THE SÁMI (LAPPS) CRAFTS ASSOCIATION
The Sámi (Lapp) crafts association Sámi Duodji was established at Inari in 1975. It is an interest organization for this sector, actively arranging exhibitions, counselling and sales. The Sámi region vocational training centre, whose purpose is to preserve Sámi crafts culture, was established three years later.
Photo: Suomen käsityön museo / Simo Peteri
THE FINNISH NATIONAL COSTUME COUNCIL
The Finnish National Costume Council was founded in 1979 to promote culture of national costume. In 1992, the Council’s collection of model costumes was put on display in Jyväskylä. This marked the beginning of the Finnish National Costume Centre operating in connection with the Craft Museum of Finland.
Photo: Suomen käsityön museo / Simo Peteri
SPIRIT OF THE TIMES
The demand for unique works grew, and the appreciation of applied arts professions and the folk art approach grew. Counselling services were established and the weaving courses at adult education institutes became popular. Embroidered coverlets found a new flourishing. Silk fabrics painted by the designers were used for making jewellery, scarves, ties and other objects. The collecting, identification and polishing of stones interested both men and women. Craftspersons made paper, for utility objects and ornamental use. Willow found a variety of uses.
Photo: Suomen käsityön museo / Rauno Träskelin, Harri Heinonen
TEXTILE ART
At the turn of the millennium textile design and related art took increasing distance from traditional techniques and materials and began to approach the visual arts. There was also an increasing use of new materials, such as plastic and metal, alongside traditional fibres. Rya rugs achieved sculptural features. Shown here is Autumn, a rya weave by Irma Kukkasjärvi.
Photo: Suomen käsityön museo / Hannu Aaltonen
RECYCLING
The atmosphere of the 1980s was marked by a certain superficiality, but on the other hand experiments fostered ecological thinking. An awareness of environmental concerns and problems led to discussion about the life-span of products, concerned choices of material and the emergence of recycling. An aesthetic of ugliness also gained ground, and materials would include waste or found items. Handbags by Miia Kylmänen made of recycled innertube rubber.
Photo: Suomen käsityön museo / Riitta Chan
THE METAMORPHOSIS OF JEWELLERY
Jewellery took on a new meaning. It was no longer bought solely for reasons of value but with other considerations in mind. Jewellery was a statement, a way of generating a good mood or arousing attention. The fingers, wrists and neck were no longer the only place for personal ornament – there was also a new range of body jewellery.Hair ornament by Terhi Tolvanen.
Photo: Suomen käsityön museo / Eija Puskala
MULTI-COLOURED KNITS
Sirkka Könönen’s multi-coloured knitted work achieved great popularity at the turn of the 1980s and 1990s. Multi-coloured knitting spread quickly among enthusiasts and professionals. There were also do-it-yourself packages on the market, i.e. yarn and instructions.
Photo: Suomen käsityön museo / Eija Puskala
TRENDS IN THE 1990S
Interest in natural, domestic materials grew. There were successful experiments with new uses for cotton grass, flax and straw at the end of the millennium. Results included peat fabrics and vessels made of straw. The 1990s were in many ways a decade of wood. Furniture and smaller objects were made from a wide range of domestic timber species, such as larch, aspen, rowan, alder and masur birch. Felting was the great hit of the 1990s. Toys, hats, footwear, mittens, jewellery and clothes were all made of felt. The collaboration of designers and craftspersons resulted in high-class products like cupboard by Kari Virtanen.
Photo: Suomen käsityön museo / Riitta Chan
