Unveiled amidst the hustle and bustle of Copenhagen Fashion Week, Finnish design house Marimekko introduced their latest Spring/Summer 2023 collection during an intimate dinner hosted together with New York-based artist Landon Metz and L’Officiel magazine. Echoing through the label’s latest launch was a collaboration between Marimekko and Metz, amplifying the artist’s upscale prints on Marimekko’s simple voluminous shapes.

“For Spring/Summer 2023, Marimekko’s archetype silhouettes take a more dramatic appearance. Architectural structures mimic organic material, which in turn take an almost 3D-printed aesthetic. The modern application of broderie anglaise and lace-like structures bring a feminine, but also very neo-futuristic aesthetic to our 70-year-old legacy” – Rebekka Bay, Creative Director of Marimekko.

Through the drawing from neo-futurism and the interplay between technology and craft, this collection interweaves lace-like structures and prints with generous, voluminous silhouettes.

Renowned for his abstract works involving dye and canvas, Metz constructs his own dynamic language of minimal forms. Through repeated compositions printed on Marimekko’s designs, he creates a fresh interpretation of the design house’s philosophy – using the dress as a canvas for art.

The artworks used to construct the prints were a product specially curated for the capsule collection, which includes four dresses, three tops, and a skirt. All pieces are born from organic unbleached cotton and printed in Marimekko’s own textile printing factory in Helsinki to ensure the painting-like quality of the garments. Metz’s prints are also seen on some of Marimekko’s most iconic accessories, such as the Karla bag and collectible silk scarf.

“It’s important to me that my work is conscious of the viewer, my intention is that their experience is both intellectual and embodied. Collaborating with Marimekko has been a way to articulate a counter shot to the dye and canvas works – literally wrapping the viewer in the image and further blurring the boundaries between the visitors’ proximity to the canvases and the canvases themselves. For the wearer, it is a personal expression, but also an inward narrative and experience” — Landon Metz