November, 2024
The Story of WOH x Diivan Magazine
In November, Silvia Pärmann from an Estonian interior design magazine “Diivan”, chatted with WOH’s designer Margot Vaaderpass about her story as a designer and the plans with WOH. Below is a digest of the original interview that was published in the November issue of Diivan.
Margot Vaaderpass’s Design Philosophy: New Technologies, Old Values
Margot Vaaderpass is one of Estonia's most renowned designers, driven by a profound interest in sustainability, materials, and technological innovations. Her design expertise has shaped her own brand, WOH, as well as other Estonian brands, including the legendary Ivo Nikkolo. We sat down with Margot to discuss her journey in the design world, the challenges she has faced, and how sustainable values and technology have
You’ve worked with the Ivo Nikkolo brand for years — a brand with a long history and a firm position in Estonia's fashion landscape. How has the legacy of such a legendary brand and its business strategies shaped your own design approach?
Working at Ivo Nikkolo taught me to view design as a task to be solved. I had the privilege of working with the brand during a pivotal time, under the mentorship of the legendary fashion designer Eve Hanson. My initial entry into the brand was an internship, but it was a deliberate choice. Even before joining, I felt a connection with its values. Later, life presented me with the challenge of giving Ivo Nikkolo a new direction and purpose. In both instances, I couldn’t rely solely on my personal taste, which helped me grow not only as a designer but also as a leader.
What were the biggest challenges you faced in this role?
When I was younger, the challenge seemed to lie in balancing the brand’s signature style with my personal vision. Later, as my role in the company grew, I realized that the real challenges were tied to numbers and strategy.
Did this experience inspire your decision to pursue studies in London, or would that have happened regardless?
I wouldn’t say my studies in London would have happened anyway. That decision required a certain spark — a desire to explore new directions — and the support of those close to me. I began my internship at Ivo Nikkolo in 2013 after completing my bachelor’s degree. Over the years, I worked with other Baltika brands and, starting in 2016, co-designed for Ivo Nikkolo with Britta Laumets. While it felt like I had "arrived," I also sensed the need to broaden my perspective further. My time in London wasn’t easy, but it provided knowledge and experiences that continue to shape my work today.
How do you choose designers to collaborate with? Does working with other designers bring new directions and ideas to the WOH brand?
The key criteria for collaboration are professionalism and shared values. Seamless communication is a significant advantage. At WOH, we haven’t actively sought external designers for collaboration. However, our product range does include a hanging solution for clothes designed by Johanna Tammsalu, which won the BRUNO design award in 2016. Its style aligns with WOH’s brand, and acquiring the production and sales rights came at a perfect time.
Are there plans to bring more designers into WOH? Small, single-designer studios face many challenges. Do you think we’ll see more mergers on the Estonian design scene in the coming years?
There are indeed many challenges for single-designer studios, and not everyone finds them motivating. Therefore, I believe we’ll see more mergers in the future. Currently, WOH doesn’t have plans to expand its design team but envisions adding support for other activities. That said, involving more designers isn’t off the table.
How do you see the WOH brand evolving? What are your visions and goals for its design and business development?
On one hand, we aim for growth — reaching more people and markets and expanding our product range. We plan to diversify into new categories, staying within the realm of interiors while exploring home textiles and other imaginative possibilities. On the other hand, we want to remain true to our principles. We aim to create items that improve and beautify our customers’ lives through Nordic minimalism. This includes designing thoughtful, high-quality products that are truly needed and carry sustainable values.
Technology plays an increasingly significant role in the design process. How have you integrated technological solutions into your work, and how do they help realize your design vision?
We increasingly use new technologies in both design and production processes. For example, we start by 3D modeling new ideas and printing prototypes. Many of WOH’s products involve technologies that transform soft technical felt into durable, functional, and visually striking interior items. For hangers, we’ve even developed custom solutions, such as a unique mechanism for attaching hooks. We also use robotic water-jet cutting for precision shaping. I believe leveraging or developing new technologies enables smart and visually intriguing solutions.
Where do you envision your brand in ten years?
I see WOH offering an even broader range of high-quality, essential, and sustainable interior items and textiles. We aim to expand beyond Estonia and collaborate with major retailers who share our values.
In which countries or prominent interiors have WOH products made their mark?
WOH products are featured in numerous restaurants and cafés across Estonia, as well as in hotels like Maidla Resort and Hektor Container Hotel. Many Estonian fashion brands, including Lilli Jahilo, Mare Kelpman, Woolish, and Alpaka, use WOH hangers. Our clients also include companies prioritizing sustainable and local design, such as Elering, Liven, and Tallinna Kaubamaja’s women's department.
WOH products have reached various countries through fashion brands, private clients, and embassies across Europe and further afield, including Japan and the United States.
Climate change has already brought significant shifts to fashion design, from legislation to consumer attitudes. How did you adapt to these changes, and how have they influenced your creative direction?
Sustainable fashion design has fascinated me since I first entered the field. Even my graduation project focused on this topic and reflected the knowledge I had at the time. Over the past decade, I’ve come to understand that sustainability is the way forward. While raising the issue, I’ve encountered both acknowledgment of its importance and resistance to taking action. I’m glad that we’re now entering a time when we can discuss sustainability without being labeled as radicals or activists.
Are these topics equally relevant in product design?
Environmental consciousness is crucial in product design and every manufacturing sector. However, in Estonia, it’s particularly pressing in the textile industry due to upcoming regulations. I believe that the transformative changes that will truly impact the industry are still ahead.
Sustainable design is a constantly evolving field. Which new trends and solutions related to sustainability interest you the most?
As both a product and fashion designer, I’ve always been fascinated by materials—where they come from, their properties, and their lifecycle after use. Recently, I’ve delved into ESG (Environmental, Social, and Governance) topics. I’ve started an Executive Education course at Estonian Business School focusing on sustainability from the perspectives of business, regulations, and leadership.
In 2020, WOH won the Red Dot Product Design Award. How important was this recognition for your brand, and how did it affect your position in the international market?
First and foremost, it was a significant acknowledgment for me and my brand, boosting our confidence to continue innovating in product and interior design. Only a few Estonian-designed products have received this prestigious recognition, placing us in the company of esteemed creators. This award garnered significant media attention and, given its reputation within design circles, enhanced the credibility of our brand.
Did it also reflect in sales figures or the acquisition of new key partners?
It’s challenging to pinpoint a direct correlation, but it certainly sparked a positive impact on sales.
