In response, 2017’s discourse around Tom of Finland matured. Scholars and activists pointed out that Tom’s masculinity was a camp performance—so exaggerated as to be absurd. The leather cop in a Tom drawing is not an agent of state repression; he is a sexual fantasy who exists only for the pleasure of other men. Furthermore, Tom’s work was inherently democratic. He drew men of all ages and body types (though always muscular), and his influence directly fueled the leather and BDSM subcultures that pioneered safe-sex practices during the AIDS crisis. The 2017 centennial argued that Tom’s world was not a precursor to Andrew Tate-style misogyny, but a queer utopia where masculinity was a costume to be put on and taken off at will.
The most surreal—and telling—event of 2017 occurred not in the art districts of West Hollywood, but at the post offices of Helsinki. On September 8, 2017, Posti , the Finnish postal service, issued three Tom of Finland stamps. The designs featured a self-portrait of Laaksonen and two of his iconic leather-clad characters. The reaction was a perfect microcosm of the culture wars of the late 2010s. Conservative politicians in Finland fumed, claiming the state was endorsing pornography. Yet the public response was overwhelmingly positive, with the stamps selling out in record time. tom of finland -2017-
The 2017 revival did not occur in a vacuum. It coincided with the rise of the #MeToo movement and an intense cultural debate about masculinity, power, and consent. Critics on the left occasionally questioned Tom’s aesthetic: was his celebration of the “male animal” simply a replication of toxic, patriarchal power structures? Were his depictions of uniformed authority figures (cops, soldiers) politically problematic in an era of police brutality and militarism? In response, 2017’s discourse around Tom of Finland
This official state endorsement was staggering. For decades, Finland had a complicated relationship with its most famous erotic artist. Laaksonen, a former army officer, had to send his work abroad to be published, as Finland’s anti-gay laws remained on the books until 1971. To see his art on a postage stamp—a symbol of national pride and civic order—represented a complete reclamation. Finland was no longer apologizing for Tom; it was claiming him as a national treasure, a cultural export on par with Alvar Aalto and Jean Sibelius. The stamp release turned Tom of Finland into a household name in his homeland, a status he never achieved in life. Furthermore, Tom’s work was inherently democratic
Pekka Strang delivered a haunting performance as Laaksonen, depicting him as a World War II veteran whose wartime experiences—shooting Soviet soldiers and witnessing death—informed his later obsession with powerful, uniformed men. The film showed Tom not as a hedonistic provocateur, but as a shy, chain-smoking graphic designer by day who built a fantasy world at night to escape the crushing loneliness of 1950s Helsinki. It highlighted his decades-long love affair with his partner, Veli “Nipa” Mäkinen, a relationship that provided domestic stability while his art ran wild. By humanizing Tom, the 2017 biopic ensured that the man was not lost in the mythology of his own creation. Audiences left understanding that the hyper-masculine posturing on paper was a form of therapy, a tool for survival.
In the annals of art history, few figures have navigated the treacherous waters from underground pariah to mainstream veneration as swiftly and triumphantly as Touko Laaksonen, better known as Tom of Finland. While his pencil first sketched hyper-masculine, well-endowed men in the 1950s, it was the year —the centennial of his birth—that served as the definitive inflection point. In 2017, the world did not just remember Tom of Finland; it canonized him. From the hallowed galleries of the Museum of Contemporary Art in Los Angeles (MOCA) to a postage stamp issued by the Finnish government, 2017 marked the year the leather daddy finally stepped out of the darkroom and into the global cultural pantheon.