in Helsinki that 26 Consolidated income statement produces around a million metres of fabric every year. The printing mill serves both 27 Consolidated balance sheet as a factory and as a creative hub for our 28 Consolidated cash flow statement design and product development team.
    [Show full text]
  • The Cambridge History of Western Textiles
    THE CAMBRIDGE HISTORY OF WESTERN TEXTILES 1 Edited by david jenkins published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typefaces Trump Medieval 9.5/13.5 pt, Trajan and Bell Gothic System LATEX 2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge history of western textiles / editor, David Jenkins. p. cm. Includes bibliographical references and index. isbn 0 521 34107 8 1. Textile fabrics – History. 2. Weaving – History. i. Jenkins, David. nk8906 .c36 2002 338.47677009 –dc21 2001052958 isbn 0 521 34107 8 hardback Contents List of colour plates page ix List of illustrations xiii List of figures xxix List of tables xxxi Notes on contributors xxxv Acknowledgements xli Introduction 1 part i textile industries of the ancient world to ad 1000 Introduction john peter wild 9 penelope walton rogers 1 Industries of the Near East and Europe in prehistory 30 Ancient Egypt, 5000–332 bc joan allgrove- 30 m C dowell Anatolia and the Levant in the Neolithic and Chalcolithic periods, c.
    [Show full text]
  • Bendigo Art Gallery Curator Requested Additional Garments to Bring the Exhibition Content up to 2018
    Curatorial consideration Exhibition theme Established during the golden age of post-war modernism, Marimekko is the Finnish textile and fashion company that achieved international fame in the 1960s and 70s with its bold screen prints and pop-art style graphics. Coinciding with the emerging liberation of women, the founding of Marimekko, or ‘Mary dress’ as the name literally translates, represented a pure concept; free from rules and constraints. The exhibition traces Marimekko’s meteoric rise from the 1950s to the present, and explores the dualities that define its aesthetic. Its iconic fabric patterns and unconventional ready-to-wear outfits brought colour and informality to an otherwise self-conscious fashion world. With more than 60 outfits, swathes of original fabrics, homewares, sketches and other archival materials, the exhibition focuses on the work of the talented individuals who defined this local textile practice and created its internationally recognisable designs. Who/what is Marimekko? • A Finnish design company based in Helsinki • Textiles, furnishings, homewares – a lifestyle approach • Established during the golden age of post-war modernism in 1951 • Artists and designers invited to create textile designs – a collaborative approach Marimekko’s mission • Armi Ratia envisaged a bold future for textile design • Coincided with the liberation of women in 60s, radical loose fitting designs • Original mission is still relevant – to bring joy to everyday moments Marimekko’s first fashion show was held in restaurant Kalastajatorppa, Helsinki, Finland in May 20th, 1951. The fabrics were designed by several designers including Maija isola, Eelis Muona and Eeva-Inkeri Tilhe. Garments were designed by fashion designer Riitta Immonen, who had her own fashion salon / atelée in Helsinki.
    [Show full text]
  • Marimekko Patterns
    Who/what is Marimekko? • A Finnish design company based in Helsinki • Textiles, furnishings, homewares – a lifestyle approach • Established during the golden age of post-war modernism in 1951 • Artists and designers invited to create textile designs – a collaborative approach Marimekko’s mission • Armi Ratia envisaged a bold future for textile design • Coincided with the liberation of women in 60s, radical loose fitting designs • Original mission is still relevant – to bring joy to everyday moments Marimekko’s first fashion show was held in restaurant Kalastajatorppa, Helsinki, Finland in May 20th, 1951. The fabrics were designed by several designers including Maija isola, Eelis Muona and Eeva-Inkeri Tilhe. Garments were designed by fashion designer Riitta Immonen, who had her own fashion salon / atelée in Helsinki. Photograph by Kolmio. Image courtesy Design Museum, Helsinki CHARACTERISTICS OF MARIMEKKO • Contrasts: urban and rural, restrained and bold, colourful and black and white, traditional and modern. • Founded in the early 1950s, the period known as the golden age of post-war modernism in Finland. • (note: Golden Age of Couture – Paris and London were 1947- 1957) • Emerging liberation of women from the traditional role of housewives. • The change in women’s fashions was particularly evident in Marimekko clothes in the mid-1950s. • Vuokko Nurmesniemi’s designs in 1950s: minimized use of cuttings in clothes was typical of her designs, ensuring the original fabric design was as complete as possible. The clothes represented a pure, new concept; they were free from the rules that constrained dress and dictated how women were supposed to look and what they should represent.
    [Show full text]
  • Craftfolkartinsf00annerich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California California Craft Artists Oral History Series Margery Anneberg ANNEBERG GALLERY, 1966-1981, AND CRAFT AND FOLK ART IN THE SAN FRANCISCO BAY AREA With Introductions by Jack Lenor Larsen and June Schwarcz Interviews Conducted by Suzanne B. Riess in 1995 Copyright C 1998 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Margery Anneberg dated March 20, 1995. The manuscript is thereby made available for research purposes.
    [Show full text]