Many fashion houses talk of craft but it’s Loewe that remains one of the most committed to supporting individual practitioners. The Spanish maison’s signature award, the Loewe Foundation Craft Prize, is now in its sixth edition since creative director Jonathan Anderson conceptualised this initiative back in 2016 to spotlight artisans globally who bring a contemporary flair to craftsmanship.
It’s always a closely watched affair; the prize remains one of the most singular one of its kind with a 50,000 euro prize and an all-star jury (names include Metropolitan Museum of Art curator Abraham Thomas and starchitect Patricia Urquiola).
This year, there were over 2,700 submissions by artisans representing 117 countries and regions, working across the disciplines of ceramics, woodwork, textiles ,furniture, paper, basketry, glass, metal, jewellery lacquer, leather and bookbinding.
And from these, 30 names have just been selected, with each finalist’s work to be shown at The Noguchi Museum in New York from May 17 until June 18. It’s a pretty big deal; this edition of the Craft Prize will be the first time a public exhibition has been staged in the space created by the revered sculptor Isamu Noguchi.

A design by Liam Lee
Notably, this year’s Craft Prize feels more playful than usual, with many of the works incorporating trompe l’oeil techniques to play and distort viewers’ expectations, such as this chair by American designer Liam Lee which looks to be clay at first glance, but is actually made of felted merino wool.
And while the winner will only be announced May 16 at the opening of the Craft Prize 2023 exhibition, you can check out all 30 finalists’ works below first.
Ai Shikanji, Japan, ‘Reflection’, cotton, acquer, thread, washi, gold powder, silver powder, tin powder, grinding powder and gold leaf, 640 x 640 x 220 mm, 2022
Aranda\Lasch & Terrol Dew Johnson, United States, ‘Desert Paper 18’, copper powder and jute pulp paper, 180 x 280 x 360 mm, 2022
Claire Lindner, France, ‘Buisson n°2’, glazed stoneware, 390 x 300 x 440 mm, 2021
Dominique Zinkpe, Benin, ‘The Watchers’, wood and acrylic, 1480 x 1330 x 230 mm, 2022
Dong Han, People’s Republic of China, ‘Rebirth’, bronze, 530 x 670 x 400 mm, 2022
Eriko Inazaki, Japan, ‘Metanoia’, ceramics, 200 x 200 x 240 mm, 2019
Giorgi Danibegashvili, Georgia, ‘Naked’, silk and handmade paper, 160 x 140 x 180 mm, 2022
Healim Shin, Republic of Korea, ‘As Time Goes Rain Falls — Plane’, canvas, silver, lacquer and acrylic paint, various dimensions, 2021
Inchin Lee, Republic of Korea, ‘Large Vessel (faceted)’, clay, 500 x 500 x 450 mm, 2019
Jaiik Lee, Republic of Korea, ‘Transition VII’, copper, porcelain colour and gold leaf, 527 x 527 x 592 mm, 2022
Jana Visser, South Africa, ‘In the Almost’, linen, paper and mohair yarn with viscose and monofilament,1650 x 1080 x 20 mm, 2021
Johannes Kuhnen, Australia, ‘Vessel — Red Centre’, titanium, anodised aluminium, Monel and stainless steel,410 x 480 x 220 mm, 2022
Kaori Juzu, Denmark, ‘108 POINTS OF VIEW’, enamel, glass, copper, 18kt gold, patinated Shakudo, bi-metal,700 x 700 x 35 mm, 2021
Keeryong Choi, United Kingdom, ‘Daam Dah 2022’, glass and 23.5kt gold, 270 x 260 x 350 mm each, 2022
Kenji Honma, Japan, ‘Contours of Past 2022’, Japanese lacquer tree wood, lacquer (Urushi), polishing powder, 425 x 290 x 633 mm, 2022
Kristin McKirdy, France, ‘Untitled, 2018’, earthenware clay, glaze and terra sigillata, various dimensions, 2018
Kyouhong Lee, Republic of Korea, ‘Trace of Time’, glass, traditional lacquer and gold leaf, 80 x 460 x 460 mm, 2022
Lene Bødker, Denmark, ‘Worthy’,‘Walking Stone’ and ‘Slice of Something Bigger’, glass, various dimensions, 2022
Liam Lee, United States, ‘Chair 11’, felted merino wool and poplar plywood, 530 x 610 x 1070 mm, 2022
Luz Moreno Pinart, Spain, ‘El Retiro’,paper and paint, 10 x 700 x 700 mm, 2022
Mabel Pena, Argentina, ‘Wetlands’, recycled polyethylene bags, 3D filament and ink, 560 x 430 x 80 mm, 2021
Maina Devi, India, ‘Lehrata-Khet’, wool, 910 x 3040 x 10 mm, 2022
Maki Imoto, Japan, ‘Torus of Powdered’, powdered glass and piece of transparent glass, 560 x 210 x 560 mm, 2022
Moe Watanabe, Japan, ‘Transfer Surface’, walnut bark, 370 x 400 x 370 mm, 2022
Nathalie Doyen, Belgium, ‘Pays Cabi’, stoneware coloured with oxides and pigments and natural cupules of acorns,370 x 350 x 380 mm, 2021
Prue Venables, Australia, ‘Black Triangulated Form’, Limoges porcelain and black glaze, 170 x 225 x 150 mm, 2022
Shinji Nakaba, Japan, ‘Rose Branch’, pearl, aluminium and stainless steel, 60 x 150 x 40 mm, 2019
Tanya Aguiñiga, United States, ‘Matriarchal Womb’, cotton, Mexican terracotta and synthetic hair, 1625 x 1420 x 304 mm, 2022
Wanbing Huang, People’s Republic of China, ‘The Entrophy Reduction of Hundun’, hemp fibres (China grass cloth) and steel,550 x 1000 x 1300 mm each, 2022
Woosun Cheon, Republic of Korea, ‘Open Vase0622’, nickel silver and copper, 470 x 460 x 450 mm, 2022