We, like most arty folk, are mighty big fans of Marimekko. The Finnish brand, which makes textiles, clothing and homewares, began making waves across the globe in 1951, and has been sprucing up our abodes and dressing us up in delightful duds over the decades since. In other words, Marimekko is a pretty big deal ‘round these parts. This is why we’re chuffed (to say the very least, we’re truly over the dang moon) to share a chinwag with the current creative director of the company, Rebekka Bay, who chats about trusting her instincts, how she finds inspiration, and the future she sees for the 72-year-old brand.

When did you first realise you wanted to work in a creative field? I’ve always been interested in and inspired by the arts – whether it is literature, visual arts, sculpture, architecture or furniture design. I knew I wanted to work within the arts from an early age, so I first studied art history, but later went to tailoring school and then later, design school. I spent several years in branding and trend forecasting before returning to the fashion industry. I never actually thought I would end up being a creative for my career as I was concerned about the conflict of choosing between creativity and commerciality.  

So far, what’s the biggest career lesson you’ve learnt? I do not know if it is the biggest lesson, but certainly an important lesson has been learning to trust my intuition and instinct – something that, later in my career, has been developed into a singular vision. As a creative director, I need to trust my instinct to develop and communicate my vision for Marimekko, a vision that needs to be not only globally relevant but also needs to resonate within our larger community, for me to lead and inspire our design team. What is one skill that you did not know you had until you started working at Marimekko? At Marimekko I have learnt – and am still learning – the art of printmaking. For me, Marimekko has always been about creating great art that was applied to a canvas – and the canvas just happened to be a dress. I have the opportunity to access our vast print archive consisting of over 3,500 prints but also to work with new designers and artists to apply great art, or great wearable art to ready-to-wear. I was unaware that I possess the skill to combine patterns in ways that surprise and delight, always wanting to honour the Marimekko tradition of joyful contradictions.

When you feel like you’re lacking creative energy, how do you recharge? For inspiration, I tend to turn to art, architecture, furniture and, of course, our vast Marimekko print archive. I listen to the radio, podcasts, music – I love Spotify radio and I am constantly creating new thematic playlists. I read everything from books to magazines and Sunday papers, fiction and non-fiction. I love movies, exhibitions, visiting homes or former homes of artists and architects.  

Marimekko is a brand with a very distinct and recognisable image. How do you manage to honour the label’s history while remaining fresh and new? While Marimekko has a long history, there is so much that feels even more relevant today. For example, when I look back at the early 1950s Marimekko pieces, they really suit everybody – their freeing silhouettes allow them to be worn regardless of one’s shape or size. It was more about the idea that you will be the bearer, or the carrier, of a piece of art. 
 
Our vast print archive acts as a constant source of inspiration for both our designers but also the next generation of print designers. Of course, for us to look forward we also need to look back, so we are especially focused on the ways that we can reflect on our rich heritage while creating something forward-thinking. We constantly view our archive from the point of view of understanding what has resonated and has broad relevance and then thinking of ways to reposition or refocus that for our customers today.  What have been some of your biggest challenges working with Marimekko and how did you overcome them? When I first joined the company as creative director in 2020, a lot of industry people were questioning how someone like me – who in my own style and in my previous roles, has always favoured minimalism and functionalism – would apply myself to Marimekko. With Marimekko, I have an opportunity to apply 70 years of printmaking and more than 3,500 prints to a minimal functional silhouette or everyday object, turning the ordinary extraordinary.  

What has been your biggest achievement in your career? In general, it’s the fact that I have been able to combine creativity with commerciality throughout my career. For me, being commercial means resonating with a large audience and being relevant for many, and that is something I really enjoy. 

Where do you see Marimekko in the future? During the past years, we have really worked on defining and sharpening our ready-to-wear collection and our most iconic archetype silhouettes. In the future, I would love for Marimekko to be as recognisable for our shapes and fits as we are renowned for our art of printmaking. 

Additionally, we recently debuted Marimekko’s first-ever denim collection – Marimekko Maridenim – during Copenhagen Fashion Week. Venturing into this new product category provides us with endless opportunities with denim as our newest ‘canvas,’ something that feels like the most natural continuity to Marimekko’s lifestyle offering.  

Last but not least, our founder Armi Ratia famously said that Marimekko could be anything; modern jazz, a flower shop or an ice cream shop. I strongly believe that Marimekko could be so much more than a product.

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