Issuu

Team EP: Anu Lõhmus AD: Piret Puppart Photographers: Riina Varol & Iris Kivisalu Landscape photos: Anu Lõhmus, Margaret Aidla & Iris Kivisalu PM: Kadri Võsu & Kadri Ann Rebane Layout design: Eike Malva Assistants: Joanne-Heleene Sõrmus, Liisa Torsus, Margaret Aidla, Helen Västrik MUAH: Mammu, Erle Taklai, Piret Sootla, Marii Lotta & Triinu-Liis Rahe

Brands Studio August, Eve Hanson, Lilli Jahilo, Marit Ilison, Marc&André, Samelin, Adrikorn Artefacts, Stella Soomlais, Tanel Veenre, Claudia Lepik Jewellery, Sigrid Kuusk, Triinu Pungits, Pohjanheimo, Kelpman Textile, MyaMoon, Kristel Kuslapuu, Arro Porcelain, Mithio, Liisa Soolepp, Kaia Saarna, Luminée, Mari Masso, Front, Marimo, Framed by Karl, Gerda Retter, Raili Nõlvak, Balteco, Piret Loog, Cervo Volante, Borg, Ellu Sallid, Riina Põldroos, Tiina Talumees, Lisa Kroeber, Anu Tera, Craftory, Karl Korsar, Hanna Korsar, Kristina Viirpalu, Monika Järg, Aldo Järvsoo, Amanjeda by Katrin Kuldma, Berrichi, Kriss Soonik, Hyrv Jewellery, Uncle Paul, Ketlin Bachmann

Casting Elisabeth Erm, Äli Enrietta Kiivet, Alexandra Tikerpuu, Merilin Perli, Carina Pashkovich (E.M.A. Model Management) Birgit Veegen, Lisett Kulmats, Carmen-Cassandra Kärtner, Hanna Liisa Reimann, Janika Teldre (Agency Icon) Jass Reemann, Karl-Lennart Meri (Sage Management) Triinu Malv (MJ Model Management) Anastasia Vorontsova (AL Model Management) Anni Mäger

#kummardus #tallinndesignhouse #tdhcollab #estoniandesign #eestidisain #visitestonia

This book is carried out within the project “Loomemajanduse ettevõtete konkurentsivõime, jätkusuutlikkuse, ekspordivõimekuse ja teiste majandussektoritega koostöö arendamine” (EU53522) by Tallinn Creative Incubator with the support of Enterprise Estonia during 01.01.2020 – 31.12.2021.

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Tallinn Design House presents

Tallinn - gateway to Estonian design

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KUMMARDUS

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‘Kummardus’ is a photographic journey of Estonian design, where the creations of almost fifty designers meet with nature and tradition. For a long while, Estonians have been searching to define their handwriting in design to describe the essence of its core to the wider world. This definition has often been shaped by a symbiosis of its two most significant influencers, the Nordic minimalism and the Slavic abundance and love for colours. Leaving aside the combination of cultures, however, the most valuable gems of Estonian design lie elsewhere. The most spectacular works of our designers are influenced by long-preserved national traditions, the existence of local craftmanship and drawing inspiration from nature. This concept wishes to emphasise the three components above, creating a synergistic whole in a tightly entwined narrative. Delicate highlighting of crafts via patterns, embroidery, and skilled work presents the dimension of the historical background and unlocks the doors to the multi-level character of the photo series. By placing the works of the most significant Estonian designers in landmark locations, such as coastal meadows, oak groves, bogs, southern dome landscapes, or northern coastal cliffs, however, nature gets amplified. The latter is the greatest national treasure for Estonians, and the viewer will be able to experience twenty-six locations from different places all over Estonia throughout this journey. It is also essential to highlight the changing of the seasons characteristic to northern regions and the accompanying changes in nature. Sometimes, the day is swallowed by night, then vice versa, providing visuals from flower-carpeted meadows to frozen waterfalls. The photos have been divided into collections based on five seasons, which, in addition to creativity and nature, use motifs borrowed from traditions to form a unified narrative, including old local stories, symbols, the meanings of colours, or literary lines from our collective memory – folklore. The word kummardus (Estonian for bow) was chosen as the common denominator of this series for a number of reasons. First, it is an expression of gratitude for what we have. On the other hand, by leaning over something, we are protecting it, thereby reminding us that it is one thing to put something up on a pedestal, yet the ability to preserve it is another valuable skill. The word kummardus also conceals another meaning – namely, the end of the word, mardus, was traditionally used to refer to the energies of the departed souls, giving the series a unique temporal perspective and depth rooted in nature religion. This word is also playful and can be multifaceted in other languages; in English, for example, the use of the word can vary from the physical bow to spiritual worship.

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> Beetles (mardikas – Est. singular) were once kept in high regard and considered to be the homes for the souls of the deceased. In the old days, they were called mardulane or mardus, the latter of which has also been embedded in the title of the project ‘Kummardus’, which means taking a bow in translation, and bridging the gap between now and then.

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Loodus, nature in English, is a word which the invasion of Latin´s natura has not been able to strip away from the mainly nature religion-oriented Estonians. The word itself conceals probably the most powerful act of birth, as the verb looma means to create, resulting in something of the ultimate creation in the linguistic memory of our forefathers. It also has no gender in our mother tongue – it is all just one. In addition to the flora, the local fauna also reveals itself on this photographic journey – the richness and diversity of the living environment in its broadest sense is extremely important for the birth of good and sustainable design.

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> Sõba, a blanket-like item of clothing, is one of the oldest items known to have been worn in Estonia. It has been used widely: from using it to cover one’s shoulders to go outside in a poor weather to wrapping it around one’s hips as a skirt or keeping warm under it at night. This is why Estonians still say ‘ei saa sõba silmale’ when they are unable to fall asleep at night. The universal features of the blanket are still being interpreted in contemporary fashion.

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SU EA MSMOENR

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Setomaa in South-East Estonia with its deeply rooted heritage is one of the most peculiar regions of the area. A ceremonial cloth placed over the knees , the blood-red ribbons tied around the arms to commemorate the sleeve patterns of the days gone by, and the red yarn twisted around the fingers serve as a celebration of old customs. Red yarn, for example, was believed to conceal healing powers, but it had to be tied carefully. Namely, the yarn is tied clockwise to express gratitude, thus, it was always tied counter-clockwise in the case of suffering from an ailment or pain. Occasionally, the yarn was wrapped around the fingers the magical number of nine times.

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The southern parts of Estonia are believed to withhold a special power. In addition to several natural holy sites, numerous tsässons or small Orthodox chapels built from logs can also be found in the south-eastern part of the region, often perfectly blending into the surroundings thanks to their ascetic nature.

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> The recurring element and the connecting link between the different frames over this photographic journey are repetitions, because, unlike the sacred number four of the native Americans, odd numbers are believed to provide magical protection in the lore of this part of the world. Miracles are always based on repeating something three, five, seven, or nine times.

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< The black oscillating lines running over the dress originate from the hems of a men’s summer coat from Setomaa. The purpose of the pattern decorating the item of clothing was naturally to protect the wearer.

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> The birch is one of the tree species most mentioned in local folklore. The birch as one of the first big forest dwellers here after the Ice Age has a long history in our traditions. Birch leaves, polypores, buds, tar, coal, and sap have been used to heal and clean the body, for example. Kaasik, the melodic name for a birch grove, and kask (birch) can often be heard in old runic songs, although not with its original meaning meaning, but as a structuring sound phrase like in this legendary rhyme about a peasant girl named Tiiu, considered to be a good stocking knitter and broth maker:

Tiiu, talutütrekene, kaske, kaske, Sest saab nobe neiukene, kaske, kaske, Sukavarda veeretaja, kaske, kaske, Leemekulbi liigutaja, kaske, kaasike.

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<< Feet first in Ahja. Several springs, including Emaläte, the mother of all springs, run into the Ahja River. The clean water of the spring was used for drinking, as well as for therapeutic purposes to wash an ailing body part. Spring water is said to be especially good for eyesight, which is why many still wash their eyes with it to this day. To show gratitude, silver was left or scratched into the source of the water.

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< The name Taevaskoda is made up of two Estonian words: taevas (sky) and koda (chamber), the latter of which is an ancient name for a house or home. Taevaskoda itself looks like a magical chamber where the walls are made of towering sandstone cliffs from one side and a forest from the other; it has a river for its floor and the blue sky for the roof. A sacred palace created by nature and considered the home of gods and heavenly forces, it bestows several places of offering and healing.

> Even the tiniest of creatures may conceal secret strength and power. The little frog here may be a distant descendant of the mythical Põhja Konn – a frog-like man-eating monster of supernatural power known from a fairytale written down over 150 years ago. Or perhaps the slender amphibian should be kissed, based on the much more recent German traditions, to unearth a long-awaited prince?

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<< Red and blue are the two most frequently mentioned colour symbols in the verbal lore. Serving as the contrasts of one another in the modern perception of colours – masculine and feminine, hot and cold, north and south – they were also seen as balancing one another back in the day. Red symbolised life, joy, and was considered the colour of celebrations and magic protection, while blue stood for the beyond, departure, and grief.

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Primeval forests, almost completely untouched places which have existed hundreds of years without any interruptions, are rare even in Estonia, in spite of almost half of the surface area of the country being forested. The vicinity of sacred places, such as Taevaskoda, has helped to keep the areas untouched to a certain extent. The relationship between ancient Estonians and the forest could be described as animistic: in their beliefs, trees had souls which were asked for forgiveness before cutting one down. The custom of knocking on the tree before cutting is also known: the trunk was knocked on three times to warn the soul of the tree to leave before using a saw or an axe.

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< A sacred moment. Hõpõkraam or silver jewellery with coins has been the pride and joy of the women from Setomaa for centuries – one woman may have worn several kilos of the jewellery and their abundance is still inspiring designers today. Silver is a magical protective metal which was used for safeguarding from evil. The sound made by coins had the same effect of warding off bad things. Covering one’s face adds a third layer to the protective rituals.

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> The combination of white, red, and black have remained the main hues of the folk dress of the most archaic regions in Estonia. Thereat, the names of the colours red, black, and white are among the most ancient and powerful colour names in the Estonian language. Their long history is also evidenced by the fact that those are the only names for colours which can be found in the languages of some of our faraway relatives, such as Selkups.

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<White crow. The crow is a well-known oracle bird in the Nordic region. Its presence used to predict the nature of human relationships or crop yield and it was also part of other magic rituals. For example, the bird is mentioned in a well-known Estonian saying for alleviating pain, which is still used for children: ‘Varesele valu, harakale häda, musta linnule muud tõbed’ (‘Pain to the crow, troubles to the magpie, other ailments to the black bird’). The colour of the crow, however, has its own story. Like predators, birds of prey were for example, called by their actual names, with euphemisms preferred instead. Thus, the crow may be referred to as ‘the white bird’ in folk tales. That’s because the crow was believed to be fully white before the gods turned it black for causing trouble.

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Located on the Eastern border, Lake Peipus is the largest lake in Estonia and the fifth-largest lake in Europe. These fresh waters are home to 37 species of fish, which come in all shapes and forms, from the roach, which is dried and salted, to the vendace which is freshly smoked straight from the lake. However, hanging dried garlands of fish under the eaves of the houses to preserve the catch is a common tradition all over the country, as there is rarely a lack of fishing spots here.

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Madonna of Maarjamaa. Estonians sometimes call their home country Maarjamaa, even though the name originates from the crusaders who took up the task of conquering the piece of land under the name of Terra Mariana in the thirteenth century.It was adopted locally at some point and become the literary pet name for Estonia during the twentieth century.

The shore of Lake Peipus is dotted with the villages of Old Believers. This form of the Orthodox religion fled here from the Russian authorities to remain true to its principles. One of the most significant nuances in the clothing of the women of the Old Believers was how they tied their headscarves. It was fixed without tying a knot under the wearer’s chin.

The woman in the photo is wrapped n the analogue of one of the most archaic pieces of clothing – a sõba. The sõba used to be a monochrome piece of cloth which may have had decorated edges. In the nineteenth century, however, the checkered pattern became the first choice for these throw blanket like piece of clothing. The love for checkered fabrics is still present in the Estonian aesthetic.

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The nature reflects us and we reflect the nature. As the proverb goes: I am with you as you are with me. Living in harmony with nature is a great joy and the reservoirs of pure air, water, and forests found here a true gift.

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The role of birds in the Finno-Ugric cultural space and religious view of the world, which also includes Estonia, is among the most diverse ones. Their ability to fly has been deemed magic and numerous omens have been associated with the departure of migratory birds: the departure of cranes meant harsher weathers, the departure of geese was said to bring frost, and the departure of swans was a sign of coming snowfall.

Kured läinud, kurjad ilmad, Haned läinud, hallad maas, Luiged läinud, lumi taga.

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< The willow is an important tree in traditional medicine. Its bark lowers the fever and alleviates pain, like natural Aspirin. Using herbs to medicate is still held in high regard in Estonia in general, with more than one hundred actively used medicinal plants and herbs known here.

´My mother went outside and heard a cuckoo, she had not eaten, so she immediately sank her teeth into the bark of a young apple tree. The apple tree dried. She was able to pass her misfortune on to the tree,´ states an old record from one of the island parishes.

> A light meal which should be had before leaving home in spring was often referred to as linnupete, which can be translated as ‘cheating a bird’. As the ancient folk believed that the migratory birds returning in spring were arriving from the beyond, those birds, especially the bird who was heard first in spring, were thought to carry the aura of the land of the dead. Therefore, having a linnupete is a magical ritual which gives strength to the individual and thereby deceives the negative effect brought along from the other side. If linnupete was not consumed,, the potential harm had to be transferred to a growing tree. In order to achieve this, three, but sometimes even as many as nine circles had to be walked around a tree while biting it.

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The high-rising sandy shores found in South-Eastern Estonia and by Lake Peipus provide an ideal home for the sand martin, a protected spieces of the swallow family, which needs a secluded place for nesting. Swallows, especially barn swallows, are the most beloved birds for Estonians. Perhaps some of the birds from the hems of the jacket can also find their home here?

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< In the olden days, when there were no mirrors in people’s homes, our ancestors used to visit water bodies to check their appearances. In addition to being faced with their beauty, they also believed that this provided an opportunity to take a quick look to the other side or even end up there through the mirror-like surface. Namely, the world was believed to be layered back in the day, consisting of the underworld, our world or the above world, and the upper world, and one could easily get from one world to another through an opening in the ground, in the sky, or in a water body. Thus, many reflective surfaces can be found on this photographic journey.

‘Kivi langes südamelt’ (A heavy stone fell off my chest’) – that is what Estonians say when a huge problem suddenly finds a solution.

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> Certain patterns concerning the main characters can often be seen in folk tales. For example, the story of a brother and sister who support one another throughout their complicated lives or assist one another in smallerscale situations, such as in the event of losing their way in a forest while picking berries, are well-known. Estonia is rich for its berry forests, with the supplies here large enough to feed the entire nation. Kõrvemaa is one of such places.

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< Before switching over to urban fashion, the ladies in Northern and Western Estonia used to wear a uniquely shaped bonnet with ribbons, which was referred to as a pottmüts (pot-shaped bonnet) or kabimüts (hoof-shaped bonnet). This work by a local craftsman from almost 100 years ago perfectly blends into the contemporary design, demonstrating the continued aesthetic entwining of different eras.

Many Estonian folk tales also tell the story of an orphan and of the tears spilled over their hardship. As stories with a moral, they always end with the orphans finding happiness in their later lives. On this occasion, jewellery designers have captured the tears and cast them in contemporary accessories.

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< Trees with two, three, and more trunks have always been deemed special. Magical properties have been attributed to them and they have even been seen as natural deities. The cult of two-branched trees runs especially deep in the Finno-Ugric cultural space, which include reindeerherding Khanty, Mansi, and Nenets. For them, the horns of an elk as one of the source symbols of life could be seen in a two-branched tree.

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> The northern coast and parts of the northern shores of the larger islands are fringed by the rigid and angular lace of coastal cliffs. The cliffs are mainly composed of limestone, which is the national rock of Estonia. Modest and grey by nature, it is a wondrous preserver of fossils, forming a rocky book of nature which generously reveals to the observer layers from different eras. Ontika, which rises up to 55 metres above the sea level, is the highest seaside clifftop in Estonia.

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Referring to a mystical natural creature or phenomenon as a fairy was mainly common in northern Estonia. The name was not known in the south, where such creatures were called mothers and fathers or sons and daughters instead, for example metsaisa (‘forest father’) or veteema (‘mother of waters’). Thereat, the fairies or spirits which protected certain places may have been described as beautiful visions as known in Old Europe or rather amorphous creatures blending into the nature. The fairy religion persisted in Estonia until the nineteenth century.

Beads tied around the neck served as the first and holiest form of protection for the women here. Newborn girls had at least one bead tied around their necks immediately to protect them from evil. The beads could be made of stone or metal, but were most commonly from glass. Originally, they were stuck on a piece of string or wire to make a necklace; today, however, more abstract versions can be found.

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< Pleating or kurrutamine reached the Estonian coastal areas, primarily the islands, through the Coastal Swedes who moved to those parts in the thirteenth and fourteenth century. Mostly, wool skirts were pleated, but midriff blouses could be pleated as well. Back in the day, fabric was folded by placing hot bread on it, the weight, humidity, and heat of which beautifully highlighted the crests of the folds which had been basted beforehand. Now, pleating has become one of the most beloved elements of the local design.

<< In addition to the clifftops, the northern Estonian coast was also hemmed by the tradition of floral embroidery. The European fashion, which mostly reached these parts via German tracing patterns, was soon translated into a more naive and abstract language to make the flower garlands on the blouse hems and bonnet edges easier to embroider. Although local blossoms can be found in those patterns, they mainly consist of exotic species: carnations, tulips, pomegranates, etc., with the former also depicted in the hair of the model as a mirror motif.

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> Winter mostly lasts for three months in Estonia, from December to the beginning of March. The coldest period is in January and February when the temperature may sometimes drop below –20 °C. If it remains at –10 °C for more than a week, waterfalls begin to freeze over, forming unprecedented toothy ice castles and chambers under their hanging hems. Jägala is the most grandiose of the waterfalls.

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<< At lake Pühajärv. The snowiest winters are enjoyed in southern Estonia – the forests there are the first to be covered with a white carpet, followed by the countless lakes dotting the dome landscape being capped by ice. While distances are covered on skis in the forest, kicksleds or skates are used on lakes and rivers. The word for ski, suusk, is actually one of the oldest words in the Estonian language, reaching back thousands of years. Curiously, almost all of the sixteen Finno-Ugric languages share the same root of this word.

>> Three drops of blood – this was often the price to be paid for a favour asked from the devil. The blood had to be sacrificed at the crossing of four roads on some magical day of the week, mostly during a full moon on a Thursday night. In order to avoid selling one’s soul, various different clever tricks were sought to cheat the devil instead of sacrificing blood.

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< The most important celestial body, the sun, is called päike or päikene in Estonian, with the -ke and -kene endings making both of them pet names from the linguistic perspective. The word itself, however, is derived from päevakene, which is a pet name used for the day and has gradually been worn down to the aforementioned abbreviated form. This highlights the fundamental role of the sun at this latitude. In winter, our days barely last six hours; in summer, however, they are stretched to almost nineteen hours.

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Holy groves or hiied have shaped the mindsets of Estonians and their understanding of the forests for thousands of years. The word hiis is mostly used to refer to an oak grove, but many other significant trees and groves also used to offer protection, help, or keep the visitor safe. To show gratitude, ribbons and pieces of string were tied to the trees – this custom is still alive to this date. The 700-year-old Tamme-Lauri oak tree in Urvaste is the oldest inhabitant of Estonian forests.

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Heads were primarily covered for protection – protection from evil. Brides were deemed especially vulnerable and their heads were covered by a large linen piece of cloth on the way to the new family on the wedding day, which was known as the kaal or uig, for example, in different regions. It was occasionally pulled over the woman’s eyes so that her face remained barely visible. In order to add special protective magic to to the piece wit could also be decorated with red yarn, especially in the edges, to keep the evil from sneaking in under it.

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Spruces are among the most motherly trees in local folklore. When one was having a hard time or had no place to go, it was a spruce tree that covered them with their branches, providing a home and shelter. The conical shelters called lavvu or teepee, the first house of ancient Estonians, also resembles a spruce tree by its shape.

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> Estonia is considered as the land of five seasons – in addition to summer, autumn, winter, and spring, there is also a fifth one, the so-called flood season, when the marshes and the forest floor get covered with a fabric of water. Soomaa is most famous for its floods, covering roughly 175 km² during most extensive high waters. The name of the place is also well fitted for it – 80% of the surface area of Soomaa, which means ‘swamp land’ in English, is formed by bogs with their swampy surroundings. Floods may occur in very different periods, thus, the fifth season is moving and its arrival always a surprise.

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WINTER FIFTH SEASON

< One of the most colourful characters known in Estonian folk tales is the pisuhänd, tulihänd, or kratt. A kratt is a flying spirit which leaves a long jet of fire behind it; thus, falling stars in the sky were also deemed kratts back in the day. By appearance, it is an animallike creature made of any materials available which was brought to life by magic and could be ordered by its human master to bring home silver, grain, and other treasures.

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In the immediate vicinity of Soomaa, there is Mulgimaa – an area around the town of Viljandi which boasts a powerful cultural heritage. The love for the black outerwear decorated with red ribbons remained strong until the end of the nineteenth century, thus, the people from the area, mulgid or the Mulks, always stood out in the urban environment for their characteristic colour combination and decorations which appeared to imitate looped movement. A more widely known pattern motif – a kaheksakand or an eight-pointed star – can also be found here. The motif was frequently used on various items to ensure good luck.

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> The Estonian sky often features magical displays of colour. Thanks to the northern latitude, the entire rainbow spectrum bleeding all over the horizon appears to colour the sky when the sun goes down or rises. In winter, northern lights can sometimes also add to the show. The rich palette of colours coded in our genes is probably one of the reasons why colours and their delicate use are so strongly accentuated in the works of the local designers.

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Sheep provide wool, but have had, along with other herded animals, an important part to play in shaping the Estonian landscape. Without them, the wooded and coastal meadows with their remarkably rich flora would not have been preserved; the systematic grazing by the animals, though, allows very different plants to reach out to the sun. Up to seventy-six plant species per square metre have been found in the Puhtu-Laelatu wooded meadow in Estonia, which marks the second highest number in the entire world.

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< The Estonian Native horse is one of the very few indigenous breeds still found in the world. The breed is also known as the Klepper, the saarlane, or the Saaremaa horse and is one of the most colourful worldwide. Those horses are also extremely unpretentious and durable.

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>> Springs are especially rich on the largest island of Estonia, Saaremaa. Thanks to the milder, more maritime climate, the flora here is more diverse and flowers bloom longer, covering the forest floor with a colourful carpet. The white blossoms of snowdrops burst out first, and are soon followed by hepaticas and snowdrop anemones. Several different versions of hepatica can be found. Cobalt blue is the most common, but bright pinks, pastel hues and white specimens can also be found in rare forest communities, for example in Kübassaare.

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> Traditional Estonian clothing has mainly been associated with two fibres – linen and wool. Wool has always been one of the best protectors from the cold in these parts of the world, as it is one of the few fibres which can provide warmth even when wet. Wool also has other good features – namely, it is self-cleaning, which has made it one of most sought-after materials on the design scene to this day. For example, wool cut from sheep used to be washed by burying it in the snow, where the cold helped the fibre to extract any dirt.

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> In the middle of spring, under the canopys of still leafless trees wild leek can be found – the plant boasts a high vitamin content and has a nice garlicky taste. Sometimes, the conditions are so favourable for the protected species that they form entire fields, turning the forest floor bright green. Old tales used to be told about walking about in the forest and gathering food. It was important to avoid being cheated or misled. If that happened, though, forest fairies and spirits had to be called for assistance to find the way out.

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< Our ancestors – like those of many other nations – believed that migratory birds use the Milky Way or Linnutee aka birds´ path, as it is known in Estonian, to navigate. According to the beliefs of ancient Estonians, they spent their winters in the land of the dead, bringing dangerous diseases along with them upon their return; thus, they were also referred to as ‘soul birds’. The abundance of the diverse customs associated with migratory birds is understandable, as Estonia is located on an important migration corridor, which hundreds of thousands of pairs of wings constantly travel through.

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According to the Baltic-Finnic lore, the world came to be from a bird´s egg. This story is told in the Estonian, Ingrian, and Karelian runic songs called ‘loomislaulud’ or ‘songs of creation’, according to which there were only the sky and the endless ancient ocean in the beginning, above which the mythical bird Ilmalind (usually a loon, duck, or goose) was looking for a place to nest. Once the bird had found a spot to lay its eggs, the hatched chicks turned into the moon, sun, stars, or some other objects like boulders found in the nature according to the stories.

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Lind akkas pesa pesitama, puuraagu korjama. Sai sii pesa valmis saanud, akkas mune munema; sai niid munad munetud, akkas poegi auduma; sai niid pojad audunud. Akkase neida kasvatama, kasvatama, kangutama; sai niid pojad kasvatud, akkas neida pillama. Ühe pani päevaks peale ilma, teise pani kuuks taevudes, kolmanda kiviks põllu peale.

> For a country of a relatively plane relief, an interesting phenomenon can be found here – there are loads of large single chunks of rock or boulders, called rändrahnud or ‘travelling boulders’ in Estonian. The larger ones, those with a diameter of more than ten metres, are called giant boulders and almost 90% of those found in all of Europe have accumulated in Estonia. The pictured Aavakivi is the largest giant boulder in Saaremaa. As the people of the past did not know how to explain the giant rocks finding their way to the ground and the shores, they were often believed to be holy rocks which marked the sites of carrying out important rituals or leave offerings. The latter are referred to as sacrificial stones and can often be recognised by the small dents which have formed or have been made on the surface of the boulder that were used to place the gifts to the gods.

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> Tussock cottongrass is kind of like Estonian cotton – in the past, people used to pick its stringy buds in the mires and weave them into fabrics. That is why the plant is commonly referred to as the bog mother´s hair. The life cycle of this plant is uniquely similar to that of a human – it lives for about fifty years and only reaches maturity at the age of thirty.

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The closer we move to the islands, the more viable the custom of knitting. The makers of Haapsalu shawls in Lääne County are among the most famous and still knit such delicate throw shawls of thin wool yarn that they can be pulled through a regular ring. As the knitting traditions remain strong, several desiners hold this form of craft in high regard when illustrating their creations.

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< Different regions are represented by different folk instruments. The western coast, primarily the island of Vormsi, has its hiiu kannel or talharpa, which was introduced by the Swedes populating the coastal areas. It is a string instrument with its body made usually of spruce and with horsehair strings and a bow used to create melodies.

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> The diversity of the nature in Western Estonia can leave anyone speechless, especially in spring, when the meadows are full of wild blooms. The lush blossoms of the anemones around Lihula and Kirbla offer a special sight to behold, for example. They are soon followed by mesmerising wild orchids.

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>The apple tree was one of the most beloved holy trees based on the written records of the Estonian folklore, whose embrace was sought to calm the heavy heart or who was decorated with bridal outfits in Mulgimaa in spring, for example. Apple trees largely only found their way to the gardens of Estonian peasantry from manors and monasteries in the nineteenth century, which does not mean, however, that the tree was unknown to locals before, as Estonia lies on the northern border of the wild apple tree population. The specimens are more frequently found on the Estonian islands with a milder climate.

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Estonia is so far up north that the golden hour really does last for an entire hour or even longer. Sometimes it feels as if the sun is never going down and as if the days in the summer linger from one golden hour into another, gently stroking the blooming cheeks of nature.

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The words ‘kiri’ and ‘kirjutama’ meaning accordingly a letter and to write have been used in the context of embroidery or knitted patterns in Estonian much longer than in the context of academic education, so the viability and subtlety of those inherited skills is only natural. The most iconic is the flower embroidery from Muhu, the third largest island of Estonia, which is unique for its lush, colourful, and botanical style. The use of wool yarns allows blending the colours of the blossoms together like in a painting.

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> Even though the occupation of a coastal fisherman is a quickly disappearing one, there are still those who take their boat out to sea every day to catch food. Some even still use old wooden boats.

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< The girl’s dress is embroidered with the family tree motif. The symbol was mainly common in Western Estonia, but also reached other areas, symbolising family luck and wishes coming true according to the ancient customs. The family tree, which may be considered the predecessor of the floral embroidery, was also a common decoration on older wedding blankets. The supplementary weft float brocading technique was mainly applied in Lääne County and the trees tended to be quite lifelike. On the small island of Muhu, the heritage of which is among the longeststanding and most viable in Estonia, the cross-stitch was used instead and the trees emerged quite fantastical. In order to help the dreams come true, the motif of an eightpointed star or the ‘männamotiiv’, as it was known in Muhu, was used to decorate the top of the family tree. On this occasion, however, this motif has found its place on the shawl worn over the shoulders.

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Silver has been deemed a magical protective metal, which is why people intentionally wore silver jewellery. The purifying and antibacterial effect of silver ions has actually found scientific proof now, confirming what our ancestors already knew based on a cognitive and experiential level. Those berries of the holy juniper bush cast in silver only add to the power of the jewellery. This bush is mainly believed to have supernatural powers: juniper smoke was regarded purifying and its berries were considered to treat nine different diseases.

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< Estonians are a singing nation. The singing tradition dates back a long time and tens of thousands of people still gather once in every few years for song festivals. The swing used to be one of the most common places for gathering and singing together. That is why there is also a special type of songs called swing songs, the rhythms of which sometimes followed the movement of a large swing or included repetitions in the ends of the verses which referred to such movements.

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> The heritage of the island of Muhu is easy to recognise. In addition to the abundant, even excessive patterns, certain colour preferences have also clearly been shaped there. The legendary yellow of Muhu is supported by bright pink and ‘golden red’ or orange, which were usually placed side by side to amplify the colours. The people of Muhu can still be unmistakeably recognised based on those colour combinations. While the custom of wearing the national dress on a daily basis faded away in Muhu in the 1960s, the people of the small isle of Kihnu in South-Western Estonia still wear their national dress on a daily basis even now.

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> Junipers characterise the signature landscapes of the islands of Muhu, Saaremaa, and Hiiumaa. Their sturdy nature also makes them a good representation of the people residing there. The junipers found on alvars are perhaps the most special, as the challenging habitats found there can be compared to the steppe or tundra to some extent. Nevertheless, those clifftop areas may sometimes boast a very rich amount of different species. One third of all alvars found in the world are located in Estonia.

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The word soo, which stands for watery land covered in peat moss, is believed to be one of the most ancient words in Estonian language which may have even been used by people of the Stone Age almost 7,000 years ago. There is a good reason for this – while mires cover roughly 3% of the entire dry land on this planet, Estonia is in second place after Finland globally by the extent of its territory covered by mires. The oldest mires are referred to as raised bogs.

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> Mires and raised bogs are often framed by mossy and lichen-rich forests. The deeper towards the heart of a bog, the cleaner the surroundings. A mire is an acidic environment and the lichen cultures found there, especially the peet moss, are almost sterile, thus it may be even used to close a bleeding wound.

> One could have come across a mermaid in the primeval nature. They were usually found sitting by water bodies and alluring the observers with their magical beauty... sometimes they even took people back to the depth of the waters with them.

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The largest permanent residents found in boggy areas, trees, are usually either pines or birches. Pine trees cope there thanks to their tendency to prefer acidic soils, which are offered freely by boggy areas. The birch, the pioneer of trees, can grow in various different conditions, including in swampy meadows or even in bogs. In spite of their respectful age, many of the trees growing in the nutrient-deficient soil barely reach the size of a bonsai tree.

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>> Karstic areas are commonly found in the regions where the ground conceals easily soluble rocks, such as limestone or dolomite, which are affected by the water finding its way into the ground. If such an effect is longlasting, cave systems may be formed in the rock, the ceilings of such caves may then collapse, leaving various dips in the ground where the rainwater can easily absorb and reach groundwater via gaps and grooves. Kostivere boasts unique mushroom cliffs, which have formed as a result of collapsed karstic areas.

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>> There is no granite in Estonian surface layers, yet, our coastline, as well as some forest floors and fields, are dotted with boulders. They were carried here from Scandinavia during the Ice Age 10,000 years ago and were left behind when the glacial ice melted. The Estonian name for a boulder, rändrahn or ‘a travelling boulder’, comes from the fact that those boulders travelled far away from their place of origin due to the moving of the icecap.

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> The silence of nature and vacant space are easy to find in Estonia. From the global perspective, Estonia is a small country, placed 130th in the world based on its surface area. The population density of 32 people per 1 km2, however, easily leaves room for the slightly more than one million people residing here to find refuge in the nature. The sea also holds a significant place in experiencing the latter, as the coastline of mainland Estonia is a total of 1,242 km long. Adding the circumferences of all of the islands, the coastline extends to 3,793 km, in total. In addition to the sea, there is also more than a hundred kilometres of the shore of the large Lake Peipus east of Estonia. The tight connections with water, but especially the sea, have developed an active seafaring culture, which has birthed masterful shipbuilders and brought home various different innovations from faraway lands.

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> Nature is not only a beloved place for spending leisure time and a wondrous pantry of pure food for Estonians, but also has its say in the design language. Wooden frames for eyeglasses, dried moss decorations for hats, jewellery moulds inspired by berries – they all allow the wearer to take a small piece of the charm of the forests along with them where ever they go. Many local designers have adopted this aesthetic and use the constant reminders of nature in their work. >> Pines and spruces are the resin providers of the forests found here. The sap of the latter is primarily collected for medicinal purposes and used in various ointments and creams, which are good for anything from healing wounds to alleviating inflammation. Taking a walk in a pine grove, though, gives one the chance to breathe especially clean air, as the substances emitted by those trees have antibacterial properties.

SUMMER

< Checkered fabrics arrived in Estonia via the northern coast, which was tightly connected to the rest of the world via maritime routes. They were quickly approved by the locals and, in the second half of the nineteenth century, a fully check-patterned frock referred to as kaapotkleit became popular around Tallinn, shaping the last so-called traditional clothing in the area. Hence the amplified presence of checks in contemporary fashion.

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The space under pine trees, which are also referred to as pedajad in Estonian, is wonderfully spacious and bright. Such places are an ideal habitat for many wild berries and mushrooms. In summer, nature provides the gift of wild strawberries, wild raspberries and blueberries. In autumn, however, the moors are painted red by lingonberries and the mires by cranberries. The mushroom season follows soon, and many Estonian consider picking them a very meditative act.

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11_ Blouse MARIT ILISON / Jewellery TANEL VEENRE 12 _ Dress MARIT ILISON / Jewellery TANEL VEENRE / Shoes SAMELIN 13 _ Jewellery TANEL VEENRE 14 _ Jumpsuit MARIT ILISON / Jewellery TANEL VEENRE 15 _ Coat MARIT ILISON / Jewellery TANEL VEENRE 16 _ Suit MARIT ILISON / Jewellery SIGRID KUUSK/ Hat ADRIKORN ARTEFACTS/ Bag STELLA SOOMLAIS 18-19 _ Dress MARIT ILISON/ Jewellery TANEL VEENRE 23 _ Dress and coat MARIT ILISON / Jewellery TANEL VEENRE 24 _ Suit STUDIO AUGUST / Jewellery CLAUDIA LEPIK and SIGRID KUUSK/ Hat ADRIKORN ARTEFACTS 25 _ Dresses LILLI JAHILO / Jewellery SIGRID KUUSK/ Bag STELLA SOOMLAIS 26 _ Jacket and dress EVE HANSON / Jewellery CLAUDIA LEPIK and SIGRID KUUSK/ Hat ADRIKORN ARTEFACTS/ Shoes SAMELIN 27 _ Jacket and dress EVE HANSON / Jewellery CLAUDIA LEPIK and SIGRID KUUSK/ Hat ADRIKORN ARTEFACTS 28 _ Clothes MARIT ILISON / Jewellery TANEL VEENRE 29 _ Clothes MARIT ILISON / Jewellery CLAUDIA LEPIK and SIGRID KUUSK 30 _ Dress LILLI JAHILO / Jewellery SIGRID KUUSK 33 _ Clothes MARIT ILISON / Jewellery TANEL VEENRE 36 _ Dress and jewellery TANEL VEENRE 37 _ Coats MARIT ILISON / Jewellery TANEL VEENRE 39 _ Dress and jewellery TANEL VEENRE 40 _ Dresses LILLI JAHILO / Jewellery SIGRID KUUSK and TANEL VEENRE 41 _ Dresses LILLI JAHILO 43 _ Dresses LILLI JAHILO / Jewellery TANEL VEENRE 44 _ Clothes EVE HANSON/ Jewellery TANEL VEENRE/ Shoes SAMELIN 45 _ Dress EVE HANSON/ Jewellery TANEL VEENRE/ Shoes SAMELIN 46 _ Clothes STUDIO AUGUST / Jewellery CLAUDIA LEPIK 49 _ Clothes STUDIO AUGUST / Jewellery CLAUDIA LEPIK/ Hats ADRIKORN ARTEFACTS/ Shoes SAMELIN 50 _ Clothes EVE HANSON / Hat ADRIKORN ARTEFACTS/ Shoes SAMELIN 51 _ Clothes STUDIO AUGUST / Jewellery CLAUDIA LEPIK/ Hat ADRIKORN ARTEFACTS 54 _ Top POHJANHEIMO / Jewellery SIGRID KUUSK 56 _ Jacket MARIT ILISON / Trousers KRISTEL KUSLAPUU/ Throw blanket KELPMAN TEXTILE/ Jewellery SIGRID KUUSK/ Hat ADRIKORN ARTEFACTS/ Shoes SAMELIN 57 _ Knit jacket KRISTEL KUSLAPUU/ Knit top LIISA SOOLEPP/ Bag STELLA SOOMLAIS 58-59 _ Clothes MARIT ILISON 60 _ Throw blanket KELPMAN TEXTILE/ Knit top LIISA SOOLEPP 61 _ Scarves KELPMAN TEXTILE/ Jewellery MYAMOON/ Hat ADRIKORN ARTEFACTS 62-63 _ Throw blanket KELPMAN TEXTILE/ Hat ADRIKORN ARTEFACTS 65 _ Coat POHJANHEIMO/ Lingerie MARC&ANDRÉ / Jewellery MYAMOON/ Hat ADRIKORN ARTEFACTS 66 _ Coat and trousers POHJANHEIMO/ Lingerie MARC&ANDRÉ/ Jewellery MYAMOON/ Hat ADRIKORN ARTEFACTS 68 _ Jacket POHJANHEIMO/ Jewellery MYAMOON / Ceramics ARRO PORCELAIN/ Shoes SAMELIN 69 _ Clothes POHJANHEIMO/ Jewellery SIGRID KUUSK / Hat ADRIKORN ARTEFACTS / Shoes SAMELIN 70-71 _ Ceramics ARRO PORCELAIN 72 Coat _ TRIINU PUNGITS/ Knit LIISA SOOLEPP/ Jewellery LUMINÉE 73 Coat _ TRIINU PUNGITS/ Knit MITHIO/ Jewellery KAIA SAARNA/ Hat ADRIKORN ARTEFACTS 74 _ Clothes LIISA SOOLEPP/ Jewellery KAIA SAARNA/ Hats KRISTEL KUSLAPUU/ Bag STELLA SOOMLAIS/ Shoes SAMELIN 75 _ Clothes TRIINU PUNGITS/ Jewellery KAIA SAARNA/ Shoes SAMELIN 77 _ Knits TRIINU PUNGITS/ Trousers STUDIO AUGUST/ Jewellery KAIA SAARNA 78 _ Dress LIISA SOOLEPP/ Jewellery KAIA SAARNA/ Knitted hat KRISTEL KUSLAPUU/ Shoes SAMELIN 79 _ Knit MITHIO/ Jewellery KAIA SAARNA 80-81 _ Clothes LIISA SOOLEPP 84 _ Dress MARIMO/ Jewellery FRONT 85 _ Clothes POHJANHEIMO/ Hat MARI MASSO/ Bag GERDA RETTER/ Shoes SAMELIN

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86 _ Jacket STUDIO AUGUST/ Knit POHJANHEIMO/ Jewellery MYAMOON/ Glasses FRAMED BY KARL/ Hat MARI MASSO 87 _ Jacket and skirt STUDIO AUGUST/ Knit POHJANHEIMO/ Jewellery MYAMOON/ Glasses FRAMED BY KARL/ Hat MARI MASSO/ Bag STELLA SOOMLAIS/ Shoes SAMELIN

SEASON

8-9 _ Dress MARIT ILISON

88-89 _ Coat MARIMO/ Knit MITHIO/ Jewellery MYAMOON/ Glasses FRAMED BY KARL/ Hat MARI MASSO 90 _ Top and skirt STUDIO AUGUST/ Knit POHJANHEIMO/ Hat MARI MASSO 91 _ Knit MITHIO/ Jewellery MYAMOON/ Hat MARI MASSO 92 _ Dress MARIMO/ Jewellery MYAMOON/ Shoes SAMELIN 93 _ Dress MARIMO/ Jewellery MYAMOON 94 _ Clothes RAILI NÕLVAK/ Jewellery FRONT/ Hat MARI MASSO 96-97 _ Dress MARIMO/ Jewellery MYAMOON/ Bathtub BALTECO 99 _ Dress MARIMO/ Jewellery MYAMOON 100-101 _ Clothes MARIMO/ Jewellery and bags GERDA RETTER/ Hat MARI MASSO 102 _ Throw blanket KELPMAN TEXTILE/ Knit MITHIO/ Jewellery FRONT/ Hat MARI MASSO 103 _ Throw blanket and scarf KELPMAN TEXTILE/ Trousers and coat EVE HANSON/ Knit MITHIO/ Jewellery FRONT/ Hat MARI MASSO/ Shoes CERVO VOLANTE 105 _ Clothes LILLI JAHILO 106 _ Clothes STUDIO AUGUST/ Glasses FRAMED BY KARL/ Bag GERDA RETTER 107 _ Coats KELPMAN TEXTILE/ Trousers EVE HANSON/ Knit MITHIO/ Shoes CERVO VOLANTE 108-109 _ Clothes POHJANHEIMO/ Jewellery SIGRID KUUSK/ Shoes CERVO VOLANTE 110 _ Clothes POHJANHEIMO/ Jewellery CLAUDIA LEPIK 112 _ Clothes and shoes TRIINU PUNGITS/ Jewellery FRONT/ Bag PIRET LOOG 113 _ Clothes TRIINU PUNGITS/ Jewellery FRONT 114 _ Clothes and shoes TRIINU PUNGITS/ Bag PIRET LOOG 115 _ Knits MITHIO/ Bags PIRET LOOG 116 _ Jacket POHJANHEIMO/ Knits LIISA SOOLEPP/ Jewellery LUMINÉE / Bag PIRET LOOG 117 _ Dress POHJANHEIMO/ Jewellery SIGRID KUUSK/ Shoes CERVO VOLANTE 118 _ Clothes and shoes TRIINU PUNGITS 122-123 _ Throw blanket ELLU SALLID/ Hat ADRIKORN ARTEFACTS 124 _ Throw blankets ELLU SALLID/ Jumpsuit MARIMO/ Jewellery LISA KROEBER/ Hat ADRIKORN ARTEFACTS/ Shoes SAMELIN 125 _ Scarf ELLU SALLID/ Dress TIINA TALUMEES/ Jewellery LISA KROEBER/ Hat ADRIKORN ARTEFACTS/ Shoes RIINA PÕLDROOS 126 _ Clothes and earrings TIINA TALUMEES/ Bracelets LISA KROEBER/ Hat ADRIKORN ARTEFACTS/ Bag PIRET LOOG 128-129 _ Dresses RIINA PÕLDROOS/ Jewellery LISA KROEBER/ Hats ADRIKORN ARTEFACTS 132 _ Clothes RIINA PÕLDROOS/ Jewellery LISA KROEBER 133 _ Clothes RIINA PÕLDROOS/ Jewellery LISA KROEBER/ Hat ADRIKORN ARTEFACTS 134 _ Dress and bags TIINA TALUMEES/ Jewellery LISA KROEBER/ Belt ANU TERA/ Hat ADRIKORN ARTEFACTS/ Shoes RIINA PÕLDROOS 135 _ Clothes RIINA PÕLDROOS/ Jewellery LISA KROEBER/ Hat ADRIKORN ARTEFACTS 136-137 _ Dress KARL KORSAR/ Jewellery LISA KROEBER 138-139 _ Dress RIINA PÕLDROOS/ Jewellery LISA KROEBER 141 _ Dresses RIINA PÕLDROOS/ Jewellery LISA KROEBER 142 _ Dress KARL KORSAR/ Jewellery LISA KROEBER 143 _ Blouses and vests RAILI NÕLVAK/ Trousers HANNA KORSAR/ Jewellery LISA KROEBER/ Bags CRAFTORY/ Hats ADRIKORN ARTEFACTS/ Shoes KARL KORSAR 145 _ Dress and jewellery TIINA TALUMEES/ Shoes RIINA PÕLDROOS 147 _ Carpet as throw blanket MONIKA JÄRG/ Top TIINA TALUMEES/ Trousers STUDIO AUGUST/ Jewellery LISA KROEBER/ Hat ADRIKORN ARTEFACTS 148 _ Dress HANNA KORSAR 149 _ Dresses KRISTINA VIIRPALU/ Jewellery and belt ANU TERA/ Shoes CERVO VOLANTE 150 _ Jumpsuit KRISTINA VIIRPALU/ Jewellery and belt ANU TERA 152-153 _ Dress HANNA KORSAR/ Jewellery and belt ANU TERA/ Hat ADRIKORN ARTEFACTS/ Shoes CERVO VOLANTE 154 _ Dress HANNA KORSAR/ Hat ADRIKORN ARTEFACTS 155 _ Clothes HANNA KORSAR 156 _ Top HANNA KORSAR and KARL KORSAR/ Jewellery LUMINÉE 157 _ Top HANNA KORSAR and KARL KORSAR/ Jewellery LUMINÉE 158 _ Top HANNA KORSAR and KARL KORSAR/ Slip dresses and jewellery HANNA KORSAR 161 _ Suit KRISTINA VIIRPALU/ Jewellery ANU TERA/ Hat ADRIKORN ARTEFACTS 162 _ Suit KRISTINA VIIRPALU/ Jewellery ANU TERA/ Hat ADRIKORN ARTEFACTS/ Bag CRAFTORY/ Shoes CERVO VOLANTE

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159 _ Top HANNA KORSAR and KARL KORSAR/ Slip dresse and jewellery HANNA KORSAR

164-165 _ Clothes TIINA TALUMEES/ Jewellery ANU TERA/ Hats ADRIKORN ARTEFACTS/ Bags CERVO VOLANTE 166-167 _ Dress KRISTINA VIIRPALU/ Jewellery ANU TERA/ Hat ADRIKORN ARTEFACTS 168-169 _ Top AMANJEDA by KATRIN KULDMA 170 _ Jacket AMANJEDA by KATRIN KULDMA/ Body KRISTINA VIIRPALU/ Jewellery KAIA SAARNA 171 _ Jacket AMANJEDA by KATRIN KULDMA/ Body KRISTINA VIIRPALU/ Jewellery KAIA SAARNA/ Hat TANEL VEENRE/ Shoes CERVO VOLANTE 172 _ Bra KRISTINA VIIRPALU/ Jewellery KAIA SAARNA/ Gloves ALDO JÄRVSOO/ Bag CRAFTORY/ Shoes SAMELIN 173 _ Top RIINA PÕLDROOS/ Jewellery KAIA SAARNA/ Cosmetics BERRICHI 174 _ Throw blanket ELLU SALLID/ Dress AMANJEDA by KATRIN KULDMA/ Jewellery KAIA SAARNA 175 _ Dress AMANJEDA by KATRIN KULDMA/ Jewellery KAIA SAARNA 176 _ Dress ALDO JÄRVSOO 179 _ Dress AMANJEDA by KATRIN KULDMA/ Jewellery KAIA SAARNA/ Bag CRAFTORY/ Shoes CERVO VOLANTE 180-181 _ Dress LILLI JAHILO/ Throw blanket ELLU SALLID 183 _ Dress RIINA PÕLDROOS/ Jewellery KAIA SAARNA/ Gloves ALDO JÄRVSOO/ Hat TANEL VEENRE 184-185 _ Clothes ALDO JÄRVSOO/ Hat TANEL VEENRE 187 _ Caplet ALDO JÄRVSOO/ Neckerchief TANEL VEENRE 188 _ Caplet ALDO JÄRVSOO/ Jewellery HYRV/ Hats TANEL VEENRE 189 _ Dress, trousers and hats TANEL VEENRE/ Caplet ALDO JÄRVSOO/ Jewellery HYRV 190-191 _ Clothes KRISS SOONIK/ Jewellery MYAMOON/ Glasses FRAMED BY KARL/ Shoes SAMELIN 192 _ Clothes KRISS SOONIK/ Jewellery MYAMOON/ Glasses FRAMED BY KARL 193 _ Clothes KRISS SOONIK 194 _ Clothes and shoes KRISS SOONIK/ Jewellery MYAMOON 195 _ Dress KRISS SOONIK/ Jewellery MYAMOON/ Interior textile MONIKA JÄRG 196 _ Clothes KRISS SOONIK/ Jewellery MYAMOON/ Gua Sha stones BERRICHI 198 _ Dress KETLIN BACHMANN/ Jewellery HYRV 199 _ Dress KETLIN BACHMANN/ Jewellery HYRV 200-201 _ Dress KETLIN BACHMANN/ Jewellery HYRV 202 _ Lingerie KRISS SOONIK/ Jewellery HYRV 203 _ Jewellery HYRV/ Bathtub BALTECO 204-205 _ Lingerie KRISS SOONIK 207 _ Suit AMANJEDA by KATRIN KULDMA/ Shoes UNCLE PAUL/ Chair BORG 208 _ Suit and shirt AMANJEDA by KATRIN KULDMA/ Shoes UNCLE PAUL/ Chair BORG 209 _ Clothes AMANJEDA by KATRIN KULDMA/ Bag CRAFTORY/ Shoes UNCLE PAUL 210-211 _ Clothes AMANJEDA by KATRIN KULDMA/ Jewellery HYRV/ Hat ADRIKORN ARTEFACTS/ Shoes UNCLE PAUL 213 _ Shirt AMANJEDA by KATRIN KULDMA/ Glasses FRAMED BY KARL 214 _ Suit AMANJEDA by KATRIN KULDMA/ Shoes UNCLE PAUL 215 _ Jumpsuit KETLIN BACHMANN/ Suit and sweatshirt AMANJEDA by KATRIN KULDMA/ Jewellery HYRV/ Ceramics ARRO PORCELAIN 216 _ Jumpsuit KETLIN BACHMANN/ Jewellery HYRV/ Ceramics ARRO PORCELAIN 217 _ Suit and sweatshirt AMANJEDA by KATRIN KULDMA/ Shoes UNCLE PAUL 218 _ Dress KETLIN BACHMANN/ Jewellery HYRV/ Hat ADRIKORN ARTEFACTS

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219 _ Clothes KETLIN BACHMANN/ Jewellery HYRV/ Shoes SAMELIN

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163 _ Suit KRISTINA VIIRPALU/ Jewellery ANU TERA/ Hat ADRIKORN ARTEFACTS/ Bag CRAFTORY/ Shoes CERVO VOLANTE

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