Finnish Textile Art in Focus: Tuula Mäkinen
- Irina
- 4 days ago
- 5 min read
This year, I decided to include Finnish quilters in my interview series to share the beauty, creativity, and craftsmanship from my side of the world. For me, these artists are not only part of history - they embody the originality and uniqueness of Finnish textile art.
One of these remarkable artists is Tuula Mäkinen (b. 1945), a Finnish textile artist. She graduated in 1970 as a teacher of garment construction from the Teacher Training Institute for Vocational Schools in Jyväskylä. Her professional title later evolved into Lecturer in Clothing and Fashion. Tuula devoted 39 years to teaching garment sewing and construction in vocational education, passing her knowledge to generations of students.
Her textile work is known for its impeccable craftsmanship, balanced compositions, and subtle, harmonious colour palettes. A distinctive feature of her quilts is the use of her own hand-dyed silks, which became a signature element of her artistic expression.
I personally met Tuula in January 2026 in Tampere, Finland, during the European Quilt Triennale symposium. I was completely fascinated by the works of Finnish textile artists presented in the lecture by Vuokko Isaksson, PhD - bold, original, modern, and often far ahead of their time.
I fell in love with Tuula´s work at first sight - beautiful, harmonious, original, and impeccably made. After the meeting, she kindly gifted me her book "Piece by piece. Stitch by stitch", published in 2006 and co-authored with Marita Lappalainen, another renowned Finnish quilter.
In this interview, Tuula reflects on her creative process, her favourite techniques, and the works that hold special personal meaning for her.
1. When and how did you start quilting, and what has motivated you to continue?
I attended a quilt exhibition by Tilkkuyhdistys Finn Quilt ry in Tampere in 1993. It was a huge moment for me and I was completely enchanted. I admired how many different kinds of works could be created from small pieces of fabric. I remember thinking: these are the kinds of beautiful things I want to make. And from that moment on, there was no turning back!
2. What does quilting mean to you personally?
Based on my sewing background, I especially value craftsmanship and high-quality work. I also consider the artistic aspect of quilting to be very important. When I work on a piece with a specific theme, I take my time and think carefully - without rushing - about the name of the work and the story behind it.
3. What are your favourite quilting techniques, and why?
My favourite technique is paper piecing, because it allows me to achieve precision and quality I’m satisfied with. I sew fabric pieces onto paper using a method I’ve developed myself, and I use paper techniques not only for blocks, but also for pleats, folds, piping, and in constructing my own “bridge block.”
An example of this approach is "Quilting Unites Us All over the World" (2000). The piece is made of hand-dyed silk and features my original “bridge block” design. Both the piping and the narrow strips were machine-pieced using paper-piecing techniques.
"The theme of the quilt was "Keeping the world sewing". The bridges and the famous buildings reflect the feeling of togetherness between quilters living on different sides of the world. I machine embroidered the buildings using a free motion technique." (T. Mäkinen, Piece by piece. Stitch by stitch, 2006).
Another example is "By the Fountain" (2005), made from silks I dyed myself. The squares were machine-sewn using paper piecing and strip-piecing techniques, while the folded elements were also constructed with paper piecing. The copyright of the folding block is "3D idea by Lucie Huig (NL)".
"This quilt reflects the poet Runeberg´s fountain with life flowing around it. The theme was "Nature in Finland " (T. Mäkinen, Piece by piece. Stitch by stitch, 2006).
Another technique I enjoy is sewing transparent, dense netting and shapes - even spheres - using water-soluble film.
In "Breath" (2005), I machine-sewed a narrow strip using paper, while the motifs in the center were stitched with free-motion embroidery on water-soluble film. Pentagons and hexagons were joined with a zigzag stitch, and the entire sphere was constructed by machine.
For "Old Clock Masters" (2014), I used hand-dyed cotton and silk fabrics. The netting was stitched using water-soluble film, while the numbers and clock hands were applied with appliqué and finished with free-motion machine embroidery.
My third specialty is free-motion machine embroidery.
In "Midsummer Wedding" (2006, 129 × 111 cm), I hand basted hexagons made from wool and wool-blend fabric and sewed them by hand. Then I stitched the motifs using free-motion machine embroidery.
I like experimenting with different techniques and materials, and I also often dye fabrics myself using silk-painting dyes.
In "Grate" (2012) I experimented with a wool knit felted in a washing machine. The felted wool strips forming the net in the center were machine-sewn and then attached by hand, while the netting along the edges was stitched entirely by hand using wool yarn.
4. How do you usually begin a new quilt?
I begin and progress in my work in different ways. Some pieces I draw and colour in advance, and then I follow the plan closely. More often, I sketch the idea roughly - either in my mind or on paper - and as the work progresses, the plan evolves.
Sometimes I think and reconsider the next step for quite a long time. My motto is: “Think first, then do.” I rarely begin something randomly, although experimentation can also lead to a new idea.
8. What do you think is most important for a successful quilt?
I value balanced composition and thoughtful design in quilting. I admire fabrics dyed with silk paints and plants, because they produce harmonious and soft colour palettes. Of course, printed fabrics can also offer beautiful colours.
In my opinion, the technique should be in harmony with the subject, character, and title of the work.
9. What advice would you give to someone just beginning their quilting journey?
If you’re just starting out, I’d recommend taking a course to learn the basics of quilting. If you already have some sewing experience, books can be a great way to build on what you know.
As your skills grow, don’t be afraid to start creating your own unique pieces. Inspiration is everywhere - nature, personal experiences, even everyday life - and it’s worth looking beyond quilting for new ideas.
Please, remember: you don’t have to include everything in one piece. Sometimes less really is more. And it’s also important to be aware of copyright rules.
All photos are kindly provided by Tuula Mäkinen. True to her modest nature, Tuula didn’t mention the many awards her work has received. Here are just a few of the works featured in this interview - though there are many more:
"Quilting Unites Us All over the World" (2000) – 2nd Prize Husqvarna Viking, Quilt Expo, France
"By the Fountain" (2005) – 1st Prize, Finn Quilt Ry, Finland
"Celebration II" (2013) – 1st Prize, Contemporary Quilts category, Festival of Quilts, Birmingham, UK
"Old Clock Masters" (2014) – Best of Show, Open European Quilt Championship, Netherlands
These recognitions reflect the skill, creativity, and dedication she brings to every piece she creates.