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Browsing by Subject "1960-luku"

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  • Kivinen, Minna (2016)
    Goals. The goal of the study was to determine how foodstuffs were advertised in Pirkka magazines during the years 1954-1964. The theoretical framework of the study was that the choice between different foods is a socially and culturally determined phenomenon that can be influenced by nutrition education and advertisement. History of eating in Finland and the nutrition challenges faced during the set time period were also examined in the study. This is to help describe the social and cultural environment as related to food in the examination period. The period was set to approximately ten years after the food rationing ended. Methods. The materials in the study were advertisements in Pirkka magazines that were published between the years 1954-1964. Advertisements were collected from microfilms and from original copies. A total of 510 advertisements of foodstuffs from every other year were chosen as a representation of the total material base. The contents of the advertisements were categorized according to a predetermined set of variables as per the advertisements' references to the product group, persons appearing in the advertisements, and the claims to nutritional qualities and other attributes. The results acquired through the categorization were analyzed through the means of content analysis. Results and conclusions. The advertisements focused on advertising consumer grade stimulants, and processed or new foodstuffs. Common fresh products were not represented in the material. The most advertised products were coffee, wheat flour, oatmeal, margarine, and butter. The advertisement of food stuffs was not directly related to the amount of food-stuffs consumed. Foodstuffs were advertised especially by emphasizing the perceptible quality and healthiness of the product. The healthiness of the product was argued to be associated to its vitamin content. The persons appearing in the advertisement were mostly women and children who were to appeal to the viewers' emotions and to set the target audience. Contemporary nutritional challenges and nutrition discourse were also reflected in the advertisements as nutrition science's period of vitaminology and the rivalry of butter and margarine were observable in them.
  • Mattsson, Nina (2016)
    The purpose of this thesis was to gather information and pictures of the 1960 printed textiles, analyze them, and to build the image of Finnish society and the Finnish position of printed fabrics in the textile industry. The aim of this thesis was to examine the 1960s printed fabrics through the change in Finnish society and the textile industry. One aspect of the research will bring is 1950s breakthrough in the Finnish applied art. Printed fabrics were marketed at the time, "Designtextiles" and were heavily involved in the 1960s in the prevailing "Finnish design" phenomenon. From the large production of printed textiles of the 1960s, I chose for the primary data those 91 designs whose timing and designer were known. For the image analysis I created categories according to the colour, shape, composition, repeat and its size. As the secondary data, I analysed magazines of the 1960s and literature. The visual appearance of printed fabrics changed considerably in the 1960s. Developments in printing technology and colours affected to the visual look of the printed fabrics. In the 1960s, the whole society was in transition and that was reflected in printed fabrics, for example, in space-related motives, youth culture, current cultural phenomena, such as art and music. Large textile factories did not hire textile artists as their designers until the early 1950s, instead, patterns were ordered from abroad. Effective cooperation between designer education and industry began in the 1960s. Marimekko's breakthrough abroad and the concept of "Finnish design" also connected with printed fabrics influenced the new appreciation of applied art and success of printed fabrics. The characteristic signs of the printed textiles in the 1960s were: bold bright and strong colours, interesting and unconventional colour combinations, motives in huge sizes up to just one motive in one pattern repeat, clean graphic lines and modern topical issues of the time.
  • Haapalahti, Mirjami (2015)
    The topic of this study was the career and the production of Kaarina Kellomäki as a fabric designer of Marimekko. The purpose of this study was to create a picture of Kaarina Kellomäki as a person and a fabric designer and to describe the work of the designer both on a general level and from the viewpoint of Marimekko, too. The study created a picture of the history of Marimekko, especially of its phases in the 1960s, when Kellomäki worked in the company. Reproduction of Kellomäki's prints, rich in the 2000s, was a significant part of this study. The 1960s and its most important phenomena functioned as the background information of this study. The data of this study primarily consisted of the information that was gathered by interviewing Kaarina Kellomäki in the springs 2012 and 2015. To complement these interviews, a theme interview was carried out with Mika Piirainen. His work and ideas as a fashion designer of Marimekko caused the reproduction of Kaarina Kellomäki's prints at the beginning of the 2000s. Minna Kemell-Kutvonen, Marimekko's Design Director, was involved in the interview. The archive data that I received from Designmuseum and Marimekko's archives in Herttoniemi supported the information of the interviews. There is no prior research on Kellomäki's career. This one was a case study, and for analyzing the data, the methods of the visual analysis and contextualizing were used. The career of Kaarina Kellomäki as a fashion designer of Marimekko continued less than a year, from the autumn 1965 to the spring 1966. In its shortness, it was in many ways a very significant time. The production of Kaarina Kellomäki in Marimekko consists of nine print patterns. In addition, she designed two patterns that were not produced. All the eleven patterns were designed in 1965-1966. Reproduction is a significant part of the career of Kaarina Kellomäki in Marimekko. It began in 2003, when Mika Piirainen chose Linssi-pattern to become reproduced in fashion designing. Since then, the reproduction has been rich and it has been important for the designer herself. During her career, Kellomäki become well known both as a fabric designer, a teacher of the University of Arts, Design and as a textile artist. The work period of Kaarina Kellomäki in Marimekko ended because of the designer's desire to get more freedom on the one hand and more limits on the other hand. The young designer wished to have more systematic guidance in her own job. The job of the designer in Marimekko was independent but only a small amount of patterns was yearly produced. The job as a freelancer that Kaarina Kellomäki adopted for several decades after her year in Marimekko, was more appropriate for the designer. The desire to remain as an independent artist and not to work in the midst of strong artist personalities was part of her longing for freedom.