The myth of Fnnish design was created in most respects in the 1950s. Its foundations was the Romantic movement at the turn of the century which had made industrial arts, part of the creative culture, along with architecture and the fine arts. The late 19th century also marked the beginnig of systematic action to promote industrial arts and craft, as a result of which the Finnish Society of Crafts and Design was founded in 1875.
Following the Second World War, Finland needed a new and modern identity, as vast numbers of people left the countryside for the cities, trade and industry restructured, and the climate of international politics cahnged. Together with industry, designers responded to the challenge of the times and began to build a new-style, modern everyday life and an international image of Finland. The Finnish Society of Crafts and Design created the Finnish section at the Milan Triennales of the 1950s and 60s. Many products that were designed then, are still in production. The most famous designers at that time were Tapio Wirkkala, Timo Sarpaneva and Kaj Franck. Also Alvar Aalto had designed innovative furniture and new kinds of glassware since the 1930s, attracting attention in the international arena. His most famous products were his three-legged stool from 1933 and the Aalto vase from 1936.
Myths are born of stories, which are often varied as necessary. The myth of Finnish design began with Eliel Saarinen’s national-style interiors and Aalto’s functionalist furniture, progressing towards Wirkkala’s somewhat more romantic style and the sculptural forms of Sarpaneva. The legend of Finland's struggle against the forces of nature and the pressures of history provided a basis for marketing design with mythical elements: snow, ice, forests, lakes, the summer of light and sisu (perseverance) were an inspiration to designers. In the 50s and 60s, the Finnish national identity was internationally built up largely through design, architecture and music. The images arising from this made Finland stand out between East and West and created a unique identity for it. Distinctive industrial arts became an export also in an imaginative sense. The myth of Finnish design was complete.
The myth of Finnish design parallels another strong legend originating in the 1950s, Scandinavian design, a term applied to the entire modern industrial arts of the Nordic countries (Finland, Sweden and Denmark). This concept was built up consciously through international touring exhibitions by the Finnish Society of Crafts and Design. The most important of the exhibitions was Design in Scandinavia, which toured the U.S. 1954-57 and was seen by more than a million people. Scandinavian Design is still today an internationally recognised and strong brand.
In the picture above, you can see Tapio Wirkkala's series of five bottles (designed in 1968 for Venini). These bottles are made with "Incalmo" technique wherein two different tyoes of glass, worked separately, are fused together to obtain, with a single object, separate areas differentiated by colors. The price of these bottles is 7380 $.
Following the Second World War, Finland needed a new and modern identity, as vast numbers of people left the countryside for the cities, trade and industry restructured, and the climate of international politics cahnged. Together with industry, designers responded to the challenge of the times and began to build a new-style, modern everyday life and an international image of Finland. The Finnish Society of Crafts and Design created the Finnish section at the Milan Triennales of the 1950s and 60s. Many products that were designed then, are still in production. The most famous designers at that time were Tapio Wirkkala, Timo Sarpaneva and Kaj Franck. Also Alvar Aalto had designed innovative furniture and new kinds of glassware since the 1930s, attracting attention in the international arena. His most famous products were his three-legged stool from 1933 and the Aalto vase from 1936.
Myths are born of stories, which are often varied as necessary. The myth of Finnish design began with Eliel Saarinen’s national-style interiors and Aalto’s functionalist furniture, progressing towards Wirkkala’s somewhat more romantic style and the sculptural forms of Sarpaneva. The legend of Finland's struggle against the forces of nature and the pressures of history provided a basis for marketing design with mythical elements: snow, ice, forests, lakes, the summer of light and sisu (perseverance) were an inspiration to designers. In the 50s and 60s, the Finnish national identity was internationally built up largely through design, architecture and music. The images arising from this made Finland stand out between East and West and created a unique identity for it. Distinctive industrial arts became an export also in an imaginative sense. The myth of Finnish design was complete.
The myth of Finnish design parallels another strong legend originating in the 1950s, Scandinavian design, a term applied to the entire modern industrial arts of the Nordic countries (Finland, Sweden and Denmark). This concept was built up consciously through international touring exhibitions by the Finnish Society of Crafts and Design. The most important of the exhibitions was Design in Scandinavia, which toured the U.S. 1954-57 and was seen by more than a million people. Scandinavian Design is still today an internationally recognised and strong brand.
In the picture above, you can see Tapio Wirkkala's series of five bottles (designed in 1968 for Venini). These bottles are made with "Incalmo" technique wherein two different tyoes of glass, worked separately, are fused together to obtain, with a single object, separate areas differentiated by colors. The price of these bottles is 7380 $.
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