FIBER ARTIST
Riikka Peltola
Please share a bit about yourself, your background, and how your journey into fiber arts and fashion began.
I’m Riikka, a fiber artist and fashion designer from Finland. I create intricate knit and crochet pieces, blending traditional craft techniques with contemporary ways of working with materials.
My background is in fashion—I’ve been studying it for quite some time. Most recently, I was at Aalto University in Helsinki, where I was part of the fashion department and immersed myself in garment making. After my studies, though, I started to feel the need to step away from the traditional form of garments. I realized I wanted to explore working with textiles in a way that goes beyond the human body, focusing more on space and less on the form of the garment itself. This shift led me to explore how textiles could interact with space itself, allowing me to think beyond clothing and embrace shapes and patterns on a broader scale. While my work is still deeply rooted in form, it’s no longer about dressing the body—it’s about using textiles as a medium to shape and define space in unexpected ways.
What drew you to knitting and crochet as your primary medium, and how did you start experimenting with traditional techniques to create contemporary works?
From a young age, I was always creating, often as a way to express myself since I was a shy and introverted child. My first encounter with knitting was transformative—I was about eight years old when I learned the technique. I remember being so fascinated by the possibilities that I couldn’t sleep for days, imagining everything I could create from simple fibers. The realization that something as basic as yarn could transform into intricate, three-dimensional objects sparked my lifelong love for textiles.
My journey with knitting and crochet evolved as I experimented with traditional techniques, blending them with a more modern aesthetic. The reason I chose knitting and crochet as my primary mediums is their multifunctional nature. I love both the technical and visual aspects of knitting, and I work across a spectrum of approaches—from computer-based machine knitting to half-industrial machine knitting and hand knitting.
How have the landscapes, traditions, and cultural heritage of your upbringing influenced your work? Could you share how growing up in that environment has shaped your approach to textiles and craft?
Finland’s landscapes and cultural heritage are deeply woven into my work. Growing up surrounded by the muted tones of Finnish nature—grey, beige, and white—these hues naturally became the foundation of my palette. The simplicity and subtlety of the environment are reflected in the understated, minimalist aesthetic of my creations. Textiles have always been a significant part of my upbringing. Finland’s history, shaped by hardship and resourcefulness, instilled in me a deep respect for crafting.
My grandmothers were particularly influential: one was the village weaver, growing her own linen and creating textiles for everyone, while the other was a seamstress, making garments from her home studio while raising her children. Their lives showed me the value of creativity, hard work, and self-sufficiency. My mother’s story also plays a role. She once dreamed of becoming a painter but was too shy to leave her hometown and pursue her passion. I think, in some ways, her unfulfilled dream inspires me to be brave and forge my own path—mixing different fields and disciplines to create something uniquely mine. Through my work, I carry forward their legacy of resilience and artistry while striving to honor my own creative journey.
Could you guide us through your process of working with fiber and fabric? How do you engage with the material, particularly in your exploration of its history and adaptability?
My process begins with the material itself—it’s the core of everything I create. I spend significant time with each material, testing its qualities and exploring its potential shapes. This tactile engagement is crucial for me. I’m not someone who sketches on paper; instead, I let the material guide me through touch and experimentation, treating this interaction as a form of three-dimensional sketching.
I also explore how materials can be combined, dyed, or manipulated. This involves both traditional hand techniques and modern tools, such as domestic and industrial knitting machines. The technical aspect excites me—programming a machine to transform a 2D design into a 3D shape requires unraveling the idea into small, manageable steps. It’s a constant back-and-forth process, refining the design until it aligns with my vision.
In your practice, how does the tactile connection with the material and its interaction with your body influence your well-being and overall sense of fulfillment?
Working with textiles engages my entire being—mind, body, and spirit. The tactile connection to the material is deeply grounding, allowing me to immerse myself in the process fully. Crafting with my hands brings a unique sense of satisfaction that’s hard to put into words.
As a teacher, I witness how this tactile engagement impacts others as well. Watching students bloom as they fall in love with creating is incredibly fulfilling. It’s rewarding to see how crafting transforms their energy, instilling confidence and joy. For me, this connection to material and process is n
How did your journey into teaching begin?
I always felt I wanted to have a connection with the people I teach, to share something meaningful with them. Encouraging creativity and inspiring others to make things was on my mind even when I first started. Actually, this is something I dreamed about as a child—that one day, I would teach others how to create. It’s funny how life works because, for a while, I forgot about that dream. Now, it feels like the circle has closed in a beautiful way. But I’ve also realized that I don’t want teaching to take over completely. It’s important for me to maintain my own creative path alongside teaching.
Balancing both allows me to stay true to myself and, ultimately, makes me a better teacher. I think focusing only on teaching wouldn’t benefit anyone—not me and not my students. It’s about finding harmony between creating and sharing.
Where do you think the most significant opportunities lie for preserving and evolving traditional craft techniques, particularly in a world that is becoming increasingly fast-paced?
I believe the key lies in deepening our connection to heritage while adapting it to contemporary contexts. For me, this involves exploring my Finnish roots—delving into the crafts and materials of past generations and integrating them into my work. I’m particularly drawn to combining rough, raw materials with delicate, refined ones, creating a dialogue between tradition and innovation. Material research plays a big role in this process, as it helps bridge the gap between history and modernity. I see endless potential in this exploration, and I’m excited to continue down this path.
Are there any current projects or research that you're particularly excited about right now? How are they expanding your exploration of materials and history?
Currently, I’m focusing on material research in my studio in Tampere. While I don’t have exhibitions at the moment, I’m delving deeper into my family’s history and Finnish craft traditions. This exploration has opened up new ways to combine heritage materials with contemporary designs, pushing my creative boundaries further.
Where and how can people engage more with your work?
If you’re interested in following my work, I share updates on my website and Instagram. These platforms offer a glimpse into my ongoing projects and the evolving relationship between material, history, and design. @riikkapelt www.riikkapeltola.com
Image [4] by Anette Koskinen, [2, 6 ] by Henri Vogt, [ 3 ] by Kristine Funch, [ 7 ] Roosa Rauatmaa, [ 9 ] Jussi Ratilainen, the rest belong to Riikka.
