Meet the hottest names in Finnish fashion in this exclusive editorial

The sartorial scene in Finland is thriving with talent – just take a peek at Fashion in Helsinki, the annual event celebrating the up-and-coming homegrown brands and designers making their mark on the industry. Its five-day roster brims with thought-provoking exhibitions, buzzy runway shows, immersive showrooms, inspiring talks and, of course, the Finnish Fashion Awards as its crown jewel.

In honour of the 2025 edition of the spectacle kicking off, Vogue Scandinavia is spotlighting some of the hottest names in the Finnish fashion game right now – designers who are innovating with their sharp concepts, exquisite craftsmanship and sustainability-first approaches.

Scroll on for an exclusive editorial featuring the creatives presenting their work during Fashion in Helsinki – from Latimmier and Rolf Ekroth to Sini Saavala and Linda Kokkonen – alongside personal statements on their showcases, plus a handful other emerging Finnish labels to have on your radar.

“The collection stems from costumes I designed for Industry Muscle: Five Scores for Architecture, a performance piece and installation by artist Teo Ala-Ruona, curator Kaisa Karvinen, and a multidisciplinary team. Shown at the 2025 Venice Architecture Biennale, the work explores the trans body as a lens on contemporary architecture.

The Fashion in Helsinki lineup expands on those designs – based on archetypal masculine garments in a state of oppressive pressure, forced into a preconceived mould, eventually breaking free by a liberated body – plus ideas that didn’t work for the physical, demanding performances. It wasn’t originally planned for the runway, but it felt so suitable that I organically developed a full lineup.

Related: Met Gala 2025: Finnish designer Ervin Latimer on how two Latimmier looks made it into the ‘Superfine: Tailoring Black Style’ exhibition

All garments are made of pre- or post-consumer waste or recycled virgin materials. Techniques imitate the raw and brutalist yet soft and clean look of the installation: dyed, pleated, printed, waxed cottons, recycled sheeting with printed mesh, and a rubber-mesh mix mimicking broken glass.

As this collection isn’t intended for commercial purposes, I didn’t have to consider mass production, which was creatively freeing. We didn’t propose new silhouettes but explored archetypal masculine garments and proportions familiar to Latimmier, honing in on material – many of the pieces are literally made of discarded bedsheets, curtains or other everyday materials treated to hours of meticulous manipulation.”

“At Fashion in Helsinki, we’re showing a mix of my two latest collections. Since our main shows are at Copenhagen Fashion Week, most people in Finland haven’t seen these collections live yet, so I’m happy to bring them home.

This time, the looks will be styled by Minttu Vesala, which means they’ll have a fresh take – I’m really looking forward to seeing the pieces through her perspective.

Like most of my past work, the spring/summer ’25 and autumn/winter ’25 collections are rooted in Finnish culture. The SS25 collection was inspired by ‘lavatanssit’, a traditional open-air dance event that’s still a big thing here. Meanwhile, the winter lineup leaned more into sports references and the darkness we live with during that season. For materials, we primarily use recycled or deadstock fabrics – about 65 to 70 per cent of the pieces are made from sustainable materials.”

“The collection tells the story of an imaginary place where you can ski through mountains dotted with colourful flowers from dusk to dawn. Each look houses its own tale and character – from the Evil Ski Lady and her Good Snow Sister to the carefree After Ski Babe.

Embroidered fabrics and hand crochet take centre stage in the lineup – every textile is crafted entirely by hand. All garments are made from Tyrolean sheep wool, drawing inspiration from my own experiences in ski racing culture, combined with archival references and the traditional costume of the Bregenzerwald region, known as the Juppe.

For me, sustainability and storytelling are fundamental to the design process. In this collection, I explore fashion’s potential to tell stories and foster emotional bonds with clothing – connections that might extend a garment’s life. Each piece features a distinct character and narrative, all fused into a single world dubbed Blumenthal (‘Flower Valley’).

The lineup also includes a critical, conceptual layer. Over the years, I’ve visited glaciers and watched them slowly shrink. It’s been heartbreaking to witness them melt year by year – until one day, I saw flowers pushing through the snow. That bittersweet image became the starting point for the prints and materials: flowers emerging through the snow, manifesting in hand-painted prints, crochet patches, and padded 3D blooms.”

Related: Mikko Puttonen’s guide to the best vintage and second hand interiors stores in Helsinki

“Brugmansia unveils a universe of contrasts – where delicate lightness meets bold form, and silhouettes shift between softness and strength. Designed for androgynous identities, the collection moves fluidly through sculptural leather pieces and airy, romantic layers. Each garment is handmade in Helsinki at the Linda Kokkonen atelier, using only upcycled materials.

Named after the ethereal yet poisonous flower, Brugmansia explores themes of transformation, duality, and hidden expression. The flower itself has a haunting beauty – suspended, dreamlike, yet dangerous – and that same mood echoes through the garments.

Black anchors the collection, symbolising both protection and mourning. It reflects a quiet grief for nature’s state while also bringing clarity to form and detail, letting materials and silhouettes speak with quiet intensity. Materials are sourced from secondhand stores and discarded or deadstock fabrics, with every piece reimagining what already exists – from reworked leather offcuts to translucent Victorian laces.

With Brugmansia, I wanted to create a space where queerness, ambiguity, and elegance converge – a quiet rebellion wrapped in softness and strength.”

“At our showcase at Fashion in Helsinki, we’ve combined looks from our spring/summer ’25 collection with pieces from the upcoming autumn/winter ’25 lineup. For both SS25 and AW25, we set out to strengthen Hedvig’s idiom – one that evokes a mystical, seductive connection to the past, while embracing a refreshing curiosity about the future. 

We’ve designed garments with a triumphant balance of silhouette, details and quality – taking not-so-basic basics and elevating them further through subtle and clever design. Feminine opulence intertwines with pragmatic workwear. Inspired by the backgrounds of Sofia’s grandmothers – one a baroness from a prestigious family, the other a woman from the rugged cliffs of the outer archipelago of Åland – our ethos is to create clothing that works in any situation while never forgetting that everyday wear can still be romantic and offer a sense of escapism.

Alongside silk, Japanese, and Italian cotton, this showcase prominently features a crisp, rustling ripstop windbreaker fabric. We’ve used it for both outerwear and layered pieces, combining it with practical details, sportswear influences, and those signature Hedvig touches – frills and voluminous shapes that seem to catch the wind.”

“The collection is based on my research into the symbolic meanings of the colour white – its fragility, the fear of it becoming stained, and the mistakes, shame, femininity, and irony it can carry. While the photographed look – a pristine, almost bridal white dress – speaks to the purity and untouched nature of the material, the pieces presented at Fashion in Helsinki challenge that ideal. They are crafted from used and stained undergarments – period-marked panties, sweat- and coffee-stained T-shirts, broken stay-ups – combined with leftover silks from Chanel.

I’m interested in the lifecycle of garments: how materials typically seen as unusable, shameful, or disposable can be transformed into something new and beautiful. Through this collection, I hope to inspire reflection on what we choose to hide, discard, or deem unworthy of beauty. The collection allows me to explore and find ways to elevate the value of abandoned and overlooked materials, tell their stories, and advocate for sustainability, vulnerability, and strength.”