Her other works continue to explore materials. “It is really nice when you work with glass and it sort of says, ‘I want to be like this, I want to be slightly fat.'”Ĭredit Noir mirrors Christofer Yevenes Zagal “Always when working with glass I work with the material on its own terms,” Vuorivirta says. The vases are hand-blown, thick and heavy, with a form that is a nod to the liquid state of the glass before being shaped.
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“For me they tell the story of the product.” She is currently in negotiations with One Nordic to find a way of bringing the product to market.įennia (the Latin word for Finland) is a series of glass vases that sit on charred wood. The finish is deliberately rough: “I wanted to keep the marks from the process that are usually considered as mistakes or a lack of finishing,” says Vuorivirta. When the wet clay is setting, the cast is chopped in half by hand – creating a unique product each time. The design uses moulded clay to produce a vessel and lampshade from the same cast, which is poured using a standardised process. The product was conceived while she was completing her undergraduate degree at Beckman’s College of Design in Stockholm in 2011. Her most successful design to date is Mass Produced Individualism.
Her eclectic use of materials reveals an energetic approach to her work, and the demands of production means that Vuorivirta flits between Stockholm and Finnish backwaters to collaborate with local craftsmen.Ĭredit Mass Produced Individual lights Christofer Yevenes Zagal “I guess that is the difference between the in the two countries.”Īs she talks about her collection, Vuorivirta exudes a confidence and enthusiasm that has yet to be dampened by the rigmaroles of a long career in design. “In Sweden I got to dive into my own artistic way of working and develop my own themes,” she says. “I guess that means I am not afraid of changing material all the time.” In Sweden, she feels that she was able to develop the creative approach to her work, building upon her knowledge of materials. One week is a ceramic workshop, then metal work and then wood,” says Vuorivirta. The course encourages you to work with and study a lot of materials. “In Finland the tradition of making is strong. Vuorivirta’s work betrays her curiosity for materials and is impeccably crafted – the result, she says, of a design education that began in her homeland and continued in Stockholm. It is hard to believe that Vuorivirta is only 25. In September, she will bring her work to London to be shown at the 19 Greek Street Gallery during the London Design Festival and then exhibit in Helsinki and Estonia. Despite not yet having completed her master’s degree, the Finnish designer has exhibited at the Milan Saloni, been awarded young designer of the year by Design Forum Finland and is in negotiations with a large manufacturer to realise products developed during her undergraduate studies. The monochrome, all-blue collection, for which she designed the textiles (the rattan furniture is by Nike Karlsson and Iina Vuorivirta) launches in spring next year.It has been quite a year for Iina Vuorivirta.
The kimono, which she refers to as a hybrid between a bathrobe and a kimono, is from her debut collection, Tänkvärd. ALSO READĭressed in a blue kimono and sleek black trousers, she commanded the floor where the 2019 collections were unveiled. Some “creatively fuelled talks,” as she refers to them, led to an opportunity for a design internship at the brand's headquarters in Älmhult, Sweden and soon afterwards, a position as an in-house designer. Working on an all-black collection (Svärtan) with 24 classmates and fashion designer Martin Bergström, she met IKEA's Karin Gustavsson and Marcus Engman, who until recently was the head of design. The monochrome, all-blue collection, for which Akanksha Deo designed the textiles (the rattan furniture is by Nike Karlsson and Iina Vuorivirta) launches in April 2019
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