Exhibition: Japanese Heritage Brand Nakagawa and Danish company Carl Hansen & Søn Unite for London Exhibition on Craft and Design

A new exhibition in London this May will bring together centuries-old Japanese craftsmanship and Danish modernist design, highlighting a shared philosophy rooted in everyday use and longevity.

Visitors with an interest in Japanese culture have long been drawn to Nara, widely regarded as a birthplace of foundational crafts and a centre for traditional arts such as calligraphy and tea ceremonies. Once Japan’s imperial capital in the 8th century, before Kyoto, the city retains a compact historic character, with many of its landmarks clustered around Nara Park.

Nakagawa tea set.

Now, a heritage brand founded in the city over 300 years ago is expanding its presence in the UK. Nakagawa, established in 1716, is launching a month-long exhibition and cultural programme in collaboration with Danish furniture maker Carl Hansen & Søn. The event follows the success of Nakagawa’s London pop-up store in Shoreditch last September.

The exhibition, titled Crafting the Everyday: 300 Years of Nara meets Danish Modernism, will run from 19 May to 16 June 2026 at Carl Hansen & Søn’s showroom in Clerkenwell. It coincides with both Clerkenwell Design Week and the London Festival of Architecture.

Nakagawa home and lifestyle products.

Nakagawa is known for its mission to revitalise “kogei” — traditional Japanese crafts — by combining historical techniques with contemporary design suited to modern living. The company began as a merchant of Nara-Sarashi, a finely hand-woven ramie cloth once used by samurai for ceremonial dress, and has continued through 13 generations of family leadership.   Signature products include the award-winning traditional Hana-Fukin ramie dishcloths often adorned with functional and decorative Sashiko embroidery, and traditional Kaya-ori Fukin Japanese kitchen cloths made from layered, open-weave cotton or rayon (mosquito netting fabric), alongside a wide range of contemporary home and lifestyle goods. 

Hana-Fukin ramie dishcloths

Today, Nakagawa works with more than 800 artisans across Japan, supporting regional craft traditions through modern applications. Its Danish partner, Carl Hansen & Søn, founded in 1908, has become synonymous with Danish modernism, producing furniture defined by precision, restraint and durability.

 Carl Hansen & Søn

Crafting the Everyday: 300 Years of Nara meets Danish Modernism is designed as a series of lived-in interiors rather than a conventional display. Nakagawa’s handcrafted objects are placed alongside Carl Hansen & Søn furniture to create domestic scenes reflecting everyday rituals.

In the dining area, a simple arrangement of homeware features the brand’s signature ramie Hana-Fukin cloth used as a placemat, accompanied by rice and soup bowls, small dishes and tea sets. The kitchen space is presented as a calm, almost architectural composition of tools and vessels, emphasising order and clarity.

Two contrasting living environments explore different approaches to comfort. One focuses on floor-based living, with cushions and textiles made using traditional sakiori (rag weaving) techniques, reinterpreted for contemporary use. The other highlights Yokoburi embroidery, a craft rooted in kimono-making, with textiles featuring poems from the Man’yōshū, Japan’s oldest anthology of verse.

At the core of the exhibition is Nakagawa’s long-term aim to ensure traditional crafts remain relevant. The company emphasises that preservation alone is insufficient, arguing that craft must be used in daily life to endure. Guided by the philosophy of “preservation through transformation,” Nakagawa is committed to sustaining traditional crafts by adapting them for modern life with a focus on sustainability, longevity, and mindful living.

Carl Hansen & Søn’s philosophy aligns closely, with designs intended to be practical, long-lasting and passed down through generations.  The heritage Danish furniture brand founded in 1908 is rooted in a philosophy that unites exceptional craftsmanship, functional design, and natural materials. The company is renowned for its long-standing collaboration with designer Hans J. Wegner, whose iconic pieces such as the Wishbone Chair and CH25 remain in continuous production. 

A programme of free workshops will accompany the exhibition, including ramie postcard colouring and sessions where visitors can create their own flavoured teas. Each workshop will run on selected days, with three sessions per day, and advance booking will be required.

Crafting the Everyday: 300 Years of Nara meets Danish Modernism will take place from 19 May to 16 June 2026 at the Carl Hansen & Søn showroom, 16A Bowling Green Lane, Clerkenwell, London. Admission is free.

Exhibition Launch: A New Exhibition - GIANNI VERSACE RETROSPECTIVE - to be staged in Paris June 5 - September 6, 2026

A major retrospective dedicated to the late Italian designer Gianni Versace is set to open in Paris this summer, offering a comprehensive look at the life and work of one of fashion’s most influential and flamboyant designers.

From 5 June 2026, the Musée Maillol will host the first large-scale exhibition in France devoted to Versace since 1986. The show will run throughout the summer in the French capital, widely regarded as a global centre of fashion.

Titled Gianni Versace Retrospective, the exhibition will feature nearly 450 items, including original garments, accessories, sketches, photographs, videos and rare interview material. Together, these works aim to provide an extensive overview of the designer’s creative output and enduring influence.

Designed by scenographer Nathalie Crinière, the exhibition traces Versace’s career from his early years in the family atelier in Calabria to his rise as a defining figure in international fashion. It highlights the diverse influences that shaped his aesthetic, from Catholic iconography and Greek sculpture to Italian opera and the opulence of the Baroque period.

The retrospective has already been shown in several European cities, including London, Berlin and Málaga, and arrives in Paris at a symbolic moment. The exhibition coincides with the approaching 30th anniversary of Versace’s death in 1997, as well as what would have been his 80th birthday.

More than 120 silhouettes and mannequins will be displayed, exploring the designer’s creative inspirations across art, history and popular culture. His work is presented alongside references to artists such as Sandro Botticelli, Antonio Canova and Pablo Picasso, as well as the pop art movement, notably through the influence of Andy Warhol. Contemporary artist Julian Schnabel is also referenced, reflecting Versace’s engagement with the visual culture of his time.

The exhibition further examines how Versace’s designs were captured and disseminated by leading fashion photographers, including Richard Avedon, Irving Penn, Helmut Newton, Patrick Demarchelier and Mario Testino.

Versace’s close ties to popular culture are also highlighted, with references to collaborations and relationships with high-profile figures such as Madonna, Elton John, George Michael, Grace Jones and Prince, as well as public figures including Diana, Princess of Wales and Elizabeth Hurley.

The role of supermodels in shaping the fashion landscape of the late 20th century is another key theme. Figures such as Carla Bruni, Naomi Campbell, Cindy Crawford, Claudia Schiffer, Karen Mulder and Linda Evangelista are featured through archival footage, photographs and magazine material documenting the era.

The retrospective charts the evolution of Versace’s style, from the punk and bondage-inspired designs of the 1990s to the more minimalist silhouettes of his later years, as well as the vibrant, Miami-influenced aesthetic and bold printed silks that became his signature.

Paris itself plays a central role in the narrative. Although Versace helped shift the fashion spotlight towards Milan in the late 1970s, he maintained a strong presence in the French capital. In 1989, he launched his haute couture line, Atelier Versace, presenting collections during Paris Fashion Week. His shows at the Ritz Hotel on Place Vendôme became renowned for their theatricality and star-studded audiences.

The exhibition running from 5 June to 6 September 2026, also recalls that Versace’s final public appearance took place in Paris, shortly before his death in Miami in 1997.

Organisers say the exhibition’s design draws on the symbolism of the catwalk, with runway-inspired staging extending throughout the galleries. In doing so, it reflects both the spectacle of Versace’s shows and his lasting impact on the intersection of fashion, art and contemporary culture.

New Opening: British Brand ILIV Opens New Showroom at Chelsea Harbour Design Centre, London

UK premium interiors fabric brand ILIV has opened a new showroom in London at the Design Centre, Chelsea Harbour, marking a significant step in its expansion within one of the country’s most influential design destinations.

Situated on the fifth floor, the showroom forms part of the recently launched Design Emporium Collective — a curated, multi-brand concept space bringing together a diverse selection of homeware and interiors brands.

The new space will serve as ILIV’s dedicated London hub for its residential collections, positioning the company at the heart of the capital’s design community. The showroom is also expected to strengthen relationships with interior designers and retail partners while supporting the brand’s growing network.

Visitors to the showroom can explore a carefully curated edit of ILIV’s pattern books, full-length fabric displays and a selection of take-away samples. The space showcases the brand’s latest collections, alongside a wide range of plain and textured fabrics, all presented within a design-led environment intended to inspire.

Designers and visitors are invited to explore the new showroom by taking the express lift to the fifth floor of the Design Centre East.

Jason Kenworthy, CEO of ILIV, described the opening as a key milestone for the business. 

“Opening a showroom at Design Centre, Chelsea Harbour is an exciting milestone for ILIV. The Design Emporium Collective provides a wonderful opportunity to showcase our collections in a creative environment while strengthening our relationships with the interior design community,” he said.

ILIV specialises in textiles for both residential and commercial spaces, supported by a global team committed to innovation and quality. The brand focuses closely on detail to help interior design professionals create and transform spaces.

ILIV is part of the SMD Group, founded in 1987 in Lancashire, a region renowned for its rich textile heritage. Since its beginnings as a family-owned business, the SMD Group has evolved into a leading force within the interior textiles market.

Known for its eclectic style, ILIV draws inspiration from archive documents through to contemporary geometric designs, reflecting a versatility that complements both modern and traditional interiors.

Artist Focus: New David Hockney Exhibition to Open at Serpentine North in London

A new exhibition by the celebrated British artist David Hockney will open at London Serpentine’s Serpentine North Gallery on 12 March 2026, presenting new paintings alongside the artist’s monumental frieze A Year in Normandie. The exhibition, titled A Year in Normandie and Some Other Thoughts about Painting, will run until 23 August 2026 and marks Hockney’s first presentation at the Serpentine. Admission will be free.

David Hockney, London 2023
(Image credit: © David Hockney Photo Credit: Jean-Pierre Gonçalves de Lima)

The show follows the artist’s major retrospective at Fondation Louis Vuitton in 2025, which featured more than 400 works spanning seven decades of his career. In contrast, the Serpentine exhibition offers a more intimate view of Hockney’s recent practice.

“David Hockney’s work invites us to look closely and rediscover the world around us,” said Bettina Korek, chief executiove of the Serpentine, adding that the gallery was pleased to present the works free of charge in the park setting.

At the centre of the exhibition will be A Year in Normandie (2020–2021), a panoramic frieze being shown in London for the first time. 

David Hockney: A Year in Normandie and Some Other Thoughts about Painting, installation view, Serpentine North, 2026 © David Hockney. Photo: George Darrell

Extending around the perimeter gallery, the work charts the changing seasons around Hockney’s former studio in Normandy, France. Created during the spring of 2020, when global lockdowns brought much of the world to a halt, the piece comprises more than 100 digital paintings produced on an iPad. Working quickly and intuitively, Hockney captured shifts in light, weather and landscape across the year.

David Hockney: A Year in Normandie and Some Other Thoughts about Painting, installation view, Serpentine North, 2026 © David Hockney. Photo: George Darrell

The format of the work draws inspiration from Chinese scroll painting as well as the eleventh-century Bayeux Tapestry. The resulting compositions combine broad areas of bold colour with playful, pop-like details as spring gives way to summer, autumn and winter.

David Hockney, Abstraction Resting on a Red and White Checkered Tablecloth, 2025. (Image credit: © David Hockney. Photo: Prudence Cuming)

Alongside the frieze, the exhibition will debut a new body of paintings created for the Serpentine. The series includes five still lifes and five portraits depicting members of Hockney’s close circle, including family members and carers. Each painting is arranged with a frontal composition and incorporates a recurring gingham tablecloth motif.

In these works Hockney merges abstract and figurative approaches. The artist has long argued that figurative painting is inherently abstract, as it exists on a flat surface. A large-scale mural by Hockney will also be installed in the garden at Serpentine North. The printed work depicts a tree house from the spring section of A Year in Normandie and will be displayed at the rear of the gallery, echoing its origin in the artist’s own garden in Normandy.

“I have always believed that art should be a deep pleasure,” Hockney said in a statement. “There is always, everywhere, an enormous amount of suffering, but I believe that my duty as an artist is to overcome and alleviate the sterility of despair. New ways of seeing mean new ways of feeling. I do believe that painting can change the world.”

Hans Ulrich Obrist, the Serpentine’s artistic director and curator of the exhibition alongside Claude Adjil, said Hockney continues to experiment with painting at the age of 88.  He noted that the new portraits explore both the presence of the sitters and the act of seeing itself, while the frieze offers a personal reflection on the passage of time.

A catalogue designed by Hockney will accompany the exhibition, published by Serpentine and Verlag der Buchhandlung Walther und Franz König. The publication will include essays by Marco Livingstone and Olivia Laing, as well as a conversation between Hockney and Obrist.

Separately, the artist will unveil a new commission at Turner Contemporary in Margate on 1 April 2026. Created to mark the gallery’s 15th anniversary, the work will transform the Sunley Gallery’s floor-to-ceiling window overlooking the North Sea, measuring approximately seven by ten metres.

A Year in Normandie and Some Other Thoughts about Painting - Serpentine North Gallery - 12 March - 23 August 2026     Admission Free

Images courtesy of  The Serpentine, London

London Event: Design Centre Chelsea Harbour Stages London Design Week 2026 with a Celebration of Creativity

London Design Week 2026 has officially opened at the Design Centre, Chelsea Harbour, in London transforming the venue into a vibrant showcase of contemporary creativity, craftsmanship and design innovation.

More than 100 free “Access All Areas” events are taking place throughout the week, hosted by the centre’s showrooms and invited House Guests. The programme features panel discussions, presentations of new collections, artisan demonstrations and professional development sessions aimed at designers and enthusiasts alike. 

Ralph Lauren Home unveils the new Spring 2026 collection: Meadow Lane during London Design Week  2026
at the Design Centre, Chelsea Harbour. 

To discover fresh ideas that shape the future of design, click HERE to explore the full programme.

Among the highlights is a talk on 11 March by Inge Moore, founder of Muza Lab. Titled “The Age of Tactility: Mastering Touch in Experience-led Design,” the presentation explores the growing importance of sensory elements in modern interiors. 

Inge Moore, founder at Muza Lab

Moore will examine how tactile materials and subtle design details influence comfort, perception and emotional connection in spaces increasingly shaped by experience-led design.

Luxury lifestyle brand Ralph Lauren Home is also unveiling its Spring 2026 collection, Meadow Lane, during the event. Inspired by coastal living, the collection combines casual elegance with a sense of timeless romance, evoking the atmosphere of a relaxed seaside home.

Craftsman showing how it is done at George Smith

Craftsmanship is another central theme of the week. At the showroom of George Smith, visitors can attend “From Frame to Finish: The Art of Upholstery,” where a master upholsterer will demonstrate the construction process behind one of the company’s best-selling pieces. The live demonstration offers insight into the traditional techniques and precision involved in creating high-quality upholstered furniture.

The art of Setting the Scene with creative floral arrangements.

Floral design also features prominently in the programme. At the new Design Emporium Collective, floral designer Paul Hawkins, founder of Paul Hawkins Flowers, will lead a session on creating immersive tablescapes. The demonstration will cover everything from arranging seasonal flowers to adding finishing touches that elevate the dining experience.

Throughout the week, registered visitors can also join guided “Walk and Talk” tours, offering an insider’s look at the latest collections and the newly introduced Design Emporium Collective.

With its extensive programme of talks, demonstrations and exhibitions, London Design Week 2026 aims to inspire professionals and design enthusiasts while showcasing the ideas shaping the future of interiors.

All images from Design Centre Chelsea Harbour, London Design Week 2026.

New Launch: Linwood Unveils Chesil Weaves Collection, Bringing Textured Calm to Modern Interiors

British interior furnishings brand Linwood Fabric has unveiled a new collection of textured woven fabrics, Chesil Weaves, aimed at bringing understated depth and calm to contemporary interiors.

Chesil Weaves Collection from Linwood

The launch comes at a time when many people, amid the pressures of a fast-paced and technology-driven world and ongoing international uncertainty, are increasingly drawn to comforting, nostalgic ideas of “slow living”.

Sofa uphostered in Strata, Cafe Crema, with matching cushions, from Linwood's Chesil Collection
The woven fabric features subtle horizontal detailing showcasing an interplay of yarns to create depth and texture, giving this versatile upholstery and curtain fabric a relaxed, artisanal feel. Its understated structure suits curtains, blinds and upholstered pieces where texture is present but never overpowering.

The Chesil Weaves collection is defined by tactile yarns, gentle patterning and subtle tonal variation. Together, the complementary designs create a look that feels relaxed yet refined. Rather than relying on bold motifs, the fabrics favour softly decorative surfaces that highlight the natural beauty of woven texture, helping interiors appear layered, tranquil and thoughtfully composed.

Lamina, Carmine, from Linwood's Chesil Collection
A woven fabric with a gentle chevron rhythm and subtle tonal contrast. The interplay of yarns creates depth and movement, giving the fabric a relaxed, tactile character. Suitable for headboards and upholstery.

Woven in Italy, the fabrics combine decorative appeal with everyday practicality. While the collection has been developed primarily for upholstery, several designs are also suitable for curtains and other soft furnishings, offering durability alongside a refined aesthetic for modern homes.

Tidal, Cyan, from Linwood's Chesil Collection
A softly textured woven fabric with a gently rippled surface and subtle tonal variation. Interlacing yarns create movement and depth, lending this upholstery and curtain fabric a relaxed, organic character. Particularly well suited to sofas, armchairs and classic dressed windows in calm, natural schemes.

The range is presented in a harmonious palette of tonal shades designed to work easily with both plains and patterned textiles. Whether used individually or combined within a broader scheme, the fabrics provide designers with a versatile way to introduce texture and depth without overwhelming a space.

All images from Linwood Fabric

Trade Fair Report: Première Vision Paris February 2026 Signals Industry Resilience Amid Global Volatility

At the close of its February edition, Première Vision Paris reported strong international engagement at the fair, held from 3–5 February 2026 at Parc des Expositions in Paris Nord Villepinte. The event convened decision-makers, manufacturers and designers from major European, Asian and American markets, reaffirming both the fair’s global reach and Paris’s centrality to the fashion and textile industry’s international dialogue.

Against a backdrop of economic fragility and geopolitical strain, organisers at GL events’ Fashion Division said the edition demonstrated the sector’s capacity to mobilise, exchange intelligence and construct collective responses. Over three days, sustained business meetings and high-level discussions signalled what the organisers described as genuine forward momentum, even as companies navigate tightening margins and recalibrated growth strategies.

Cost pressures reshape the value chain

Conversations across the show floor underscored a structural shift: cost pressure is now embedded throughout the value chain. Adjusted volumes, deferred commitments and more demanding commercial terms are compelling companies to prioritise risk management and financial equilibrium.

Yet price competition alone no longer defines procurement strategies. Industrial reliability, delivery performance, financial solidity and continuity of partnerships are increasingly decisive. Two parallel dynamics were observed. 

Retail-oriented brands continue to pursue strict optimisation, exploring new sourcing territories while maintaining tactical caution. Meanwhile, premium and luxury houses are consolidating established collaborations, tightening supply chain control and investing selectively in innovation to underpin long-term growth.

Across segments, responsible innovation has moved from aspiration to prerequisite. The emphasis is on pragmatic, scalable and immediately actionable solutions rather than speculative experimentation.

Education and craftsmanship in focus

Responding to concerns over declining technical expertise, Première Vision strengthened its educational mission during the February session, welcoming a significant cohort of students. The initiative reflects a strategic commitment to safeguarding textile know-how and reinforcing the skills pipeline underpinning industrial excellence.

The edition also marked the launch of the Réseau d’Excellence Mode & Beauté des Entreprises du Patrimoine Vivant, aligned with the Fashion & Luxury Strategic Committee’s agenda. The network underscores the strategic importance of craftsmanship, industrial resilience and cross-sector cooperation in a high-pressure market environment. Organisers highlighted the growing influence of the Fashion Division in convening creative stakeholders while addressing structural industry transformation.

Territories of Savoir-Faire: Japan, Portugal and France

Under the banner “Territories of Savoir-Faire!”, the exhibition spotlighted three countries—France, Portungal and Japan—through a curated visitor route, conferences and cross-border dialogues in the Prospective Area. The thematic focus reflected a wider recalibration of commercial and cultural geographies, as global trade patterns shift and traditional production scales are reassessed.

France: heritage and hybridisation

France’s fashion ecosystem—spanning ateliers, museums, schools and couture houses—was presented as both historical bedrock and experimental laboratory. Centuries-old techniques such as Leavers lace and embroidery from Calais and Caudry were juxtaposed with contemporary reinterpretations by a new generation of artisans blending tradition with counter-cultural influences.

Regional catalysts and incubators, including the Tremplin Mode et Textile, were highlighted alongside established lace makers and embroiderers. The European Flax and Hemp Alliance guided visitors through the French and European flax value chain, detailing agricultural practices, processing stages and environmental metrics from cultivation to finished textile.

Portugal: vertically integrated sustainability

Portugal emerged as a case study in structural sustainability. Textile clusters in the north, particularly around the Ave and Cávado valleys, demonstrate high vertical integration—from yarn to finished garment—supported by investment in advanced machinery, digital garment passports and AI-assisted quality control.

A central institutional presence was CITEVE, the Vila Nova de Famalicão-based technology centre founded in 1989. At the fair, CITEVE presented experimental silhouettes developed under its Be@t (Bioeconomy at Textiles) project, integrating Digital Product Passports to enhance transparency and traceability. The initiative, including a partnership with Agromethod Labs on hydroponic cotton cultivation, aims to transition Portugal’s textile sector towards a circular and bio-based model.

Manufacturers showcased innovations ranging from closed-loop dyeing systems and water reduction strategies to new plant-based fibres derived from eucalyptus, coffee waste and tree bark—illustrating a shift towards regenerative and biofabricated materials.

Japan: nature-minded mastery

Japan’s presentation emphasised a philosophy of long-term stewardship and reverence for material integrity. Rare fibres such as Hasumi linen from Shimane and traditional indigo and plant-based dyeing techniques reflected a culture attentive to the “tamashii”, or soul, of objects—their ageing and transformation over time.

Collaborations featured prominently. French artisans in residence at Villa Kujoyama and participants in the Edo Tokyo Kirari programme demonstrated cross-cultural exchange, while kimono upcycling projects by students from Polimoda and Osaka Bunka highlighted reinterpretation of heritage garments.

The Japan Fashion Week Organization curated a dedicated space, including a “Japan Exhibitors Collection” and a virtual reality immersion into wool production in the Bishu region, renowned for its textile expertise. The fair’s Grand Prix, Excellence Award and Special Prize this year favoured a materials-driven approach, with denim and wool in focus.

Prospective Space: innovation narratives

Three enclaves within the Prospective Space offered thematic exploration:

• Living Legacy, where intergenerational and cross-cultural collaborations reinterpret ancestral techniques;
  

• Active Know-How, foregrounding playful subversion and stylistic reinvention;

• Organic Intelligence, examining biotechnology, mycelium, biofabrication and regenerative design as pathways to reduced waste and evolutionary material development.

Through these curated narratives, Première Vision Paris positioned itself not only as a sourcing platform but as a strategic observatory—interpreting emerging signals, consolidating partnerships and enabling informed decision-making.

In a period marked by trade disruption and economic recalibration, the February 2026 edition reinforced Paris’s enduring role as a global convening point. From upstream raw materials to downstream creative application, the fair presented localised models of production and knowledge as blueprints for a resilient, innovation-led future.

Images by Lucia Carpio