Finnish Glass Biennale Recruits Designer Akira Minagawa as Curator
The renowned Japanese designer Akira Minagawa has been tapped as the curator of the first Finnish Glass Biennale.
A multidisciplinary talent, he is the founder of the design brand minä perhonen, and has collaborated with such companies as Issey Miyake, Muji and Kvadrat, as well as Finnish ones like Artek, Lapuan Kankurit and Iittala. The minimalist favors functionality, nature-inspired touches and true craftsmanship.
More from WWD
Roche Bobois Slightly Misses 2024 Revenue Guidance, Says China Boosted Q4
Wenjüe Lu Blends Art, Fashion and Philosophy
EXCLUSIVE: Frette Taps Former Tory Burch, LVMH Manager as Its First Chief Commercial Officer
From June 5 to 8, the inaugural Finnish Glass Biennale will be held in an assortment of venues in Riihimäki, Nuutajärvi and Iittala. In addition to orchestrating the main exhibition, and a workshop for young designers, he will create a collection of glass art pieces that will be featured in the biennale.
Having been visiting Scandinavia and its 'excellent glass artists and glass factories' for nearly 40 years, the designer said he has stayed in touch with some of these artists and has observed the transition of their creations and its current state of glass production. 'I hope that this biennale will become a catalyst for a global attention to glass creation, as well as an attention to detail of human handcrafted creations,' he said.
Looking ahead, Minagawa said some of his future plans include creating monuments for urban planning, and also creating artwork in Paris. This fall there will be a new exhibition of his studio minä perhonen's work. 'TSUGU minä perhonen' will run Nov. 22 through Feb. 1 at the Setagaya Art Museum in Tokyo. It will then be staged at several other museums over the next three years. Last year his art and textiles were showcased in 'Design = Memory Akira Minagawa & minä perhonen' at the Nationalmuseum Sweden's museum of art and design.
From Minagawa's perspective, the fields of fashion and glass are very similar in terms of the degree of collaboration between creators and artisans. 'The skills of knowing the process and guiding to creation can be spoken in a similar point of view,' he said.
However, It is becoming more difficult to foster good artisans, engineers and factories, due to an increase in the mass production of products, he said. 'We believe that it is necessary to preserve good material resources and good partnership for future creations.'
His favorite designers include the recently retired Dries Van Noten. He also is a fan of the artists Richard Serra, Roni Horn and Henri Matisse, and the photographers Marc Riboud, Yoshihiko Ueda, and Sebastião Salgado.
All in all, the designer said he wishes that when people are buying clothes, they would 'question whether the clothes are properly manufactured without any issues of human or environmental problems in the production process of materials and manufacturing.' Also, he wishes they would consider 'whether the clothes they own can be used for a long time.'
As for the most influential figure in his life, Minagawa highlighted Viktor Emil Frankl's books for helping him to think about the meaning of human life, especially 'Ein Psychologe erlebt das Konzentrationslage [Man's Search for Meaning].'
With many tasks ahead, Minagawa wishes he had the time to 'go on a long-term journey around the world and take many years to make a work of art.'
Best of WWD
Paul Smith Fashion Designs: The Timeless Classics With Quirky, Modern Twist [PHOTOS]
60 Years of Timeless Elegance: Roger Vivier's Iconic Belle Vivier Pumps and the Stars Who Wore Them [PHOTOS]
Ivanka Trump Modeling Through the Years: Runway Moments and More From the Archives [PHOTOS]
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time Business News
3 hours ago
- Time Business News
Is Anti Social Social Club Still Cool? A Brutally Honest Comparison with Comme des Garçons
Let's be real—streetwear is no longer just a niche. It's high fashion, it's luxury, it's lifestyle. But with so many brands competing for attention, only a few manage to stay relevant. Anti Social Social Club (ASSC) once ruled the Instagram feeds and hype forums. But now? Things feel… different. Enter Comme des Garcons (CdG)—the Japanese powerhouse that's less about followers and more about forward-thinking fashion. So, is ASSC still cool in 2025? Let's get brutally honest and compare it head-to-head with Comme des Garçons. Back in 2015, ASSC was the underground brand. With cryptic captions, sadboy aesthetics, and minimalist designs, it felt raw, relatable, and rebellious. Neek Lurk turned a hoodie into a statement of emotional detachment. And it worked—for a while. Comme des Garçons didn't need internet hype. It thrived on mystique . Since 1969, Rei Kawakubo's label has challenged the norm with genderless silhouettes, torn fabrics, and asymmetry that makes runway critics swoon. While ASSC screamed on social media, CdG whispered in fashion houses—and still got heard. Let's be honest: once you've seen one Anti Social Social Club piece, you've seen most of them. The font stays the same. The slogans—'I Miss You,' 'Get Weird,' 'Mind Games'—do rotate, but the design concept doesn't evolve much. CdG doesn't follow trends—it sets them. Think deconstruction, abstraction, surrealism in clothing form. One collection could be punk; the next, a wearable sculpture. It's unpredictable, and that's the charm. ASSC's cool factor relied heavily on scarcity. But the repeated drops, lack of innovation, and sketchy order fulfillment have caused hypebeasts to move on. Let's face it—ASSC isn't at the center of the culture anymore. Meanwhile, CdG sits comfortably on a pedestal in both high fashion and streetwear circles. It doesn't need to be flashy—it's respected because it consistently delivers something different. Frequent complaints about slow shipping, missing orders, and underwhelming fabric quality plague ASSC. It's one thing to be cool, but another to be trustworthy. Crafted largely in Japan, CdG pieces hold up to scrutiny. Stitching, fit, finish—everything screams premium. You're not just buying a piece of clothing; you're buying a concept, meticulously constructed. ASSC's cultural currency has dropped. The novelty of its ironic statements has worn off, and other newer, bolder streetwear brands are filling the void. From Paris Fashion Week to collaborations with major labels like Nike and Supreme, CdG keeps climbing. It's shaping culture while others are struggling to keep up. Sure, Kanye, Travis Scott, and Kim Kardashian gave ASSC a push. But that was years ago. Celebrity attention is fleeting unless the brand evolves with them. CdG doesn't chase celebrity endorsements—they come naturally. Pharrell, Rihanna, Drake, Frank Ocean—all have worn CdG not because it's hyped, but because it's iconic. Hello Kitty. Formula 1. USPS. Fragment. Too many collabs dilute a brand's identity. ASSC's strategy sometimes feels more like quantity over quality. CdG collaborates less often, but when it does—people pay attention. Nike, Converse, Junya Watanabe—it's about synergy, not stunts. ASSC is cheaper—around $60–$120 per piece—but the value is questionable when shipping delays and fabric issues keep stacking up. CdG costs more, but it's a legitimate investment. Pieces retain value, both financially and artistically. ASSC thrived on limited drops and FOMO. But now that the mystery is gone, so is much of the excitement. CdG doesn't fade. Its designs from the '90s are still discussed today. It doesn't ride the wave—it is the wave. Type 'ASSC shipping' into Reddit or Twitter—you'll find a graveyard of complaints. Orders taking months? Not cool. CdG isn't Amazon-speed fast, but it's reliable. Whether you're shopping online or in a flagship store, the experience feels deliberate and high-end. ASSC built its brand on Instagram. It still has a solid following, but engagement has dipped—and that's telling. CdG doesn't chase clout. Its fanbase is smaller but fiercely loyal. They're not just buyers—they're believers. You used to see ASSC everywhere—now, not so much. It's become more common on resale sites than on streets. CdG is worn by everyone from artists to fashion editors to sneakerheads. Its cross-demographic appeal makes it perpetually relevant. ASSC sticks to basics. CdG dares to explore. One is comfort; the other is challenge. Let's be honest—ASSC's appeal feels very 2016. CdG? It's ageless, because it's art—not just apparel. Same font. Same hoodie. Different color. Repeat. ASSC hasn't shown much willingness to evolve creatively. CdG isn't afraid to be weird . And that's exactly why it keeps breaking new ground and influencing other designers. So, is Anti Social Social Club still cool? If you're asking from a 2025 lens, probably not as much as it used to be. The hype has fizzled, the designs are stagnant, and customer trust is shaky. In contrast, Comme des Garçons continues to innovate, inspire, and influence. While ASSC was once the face of internet-era streetwear, CdG is the soul of experimental fashion. One is a trend—the other is a legacy. TIME BUSINESS NEWS
Hypebeast
3 hours ago
- Hypebeast
Marimekko Applies its Iconic Patterns to Artek Furniture
Two of Finland's biggest design companiesArtekandMarimekkohave joined forces on a collection of furniture that jointly celebrates their creative heritage. The 'Artek + Marimekko' collection, set to debut at this year's 3daysofdesign in Copenhagen next week, sees a series of Artek pieces designed by Alvar Aaalto updated with Marimekko patterns. Included in the collection is a Stool 60, Bench 153B, and Table 90D, which Aalto designed between 1933 and 1945. The three prints have been chosen from Marimekko's 'Arkkitehti' series, which was designed by Maija Isola and have gone on to become some of the brand's most recongnisable patterns. Rather than simply applying the prints to the surface of the furniture, the team of craftspeople at Artek have replicated the 'Lokki', 'Seireeni' and 'Kivet' motifs using marquetry techniques. 'Using marquetry on a veneer top surface, the patterns shimmer as they interact with movement and light,' Artek says. 'The collection reflects Artek and Marimekko's pursuit to create long-lasting design, and the production process of this marquetry technique minimises wood waste.' The Artek + Marimekko collection is the latest in a series of collaborations that celebrate the brand's 90th anniversary. It follows on from alimited-edition range featuring Moomin characters, developed by Finnish artist Tove Jansson in 1945, and is joined by a commemorative poster designed by Finnish contemporary artist Inka Bell. While the pieces won't officially launch until September this year, they will be previewed in an installation designed by Linda Bergoth during 3daysofdesign in Copenhagen, which will be open from June 17 to 21.
San Francisco Chronicle
5 hours ago
- San Francisco Chronicle
‘Lay of the Land' at Root Division
'Lay of the Land' features 14 Bay Area-based artists making work about the environment. Co-curated by Naomi Alessandra Schultz, Julianna Heller and Eleanor Scholz O'Leary, the show includes painting, drawing, sculpture, photography, video, textiles, installation, collage and assemblage. The works on view seek to 're-engage nature and place through personal histories' with featured artists including Jeremiah Barber, Shao-Feng Hsu, Sun Park and Catherine Wang McMahon. The exhibition is partly inspired by the philosophy of Finnish new media theorist and professor in digital aesthetics Jussi Parikka, who wrote '[Art practice benefits] from unfocusing; to train oneself to observe what appears out of sight … to cultivate an understanding of the structural complexity and agency of our environment.' By employing methods akin to Parikka's idea of unfocused observing, each artist seeks to be attuned to the unseen in landscapes, and 'Lay of the Land' hopes to offer unique ways of experiencing environments through art.
