Finnish Tableware: A Journey Through the 1960s and 1970s

This article forms part of the Decorative and Applied Arts Encyclopedia, a master reference hub providing a structured overview of design history, materials, movements, and practitioners.

Arabia Finel Bowl Set by Kaj Franck, Finland, 1960
Arabia Finel Bowl Set by Kaj Franck, Finland, 1960

The 1960s and 1970s marked a significant period in Finnish design, especially in the realm of tableware. This era witnessed the continued influence of the Finnish Design phenomenon, showcasing innovation, functionality, and aesthetic appeal. The Finnish dining culture was not just promoted; it was revolutionised through the works of several key designers and their groundbreaking contributions to the field of applied and decorative arts. Let’s delve into this fascinating period to uncover the essence of Finnish tableware design and its lasting impact on the design world.

The Innovators and Their Creations

Ulla Procopé and the Rustic Elegance of Ruska

Ulla Procopé’s Ruska series became synonymous with durability and rustic charm. Introduced in the 1960s, Ruska featured oven-proof stoneware adorned with a distinctive rustic brown glaze. This material choice was innovative for dining services, offering both aesthetic appeal and functional advantages. Procopé’s work epitomized the blend of practicality and beauty, setting a precedent for future designs.

Ruska Stoneware by Ulla Procopé
Ruska Stoneware by Ulla Procopé

The Vibrant Valencia and Kaarina Aho’s Functional Art

Procopé’s Valencia series contrasted Ruska with its rich cobalt blue designs, adding a vibrant splash of color to Finnish tableware. Meanwhile, Kaarina Aho introduced the Palapeli (Jigsaw) service, a marvel of total stackability where plates doubled as lids for bowls. This concept of functional art was a testament to the Finnish approach to design, where form and function are seamlessly integrated.

Göran Bäck and Kaj Franck: Pioneers of Practicality

Göran Bäck’s specialization in services and kitchenware for large household units further emphasized the Finnish focus on practical, everyday beauty. Kaj Franck, known for his advocacy of anonymity in design, argued for the creation of household ware that transcended the need for designer recognition. Franck’s philosophy highlighted the importance of the design itself over the designer’s identity, a principle that resonated deeply within the Finnish design community.

Kaj Franck Arabia Metal Bowls Set, 1950s
Kaj Franck Arabia Metal Bowls Set, 1950s

The Merger and Its Aftermath

The Scandinavian “Elephantine Wedding”

The economic recession of the 1970s led to the merger of two giants: Arabia and Rörstrand. This union, lasting from 1975 to 1977, aimed at consolidating resources but resulted in a major shift in production strategies. The merger faced significant backlash in Finland, where the discontinuation of iconic services like Kilta and Paradise, along with rice porcelain, was viewed as a national scandal. The debate centered around the preservation of Finnish identity and the role of design in national pride.

Reclaiming Finnish Design Identity

The merger’s eventual dissolution was met with public relief and a collective assertion of Finnish design identity. The controversy underscored the deep connection between design and national identity, reaffirming the importance of maintaining a distinct Finnish aesthetic in the face of globalisation and industrial consolidation.

The Legacy of the 60s and 70s Finnish Tableware

The late 1970s introduced another significant reform with the adoption of modern tunnel kilns and the introduction of thin-walled stoneware, as seen in Gunvor Olin-Grönqvist’s Tea for Two and Inkeri Leivo’s Arctica. These developments heralded a new era of Finnish tableware, characterised by innovation, functionality, and a deep respect for aesthetic beauty.

Sources

Visions of Modern Finnish Design. (1999). Finland: Otava Publishing Company.

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