Finnish design goes beyond aesthetics; it leads the way in thoughtful innovation. Read on to discover how Helsinki is creating a reuse movement that puts people and the planet first
Photography by Henri Vogt featuring Habitare Protos, the fair’s area for new design and fresh product ideas
Words by Jessica-Christin Hametner
As autumn settles over the Nordic landscape, Helsinki Design Week (6-15 September) and Habitare (11-15 September) returned to showcase the creative pulse of Finland’s capital. More than just a celebration of aesthetics, this year’s events revealed the Nordic nation’s deep-rooted commitment to reuse. Through a dynamic programme of cross-cultural collaborations, thought-provoking exhibitions and forward-thinking concepts designed to spark joy, Helsinki Design Week emphasised the need for a cultural shift in perceptions and behaviours to normalise reuse.
From the materials of the future at Aalto University to the happy hues dotted around Habitare, to Helsinki Airport taking off first in second-hand retail with the opening of Relove; Helsinki continues to emerge as a beacon of innovation, illustrating how repurposing reclaimed and recycled materials can inspire creativity. More than just saunas and sisu, this year’s edition offered a fresh lens on how creatives can reshape the future of design through an approach that encourages repair, the participation of the local community and an embrace of cross-disciplinary collaboration.
That a nation ranked as the happiest country in the world for the seventh consecutive year produces dopamine designs is perhaps hardly surprising. But beyond the cheerful designs, eclectic Marimekko prints and sculptural Iittala glassware, the Finns don’t just create designs that look good—they feel good. And do good for people and the planet. Read on to uncover Helsinki’s design DNA and capture a slice of Nordic happiness yourself.
1. Designs for a Cooler Planet by Aalto University
Photography by Juho Huttunen featuring New Landscapes in Textile Design by Maarit Salolainen, Maija Fagerlund, Anna Semi and Emilia Kuurila
Finland’s right to enjoy nature is as much built on respect as it is on a shared commitment to sustainability. It is this emotional connection to the great outdoors that’s also palpable at Designs for a Cooler Planet (on until 3 Oct 2024). An exhibition at Aalto University’s newly opened campus Marsio in Espoo, it aims to challenge our perception of the possible. ‘[It] provides insights into new ways of designing,’ explained Tiina Toivola, Communications Manager for Radical Creativity. ‘The idea is to showcase these forward-thinking, bio-based materials that could be less harmful to nature.’
From tomorrow’s textiles and packaging to monitoring peatland rehabilitation from space to dreaming up alternative fashion futures, the exhibition—designed by interior architect Emilia Lonka—displays ‘designs that combine different disciplines,’ continued Toivola. It’s a living lab where world-changing research and avant-garde inventions—like the university’s successful Woamy packaging launch—come together in true Aalto, collaborative fashion.
‘This exhibition portrays some fascinating stories about how engineers worked with physicists or designers and that’s an interesting point of this university, I suppose,’ said Sarah Hudson, International Editor, Communications Services at Aalto University. ‘We merged these different schools fifteen years ago with the idea of being cross-disciplinary. And I think the Finnish culture somehow feeds into that as well; egalitarian, no egos, solution oriented.’
Photography by Dinana Luganski featuring Sofia Ilmonen’s 3rd Edition Collection
Among them, Aalto University researchers Satu Paavonsalo and Valentin Schwarz have developed 100% bio-based bubble wrap and packaging foams. On a mission to combat the global amount of plastic waste, which is forecasted to almost triple to over 1010 million tonnes by 2060, it is made from cellulose. Plastic free, non-toxic and biodegradable, these materials provide new packaging solutions for businesses looking to reduce their carbon footprints.
There are also solutions exploring sustainable textile production through digital prototyping and repurposing leftover yarns; new medical technologies benefitting patients across the world, and bio-colours inviting visitors to reflect on their attitudes towards fading, change and temporality. Such is the work of Finnish designer and Aalto graduate Sofia Ilmonen, whose zero-waste garments and collaboration with BioColour display the use of natural dyes, which diminish or evolve in hue over time.
Although some finishes appear rough and weathered, Toivola explained that this is the point. Not only does Designs for a Cooler Planet challenge our notions of beauty, but it revives it by shifting our attention to the aesthetic appreciation of nature as nature. In today’s quest for perfection, we often ignore the beauty of fading, ageing, and irregularity, said Toivola. ‘This is a new type of aesthetic that comes from when something has been used before. It’s not so clean or pure anymore. With this exhibition, we’re trying to communicate that and make people excited about these new aesthetic alternatives that are being developed.’
2. Bar Unikko by Marimekko and Let Me Wine
Photography by Justus Hirvi featuring Tatu Laakso’s Manta chair realised in collaboration with Marimekko and the brand’s new Maridenim fabric made using 80 per cent organic cotton and 20 per cent recycled cotton. Laakso’s work was also spotlighted at Habitare Talents
The festival’s main event venue at Paasivuorenkatu 3 demonstrated a commitment to reuse that, in an industry often chasing the new, felt like a positive shift. Set in an old bank hall owned by the fair’s main partner Antilooppi, Helsinki Design Week gave the building another purpose. Serving as a place for the exchange of ideas, it was the home of the conceptual Bar Unikko by Marimekko and local partners Let Me Wine, who generously filled cups with cool wines, such as db Schmitt Ilo! Riesling 2023 and Fruktstereo’s Haväng Orange 2023.
Home to the works of local artists Liisa Ryynänen and Matti Ahopelto, who displayed their Ceiling Undercurrents in the old bank vault, Paasivuorenkatu 3 itself featured pieces by Helsinki-based artists, designers and brands. Among them Tatu Laakso playfully reimagined his minimalist Manta chair using Marimekko’s newly launched Maridenim fabric made using 80 per cent organic cotton and 20 per cent recycled cotton.
Photography by Justus Hirvi featuring Bar Unikko at Paasivuorenkatu 3
This ethos was visible throughout Helsinki Design Week, where its annual theme, Underneath, invited visitors to scratch beneath the surface. Helsinki Design Week’s Programme Director, Anni Korkman, explained: ‘Sadly, people often still perceive design as a surface layer, a visual addition at the end of projects. Although beauty and harmony are necessities, there is a huge untapped, structural power of change in the design industry.’
Beyond architectural merit, however, Paasivuorenkatu 3 was at the heart of local life. Offering an example of adaptive reuse, the venue showed how cities like Helsinki can retain a building’s architectural character and advance the needs of communities. With free access and a programme for everyone to enjoy, Helsinki Design Week demonstrated how prioritising accessibility, and the sharing of knowledge, drives innovation.
3. Layers by Habitare
Photography by Sofia Okkonen featuring Angela Lindahl and Yihan Xiang of Yatofu Creatives who designed and co-curated Habitare’s themed exhibition
Habitare’s 2024 theme of Layers reminded visitors that meaningful things rarely emerge in an instant—they require time to take shape. Based on the idea of how homes and spaces are formed, the best designs often feature “layers” of different people, tastes, decades, styles and patina. As such, the show explored the ways in which one generation does not replace the previous one, but rather how the past coexists with the present. ‘Comfortable homes and spaces emerge when time or people or different styles allow them to form layers,’ explains Päivi Helander, Creative Lead at Habitare. ‘That’s how to create a good mood or feeling within a space.’
A common language of functionality, reuse and thoughtfulness connected the various areas of the show. At Habitare’s themed exhibition, Angela Lindahl and Yihan Xiang of Helsinki and Shanghai-based Yatofu Creatives delivered a striking exhibition that explored the layered nature of design. The duo masterfully balanced the time-honoured values of Finnish design—empathy, functionality, human connection—while injecting a fresh, contemporary edge to the display, offering visitors an intimate view of design processes. The pair explained how their excellently curated display peeled back the layers of a designer’s work. ‘At design fairs, you usually see finished products,’ said Xiang. ‘But we also wanted to let visitors in on the design process and craft skills involved.’
Photography by Aleksi Samueli Tikkala featuring Habitare’s themed exhibition space designed by Yatofu Creatives
In response, Yatofu emphasised structure and process, rather than simply presenting a polished display. The layered concept was mirrored in the physical design of the space: elements of the installation were exposed and accentuated in a bold lime green hue, while a glowing fabric invited light through its delicate layers. Materiality took centre stage in the exhibition tunnel, which was clad in carbonised wood from Hiil. Furthermore, Yatofu Creatives demonstrated a commitment to reuse: wooden panels will see new life in future exhibitions; vinyl flooring courtesy of Tarkett is destined for recycling; and textiles woven by Svensson will be repurposed.
Yatofu’s thoughtful design dovetailed seamlessly with the contemporary works on display. Eemeli Sahimaa’s traditional woodworking honoured Finnish craftsmanship, whereas Lennart Engels’ Sauna Stone Lab reimagined sauna culture through the lens of sustainable material innovation. Didi NG Wing Yin’s Wood Pleats Collection revealed the hidden beauty of wood, and Lammikko’s Pond glass table, realised with skilled glassblowers, highlighted the timeless elegance of handcrafted glass. In a masterful curation that blended the old and new, Yatofu’s exhibition at Habitare reminded us of the evolving narrative of design, where history, craft and innovation converge.
Video produced by Mark Vicuña and Yatofu Creatives featuring the work of Lennart Engels
Reuse and care were also central themes at Arkivé Atelier. The Helsinki-based company provides guidance on how to care for clothing and household items, besides offering a curated selection of detergents, cleaning supplies and brushes at its store. From re-colouring worn leather bags to cleaning trainers, Arkivé Atelier promotes mindful consumption and the thoughtful care of our most cherished belongings. The label’s book entitled, Arkivé Atelier Vol. 01, extends this ethos, and also features at Helsinki’s Design Museum as part of its FIX: Care and Repair exhibition.
Meanwhile, The Block brought together emerging designers, fresh product ideas and manufacturers to showcase ample examples of how design can shape intelligent (re) use. For instance, Hanna-Kaarina Heikkilä and Hanna Säll displayed their Trophies of Failure, which challenged traditional standards of beauty. A celebration of unconventional aesthetics, the duo used various glass-blowing techniques to craft pieces that embrace imperfection and failure.
Photography by Henri Vogt featuring Hanna-Kaarina Heikkilä and Hanna Säll’s Trophies of Failure as seen at Habitare Protos
Others included the works of Hanna Larissa Klie and her Senseat designed for wellbeing, plus the Japanese designer and Helsinki local Shunsuke Koya, who showed his cast-concrete loudspeaker Lähde. Aalto University graduate Anusuya Krishnaswamy added a dash of textural interest with Vantage Shift, a multipurpose, recycled interior textile finding its design cues in the hand towels and dishcloths that line our kitchen counters.
Elsewhere, Finnish firm Grano produced two show-stopping installations, including an interactive workshop structure and a central bar made from cardboard at Habitare Pro. Designed by BoardWalk, a future-focused company founded by designer Hanna Laikola, it crafts environmentally responsible furniture, products and installations from folded cardboard with materials by Vink. Laikola endearingly shared how her mother used to say that she was the type of child ‘who was never interested in the toy, but the box it came in.’
4. Re-Think Re-Form by Studio Bom
Photography by Sara Urbanski featuring Jalkanen & Keski-Pomppu, Cypress Lighting Collection, 2024
Nestled at Suvilahdenkatu 7 in the heart of Helsinki, a thriving multidisciplinary hub of creatives, Studio Bom’s Re-Think Re-From exhibition brought together a thoughtful selection of over 40 designers, artists and artisans under one roof. From the sculptural jewellery by Päivi Keski-Pomppu to Piia Jalkanen finding inspiration in her ‘grandma’s arms, the Finnish forest and the haze of a summer evening’ to Riikka Piippo’s elaborate textiles and ceramics, Re-Think Re-Form unlocks the potential of collective creativity.
‘I produce all my work either as unique pieces or in small-scale production at my studio in Helsinki, Kallio,’ shared Keski-Pomppu of her minimalist jewellery. The designer, who previously collaborated with Yoonsik Kim of Aalto Fashion on their BA collection, used recycled silver cutlery as the primary material for her work. In keeping with her design ethos, she still puts craft and care at the heart of her work.
‘I craft each piece by hand, placing great care in recycling materials throughout my creative process. For instance, melting down silver and gold and reshaping them countless times provides endless opportunities for something new. All the precious metals I use are fully recyclable, something I believe is essential, but using high-quality materials also allows for easy repair should a piece ever break.’
Photography by Sebastian Johansson featuring Päivi Keski-Pomppu handcrafted jewellery
The artistic creativity and imagination Keski-Pomppu embodies was found throughout Re-Think Re-Form. Pushing the boundaries of design by blurring the lines between culinary arts, ceramics, textiles, and furniture, the exhibition invited visitors to become integral parts of the display. To further amplify Studio Bom’s multidisciplinary approach, the group also launched their own publication, entitled Bom, as part of the exhibition to highlight the power of collaboration.
Filled with seasonal recipes by the likes of Maud Saddok—the Helsinki-based, half Finnish, half Algerian mastermind behind the city’s much-loved Maukku restaurant, alongside insightful interviews by content producer and food creative Emma Ranne and executive chef of restaurant Grön Toni Kostian, among many more, Studio Bom tackles the theme of reuse through the idea of creative freedom, where objects have multiple uses.
‘These more-than-objects absorbed with a life of their own and crafted locally by a diverse group of makers converge in an unexpected dinner party,’ added Hanna-Kaisa Korolainen. ‘It’s sort of like a fairytale, a meeting place, and a starting point to re-think and re-form the future of the creative arts—an inviting universe that grows and layers into new beings and expressions.’
5. FIX: Care and Repair by the Museum of Finnish Architecture and the Design Museum
Photography by Paavo Lehtonen featuring Helmi Kajaste and poet Petra Vallila’s site-specific Siivousmusiikkia (Cleaning Music) sound installation
In Finland, just about every 8-year-old child can fix a hole in their own woollen socks. So ICON is told on a visit to FIX: Care and Repair (on until 31st December 2024), a new exhibition at the Museum of Finnish Architecture and the Design Museum in Helsinki. For 150 years, all comprehensive school pupils in Finland have been learning crafts. This small but significant skill reflects a broader cultural heritage that stretches back to Finland’s post-war era. When the country faced severe shortages of everyday items in the 1920s and 1950s, fixing and repairing became second nature. These skills, which were once essential for survival, have shaped Finland’s approach to sustainability and craftsmanship today. Now, they are handed down through generations. ‘As woodwork and handicrafts are still part of our primary school curriculum, this has helped keep these skills alive,’ said Sara Martinsen, co-curator of the exhibition.
FIX: Care and Repair honours this cultural legacy. Exploring the often-overlooked art of repair, it also uncovers how time affects architecture, design and everyday objects. Through a combination of curated historical examples and commissions of four additional pieces of contemporary art, the exhibit invites visitors to reconsider their relationship with wear, damage and renewal. It features the works of architect Liisa Ryynänen, who explores buildings threatened by demolition; books by Arkivé Atelier and Hiroki Kiyokawa’s The Spirituality of Kintsugi; Kimmo Metsäranta’s Notes on a Place photo series, and repaired objects by Li Li, a certified kintsugi technician living in Finland, who said: ‘At its core, kintsugi is about embracing the beauty of impermanence, imperfection and incompleteness. It’s about embracing the natural cycle of growth, decay and death.’
Photography courtesy of Yrjö Lintunen / People’s Archive featuring Renovated town hall. A janitor cleans an empty space, 1970
The exhibition’s co-curator Kaisa Karvinen explained how maintenance-related work often takes place out of sight—the façade of a building is repaired behind tarps; cars or bicycles are repaired in workshops; cleaning is carried out before others arrive at work. ‘Usually, you learn repair [skills] from your family, grandmother or your friends. It’s in closed circles and away from public eyes,’ said Karvinen. ‘However, we have launched repair workshops and demonstrations at the museum, and now that we’re bringing these discussions to a public space, it’s breaking old ways of sharing the practices, skills or knowledge relating to repair. For example, we’ve seen audiences discuss how to repair socks, which is quite mundane, but here in the museum it has created interesting discussions that we, as the curators, didn’t expect.’
At the heart of FIX: Care and Repair lies the question: What is worth maintaining and why? Visitors encounter objects that have aged and worn over time—some cherished for their patina, others seen as damaged or obsolete. ‘Some of the exhibition spaces also concentrate on our responsibilities as museum caretakers and maintainers of these objects,’ adds Karvinen. ‘Once we transfer the objects from their everyday use to the museum collections, they are no longer utilised in their original intended manner. Their use changes because they are now displayed in exhibitions or used as part of research.’
Photography courtesy of Kimmo Metsäranta featuring the artist’s Sturenkatu II, 2023, as seen at FIX: Care and Repair
This conversation is not just confined to the museum. Across Finland, a new wave of companies has emerged who remain dedicated to repair. From workshops to social media, designers, influencers and artists are sparking fresh interest in the power of repair as part of a more sustainable lifestyle. The fixation on repair extends beyond fashion. One of the world’s most popular YouTube channels, Odd Tinkering, boasts over 2.7 million subscribers (at the time of writing). Its anonymous Finnish host meticulously restores old electronics and tools, from vintage game consoles to defunct keyboards, showcasing the patience and care involved in bringing broken items back to life. His silent yet intricate videos have struck a chord, revealing the meditative quality of repair in a world of constant consumerism.
Repair skills are passed down by professionals and across generations, according to Karvinen. ‘Maintenance not only extends the life of objects, but it also reflects active participation in the continuous care of a shared world.’ In a time where consumer culture prioritises the new over the maintained, Finland stands out as a model of quiet resistance. ‘The way we treat broken objects reveals something about us and our society,’ reflected co-curator Kaisa Karvinen. ‘Do we see repair as valuable work? Do we find beauty in repaired objects? Or do we prefer to throw them away and replace them with something new?’
Repairing is no longer just a nostalgic nod to the past, but an essential practice for a sustainable future—one that is both artistic and deeply practical. FIX: Care and Repair is a timely reminder that the art of mending—whether it’s a sock, a chair, or a building—can be both an aesthetic choice and an act of environmental responsibility. It leaves visitors behind with the question if we will choose to fix what’s still fixable?
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