Paul Kutchinsky's ambition to create the world's largest jeweled egg was driven by a desire to showcase British craftsmanship on a global stage, competing with the legendary Faberge eggs.
Stephan Hohmann articulates, "As a traditional brand with a strong identity, we are constantly navigating between authenticity and relevance. We seek dialogue with individuals who share our values to reinterpret them in innovative ways."
Textiles are a window into the communities that created them, with every motif and line signalling a different memory, tradition or identity. Often seen as folk art, these pieces of embroidery and weaving bring together dozens of narrative threads, from Japan to South America. But nowhere is it more fraught with meaning than in Palestine.
The question of how fashion is archived - what enters the museum; what is deemed worthy of preservation; whose clothes are considered culturally significant enough to outlast the bodies that wore them - has long sat uneasily at the centre of fashion history itself. Institutions have tended to answer it, or ignore it, in much the same way: couture gowns under glass, luxury garments mounted on conservation-grade mannequins in blockbuster exhibitions - an implicit hierarchy of the designed over the worn, the authored over the anonymous.
Despite having to haul a dozen dumpster-loads of damaged goods out of the offices and the nearby Lab Store, to the tune of $1.5 million, Eileen said at the time, 'It was just stuff.' You can only imagine the emotions that might arise in a chief executive if they saw their sewage-soaked products floating by. Eileen and her staff did not linger there. They mobilized quickly-organizing carpools, impromptu meeting spaces, and arranging interest-free loans for staff needing cash during the crisis.
Crocheting started as a pandemic hobby. My background is all creative. I have several design degrees and yearned for a creative outlet that was away from a computer screen.
Making pojagi was a way of "economizing resources," and also "an act of affection," explains artist-fashion designer Christina Kim of Remodelista longtime favorite Dosa. Shown here: Dosa's cotton and silk Pojagi Scarves are "both a reminder of Christina's childhood in Korea and a beautiful expression of traditional recycling"-and would work well on a wall or in a doorway.
Suspended within the exhibition space, the piece occupies the room with a soft mass of red and white textiles. Dense embroidery traces arteries and vessels across the surface, while clusters of beads and pearls gather along the contours. Even with this ambitious new scale, it maintains the tactile intimacy of Shin's smaller works.
The artist is best known for her dense, visionary ink drawings on calico and postcards. She believed her intricate compositions were guided by a spiritual entity she called "Myrninerest," which she described as an unseen collaborator. Only a small number of her textile works are known to survive, with examples held in institutions including the Whitworth Art Gallery in Manchester, England and the Collection de l'Art Brut in Lausanne, Switzerland.
What if I took my design lens and built out my essentials capsule for the Everlane customer? I felt like that would be a really amazing opportunity for me to introduce myself as a designer to an audience outside of EB Denim.
In the early 19th century, the invention of the loom threatened to turn the labor market upside down. Until then, cloth was made by skilled artisans, but the loom enabled more cloth to be made more quickly by less-skilled workers. One could even argue that the Jacquard loom, a loom that allowed for complex weaving patterns via punch cards, was the first computer.
But this week I spotted an ingenious use for the extras, courtesy of NY-based company Proche Studio. Here's their proposal: Mail in a wool blanket, and they'll give it new life in the form of a great-looking-and uber snug-chore coat, vest, or scarf. I'm particularly smitten by the chore coat, a fresh version of the quilt coats that became popular a couple of years ago, and much, much warmer.
That past is his - it is the 20th anniversary of his label, and accordingly he decided to embrace, engage, even embed himself in his own history. Which, in and of itself, is a history of histories - Moralıoğlu's office is peppered with random 1930s portraits (the ones his husband, the architect Philip Joseph, won't let him keep in their Bloomsbury home) and old, time-warped issues of Vogue, as well as overflows of books on everything from Merce Cunningham to Alfred Hitchcock.
From a single material, a Hyderabad-based design studio creates a wide range of site-specific installations, furnishings, and decor. It's all in the name of the firm, The Wicker Story, which was founded in 2019 by architect Priyanka Narula. Capable of being formed into everything from abstract constructions to functional objects, the natural material lends itself a huge variety of pieces that vary in size and complexity.
These clothes are not secondhand, says Yin Xiuzhen, the Beijing-born artist known for creating large-scale installations out of found garments and keepsakes. I prefer to call them used' or worn', she explains. Clothes that have been worn' carry a lot of information like a second skin, imprinted with social meaning. In some of Yin's works the clothes are her own, telling a personal story. In others, the clothes are collected, stained and stretched across towering steel frames resembling planes, trains or organic forms.
It captures seven different femininities during an all-day pool party, enjoying themselves while revealing their distinctive styles. Creative Direction, Production & Styling by Maria Gkin. Photography by Eliza Poultidou. The models are Vanessa Otilia, Cyka, Alvina Chamberland and Angelica Komninak. The concept examines the thin line between what is seen as acceptable and what has been labelled ugly or immoral, explored through each woman's personal story. Textures, colours, makeup and styling come together, breaking down stereotypes and highlighting fashion as a means of freedom
Embroidery is a historic mainstay of traditional clothing in Asia or the Middle East, as well as Western Haute Couture, but it is increasingly present in Paris, Milan or New York on modern men's shirts, bomber jackets or blazers. Designers at Dior, Dolce Gabbana, Kenzo or Gucci have adopted it in recent runway shows, while Louis Vuitton's celebrity rapper-designer Pharell Williams dedicated his entire June collection to India after visiting the country.
The collaboration brings together Designtex's deep expertise in high-performance contract textiles and nanimarquina's poetic command of craft, tactility, and the beauty of the imperfect. For both teams, the partnership emerged from an immediate sense of kinship - a shared language of material integrity, color sensitivity, and a respect for heritage techniques reinterpreted for contemporary spaces. "We did that by using performance yarns and intentionally embedding imperfections into the weaving process."
The Rural Cut places vintage fashion in Lebanon's Bekaa Valley, among vineyards, open fields, and the animals that inhabit the land. As a Beirut-based stylist, I worked with a fully Lebanese team to create a shoot that feels authentic, where each garment and every frame reflects the textures, history, and rhythm of the rural landscape. Photography by Angele Basile / Instagram: @angelebasile Styling by Rinad Saad / Instagram: @rinaaaaddd
The new blanket collection proudly presented by Electric Bowery and Bien Mal is a story of memory made physical for co-founders of Electric Bowery Cayley Lambur and Lucia Bartholomew. A physical documentation of a road trip that ties four cities together, Venice, Santa Barbara, Big Sur, and New York City, the specific terroir of the textures, colors, and personality of these
The ongoing repression of dissidents in Venezuela following the US attacks reminds us that President Trump never had the interest of the nation's people at heart. The painful reality of many immigrants is one of being caught between dehumanizing forces in their native countries and in exile, and reduced to abstractions in an increasingly unnuanced "discourse" that flattens lived experience.
The show features the work of 14 contemporary artists who use the rug as a medium to engage with cultural concerns related to religion, technology, social justice, housing, and the environment. The diverse roster of artists from the United States, Europe, the Middle East, and Asia work across a variety of media, including yarn, cardboard, repurposed carpets, and hair combs, to transform this functional object into a site of experimentation - manipulated, reinterpreted, and made new.
If you visit the Hermès website in search of a scarf or a handbag, you'll be greeted by a collection of whimsical sea creatures swimming across the screen. To navigate to the watch section, you'll click on an image of a watch flanked by an eel. To locate shoes, you'll click on a loafer with a pelican sitting inside it as if it were riding a boat.
Tattoos and fermentation rarely appear in the same conversation, yet across the world, they share a quiet kinship. Both are practices of transformation, crafts that reshape raw material over time through care and relationships to the land, the spiritual, and the community. Tattooing inscribes identity and ancestry onto skin, while fermentation preserves, nourishes, and binds communities through shared taste and ritual. Both create change, brewing something more than themselves through embodied knowledge passed between generations.
