Artist Series

This time, as part of the Tallinn Design House Artist Series project, we visited knitwear designer Johanna Paiste and her brand ÄRNI BLUM – a label born from a love of knitting, high-quality materials and thoughtful design. We visit the sewing atelier in Kuressaare, where ÄRNI BLUM garments are made, as well as the studio shop in Telliskivi Creative City, which is becoming a meeting place for knitwear enthusiasts and design lovers.

Johanna has been knitting all her life, largely inspired by her mother. At first, knitting was simply a hobby, but with encouragement from friends and acquaintances, her creations gradually found their way to more and more people. In 2017, she launched the Nirgiwabrik Instagram account, and within a few years, the hobby grew into a business. After the birth of her second daughter, Johanna decided to take the brand further – this was when the first knitters from Saaremaa joined her and she found her first retail partners.

Over the years, the brand itself evolved and changed. Nirgiwabrik became ÄRNI BLUM, a name taken from Johanna’s grandfather’s birth name. The rebranding took nearly ten months and marked a new chapter for her – a desire to create a more mature, distinctive and quality-focused brand. In 2023, the first ÄRNI BLUM collection was presented at the Estonian Fashion Festival, followed by Tallinn Fashion Week, a collaboration with Kaubamaja and a nomination for the Hõbenõel fashion award.

Texture, softness and individuality are at the heart of ÄRNI BLUM. Johanna’s designs bring together monochrome tones, sculptural silhouettes and high-quality natural materials. Japanese silk mohair holds a special place in her work, its airy and soft texture having become one of the brand’s signatures. For Johanna, the design process often begins with the material itself – how the yarn feels, what its character is, and how it interacts with the form.

Creating a knitted garment is a lengthy process that involves constant experimentation. Before a final piece is completed, swatches and prototypes are developed, and every new yarn can mean developing an entirely new design. Unlike conventional garment design, each detail is knitted to precise measurements, requiring careful calculations of stitches, rows and proportions. It is precisely this interplay of material, form and technique that makes knitwear design so fascinating to Johanna.

Saaremaa is an important part of the ÄRNI BLUM story. Both Johanna and her husband have roots on the island, and local production allows the brand to keep traditional craftsmanship alive while creating work within the local community. The brand works with experienced knitters whose decades of knowledge and dedication are an essential part of ÄRNI BLUM’s quality.

Alongside growing the business, Johanna increasingly values finding a balance between entrepreneurship and creativity. “The most important thing for me is the opportunity to create,” she says. For Johanna, ÄRNI BLUM is proof that a hobby can grow into a real profession – and that work you genuinely believe in can find its way into the lives of others.

A new chapter in the brand’s story began in January with the opening of the ÄRNI BLUM studio shop in Telliskivi Creative City. Johanna hopes it will become a place where knitwear enthusiasts and design lovers can meet, new ideas can emerge, and visitors can experience the world of the brand up close. Looking ahead, she also sees ÄRNI BLUM growing internationally, but wants to do so consciously and sustainably, preserving what has been most important from the very beginning – quality, thoughtful creation and the joy of making.

This edition of Artist Series puts the spotlight on fashion designer Sille Randviir and her brand PUUE STUDIO – a label that has grown out of experimentation, a personal worldview, and the desire to create something truly her own.

Sille’s journey into design began in Märjamaa, where she developed an interest in clothing and craftsmanship already during her school years. Her path then took her to Tallinn, where she studied tailoring and styling, followed by a bachelor’s degree in fashion design in Denmark, where her later creative direction began to take shape.

The brand’s name itself originates from Sille’s graduation project in Denmark, where she explored complex and sensitive topics, including mental health and social norms. “My graduation project was inspired by Frida Kahlo, and I worked with mental disorder and disability,” she explains. “I translated it, and that’s how PUUE came about.”

Although the name may raise questions at first glance, its meaning is conceptual rather than literal for Sille. “It is not directly connected to people with disabilities. It represents more my tolerance towards people who are marginalised in society,” she says. She admits that she has occasionally considered changing the name, but has always come back to the same conclusion. “I like that it raises questions and stays in people’s minds. For me, it is an important part of the brand’s identity.”

Sille’s work is defined by a strong visual identity, asymmetry, monochrome tones, and carefully considered details. For her, design does not emerge only through planning on paper, but through experimentation and working with materials. “Quality and details are very important to me. The cuts don’t have to be overly complicated, but one zipper or detail can completely transform the whole piece,” she explains.

At the heart of PUUE STUDIO is also material awareness and a desire to create high-quality, long-lasting garments. Sille uses as many natural and recycled materials as possible, while acknowledging that combining sustainable production with the realities of business is not always easy.

Today, Sille manages almost every aspect of the studio herself – from design to production. Running her own brand brings both creative freedom and great responsibility. “I can’t do it all alone anymore. Demand has grown, and I am genuinely overwhelmed,” she admits. Her next step is to gradually build a team and move towards international growth, with a focus especially on Scandinavia and Berlin.

This time, Artist Series took us to visit fashion designer Cärol Ott, whose brand carolxott has become one of the most distinctive names in the Estonian fashion scene. Her journey began with her graduation collection at the Estonian Academy of Arts, inspired by life on Prangli Island, which quickly brought her recognition both in Estonia and internationally. Success in various competitions and industry awards encouraged her to further develop her creative vision, eventually leading to the creation of her independent brand.

Today, however, running a fashion brand involves much more than designing. Although Cärol works mainly alone in her studio, the range of roles she takes on every day is extensive. “It’s like having ten jobs in one — you’re a photographer, you manage social media, handle production, run the business, do the accounting, carry inventory around… and then you design,” she explains. “Being a designer is actually the smallest part of it. Designing is maybe ten percent,” Cärol laughs.

Prangli Island continues to hold a special place in her creative world. The years she spent there shaped her aesthetic, sense of colour, and connection to community. Nature, the sea, changing weather, and childhood memories often find their way into her work through colours, textures, and moods. Inspiration can come from the natural environment, observing people in urban settings, or from seemingly ordinary moments that leave a lasting impression.

Cärol’s work is characterized by bold colours, oversized silhouettes, and a material-driven approach. She frequently works with cotton, wool, denim, and leather, and often hand-dyes fabrics herself. This slow and labour-intensive process gives each piece a unique character. Sustainability is also an important part of her practice, as she actively seeks ways to reuse textile leftovers and engage in community-based initiatives.

During the interview, she spoke candidly about the challenges of entrepreneurship. The past few years have brought considerable uncertainty to the fashion industry, and as a small business owner, she has had to continuously adapt to changing circumstances. Despite this, she considers persistence to be her greatest achievement. For her, success means above all having the opportunity to keep creating, even during difficult times.

Her advice to young designers is honest and straightforward: “You definitely need strong nerves.” She adds: “If this is truly what you want to do, don’t give up. And build a community around yourself. Doing it alone is much harder.”

It is a constant process of adaptation, hard work, and belief in what you do. “I keep telling myself that it’s going to get easier soon,” she says with a smile. “But, well… it hasn’t happened yet,” Cärol laughs. “And yet I still haven’t thrown in the towel, so there must be something captivating about it after all.”

On a crisp winter morning, our Artist Series project visited the newly opened New Life Studio atelier on Toompea. The brand’s creators, Eva Lotta Tarn and Tuuliki Peil, come from completely different backgrounds, yet they are united by a similar mindset and a shared desire to create ethical design.

Eva Lotta is a graduate of the Estonian Academy of Arts, specializing in accessory design. Tuuliki has an educational background in philosophy, theology, and psychotherapy, and is self-taught in design.

Eva Lotta says that her relationship with design exists on “a razor-thin line between love and hate.” “If I could choose absolutely any other field, I would do something else. This is not an easy profession, and I haven’t made my life any easier by choosing it,” she admits. Yet she always finds her way back to creation. “I need to express myself through making things, and it’s important to me that what I create has practical value. I didn’t choose this – it chose me, and I don’t know how to exist without it.”

Tuuliki fully agrees. “One hundred percent the same story. I’ve tried many times in my life to step out of the role of a designer and do the things I’ve studied. But it doesn’t work – it just doesn’t work at all. I’m constantly registering things, for example in nature: colour combinations, textures, moments, and thinking about what I could do with them.”

Tuuliki sees clothing as a form of playfulness and self-expression, a way of finding oneself. “It’s a potential open to everyone. To adopt a certain attitude and live it out. One day you’re one thing, the next day another, and clothes allow you to identify with different characters. For me, what matters most is inner alignment — that you’re the same on the inside and the outside, that there’s no contradiction.”

Tuuliki also highlights the more painful side of design — consumption and overproduction. “When I see those piles in shopping malls… it’s hard for me to breathe. And I think, oh no, I’m contributing to all of this as well. It really troubles me, and I’ve often thought that I don’t want to be involved in this at all.” That is precisely why she creates only from upcycled materials. “It allows me to work without guilt. Otherwise, I wouldn’t be able to function as a designer.”

The name New Life Studio encapsulates the brand’s core philosophy. “It’s about giving new life to something that has become worthless to someone else and been abandoned,” Eva Lotta says. “We find new value in it and give it a new life.”

Although they operate under a shared name, each designer has her own distinct signature. According to Tuuliki, material is always at the center of her creative process. “Because I work with upcycling, my signature is very material-driven,” she explains. When she notices an interesting fabric in a second-hand shop, the idea immediately starts to take shape.

Since upcycled fabrics often come in small pieces, this inevitably shapes the final result as well. “Many items are made from ten different pieces simply because there aren’t three meters of the same fabric available. That’s the reason these pieces are the way they are,” Tuuliki says.

Eva Lotta’s design process, however, is often the opposite — she begins with a clear vision of the final outcome, which then guides the choice of materials. “That makes the process more complicated, especially with custom orders,” she says. “If a client has a very specific wish regarding material or color, it can be extremely difficult to find it second-hand.”

For both designers, sourcing materials is an integral part of the creative process. Tuuliki regularly visits reuse and second-hand centers, where she finds not only clothing but also curtains, tablecloths, and other large pieces of fabric. “Not everything has to be made from old garments — you can find a lot of unused fabric through reuse as well,” she says. Sometimes the search becomes almost like detective work: “If you need to finish a piece and are missing a section of a yellow sweater, you end up visiting ten different shops.” Most of the time, however, they find what they need in their own material stock. “It depends on the project — whether we’re creating for ourselves or working on a commission,” Eva Lotta adds.

For Eva Lotta, the most meaningful designs are those created using the unravelling technique she has developed herself. “I use knitted garments from thrift stores that are often among the very last items left on five-cent days — pilled and seemingly unwanted by anyone,” she explains. Through unravelling and reworking, an entirely new texture and material emerges.

Eva Lotta and Tuuliki’s collaboration extends beyond design alone — New Life Studio has also evolved into a community space. “For the third year already, we’ve been running creative sewing workshops. People come to us with half-finished projects they have at home. Maybe something needs to be taken in, repaired, or completely transformed. We provide the machines and guidance, and everyone can come with their own project,” Tuuliki explains. At the same time, she emphasizes that this is not a typical course where everyone learns the same thing. “Some want to make a new piece, others want to rework an old one — we guide everyone individually.”

Speaking about the future, Eva Lotta is candid: “My goal is quite simple — that I can continue as a designer. That it would truly be possible. All of my energy goes into that.”

Tuuliki adds that above all, she hopes the studio will start hosting the kinds of events and gatherings it was created for. “That the shop area would open, that people would come in from the street, that there would be movement and creative life.”

“And a bit of stability would be nice too. I don’t know if that’s even possible, but I hope so,” Eva Lotta adds.

December is a sparkling festive season when we long to adorn ourselves with something special and eye-catching. That’s why this edition of the Artist Series takes us to the cosy home studio of Kaie Kuuler, the creator of QLR Design, in Viimsi, where both classic and boldly expressive hats and headpieces are brought to life.

Kaie has worked in the fashion world her entire life – mainly as a tailor for other designers. She has also created accessories for fashion shows, and it was there that her love for headpieces first began. “At one point I had this realisation: it’s now or now,” she says of the moment seven years ago when the time felt right to create her own brand.

QLR Design’s creations are wonderfully diverse, offering something for every taste and mood. The brand’s selection ranges from classic hats to delightfully extravagant, attention-grabbing headpieces. “I personally like to drift into extremes,” Kaie says. “Sometimes I want to be a minimalist and create very simple, classic headpieces. But then there are days when I want to put on a pink brocade bow and be a crazy babe,” she adds playfully. It’s this wide range that makes QLR Design truly unique.

According to the designer, QLR Design headpieces are not just for “bold women.” She is often surprised at how frequently wearing a headpiece is associated with courage. “People are more afraid of the attention such an accessory inevitably brings. But you can always choose a more subtle option,” she adds with a smile.

Kaie’s headpieces are made for people who enjoy standing out, expressing their individuality and elevating their style with something special. “People are so different: for some, a huge fuchsia bow is not enough, while for others even a small bow at the back is already too much,” she laughs. At the heart of all Kaie’s creations lies one feeling – joy. “I put pure joy into every piece I make. I hope that when people wear them, they feel a little happier and a little brighter. That it brings something extra to their day or celebration. Lifts them up a bit.”

Looking ahead, Kaie’s main wish for her brand is to expand her range of hats. “All the classic models should be represented,” she says.

A small call to action from the designer: “Wear more headpieces and hats – but be prepared for a shower of compliments!”

This time, as part of the Tallinn Design House Artist Series project, we visited Birgit Usin – the founder of the Birico brand – at her charming home near the forests of Jüri. It’s here that Birico’s silk products come to life: at first glance, they may seem simple, but they are deeply considered and highly functional.

“The word functional might sound a little confusing,” Birgit explains, “but to me it means products that make our daily lives better, more comfortable, and more stylish.”

There are over 20 different types of silk in the world. When it comes to natural silk, the name often derives from what the silkworms are fed. Birgit uses Mulberry silk in her products – luxurious and exceptionally soft silk, made from silkworms that feed on mulberry tree leaves.

“Silk as a material actually does 70% of the work for me,” Birgit says with a smile. “Mulberry silk is fantastic because it’s incredibly smooth.” She adds that 99% of Birico’s products are made from high-shine silk.

When you rest your head on a silk pillowcase, friction is reduced by 60% compared to a cotton one. Cotton affects facial skin on a micro level throughout the night, gradually thinning it. “The thinner the skin, the quicker wrinkles, dark circles and other skin issues appear,” she explains.

“We often focus on creams and toners, but forget that our face is in contact with a pillowcase for nearly eight hours straight.” And yet, we don’t wash our pillowcases that often – ideally, they should be changed at least once a week. With silk, that’s much easier: it doesn’t absorb bacteria, dust, or fungi, which also makes it great for people with allergies.

In the case of acne, pillowcases should ideally be changed daily to avoid a cycle where bacteria is transferred back to the skin. “That’s simply not an issue with silk,” says Birgit.

Silk also doesn’t absorb moisture. If you apply expensive face creams or hair treatments at night, a standard pillowcase may absorb it all. Silk, however, keeps all those benefits right where they belong – on your skin and hair.

Silk plays an important role in hair care, too. “A regular hair tie puts stress on one specific spot, leading to breakage, dents, and weakening,” Birgit explains. “A silk scrunchie holds your hair gently – without pulling, without absorbing moisture, and without leaving marks.”

Her personal favourite feature of Mulberry silk is its ability to regulate temperature. “When the room is hot, silk feels cool. And when it’s cold, it retains body heat.”

Birico’s range also includes various types of silk sleep masks. “Studies show that sleeping with a mask helps you fall asleep faster, get deeper rest, and reduce anxiety,” Birgit notes. “When that mask is made of silk, you also get the benefit of skin care and a sense of luxury. It’s been shown that people sleep 68% better with a mask – and when it’s silk, that number improves by an additional 30%.”

Today, Mulberry silk is far more accessible and no longer just a luxury product. “It gives you confidence and femininity,” says Birgit. “It’s like lingerie – no one else sees it, but you know.”

This time, the Artist Series project takes us to Hiiumaa to meet Helen Vaks, the creator of Ellu scarves, whose work weaves together a deep respect for folk heritage and a distinctive personal style.

The idea for the Ellu scarves brand was born 15 years ago, when Helen was attending a men’s folk dance festival in Rakvere, where her son was performing. The weather was windy and slightly rainy. Watching the dancers cover themselves with colourful jackets, Helen thought, “My goodness, we have “sõba” (scarf) for that!” Having danced folk dance herself for ten years, she remembered well how “sõba” was traditionally part of festive national costumes. Sitting in the stands, she realised that they were actually missing from use. That was the beginning. The first ten patterns were completed by autumn of the same year, and by Christmas, the first products were ready.

In addition to scarves, Helen now also offers blankets and pillows for the sofa and terrace. Creating harmonious textile solutions for both indoor and outdoor spaces is something she finds very inspiring.

Ellu scarves are adorned with stylised versions of beloved Estonian patterns, following the wisdom and skill of fore-mothers. The creation of these scarves and patterns was preceded by extensive research – Helen gathered material from the Estonian National Museum, the Open Air Museum, and other collections. Her work has been exciting: some patterns she has discovered herself, others have been commissioned. Museums, as well as song and dance groups, have sought out Ellu’s meaningful scarves and blankets.

In Estonian national textiles, messages, wishes, and dreams were expressed through different motifs. Symbols were intertwined with magical beliefs for protection and fortune – in harmony with the people’s worldview, faith, superstitions, and sense of beauty. During the day, blankets lay on the bed, but in the evening, they were thrown over the shoulders to go visiting.

Among the more special recent patterns, Helen highlights the Rõuge “sõba“, which originates from the Open Air Museum’s collection and became the official scarf of this year’s Song and Dance Celebration. The pattern comes from a tiny preserved textile fragment that features the serpent sign and the circle motif – both carrying the power of Estonia forward.

Helen runs the Ellu scarves brand entirely on her own. She says that, at heart, she is first and foremost a creator – she loves her work and does it with great passion. Helen has three children, but many say that Ellu scarves is like her fourth child. Everything she creates comes from the heart – this is her mission, her personal story.

People feel it too. It’s often said that Ellu scarves radiate care and dedication through their meaningful patterns and the story-rich product leaflet included with each item. Many don’t actually know what a “sõba” is – they may recognise the phrase “sõba silmale” (a poetic expression for taking a nap), but not its deeper meaning. In Estonia, shoulder coverings have had many names – “suurrätt, õlalinik, vaip, sõba, tekk” – depending on the region and size.

Helen aims to pass on the story of a specific place through each scarf, always accompanied by a detailed product sheet. For her, it’s essential to broaden people’s understanding and honour the legacy of Estonian women. In the past, women embroidered their wishes and dreams into their scarves – some hoped for children, others for health or marriage. These weren’t just patterns, but spells and protection symbols. It was believed that they held power that shielded the wearer.

Many seek out scarves with patterns from their home region – whether for themselves or as gifts. Others are drawn to the powerful symbols woven into the fabric. Helen has received many heartfelt letters, describing how something shifted inside them or in their life when they wrapped the scarf around their shoulders.

Scarves are often given as gifts to Estonians living abroad – they touch and connect people. The use of healing symbols has led many to say that there’s something special in these scarves, as if a kind of ancestral power has been woven into them. They carry strong energy and offer protection to the wearer.

All of this – the feedback from people, the transmission of cultural heritage, and the deep meaning within the patterns – keeps Helen’s motivation alive.

Looking ahead, Helen sees new patterns and stories waiting to be brought to life. She feels there is still so much to give – so much beauty, symbolism, and strength to share with the world.

We met Stella Runnel, the creator of the brand Stella Soomlais, in her cozy studio at the Telliskivi Creative City. Stella stands for values that reach far beyond aesthetics: respect for materials, a commitment to using resources responsibly, and a desire to shape a more conscious way of living through design. 

Her journey into the world of design began while studying leather art at the Tartu Art School. Already during the entrance exams, she felt that this was her path. After graduation, there were few professional opportunities for leather designers in Estonia, and options for international internships were limited. As a result, entrepreneurship became a natural next step – a way to continue her creative path and bring her ideas to life independently. Over the years, this has grown into a thoughtful system where each product is created with longevity and circular design principles in mind. 

For Stella, every design process begins with a simple question: what do people actually need? Everything created must serve a purpose. Her products are designed to last – ensuring that materials do not become a burden, but a resource. 

Circularity, for Stella, is not just a trend but a deeply personal worldview. Growing up in the countryside, she witnessed how everything had value and how even the most modest materials were used to make something durable. This mindset continues to shape her work – a desire to reduce waste, extend the life of materials, and create lasting value. 

In addition to her core work, Stella places high importance on collaboration with other designers and artists, as well as ongoing product innovation. She draws inspiration from studio practice, travel, working with students, and of course, her own family. She especially values the moments when she can slow down – to dive deeper into ideas, to experiment, and to ask big questions. 

For Stella, design is not just a job or a visual form of self-expression – it’s a way to influence the world. It is a conscious mindset that carries responsibility: toward nature, toward materials, and toward the user. And although the brand bears her name, she sees it first and foremost as a platform for exploring, developing, and redefining how sustainable design can be part of a greater change. 

The studio of knitwear artist Liisa Kanemägi is located at Kopli Lines, in a nearly century-old limestone building. Formerly used as the Shipyard Hospital and the university’s chemistry building, the structure now houses a number of creative individuals, and the building is called Signature House.

Liisa mostly knits tops, sweaters, and shirts. She primarily uses linen and wool as materials, and soon also silk. “These materials are body-friendly, yet they feel luxurious and expensive. Linen is my special favorite because it’s a strong material. Black linen even feels a bit graphic on the body. It’s a material with character, and it aligns with the feeling of my brand.”

According to Liisa, her brand is a bit rebellious and challenges the rules of classic beauty and elegance. At the same time, it is also mysterious and curious. “Recently, I came up with a phrase for myself: ‘eccentrically chic.’ I also make things that branch out, meaning they change a bit over time. I enjoy playing with meaning, so that things wouldn’t just be ‘finished’ or ‘broken,’ but they could ‘live on,’” she reflects.

Liisa’s clients have mostly been women, although men have also purchased her creations. “My client is someone who values the emotional worth of clothing over fast fashion. They are willing to pay a little more. They also create their own aesthetic, and for them, self-expression is more important than the practical side of clothing. I think they are also interested in art and design,” Liisa reflects.

Liisa notes that, compared to the past, we no longer feel materials. “We have so many materials, but we know nothing about them. That’s where the sweat pattern idea came from, which would be connected to your body. The idea was to reconnect with the material you’re wearing. I played with the thought that the material could acquire intentional wear marks, memories. That ‘life’ could continue to shape the clothes. My master’s thesis was more of a philosophical reflection, not a research paper.”

Liisa’s great wish is for people to value their clothes and learn to repair them. “Somehow, in society, there’s this understanding that if something has a hole, it’s ruined. But it doesn’t actually mean that it’s trash; we just perceive it that way. Things could wear out with dignity or beauty. With character. That’s why I thought I could intentionally program wear marks into the items.”

We meet with Kaia Saarn in her cozy studio in the heart of Kärdla. In this heritage-protected, sun-yellow wooden house, the jewelry artist will celebrate 15 years of her creative journey this December.

In the early years, Kaia mainly used gold and silver in her creations. “I was stuck with metal and didn’t see the broader possibilities of what else I could use. Some had discovered titanium, glass, or other materials. I wanted to find a material that could be shaped even better than metal,” Kaia recalls.

Her first experiments with nectarine stones took place in 2010. “I had a nectarine stone, and I thought, okay, I’ll cut it in half. Then the idea came to set it on a silver plate. Back then, I used large, heavy gemstones. Now, I make sure the jewelry is always as light and wearable as possible. I made myself the first pair of black earrings, and they immediately attracted a lot of attention. I received feedback saying, ‘Oh, how exciting, I want some too! Do you have more of these?’ And that’s how the first collection started to form,” Kaia explains.

In addition, Kaia makes engagement and wedding rings. “The handover of engagement rings is always a very exciting moment – the person gets so thrilled, like, ‘Wow, how beautiful!’ The feedback is always so positive. That’s when I realize that I enjoy my work. At the same time, I don’t feel like I’m working. I just let it flow out of me. Creativity comes from within each person. My signature style is to combine various natural materials and make them into durable jewelry that can be worn, not just looked at or briefly put on for a photo.”

Currently, Kaia enjoys making large and bold pieces of jewelry from various natural materials. “I love combining interesting materials, like avocado and chestnut bark. I go wild when I’m given free rein. Then I make a large necklace or earrings for the client,” she laughs.

Kaia considers her greatest success to be the opportunity to bring jewelry art to her table while living on Hiiumaa. “I’m happy that my jewelry has a Hiiumaa essence. The theme of the island’s juniper came to me in 2016 when I moved to Paris, and the longing for Hiiumaa hit me hard. Then I thought, ‘Oh my God, has anyone made jewelry from juniper berries?’ We tried with a jeweler who was casting in Tallinn, and it worked out. Today, we cooperate – I send him the juniper berries, he casts them in silver, and then sends them back to me for finishing. He has large casting machines, which I hope to get for myself one day so I can make jewelry from start to finish.”

In addition, Kaia really enjoys holding workshops. “I absolutely love seeing the sparkle in people’s eyes and the joy they get from making things with their own hands,” she says.

On a sunny Friday in July, we visit Lavendlitalu for the Artist Series project, located on the island of Hiiumaa, just a stone’s throw from Kärdla. We are greeted by the smiling hostess Birthe, who, together with her husband Taavi, bought a dilapidated farmhouse and overgrown land here six years ago. Today, under the couple’s hardworking hands, the farm has literally flourished – visitors are welcomed by a wonderfully fragrant lavender field and a tastefully renovated complex of buildings.

Lavender is a well-known aromatherapy plant that calms the mind, relaxes, and promotes good sleep. It is also used in natural cosmetics and skincare for its healing properties – lavender helps with acne and psoriasis, moisturizes, soothes the skin, and has disinfectant and anti-inflammatory effects. Lavender also provides relief for sunburns and insect bites.

According to Birthe, the charm of Lavendlitalu products lies in the pure raw materials. “I know exactly what I make and have made. I know we are certified organic and free from chemicals. We really don’t spray, mist, or fertilize here. I absolutely believe in this pure, natural raw material.”

The family is also a big fan of Lavendlitalu’s cosmetics line. “The most recent product development – the hand and body cream – has become a hit in our family. We finished it in December, and now we’re on our sixth jar. Everyone uses it. I am also a big fan of our entire facial care range. I use the facial water as a toner, and the serum before my night and day creams,” Birthe shares.

Birthe enthusiastically reveals that she wants to expand the natural cosmetics line and is currently developing a shampoo and conditioner, with plans to launch them in the autumn-winter season. “I’ve already had the samples to test and use myself. My friends are using them too. The feedback is good. The time-consuming part is coordinating the documentation with the Health Board and getting into the production cycle with our partner, the manufacturer Magrada Cosmetics Estonia,” says Birthe.

Although the lavender harvest improves every year, the production volume is limited by the size of the field and the amount of essential oil that can be extracted. “For example, last year the harvest was very scarce. As is often the case with farmers, some years are different. This year’s harvest will come, but a bit later. We are often asked to sell our lavender oil because we are certified organic growers. But we simply can’t offer it because we use the amount we get from the field in our own natural cosmetics line. Of course, we could have huge fields here, but we can only expand with this one abandoned field. We don’t have more land right now. It’s also a decision point – whether we want that. Today, alongside our main work, we manage to maintain this field, but if we expand, we’d need to rethink our business model.”

We visited Kristiina Ploom, the founder of her eponymous jewelry brand Kristiina Ploom Jewellery, as part of the Artist Series project.

Kristiina has been involved in art for a long time. As a young person, she participated in several art circles, and during high school, she also attended an art school. When it was time to go to university, Kristiina knew quite firmly that she wanted to study art or design, and she chose to study in England, where she specialized in jewelry.

After university, she continued to learn goldsmithing techniques through various practices in England, Spain, and Estonia. Currently, Kristiina works in a shared goldsmithing studio in Tallinn, which offers a great opportunity to ask for advice and learn more about different techniques.

Kristiina launched her brand in November 2021, focusing on unique pieces, small collections, and exhibition works. The jewelry artist’s creations feature a contemporary minimalist style, bright and striking yet timeless in design.

Each jewelry design is carefully considered, focusing not only on appearance but also on quality, and it does not leave the studio until it is perfected. Kristiina Ploom Jewellery pieces are made from recycled silver and gold, either as one-of-a-kind pieces or in small batches. Custom-made works help express each client’s unique style with a special piece of jewelry created just for them.

In addition to women, some of Kristiina’s clients are men who are searching for the most beautiful engagement ring for their partner. Together, they review and discuss different options and select the best solution. Kristiina happily notes that these are always wonderful and slightly more emotional pieces, especially when clients later share feedback on how and where the proposal was made.

In Tallinn, Kristiina’s works can currently be viewed at Tallinn Design House and the jewelry artist’s studio. Additionally, a selection of her jewelry is represented in one Estonian and one international online gallery.

This time, the Artist Series project visited Tiia Orgna, the creator of the knitwear brand Mithio, in her cozy home studio under the snowy pines of Nõmme. Tiia started her brand in 2009 and has been running the business alone ever since. The only aspect of production that takes place outside of Estonia is the manufacturing, which is done primarily with partners in Lithuania.

Mithio’s product range includes sweaters, cardigans, and scarves. “I’ve always thought of myself as an industry person. I’ve never been able to do a single custom order or spend hours working on one dress. I’ve always had the soul of a producer, to make something that would suit many people.”

In the early years of the brand, Tiia used many different Estonian national patterns. Over time, however, these became less frequent as solid-colored sweaters were introduced, and customers started buying those more.

Tiia mainly uses soft tones in her designs. “Yes, but that’s the Estonian woman. (Laughs.) Otherwise, I wouldn’t have so much white and light beige. The same rule applies to men, solid-colored items are bought the most. But every season, I still try to add a color to one of the designs.”

Tiia uses the yarn from one Italian factory most often, which she has liked since the brand’s early days. “It’s a very light untwisted yarn, and it offers a lot of room to play. You can make knits in any thickness. If you add different patterns and braids to that, the number of combinations is huge. On the other hand, I’ve stuck with it because I know how the knit will turn out in production. There are no surprises. With fashion yarns, you have to start from scratch every season. The result isn’t guaranteed because the model may not work out technically.”

Tiia has always had the mindset that if you’re doing something, it has to be something good that lasts for several seasons. “This has been my principle from the start: don’t make something for just one season. Instead, create something real that lasts and is sustainable. It also definitely has to be practical, because Estonians are very practical. They want a sweater that fits under a coat or jacket and holds up well in terms of wear and care.”

Mithio doesn’t have its own studio shop yet. There is an online store, but Tiia believes it is very important to be represented by resellers because customers still want to try on and feel the knitwear before buying. “You can’t do without physical stores. There’s no other way of thinking about it.”

Tiia considers the greatest success to be the fact that she has survived with her brand. “Every day, you can see those for whom it doesn’t work out – whether it’s bankruptcy or some other reason for closing the business. The fact that Mithio has survived is likely due to my personality traits. I’m stubborn, persistent, and determined, always in action.”

The creator of the Kelpman Textile brand, Mare Kelpman, designs the colorful woolen scarves beloved by Estonians today in her studio in Telliskivi.

Most of Kelpman’s fabrics are made in Finland, and the contact there was also the inspiration for starting the brand. The brand initially began with home textiles and later moved on to scarves. Additionally, various clothing fabrics have been experimented with, and during the summer months, several products are made from linen. Currently, the most popular items are still the various woolen scarves.

The advantage of manufacturing in Finland has been the ability to create small collections. The abundance of patterns and colors has become characteristic of the Kelpman brand. Even if five people have a Kelpman scarf, they are usually in different colors. Some scarves are produced in only six pieces. “If you don’t buy at the right moment, you may miss out. I don’t produce the same scarves again, although I have occasionally knitted some color combinations again by accident. I guess I liked them. Sometimes people don’t realize that it’s not mass production and the quantities are small.”

The Miurio brand is founded by designers Rita Assor and Viktoria Braginskaja. The brand operates in two directions – accessories and home décor products.

The name Miurio is derived from a phrase. “Miu” means graceful feather in Japanese, and “Rio” comes from the name of Rio de Janeiro, the samba capital. The idea was to showcase positivity, femininity, and joy of life – hence, these symbols were engraved into the brand’s identity.

Today, Rita focuses on home décor products, while silk scarves are created in collaboration between the two designers – Viktoria provides the base or design, and Rita does the finishing touches. Rita continues to design silk scarves as her personal work.

Miurio’s collection includes at least 30 different designs of silk scarves, and they have remained most committed to creating silk scarves. In addition, there are home décor items – rugs, sofa cushions, wallpapers.

Over the years, the most popular collections have been “Geisha,” “Pirate Woman,” and “Golden Roman Fountain.” The latter pattern was inspired by a photo of the Four Rivers Fountain in Rome’s Navona Square. Last year, the “New Energy” collection was created, where Rita felt the need for a boost and energy rush. “There were also floral patterns with added messages. The tones are very pastel and soft – it expresses that soft values have an important place,” Rita describes.

A key feature of Miurio is its handmade rugs. “The idea with the rugs has been that they should be functional art pieces – just like large paintings that are bought for their boldness and expressiveness, rugs are bought the same way. They are a central element,” says Rita.

Last year, Miurio began a collaboration with artist Jüri Arrak. “His wife, Kai, contacted me with a desire to create art souvenirs – primarily silk scarves, but I took it a step further. Since I’m a true rug fan, the designs were based on his four paintings,” Rita describes the start of the collaboration.

Jüri Arrak has worked on many different projects, but for this one, he wanted his art souvenirs to be consciously spread more widely. “We managed to finalize a contract, and in his home, there’s also a handmade rug ‘The Watchers’ inspired by the painting, and he saw the beginning of this collaboration. He also saw the silk scarves and gave his blessing for this direction.” The products released at the beginning of last year have been warmly received by the public.

Lisa Kroeber’s brand journey began 12 years ago in Estonia. After high school in Germany, she didn’t have a clear plan of what to do next. However, she was certain that she wanted to do something hands-on, so she started an apprenticeship with a goldsmith. “There, I made metal jewelry for the first time, and I really liked it. I quickly realized that I wanted to create my own designs and jewelry.” She then studied jewelry and gemstone design in Germany. “I started making designer jewelry, but I realized that I wanted to create pieces that could be worn every day. So, I moved back to Estonia and started creating my own brand.”

Today, the company is six years old, and in the team, besides Lisa, are her husband Viljar, and Hanna and Maarja. Lisa does all the designs herself and also takes care of the online store. “And besides that, I take on everything else as needed.”

One of the most distinctive series in Lisa Kroeber’s collection is definitely the Folded series of jewelry. However, she first started with the Leaves series, from which came the desire to create something three-dimensional. “Our bodies are 3D, so I tried to see what I could do with the material. I had already experimented with metal in university, where it could be folded like paper. I wanted to create something colorful again, and the folded model idea came from there.” This led to two series – Folded Slim and Folded Wide.

Lisa sees her clients as independent, beautiful, and stylish women. Today, customers can find her creations both in Estonia and abroad. “Exports have grown especially in the last two years. We have resellers in Germany – in cities like Berlin, Munich, Leipzig, Heidelberg, and Winningen. Now, more are coming. There are also some stores in other European countries selling our jewelry – for example, in Norway, Iceland, and the Netherlands. This has also been our goal, because Estonia is small, and if we want to grow, we need to expand. We’ve made a lot of progress in the past two years, and we’re still trying to reach more.”

The brand Kriss Soonik was founded in 2009. What sets Kriss Soonik apart from its competitors is the blend of lingerie and ready-to-wear. “We tried to make it more comfortable and softer, but at the same time, still keep a little bit of sexiness in it.” Today, ready-to-wear products make up a large portion of the collection, allowing customers to choose between lingerie, ready-to-wear, and loungewear. “The products depend on the mood of the season.”

What motivates Kriss to create a lingerie brand is the exciting opportunity to explore a direction that not many are pursuing. There aren’t many new lingerie designers, and the number is actually decreasing.

“When you have your own brand, you can really do whatever you want.” Of course, Kriss admits that you have to listen to the customer, but sometimes the customer doesn’t know exactly what they want. That’s when you have to offer them something new. “It’s a matter of experimentation – you always have a place to go back to and move forward from. They always say focus on one thing and don’t go here and there. But I’ve chosen a different path – so I don’t get bored.”

Kriss enjoys spending the design period outside of Estonia, being in a warehouse surrounded by fabrics and deliveries, while simultaneously drawing inspiration. “I’ve realized that I need time to try something on my body – to see how things fit. There are usually so many ideas in my head, and until I can actually try them on, I don’t know if they’ll work or not.”

One product that Kriss is very happy with is the waffle fabric kimono. “I had an idea that I wanted to use waffle fabric, but make it cool. The prototype was ready, but then it got stuck. I have to give a bit of credit to Johanna Oden, who suggested making the sleeves angled, not straight. That’s when the design came together. It really turned out great and is different from some of the other products. I wear it all the time, and customers love it too.”

The creator and designer of the Seasoned Traveler parka, Jaanus Vahtra, has his studio on Toompuiestee, alongside several other creative professionals. This is a workshop where Jaanus focuses on product development and prepares for film shoots.

The creation of the Seasoned Traveler parka stems from a desire to develop functional outerwear. “It seems to me that people are willing to invest in a winter coat because it’s something crucial for them.”

“When designing the model, I liked that it is long, keeps the knees warm, and protects the legs from rain. Usually, jackets are short, and when you walk in the woods, your legs eventually get wet. At the same time, I wanted the coat to also have the function of a coat, so you could even wear it to the theater. Now this silhouette has become a standard because, for example, most women also wear long coats.”

All products are made in the Nurme factory in the center of Haapsalu. “Their factory specializes in outerwear. The price level is not what you would find in Asia, but their strength and key advantage is speed. They are quick to make samples and incredibly flexible.”

Jaanus Vahtra considers films and vintage stores important sources of inspiration. “I love rummaging through vintage shops where old items are sold because there are really cool things there. Technologically, it’s fascinating how clothes were made in the past and how beautiful they are, inside and out. There are plenty of clever and cool cuts.”

Traveling is also a key inspiration source for him. “I went to South Africa, and the scene there right now is very vibrant and cool. They mix their African culture with a strong European influence, and that blend is really exciting. In that sense, traveling is definitely useful.” And if there is no inspiration, he recommends reading books.

With his brand, Jaanus Vahtra is currently searching for something special. “Just like alchemists were looking for gold, I am looking for my gold.” However, he points out that although he really enjoys developing parkas, his main focus today is theater and film. “With parka development, it’s fun to do, but I’ll see where I end up with it. It’s not impossible that one day I’ll throw my hands up and realize it didn’t lead anywhere. I don’t have a personal goal of keeping and building a brand.”

Front is a Nordic jewelry brand created by partners and jewelers Mariliis Hopp and Miikael Danieljants. This time, the Artist Series visited the Front studio, located in the Arsi building.

The name “Front” refers to the point where different air masses meet. “That was us – cold and warm air masses coming together. The names of the collections are also derived from the temperature at the time they were created.”

Today, this contrast has become the signature of the brand. In addition to their collection jewelry, Front also creates many custom pieces. For custom orders, the common signature style is clearly noticeable.

“People come to us to try the most unique materials, aiming to fully distinguish themselves with their rings. While we used to make gold rings as well, now the focus has shifted more towards these interesting materials. Gold is still part of it, but these intriguing materials have begun to captivate people,” describes Mariliis.

Samelin is a renowned Estonian footwear manufacturer that has been operating since 1945, when it was known as a leather and footwear factory. The company began operating under the name Samelin in 1994. Leida Kikka has been a steady force at Samelin since 1987. The Samelin Artist Series is dedicated to Leida Kikka’s long journey as the leader of one of Estonia’s most recognized and long-standing shoe factories.

Leida’s eyes light up as she describes how the boots made in Tartu’s Samelin factory are crafted for NATO soldiers as well as for smaller Estonian brands under private labels. “Our main bread and butter are military boots. These are large orders – the quantities are not in the hundreds but in the tens of thousands.

We make them for NATO soldiers, and now also for Norway, Sweden, and Finland. We find clients at military fairs – this year, one was held in Abu Dhabi, where we attended for the fourth time.”

Leida Kikka’s hard work has been widely recognized – she is a notable figure in Tartu, awarded as Woman of the Year, an honorary citizen of Tartu, and a recipient of the Order of the White Star. “Sometimes I think about retiring, but each award brings new energy that encourages me to continue. And I do enjoy being in the spotlight; I am certainly not modest. Modesty is not a virtue.”

“I can work until nine in the evening, but when I step out the door, my workday is over.”

Triinu Pungits’ brand is unique for its distinctive forms and use of fabrics. Triinu Pungits has been designing clothes and textiles for thirteen years. Her studio is located in Tartu, at the Aparaaditehas.

Her interest in creating her own brand began during her studies. Triinu Pungits studied textile design, which at the time didn’t focus much on fashion.

As a designer, she has participated in and won several international competitions. She has competed in places like Moscow, Italy, and Latvia. “The competitions constantly provided the next step forward. The pace was fluid, and I always had the motivation to create the next collection.”

Triinu Pungits’ creations are primarily made as unique pieces. “I’ve only digitized patterns for larger quantities a few times. I like it this way.”

“One realization I’ve come to is that the world needs happy people. A person must be happy, and that’s why they should do what makes them happy.”

In the heart of the Old Town, on Hobusepea Street in the goldsmiths’ house, lies Agnes Veski’s studio. In a single room, several Estonian jewelry artists share their workspaces. According to Agnes Veski, working alongside other artists offers the opportunity to exchange ideas, materials, and technical tips, as well as collaborate on projects.

Agnes Veski’s workbench meets the requirements of a goldsmith’s table. It is a higher table, where the saw frame plays a crucial role. Additionally, the table is equipped with countless drawers to store materials and tools.

The Agnes Veski brand was established in 2018. She studied jewelry art at the Estonian Academy of Arts (EKA), enrolling immediately after high school. “I knew from the beginning that I wanted to study art.” In creating her jewelry, she uses traditional techniques and materials, drawing primary inspiration from Estonian nature.

Eve Hanson’s studio-shop is located in the Telliskivi Creative City, though she does much of her work from home. The desire to meet her clients in person inspired her to open the studio in Telliskivi: “When selling through an online store or design shops, I don’t meet people. Here, I can interact directly with clients – and they are amazing women!” Eve Hanson characterizes her customer as a bold woman who wants to stand out and feel confident. Although Eve’s clothing designs are minimalist, they often offer multiple playful ways to wear them.

“I’ve always said that becoming a designer just sort of happened to me. However, I’ve started to think that it must have come from home – my grandmother was the one who did handicrafts. And all those mystical pattern sheets. Becoming a designer wasn’t my childhood dream, but I chose what I liked.”

Inspired by the body and fabric.

By allowing the movement of the fabric to guide me, I can achieve unique forms that continuously evolve and adapt to the body they fall upon. We are all largely inspired by what we see and long for, but for me, the final result is created through collaboration with the material, considering its nature and movement. That’s why I prefer to design without prior sketches. The fewer mental restrictions I impose on myself when creating a new design, the better the outcome.

Sustainability and harmony with the environment are, for me, the only way to create something new today. This approach, with its additional constraints and rules, provides opportunities for growth and helps find solutions that one can potentially be proud of even twenty or thirty years later. I believe that, just as human relationships require cooperation and balance, so too does our interaction with the world around us. We cannot only take; we must think about how to give back – to live in harmony.

Liisu Arro, the creator of Arro Porcelain, crafts many of her wonderful designs in her home studio in Haapsalu. Liisu is a third-generation artist in her family, expressing her world and warmth through her creations.

Her work blends the ordinary with the extraordinary, and the extravagant with the classic, drawing inspiration from everyday life, nature, and art. Liisu Arro continues the artistic legacy of her parents and grandparents in ceramics, enriching everyday objects with their drawings and paintings.

Liisu has had her own small ceramics studio since 2006, where all her pieces are handmade. These high-quality tableware items are designed to last for generations!

We recently visited a very special brand creator, Äli Kargoja, whose minimalist clothing brand, Studio August, has found a new home in the nostalgic Põhjala Factory.

“Kopli holds a nostalgic value for me. I studied at Kopli Art School until the 8th grade and lived not too far away in Pelgulinn. So, I feel comfortable here, and Studio August fits perfectly with the industrial aesthetic of Põhjala Factory.”

August is characterized by simplicity, minimalism, and functionality. Clean forms, refined details, and a calm expression appeal to those who value elegant clothing and the sustainability of garments.

“The goal is to look beyond the surface layers of fashion creation. As a designer, it’s about taking responsibility for the environmental impact of my actions, while offering clients the choice to contribute to a cleaner living environment by consuming slow and high-quality fashion that lasts.”

“Professionally, my main focus is on developing and managing my brand – from sketches to the final product reaching the store. What drives me is the joy I get from the creative process. Designing clothes and working with fabrics bring me satisfaction and interesting challenges – turning an idea of something beautiful into a tangible reality.”

“Despite the challenging spring months, I’ve reached a beautiful point of balance. This is also thanks to opening my own studio and finding a home for August. So, the desire is to continue moving forward at a comfortable pace.”