Jonathan Anderson isn't just another fashion designer playing with clay on the weekends. As the creative force behind Loewe and his own namesake label, he’s basically the high priest of the "craft" movement. He doesn't see a ceramic pot as a prop for a photoshoot; he sees it as the soul of a room. When London Craft Week rolls around this May 11–17, 2026, he isn't just attending—he’s curated the damn thing.
You don't need a degree in art history to get why this matters. Most people think craft is just dusty old men weaving baskets in the woods. Anderson disagrees. To him, craft is the ultimate luxury because it’s human. In a world drowning in cheap, AI-generated designs and fast-fashion landfill, something made by a person who spent twenty years perfecting a single stitch is radical.
The Pimlico Road Revolution
If you want to see Anderson’s vision in the flesh, head straight to his new flagship at JW Anderson Pimlico Road. He’s turned the store into a literal cabinet of curiosities. On May 13, the shop isn't just selling bags; it’s hosting a live making demonstration. You’ll see an artisan—specifically chosen by Jonathan—creating new work from scratch.
Pimlico Road is the heart of this year’s festival. It’s a 400-meter stretch of total obsession. You’ve got Rose Uniacke hosting a residency with the Young Weaver of the Year, Leonie Edmead. You’ve got Soane Britain obsessing over rattan weaving. It’s the kind of place where people argue about the "correct" way to finish a piece of leather for three hours. It’s brilliant.
Secret Ceramics and the Sotheby’s Takeover
Sotheby’s on Bond Street is usually the place where billionaires fight over Picassos. But for Craft Week, they’ve handed the keys to the makers. The standout here is Secret Ceramics. It’s the third edition of this event, and the concept is genius.
There are 100 ceramic works on sale for £650 each. The catch? You don't know who made what. You could be buying a piece by a superstar like Hitomi Hosono or Fernando Casasempere, or you could be buying from a talented student. You buy with your gut. It forces you to actually look at the object instead of the price tag or the Instagram following.
Beyond the Big Names
While Anderson’s endorsement brings the glamour, the real weight of the week is in the smaller studios.
- Cockpit Deptford: This is where the magic happens. You can tour the studios of glassblower Theo Brooks and wood sculptor Eleanor Lakelin. These aren't polished galleries; they're gritty workshops smelling of sawdust and sweat.
- The Museum of the Home: Head to Shoreditch for "Splats and Spindles," an exhibition of English regional chairs. It sounds niche because it is. But seeing the evolution of a simple chair teaches you more about British history than most textbooks.
- Vigour and Skills: Also at the Museum of the Home, this fair features over 25 makers. It’s the place to go if you want to try a frame loom weaving workshop or hand-build a pottery vessel.
Why Craft Still Matters in 2026
We’re at a weird point in history. We can print houses and generate "art" with a text prompt. So why are we obsessed with hand-stitched Korean dumplings (there are 4,800 of them at the Garden Museum, by the way)?
Because craft is a record of time. When you look at a piece of glass hand-blown by Jochen Holz at Paul Smith’s Albemarle Street store, you’re seeing a physical manifestation of a human being's focus. Anderson pushes this hard because he knows that "modern" doesn't mean "digital." Modern means finding new ways to use ancient skills.
The International Angle
London Craft Week 2026 has gone global. The Embassy of Italy is showing off contemporary Italian craftsmanship at Casa Italia, while various galleries are hosting alumni from the LOEWE FOUNDATION Craft Prize.
If you’re looking for something truly different, check out the Cherry Blossom Project. It’s a massive installation of hand-stitched silk organza that connects Korean tradition with London’s spring season. It’s quiet, meticulous, and completely un-digital.
How to Do London Craft Week Without Burning Out
Don't try to see all 150+ venues. You'll fail and your feet will hate you. Pick a cluster and stick to it.
- The Mayfair Loop: Start at Sotheby’s for Secret Ceramics, hit Paul Smith on Albemarle Street for the glassblowing exhibition, and end at Frieze No. 9 Cork Street.
- The Pimlico Stretch: Focus on Pimlico Road. Start at JW Anderson, check out the weaving at Rose Uniacke, and browse the antiques.
- The East End Explorer: Go to Cockpit Deptford for the studio tours, then hit the Museum of the Home in Shoreditch.
Bring a notebook, talk to the makers, and stop overthinking whether you "get" the art. If it looks like it took forever to make and it makes you feel something, you've got it.
Go to the London Craft Week website and book your tickets for the workshops now. The good ones—like the leather envelope session with Michelle Wong—sell out weeks in advance. Don't just watch; get your hands dirty.
