Jenny Hytönen
Grand Prix of the Jury Première Vision at the 37th International Festival of Fashion, Photography and Accessories, Hyères
“All my pieces are built using a Haute Couture process. They are impossible to reproduce, and therefore, unique“.
Jenny Hytönen is from Finland and just won the Grand Prix of the Jury Première Vision at the 37th International Festival of Fashion, Photography and Accessories, Hyères. A passionate of knitwear, Jenny develops a rather unusual craft where she crosses BDSM-inspired aesthetics and fully-fashioned knitting techniques, which she describes as mathematics. Knitting is time consuming enough, but try knitting glass pieces, at home, on a small knitting machine… This passion for fabrics is also driven by her desire to work with light, taking time and creating unique, non-reproducible pieces. This is most likely the reason why Jenny won the desired award, as her work is not only reminiscent of Haute Couture, it is Haute Couture.
How did you decide to apply for the Hyères Festival?
The Hyères Festival has been a dream of mine since I started studying at the university in Finland. After graduating I started living in Paris, and I then decided to apply. Last minute! I must say it was a bit of a mess, I had to run to print my portfolio because I was late for work.
Were you already working in Paris?
I was interning at Olivier Theyskens, and they later decided to hire me. I am working in knitwear, and that is where I learned to adapt to the specific techniques of knitwear.
That’s where you learned to knit… crystals?
I guess (laugh). I studied at the fashion university in Helsinki but always wanted to come to Paris. I was lucky, because I won the school award right before graduating with the same collection I presented in Hyères (For Hyères, I developed it further). This award opened the doors to the internship I did at Olivier Theyskens.
Hyères usually opens a lot of doors for the finalists and, of course, even more for the winners. You were lucky enough to work with Première Vision and to be presented with sustainable fabrics. How did that work out for you?
It was a bit complicated for me, because I was producing my textiles myself. I knit everything at home with my knitting machine, so it was a little tricky to go to Première Vision and try to find collaborations that would actually fit my ideas. But I did manage, by using recycled leather pieces from recycled clothing. That’s why these pieces were added to the collection.
These collaborations are meant to open your mind to new ideas or possibilities you had not thought of before, right?
Yes, and I have to admit I have been a bit stubborn at first. I wanted to do things my way. But in the end, I have to admit leather was the right thing to do for my collection. Coton or linen wouldn’t have made sense, but leather did.
How do you construct your own fabric? I’m sure it must take hours of work…
Knitwear is my specialty, and I wanted to create silhouettes by using and playing with lights. With this idea of reflection. That is why I used glass pieces, to give an unreal look to my pieces. I did not want people to be able to actually see the mesh, but only the reflection.
Soulages had the same idea with his famous black!
Knitwear is actually a lot of maths. I wanted to do it fully-fashion (the most traditional way of knitting where the piece is made from scratch). Each pattern needs to be carefully calculated. I see the patterns in my head and then I work on them with my knitting machine. It is an interesting but very time consuming process. It is very beautiful and hand-made too.
Your work was also rewarded because of the amount of work behind your pieces. Originality is not enough to make a winner.
I do hope so, because all my pieces are built using a Haute Couture process. They are impossible to reproduce, and therefore, unique.
Would you like to create your own brand someday? Your practice is so hybrid that it would deserve a dedicated platform.
Currently, I’m keeping all my options opened, I think that it is the smartest way to move forward. On the longer run, my dream has always been to work for myself. We’ll see where all that leads me.
Following your nomination as one of the finalists in Hyères, you had the opportunity to develop a hat with Maison Michel. How did that work out?
It was a great collaboration. I had no experience in making hats and they, on the contrary, had never worked on such an idea before. So we had to work hand in hand to make it work. We built it on the head of one of the workers, combining knitting technologies and traditional hat-making techniques.
Maison Michel is very far from your creative identity that comes from BDSM aesthetics. How did the two found common ground?
In fact, the Maison Michel team was very open-minded. The idea was to discuss my ideas, and I already appreciated Maison Michel’s expertise in millinery. Combining the two was nice, we had to make a piece that would combine their world and mine, through beautiful craftsmanship. Combining Maison Michel’s craftsmanship with BDSM was… interesting.
You now have to develop a collection for the Galeries Lafayette?
I have the first meeting tomorrow, and I’ve also already started working with Icicle. I have to design a capsule collection for both. Icicle uses sustainable and very luxurious materials, like linen. So again it is nice to try to combine them with both identities. Two different worlds come together.
Luxury is about time, process and know-how.
Luxury, to me is about pieces that are made to last for ever. It is about timelessness.
How was it to get all the media attention after Hyères?
I get overwhelmed pretty easily, I haven’t experience anything like that before. But I think I managed it and tried to learn from the rush.
Did you have enough time to talk with the jurys during the Hyères preparation?
We have the jury presentations, which consist of four minutes of telling your concept. And then the showroom day. We discussed the ideas, they were super nice.
Jury duty requires stepping back from one’s own aesthetic and criticizing in a positive way.
Indeed, we have not talked about aesthetics. It is very important, when you see someone’s work, to see through it, to understand it in terms of technique and not to judge it according to your personal preferences. You have to be able to give an honest opinion. I think that’s the same exercise you have to do when you work for a house.
Would you like to become the lead artistic director of a major brand?
I would like to do it, someday. I do however think that I am quite young and I still have a lot to learn, so I don’t picture myself doing it now. I’m sure it can be quite overwhelming. For now, I focused on what’s next, I take things as they come. I have to work with Première Vision, and with Chanel Métiers d’Art. Next year, I will also have to be a jury member at Hyères. So I think this is going to be a crazy month, and a crazy year!
Interview by Pauline Marie Malier
Photos: Jean Picon
