Intricate Human Sensation

The world of shape transparentness and knitted beads — that’s what Jenny Hytönen is all about. Winning the Grand Prix du Jury Premiere Vision and the Audience Award at the Hyères International Festival, she redefines the boundaries of mute-coloured fashion and gender norms. 

hube: Your designs often feature intricate, almost “translucent” shapes and muted colour palettes. Could you elaborate on the choice of these specific forms and how they enhance the elegance, bold statements, and aesthetic you aim to convey?

Jenny Hytönen: I mostly see things through textures and reflections. I believe playing with material is also a way to manipulate the space. And I am very curious about the conversation between said space and the human body. For each of my collections, the silhouette varies based on the timeframe I am inspired by. I love playing with different decades and transmitting them into our current time. And, of course, as a creative person, I am very sensitive to what is happening around me and the world at the moment. My artistic process is always a reflection of that. I love playing with materials — it has always been one of the key elements for creating my pieces. I think this part is probably one of the most fun ones.

h: What leads you to incorporate unconventional materials, and what message or emotion do you intend to spark in your audience? What role does human nature play in your understanding of art?

JH: I always want to challenge myself by thinking how far I can actually go with manipulating the material for it to still be wearable. I had the chance to do it since I have been mostly creating ideas about what fashion could possibly be. And sometimes you just have to chase some effect and the only way to do it is in a very unconventional way. During my time in Helsinki, I studied grotesque female figures and how they are displayed in our culture throughout history a lot. I have always been interested in the power structures not only in the context of sex but also our society and what is seemingly acceptable behaviour for a woman and what it is not. My work is all about creating powerful silhouettes that demand space and respect for the wearer.

h: The combination of traditional craftsmanship and experimental technologies is a unique aspect of your work. How do you balance these contrasting elements, and what advantages do you find in merging hand-made techniques with technological innovation?

JH: I am quite passionate about fashion history and I have a strong appreciation for craftsmanship and slow-making. I think it is quite natural that you pick up some elements from the past and balance them into this reality by playing with the materials. It tells a story through human history.

For example, in my most known work the Cyborg Bride (2022) I created a wedding dress that consists of a knitted veil made out of over 20,000 glass beads and a fishing line each placed one by one during the knitting process. Under the veil lies the crux of my work — a led body showing the bride’s heartbeat with a pulsating light.

h: Your Aalto University graduate collection won the Näytös Award. How has this recognition influenced your subsequent work, and have there been specific elements from that collection that continue to inspire your designs today?

JH: It means a lot to be recognised. I thought my graduate collection would have been the last collection that I was ever going to push out. It is strange to think that in my graduate year I was seriously thinking about quitting fashion and moving into a cabin in the middle of a forest in Finland to start coding. I guess destiny had different plans for me because after this recognition I decided to continue instead.

But in my work, I definitely have certain obsessions with patterns and repetition.

h: Having worked as a knitwear designer at Olivier Theyskens after graduation, how did that experience shape your perspective and approach to fashion design? Were there specific lessons or insights gained during that period?

JH: I had so much fun when I was working with Olivier. I was trusted with a lot of freedom and I got to work a lot — and I also think I learned quite much. He has very individual ways of working and it made me realize that there are no right or wrong ways to do things. I appreciate him and his creations a lot.

h: Winning the Grand Prix du Jury Premiere Vision and the Audience Award at the Hyères International Festival is a significant achievement. How has this recognition impacted your career, and did it lead to any notable opportunities or collaborations?

JH: The Hyères really changed my life. It is so bizarre that I keep thinking: “ When my life is back to normal…” Then I have this realisation that it probably is not going to be the same anymore. I am now working on my own and sometimes the workload can be a bit overwhelming. But I am very happy. Having the freedom to plan and “schedule” my own life is a luxury. This year I had collaborations with ICICLE and Galeries Lafayette. I am currently working on a Couture collaboration with AZ Factory. 

h: Coming from Finland and being based in Paris, how do both cultures influence your designs? Are there specific aspects of Finnish or French culture that consistently find their way into your creative process?

JH: I could say I am quite a stereotypical Finnish person with a few words to say. But when I do say something it has a lot of intention in it. You can read my design like it as well if you’d like. A lot of things are compressed in a very small space, ha-ha.

h: Looking ahead, what are your aspirations and visions for the future of your artistic journey? Are there particular themes or concepts you are eager to explore in your upcoming collections?

JH: I definitely want to continue. I would love to do things that inspire others and keep learning. I think it feeds my soul the most. I would love to explore tech and fashion more. It fascinates me because it is not only designing but also engineering.