We asked three fashion business professionals – Teemu Kattilakoski from North Outdoor, Jonathan Inberg from ByHinders and Roope Reinola from VAIN to share their relationship with commercialism. For them commercialism means listening to the customers, solving problems and serving consumers as well as having strong and dynamic production and marketing behind the products.
Commercialism and quality are at the core of everything we do, says Sales and Marketing Director Teemu Kattilakoski – North Outdoor
North Outdoor, a manufacturer of merino wool clothing, does not only want to stay on top of the latest trends. The products are designed to be timeless, but the marketing, visual imagery, e-commerce and everything else around the products is very much of this time.
– In the recent years we have managed to grow especially due to our online sales. We have a lot of returning customers who buy our products. Consumers feel that with us they get value for their money, he says.
Kattilakoski and Lauri Pyykönen bought North Outdoor in 2017. At first, the former athletes also designed the products themselves, but it dawned on them that their strengths lie especially in business development: business thinking and commercialism.
Now the company has three designers, and it is strongly investing in growth and expanding the collection.
Large investments have also been made in the marketing, which has helped in the determined efforts of building brand awareness. A significant part of the turnover is reserved for marketing – which is more than many of its competitors.
– You do not get results immediately. You need to trust your investments and look further ahead. Long-term brand building and marketing have been really important for us. Now it bears fruit, he says.
As the next step, North Outdoor plans on going international. The years of preparation have included honing and perfecting not only the product and the brand, but also the processes involved with production, delivery, and customer service. At the same time, the company has ensured that each area can respond to rising demand.
– We can’t take too big leaps at a time because it will upset our infrastructure. Our strategy is to grow in an orderly manner and proceed one country at a time.
The groundwork has been laid by conducting test periods in selected countries. The process has included market research, in-depth interviews and brand image research.
During the preparation Kattilakoski has learned at least that undertaking too many areas in a scattered manner is not sensible use of marketing money.
“When we monitor data, we can further define our target group and learn to know the customers in certain countries better.“
– When we monitor data, we can further define our target group and learn to know the customers in certain countries better. Our first steps towards internationalisation will be taken based on the results in the selected countries.
North Outdoor will be entering the global market using their e-commerce platform. However there are also plans to find distributors and have company personnel in the target countries.
– We are taking it slowly because we are a small family company and we are not using investor money for this.
Design is a service business, says Clothing Designer Jonathan Ingberg – By Hinders
For Clothing Designer and Founder of By Hinders, Jonathan Ingberg, the framework set by commercialism is inspiring.
– Commercialism sets the design work certain limits. You have to make creative choices while staying within those limits set by the commercialism aspect. I find it very interesting to try and solve problems and look for answers to ways in which I can offer people the best possible service, he says.
Within those commercial demands Ingberg wants to create something beautiful or personal. Yet, first and foremost, he strives to come up with a product people can use.
As a Finnish designer he finds combining commercialism with creative expression natural, since we have a tendency to a certain kind of pragmatism.
“For me, commercialism is also about an item being necessary – that there is demand for it.”
– For me, commercialism is also about an item being necessary – that there is demand for it. Personally, I like, for example, uniforms and workwear with all the details designed from the point of view of practicality.
According to Ingberg, there is a branding problem in the fashion business in Finland. He believes that if consumers knew the stories behind all the work, they would appreciate the products more than they currently do.
– All that work and effort that goes into a product or creative expression – why aren’t we telling more of these stories? I believe that the consumer would have a different relationship with a product if there was a story behind it. You would, for example, feel more motivated to take care of an item.
Ingberg founded his label, ByHinders, being inspired by the sheep wool of his parents’ home farm. There was no further use for it. In addition to fabric woven using the wool, Ingberg mostly chooses Finnish made fabrics and natural materials for his collection.
The client has been Ingberg’s greatest teacher. Pop-ups and showrooms provide an opportunity to maintain direct contact with his customers and receive valuable feedback.
– Ultimately, it’s the client who decides whether my products are commercial or not – whether they sell. It is essential to hear the opinions and experiences of the customers regarding, for example, the fit and the material. I implement the feedback in my work.
The story of By Hinders began from a project, but commercial collections were there from the beginning. The label found its customer base and the first collection was launched in 2021. Now, two years later, the clients are still purchasing the same timeless pieces.
– My job is to find out how to run a responsible fashion brand. It’s a challenge I’m trying to tackle even at this very moment, says Ingberg.
Commercialism is fundamental for doing something creative, says CEO Roope Reinola – VAIN
Roope Reinola founded VAIN together with his childhood friend, Designer Jimi Särmö, in 2021, and right from the start the duo aimed for growth and going international.
In addition, Reinola and Särmö have grown in the internet era so for them the geographical location has never seemed as a limiting factor.
– We are both from Seinäjoki (situated in the western part of Finland), but online we can just as well be present in Paris or Helsinki.
In a short period of time VAIN has reached a reputation of being a brand worn by prominent artists like Lil Uzi Vert and Playboi Carti. Reinola describes his own relationship with commercialism as neutral.
“ In my opinion commercialism has nothing to do with the actual designing or the depth of the design or the artistic expression. For me, it’s about the machinery behind the brand: responsible production chain and systematic brand building and targeted actions to pursue growth and internationalisation.“
– In my opinion commercialism has nothing to do with the actual designing or the depth of the design or the artistic expression. For me, it’s about the machinery behind the brand: responsible production chain and systematic brand building and targeted actions to pursue growth and internationalisation.
VAIN has paid particular attention to the online content, which is available for free and accessible for all. When anyone can see, feel and experience the captivating content, the label becomes familiar and finds its target group.
– The commercial angle regarding the content is that when we attract attention online, we make sure we have enough products available online.
Occasionally it is difficult to predict how algorithms work, but for the most part VAIN has succeeded in its plans. The brand’s business is currently based on seasonal collections and the next goal is to open distribution channels in Europe and Asia.
Reinola admits having often thought about the difference between Finnish companies and their competitors in Sweden when it comes to commercialisation of products and brands.
– Why are there so many international high-level brands and artists from Sweden, but less so from Finland? I think it’s based on us not having enough courage or desire to take a step on the international stage. In Sweden different operators are in co-operation which I believe to be an important attribute behind their international success. In my view, especially we who work in the creative sector have to be bold andseek growth in the international market. This is possible particularly if we, the operators, work closely together, he says.