What is the role of craft in a technology-driven world? The work of the young designer Leevi Ikäheimo is a surprising blend of traditional knitting techniques and new technology. His latest collection, NO PAIN NO GLAMOUR, which was presented at the Festival d’Hyères, impressed the jury with its vibrant colors and expressive shapes. In reality, there is more to each piece than meets the eye. To discover how he challenges the fashion industry’s body stereotypes and reintegrates traditional techniques through the modern lens of technology, we spoke to Leevi Ikäheimo.
hube: Can you tell us a bit more about your latest collection, “NO PAIN NO GLAMOUR,” and the inspiration behind it? What message are you conveying through it?
Leevi Ikäheimo: NO PAIN NO GLAMOUR is a collection that challenges the societal pressure of conforming to a specific body type, which is often reinforced through toys, action figures, and superheroes. It draws heavy inspiration from the vibrant clubwear worn during the early 2000s rave scene in Helsinki. Each look in the collection represents a unique character, forming my own toy collection. Initially, the collection may appear fun and outrageous, but upon closer inspection, it reveals a more nuanced narrative. Additionally, there is an influence from gay fetish wear and the fetishization of certain body types. For the show in Hyères, my aim was to create a high-energy party atmosphere for the audience, and I believe I succeeded. NO PAIN NO GLAMOUR is my first complete collection I’ve made and serves as my graduate project from Aalto University’s fashion program. I believe it perfectly encapsulates my interests, skills, and aesthetics.
h: Your collection addresses the idea of unrealistic body image standards, especially those promoted through toys for children. How do you see fashion playing a role in challenging or perpetuating these standards?
LI: Fashion has a big role in how we showcase and define different body types. With this collection, I wanted to playfully show how action figures can affect a man’s self-image in a ridiculous way. The outfits represent what we might look like in an alternate world if we followed those standards. In my future work, I aim to create clothes that are inclusive and reflect a variety of body types. I hope we’ll start to see a significant shift in model selection, especially in men’s fashion shows. While there’s been progress in showing diverse body types in women’s shows, there’s still a long way to go for men’s fashion.
h: The collection combines a satirical and radical appearance with a focus on traditional and contemporary handcrafts. Can you share some insights into the materials and techniques you used to create these unique designs? How do you balance the use of innovative materials with traditional craftsmanship in your work?
LI: For this collection, I explored different crafts like machine knitting, hand weaving, leatherwork, and 3D printing. I come from a family where we value handcrafting, and I love items that have that human touch. To create the spiky knitwear that’s still soft, I had to experiment a lot. I used things like fine stainless steel yarn, nylon monofilament, and a special thermosetting fiber. Most of the fabrics were initially knitted flat, and then I added the spikes one by one. All the leather I used was either leftover from industry or recycled from old clothes. Even the fur coat in my collection is handwoven from discarded textiles and old wigs I found.
I consider myself both a fashion and textile designer. Typically, I start by making a small fabric sample through trial and error. Once I’m happy with it, I figure out which garment it would suit best. I didn’t do a lot of sketches for this collection; it was more of an intuitive process.
Craftsmanship is a big deal for me. I learned knitting from my mom when I was young, and I really value Finland’s textile history. Understanding the basics and the history of these techniques is crucial for pushing the boundaries and trying new things.
h: Art and fashion often intersect. Are there any artists, designers, or other creative minds who have had a significant influence on your work or your artistic vision?
LI: I’ve always been immersed in pop culture, growing up watching MTV music videos daily, so music, media, and art have been a huge part of my life and creative journey. I first discovered “high” fashion through artists like Björk, Lady Gaga, and Madonna, they were my gateway to this industry. In Finland, our fashion scene isn’t as prominent, so most of the exciting things always came from abroad.
When I started studying at Aalto University in 2017, a whole new world opened up to me. I was immediately inspired by designers who used humor and satire in their work, such as Franco Moschino, Jean Paul Gaultier, Thierry Mugler, and Walter Van Beirendonck. In fact, I interned for the latter after graduating.
For my collection, I found inspiration in the paintings of Chicago-based artist Robert Lostutter from the 1970s. He created striking pieces featuring leather-clad, muscular characters wearing masks. They had the exact energy I wanted for my collection, and I was amazed that he made those artworks 50 years ago—they felt very current.
I’m now in a great place in life, surrounded by incredibly creative people, each with their unique aesthetics and worldviews. Nowadays, the most inspiring moments come from the conversations we have about what’s happening in the world.
h: What advice would you offer to emerging designers who are passionate about challenging norms and stereotypes through their work?
LI: In 4 words: NO PAIN NO GLAMOUR! Fashion is a hard industry. But we need people who keep pushing boundaries. If something feels a bit too unusual or strange, that’s precisely where you should explore. I often recall Walter Van Beirendonck telling me to “always think of the impact.” Fashion is one of the most instant mediums to communicate, we see it everywhere daily, so it has a power to challenge the way we view the world in a very impactful way.
Additionally, I want to emphasize the importance of learning craftsmanship and the art of making garments. We need designers who understand how to create high-quality, long-lasting pieces. It’s crucial to work with existing materials, techniques, and resources while pushing them further in a sustainable manner.
h: In a world where traditional gender norms continue to influence various aspects of our existence, as you examine the transformation of women’s and men’s fashion, how do you foresee the future of the fashion industry concerning gender inclusivity?
LI: I believe the fashion industry is gradually heading in a more inclusive direction. We’ve seen positive shifts in women’s fashion with more diverse body representations on the runway, but there’s still room for growth. However, men’s fashion shows have lagged behind in terms of diversity, and I hope this will change.
The key to achieving greater gender inclusivity in fashion lies in designers who understand the importance of breaking away from stereotypes and who value the craft of creating garments that transcend traditional gender expectations. This, in combination with a sustainable approach, will shape the future of the fashion industry. I hope to see a lot of queer BIPOC people in charge of the big fashion companies.
h: In your opinion, what changes the future and new tech could bring to the fashion industry? What are your thoughts or stance regarding digital fashion?
LI: In my view, the future of the fashion industry holds both exciting and challenging prospects with new technology. As AI becomes more advanced, there’s understandable concern about job displacement. This is why I emphasize the importance of understanding traditional craftsmanship and history. These foundations will still be essential for creating innovative garments in the future. AI can be a valuable tool, but it’s not a complete solution.
Looking at the broader future, it’s a complex and somewhat alarming world, especially when we look at the news. In high fashion, there seems to be a trend towards playing it safe, which can sometimes be rather boring. I believe we might be heading into an era where the traditional gatekeepers of fashion will have less influence, and fashion and trends will become more localized, focusing on “micro phenomena”.
As for digital fashion, while it’s fascinating, I can’t envision a world where a digital garment on a screen can replace the tangible, physical experience of wearing real clothing. Even though I draw inspiration from digital aesthetics, my passion lies in working within the physical realm of fashion.
