The continuity of Finnish design’s success lies is in education and young designers. Since the late 1980s, young designers have brought a breath of fresh air to the sector. Experiments with materials, new kinds of housing concepts and a new way of life have been given new forms in implementation.
Prizes and competitions are used to support improvements in the field of design and to raise the profile of high-quality products. The Fennia Prize competition is the biggest international design competition held in Finland. The first prize is 25,000 euros and it is held every two years. In the past ten years, the competition has established its place and brought out a number of success stories from widely differing fields of manufacturing. Another important prize is the annual Kaj Franck Design Prize, which is presented to a distinguished designer for his or her life’s work.
Design is important both culturally and in economic terms. Its cultural significance is in creating a national and individual identity. Design is also a part of the memory and history. The cheerful 1960s fabrics of Marimekko were a part of many Finns’ youth and their parents’ generation have cherished memories of meals on Kilta tableware. For the young people of today, Nokia’s mobile phones are everyday tools. In a broader perspective, Finland is known around the world for a handful of things: Alvar Aalto, Jean Sibelius, Finnish design, and nowadays also Nokia and other technological firms.
In global competition, images, stories, myths and reputations have their place. They all contribute to a strong image of capability and long tradition. They also reflect originality and uniqueness; qualities with which exports of Finnish products are boosted. The economic importance of design is comprised of the strength of its cultural importance. In the final analysis, cultural strength springs from perceptive design – and is therefore in the hands of the skilful designer. Products today are usually backed by a team of highly skilled professionals, experts in their own specialisations – it is precisely their vision and skills that will create the successful designs of tomorrow.
Success embraces trust. Thus trust can be built only through reality and attainments. The products and attainments of Finnish industry foster international trust, which is the core of companies’ success. Finnish design is one part of this concatenation of expertise, trust and success. But strangely – because of its already strong myth!
Picture above: EgO cup (1998) Designed by Stefan Lindfors for Arabia
Prizes and competitions are used to support improvements in the field of design and to raise the profile of high-quality products. The Fennia Prize competition is the biggest international design competition held in Finland. The first prize is 25,000 euros and it is held every two years. In the past ten years, the competition has established its place and brought out a number of success stories from widely differing fields of manufacturing. Another important prize is the annual Kaj Franck Design Prize, which is presented to a distinguished designer for his or her life’s work.
Design is important both culturally and in economic terms. Its cultural significance is in creating a national and individual identity. Design is also a part of the memory and history. The cheerful 1960s fabrics of Marimekko were a part of many Finns’ youth and their parents’ generation have cherished memories of meals on Kilta tableware. For the young people of today, Nokia’s mobile phones are everyday tools. In a broader perspective, Finland is known around the world for a handful of things: Alvar Aalto, Jean Sibelius, Finnish design, and nowadays also Nokia and other technological firms.
In global competition, images, stories, myths and reputations have their place. They all contribute to a strong image of capability and long tradition. They also reflect originality and uniqueness; qualities with which exports of Finnish products are boosted. The economic importance of design is comprised of the strength of its cultural importance. In the final analysis, cultural strength springs from perceptive design – and is therefore in the hands of the skilful designer. Products today are usually backed by a team of highly skilled professionals, experts in their own specialisations – it is precisely their vision and skills that will create the successful designs of tomorrow.
Success embraces trust. Thus trust can be built only through reality and attainments. The products and attainments of Finnish industry foster international trust, which is the core of companies’ success. Finnish design is one part of this concatenation of expertise, trust and success. But strangely – because of its already strong myth!
Picture above: EgO cup (1998) Designed by Stefan Lindfors for Arabia
Source for the story of Finnish design: http://virtual.finland.fi
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