The powerhouse of Finnish fashion was ahead of her time – Do you know her work?

When Vuokko Eskolin-Nurmesniemi became Marimekko’s designer in 1953, an era began that made him one of Finland’s most prominent designers. Seven years in Armi Ratia’s service brought, among other things, the Jokapoika shirt and familiar Pirput parput, Hennika, Rötti, Piccolo and Nadja patterns to our wardrobes.

In the beginning, the patterns, fabrics and patterns took off in the hands of a woman who graduated as a ceramicist from the Art Institute. Vuokko designed new-age architectural clothes with easy movement and possibly only one seam.

– Vuoko’s impact on the Finnish design field is undeniable, affirms the amanuensis Harry Stone Castlewho was one of the curators of the Antti + Vuokko Nurmesniemi exhibition at the Design Museum, which ended in April 2023.

Kivilinna says that Vuoko’s success was the sum of many things. In addition to the fact that Vuokko was modern as a designer, the time was right. Since the 1960s, the rise of the student movement, sexual liberation and breaking away from old shackles were coming. Finns were thirsty for something new after the wars. The youth was looking for a freer style.

– However, this does not mean that anyone could have done the design work. Of course not. Vuoko’s handprint was unique, distinctive and fresh.

Clear shapes, colors and cuts were typical of Vuokko. The clothes had to be comfortable and effortless.

Vuokko got rid of unnecessary seams and pleats in his design, because women had to be able to move like men. The garment couldn’t be complicated.

– Vuoko’s ideas were recognisable. Everyone could tell that it was Vuokkoa, Kivilinna describes.

In addition, the time of salon fashion was receding. Before, women’s clothing consisted of home clothes and walking or evening dresses, which were made by a seamstress. Although bad tongues sometimes called Vuoko’s clothes home clothes, the citizens didn’t care.

When the women went to the store, they marched there in clothes designed by Vuoko, whereas before they wore a corset and a walking dress.

In the 1970s, Vuoko’s design was appreciated in Switzerland, Holland, Japan and France, in addition to his home country.

– Vuokko freed the women from their corsets. It was about a change in fashion.

Interior architect spouse Antti in Nurmesniemi also had an effect on Vuokko. He was a modernist, whose views Vuokko valued. People in creative fields got together in their free time anyway, so creativity fed creativity. The atmosphere was positive: we can do anything.

The designer couple’s Kulosaaren studio home delighted guests with its timelessness and use of space.

Kivilinna says that Vuokko followed his times, but not trends. From the beginning, he trusted his vision, was resourceful and witty.

For example, Vuokko wanted tin buttons for his legendary Jokapoika shirt, which he had come across while working at the Nuutajärvi glass factory. In the United States, the shirt became the official garment of architects and the uniform of intellectuals, of which there are more than 300 colors.

– The fact that Jokapoika is still in Marimekko’s selections is amazing. It is the company’s longest continuously produced garment, i.e. 66 years.

Timelessness is the factor that makes Vuoko’s design legacy continue to be passed on to new generations and makes them users of Vuoko’s clothes.

– It is not an exaggeration to say that Vuoko has big boots that are difficult to fill. Now he is spending his well-deserved retirement days in a nursing home, says Kivilinna.

“The handprint remains fresh from decade to decade”

Founder and owner of Mekkomania in Kallio, Helsinki Mari Teittinen know how popular Vuoko’s products are. Teittinen has piloted his vintage shop for 15 years and says that Vuoko’s appreciation has recently risen even more.

Teittinen believes that this is due not only to timeless design, but also to increased awareness. Consumers increasingly want responsible and sustainable choices. Vuokko is a counterattack to fast and ultra fashion, and therefore desirable.

– Vuokko meets the wishes perfectly, because his handprint remains fresh from decade to decade. It’s amazing how ahead of his time he was, Teittinen states and continues that orders also come regularly from Europe, the United States and Japan.

Dresses and overalls are the best in the selections, but skirts, jackets and shirts are also in demand. Teittinen states that especially long dresses always arouse admiration and find new owners. Prices are around one hundred euros, but rarer products, such as the Myllynkivi dress, cost several hundreds.

– However, consumers understand pricing because they see timelessness. Vuokko used a lot of stripes and squares, which work from season to season and year after year.

Vuokko is often sought after for everyday use, but also for more special occasions, such as weddings. Especially 1970s wool muslin dresses are popular with brides. The plus point is that the dress doesn’t stay in the closet after the wedding, but you can continue to wear it.

In addition, Vuoko’s clothes are suitable for many body types and work even if the body changes over the years. Teittinen also describes clothes as an ego boost. When you put on Vuoko’s design, your posture straightens without noticing. The outfit is stylish without trying.

– It seems that Vuokko didn’t design clothes for the male gaze, but specifically for women and their needs. Vuoko had an uncompromising direction and idea. That’s why he keeps his face.