Interjúk – Ammi Lahtinen

There’s a photo of me at around five years old, proudly announcing that I’m an artist. In the picture, I’m drawing something intensely, wearing an apron tied around my shoulders like a cape – apparently, that was what I believed a true artist should look like.

Over time, my dream jobs evolved, but they always stayed within the creative field—architecture, interior design, fashion, and product design. By the time I reached secondary school, I knew I wanted to pursue something that combined creativity with tangible results. That led me to study textile design with a focus on interiors, and I’ve stayed on that path ever since.

I’ve been working as a freelancer ever since I graduated with a Master’s in Textile Art in 2014. In the summer of 2021, I officially founded my own company. Starting my business felt both exciting and natural – it was mostly just a shift in how I handled invoicing, as the work itself continued as before.

I focus mainly on surface pattern design and collection coordination, and I collaborate with clients from concept development to final delivery.

To me, design is a way of thinking creatively. It's about combining aesthetics with functionality to create solutions that truly serve their users. It's seeing the big picture while carefully refining the details.

Poor design can lead to frustration, miscommunication, even danger. So good design isn’t just about how something looks, it’s about how it works.

I especially love working on collections or full concepts. That’s when I get to explore a variety of colors, materials, patterns, and textures – and above all, create a mood. It’s incredibly rewarding to build a cohesive story through design elements.

The award-winning Naptime Blanket design project is one of my favorites. The client had a clear need and a strong production setup, and the design brief gave me both structure and creative freedom: That’s my favorite combination!

Knowing the intended use of a pattern from the start allows me to design with purpose. For example, I can take the production method’s limitations into account early on.

During my vocational studies, I interned at a small interior product shop that also offered custom sewing services. After the internship, I worked there during the summers, creating store displays and designing custom products for customers using the store’s existing fabric range.

The first patterns I designed were for my bachelor’s thesis project: Surface designs created for the Helsinki Olympic Stadium (2011).

I don’t think I could name just one favorite, the variety is what keeps me creatively inspired. That said, I’ve never grown tired of traditional printed textiles!

Definitely in the evenings, when the creative flow really kicks in. That’s when I get immersed in drawing, and ideas start to branch off into other projects too. Creativity kind of feeds itself.

Even though I work visually, my initial ideas are often recorded in words. I might write down a theme or a technical approach before sketching anything. Some ideas need to simmer a bit before they’re ready to be drawn.

I believe good design is always holistic. But in practice, my work often centers on the visual side: Surface patterns, color palettes, and the feel of the textile.

Most of my client companies already have years of experience in their field and often have a specific material and production technique in place for the product in question. So, my role is usually to create something that fits seamlessly into that framework.

That said, there are exceptions. Through Patternsfrom Agency, we’ve also done consultations that go beyond visuals, helping clients define new materials, techniques, and even product selections.

Mostly postivie, but I do know that emotional rollercoaster as well, it is a part of the process. Sometimes I get frustrated when I have a very clear vision of how a line or texture should feel, but I just can’t quite capture it – yet. But when I do, it's deeply satisfying.

It's such a joyful and addictive feeling! The moment I send the final files to a client, I already start looking forward to seeing the finished product.

There’s something incredibly special about seeing your design come to life – it's a reminder of why I love what I do.

That’s a tough one! I’d say a successful design is one that sparks interest and resonates with people.

There’s a fine line between art and design – good art can sometimes provoke strong negative emotions, while successful design tends to find that sweet spot where function and emotion meet. If it connects with its audience and serves its purpose, that’s a win in my book.

Functionality, absolutely. Even the most beautiful object isn’t well designed if it can’t fulfill its intended purpose.

To stay informed. The world is constantly evolving, and the textile field needs to keep up with new practices. In Finland, we have excellent resources on circular economy, and I believe it's a designer's responsibility to stay up to date with new materials, technologies, and sustainable innovations.

Sustainability and circular economy need to become the standard, not just an exception. The future of design depends on how well we can integrate responsible practices on a larger scale – both in materials and production methods.

I haven’t actively participated in exhibitions recently. During my studies at Aalto University (2011–2014), we held a few shows showcasing student work.

But I’ve thought it would be interesting to create an exhibition around the design process itself. Thanks to Instagram, I now document and reflect on my process much more visually. Sometimes an idea begins as a rhythm, color, or shadow (something abstract) and I capture it through photos or notes. My feed is like a visual diary of inspiration.

Ideas? I have more than enough! I just wish I had more time for the actual creative process.

Running a business also means doing the un-glamorous stuff, but it brings balance. A former colleague once described me as an interesting mix of creativity and analytical thinking—and I think she nailed it. Spreadsheets don’t scare me, but drawing is where my heart is.

I collect inspiration constantly, through images and words. In a way, I’ve built myself a personal creative library – just waiting for the right brief to bring an idea to life.

My design style is hand-drawn and rooted in a love for detail. I create from observation and emotion, drawing inspiration especially from nature – often floral themes – but interpreting them through rhythm, light, and contrast rather than literal representation.

A defining feature of my work is the balance between soft, organic lines and a thoughtful, structured composition. I’m drawn to gentle, rounded forms rather than sharp edges.

The atmosphere in my designs can be described by my slogan: Blooming florals and soft surfaces.

I live in Finland, and yes – it definitely influences my work. We have a strong design legacy and an excellent education system in the field.

That legacy is both inspiring and... occasionally a bit limiting. I used to work in a glass art gallery and noticed visitors often had very fixed ideas: if something resembled a 1950s piece, they saw it as derivative; if it didn’t, they wished it did. That made me realize how deeply embedded our national “design golden era” still is in the collective mindset.

I mainly work with international clients through Patternsfrom Agency, a Finnish design agency founded in 2019 by Jenni Moberg and Kristiina Tergujeff. Their mission is to connect Finnish surface designers with the global market.

Patternsfrom Agency is based in Kemiönsaari, Finland, and works with clients across Asia, Europe, and North America. They offer ready-made patterns, collection coordination, and custom design services—and I’m proud to be part of that network.

Choose someone whose style resonates with your brand – but also someone who can listen, ask the right questions, and adapt. A strong portfolio is important, but so is communication.

A good designer brings not just visuals, but solutions. Give them context, trust their process.

Sometimes patterns come intuitively, through play and exploration. Other times they are more structured and planned.

I’m often inspired by small details in my surroundings: Colors, surfaces, light, shadows, rhythm. I take a lot of photos – my phone is full of textures and moments. These snapshots become visual notes that I return to when building collections or setting mood and color palettes.

One of the most meaningful is a second-hand dining set from Artek, gifted to me by a family friend. She wanted it to go to a home where design is appreciated. That thought adds emotional value that goes far beyond the object itself.

Here in Finland, meaningful design often shows up in everyday life: Iittala, Marimekko, Arabia, Fiskars. I used to work at Iittala’s flagship store, so I also have memories attached to many of those pieces.

That’s also why I love The Naptime Blanket, a pattern I designed for the Finnish maternity box in 2022. I’ve spotted it being used everywhere. Even three at once in a child health centre's waiting room! It’s a beautiful, practical piece that lasts beyond babyhood and often gets saved for the next generation.

(Fun fact: The maternity package has been part of Finnish social policy since 1938. It even includes a mattress so the box can be used as a baby’s first bed.)

There are two kinds of mornings: if I’d love to sleep in, my toddler wakes up early. If I have an early start, then I need to wake him – and it’s not easy!

Like a proper Finnish stereotype, my day always starts with coffee.

After drop-off at daycare, I usually return to my home studio. Our son is two years old, and I’m still adjusting to how family life changes your creative rhythm. I used to be a night owl, but now, 8 to 4 works best.

Evenings are family time, and I love it. Playing with Duplos and building sandcastles? Perfect for generating new design ideas!

Be patient, and stay true to your voice. Creativity doesn’t always follow a straight timeline, and that’s okay!

I’ve always had a strong inner compass about what I want to do, that’s the positive. But turning that into a business is the challenging part.

Finding the balance between creative passion and practical execution takes effort, especially when wearing multiple hats as a solo entrepreneur.

"Design should feel effortless – even if the process behind it isn’t."

The ability to see the big picture, problem-solving skills, a curious and experimental mindset, persistence, and a genuine desire to grow and develop are all essential qualities for a designer.

My toolbox includes both analog and digital tools. I often sketch by hand and later finalize designs using a drawing tablet and Adobe Photoshop & Illustrator. I take a lot of photographs for visual inspiration and build moodboards from them. My workflow also includes creating custom color palettes, usually using Pantone or CMYK codes.

Being a designer and an entrepreneur with a young child requires quite a bit of time management! I've learned to plan realistic schedules and accept that not every day can be maximally productive – and that's okay. Having clear work hours helps me stay focused and present both in work and in family life.

It varies a lot! The process depends on the brief, the technique, the materials and so on.

People often ask: “Where do you get your ideas?” The answer is – everywhere! From the texture of a wall to shadows on the ground or a color combination in nature. The real challenge is not finding inspiration, but having enough time to develop all the ideas.

Somewhat surprisingly, I would say it was a job outside of creative work. I worked in an organization promoting Finnish design, where I gained valuable experience not only in customer service but also in understanding the broad landscape of Finnish design: What’s available and how consumers perceive it. I believe everyone should at some point in their career try customer service or retail, as it offers essential insight into what that work really entails.

I work mainly through Patternsfrom Agency, which connects Finnish surface designers with international clients. My designs have been licensed by companies in Europe and Asia mainly for interior textiles. Client companies include, for example, Barker Textiles, Showa Nishikawa, Jibun Makura, Deconovo.

I especially enjoy the early creative stages – collecting inspiration, sketching, building moodboards, and developing patterns from initial ideas. That’s when the creative flow is strongest. I also love working on meaningful everyday products – things that people use, touch, and pass on.

I’d like to make more space for my own pattern collections and perhaps one day compile them into a physical format – like a book or an exhibition. I also want to continue growing my international network and focus on projects that feel purposeful and sustainable.

I mainly work independently, but in close collaboration with clients and through the Patternsfrom Agency team.

There’s a lot of talk right now about the rise of AI in visual design. As a kind of counterbalance, I’ve been feeling a strong pull toward starting my creative process more often “the old-fashioned way” – with pen and paper, instead of jumping straight to the screen. Even if I finalize everything digitally, I want to consciously slow down some parts of the process. It helps me reconnect with the physical act of drawing and gives space for ideas to grow more organically.

The easiest way is through my website www.ammilahtinen.fi or email ammi@ihanammin.fi

When I received the brief from Barker Textiles, I immediately knew what kind of blanket I wanted to design. An idea of a group of animals had been in my mind already for some time, and this project was the perfect opportunity to bring it to life. I first drew the creatures as individual characters and then rotated and arranged them to fit the blanket’s dimensions in a balanced way. During the process, I also checked the pattern on screen from different directions, to make sure it would look harmonious no matter how the blanket is placed.

My goal was to design a product that feels timeless. For me, timelessness or classic design does not only mean solid colors or stripes, I believe it can also be achieved through patterns. With The Naptime Baby Blanket, I aimed to create something that is both simple and calm in atmosphere, yet still offers little details for a child to discover. Trendiness is not something I pursue in the same way as in fashion, where trends come and go in cycles. Of course, every era has its own characteristics and influences, and on a larger scale no designer can avoid them entirely.

The pattern was drawn directly with the jacquard weaving technique and the specific product in mind, so the technical aspects did not feel like restrictions but rather guiding principles!

The color palette of the blanket was not chosen only with infants in mind, because unlike baby clothes, a blanket is not something a child quickly grows out of. I wanted the colors to feel suitable for different stages of childhood and even beyond. While designing, I also considered the alternative ways the blanket could be used. For example, it could even be hung on the wall in a child’s room as a decorative textile.

This idea of versatility influenced my work especially in how I approached the composition of the pattern. I wanted the blanket to function equally well from both sides, and I designed it without a single “right” direction. This way it feels natural and balanced no matter how it is placed, whether it is used as a baby blanket, a play mat on the floor, or even hung on a wall as a decorative textile.

Because I don’t work in fast fashion, it can sometimes take a surprisingly long time for a pattern to go from sketch to publication. The main phase I am responsible for is from the initial sketches to the finalization of the design. After that, production continues with creating a sample to ensure that the pattern works exactly as intended in the finished product.

It’s always a pleasure to work with skilled professionals whose expertise ensures that the patterns can truly shine. My focus was on the design of the pattern itself, knowing it would be realized beautifully through their craftsmanship.

The blanket’s high quality is ensured by the skilled professionals handling its production. My role was focused on the pattern design, trusting that their expertise would bring the product to its full standard.

There isn’t a direct connection between my studies in London and this specific blanket, but my education overall has been very influential. I’ve studied a lot of weaving, particularly during vocational training in Finland, which gave me a strong sense of how to work with woven surfaces. My time in London had more of an art-focused approach, while my studies in Finland also included production's technical knowledge. I feel that both are definitely beneficial when you know how to combine them.

Regarding the maternity package, it has been rewarding to see how important the blanket is to its target audience, and how for many it becomes one of those items that is treasured and kept for the child. Principles of sustainable development are important in all production, and in the case of the maternity package, the scoring system has been developed so that products are evaluated for their quality as well. This ensures that the items included are not only safe and functional, but also durable and long-lasting.