New Forms, Old Roots - Craft Reimagined
How can craft evolve from tradition into the future? Polish designers and artists explore the answer through their work.
courtesy of Filomena Smola
Craft - revived, redefined, and revalued - is having a global renaissance, and Poland is right at the centre of the conversation. A new generation of Polish creatives is boldly reimagining tradition, weaving heritage techniques with contemporary ideas, innovative materials, and radically fresh forms. In their hands, savoir-faire is alive and unapologetically modern.
Nearly a century after Poland’s celebrated pavilion at the 1925 Exposition Internationale in Paris, the country’s design language once again feels urgent and relevant. A prime example is the Romantic Brutalism exhibition at Milan Design Week earlier this year, which brought this momentum into sharp focus, drawing international attention to Poland’s craft scene with its conceptual depth and material sensitivity. “It’s not something that’s just emerging - it’s already here,” noted curator Federica Sala, underscoring Poland’s position as a powerful voice in today’s art and design landscape.
The following selection includes some of the boldest Polish voices pushing the boundaries of their creative disciplines. From experimental, hand-woven textiles and glass-jewellery to futuristic interpretations of lace, these practitioners are transforming heritage techniques into new experimental languages.
What unites them is a deep love for the process itself. Time spent mastering techniques and envisioning new possibilities becomes a source of discovery - resulting in work that is both forward-facing and exquisitely refined.
Filomena Smola at work, courtesy of the artist
Filomena Smola – Glass and Material Intimacy
Originally from Gdańsk, Filomena Smola is one of the few Polish artists independently working with hot glass, mastering the demanding and physically intense process of glassblowing. She began her studies at the Academy of Fine Arts in Wrocław, where she focused on both Glass and Ceramics as well as Painting. Later, she received a scholarship to pursue her master’s degree at Kent State University - home to one of the oldest glass programs in the United States - where she now also teaches.
For Smola, working with glass is about intimacy and direct, physical engagement with the material. She explains that this hands-on approach is more accessible in the U.S., where there is more emphasis on the process, in contrast to European art schools, which tend to prioritise design over artisanal making.
On her Instagram, she often shares behind-the-scenes reels that reveal just how physically demanding and dramatic her process is. Surrounded by massive furnaces glowing orange and air thick with heat, she shapes molten glass with precision and control. It’s an intensely unique environment, yet one in which she completely thrives. “The craft, the physical process - that’s key for me. You don’t hand it off to a technician. You’re the one who navigates every second. It’s a deeply individual process.” She continues, “You’re constantly inside the act of creation. Every moment, every second matters. It’s completely absorbing physically and mentally.”
Filomena Smola’s work at Romantic Brutalism exhibition at Milan Design Week
Her acclaimed Within series, presented at the Romantic Brutalism exhibition, marked a moment of both professional and personal reset. “It was about stripping everything back, all the layers, all the noise. A return to roots. In the past, I worked with a lot of colour and form. But this series brought a kind of purity. That stayed with me.”
This return to cultural roots also surfaced in a recent series now on view in Rome- four vases inspired by the Lemko region of the Beskid Niski mountains, where Smola has deep family ties. “I grew up with stories from my father, who taught me to notice details - architecture, vegetation, the visual elements of this region. Translating that into the language of glass felt important.” For this project, she even wove lace elements into the glass, drawing on memories of crocheting with her grandmother: “It resonated in a very personal, nostalgic way.”
Filomena’s pieces on show at "Ma per favore con leggerezza" exhibition at Spazio Giallo Interiors
Lately, Smola has been enjoying the slower, more flexible rhythm of flamework. “It’s still hot glass,” she explains, “but it gives you more freedom. You can stop, take a coffee break, reheat it, and keep building. It’s a bit more relaxed rhythm - but still full of intention.”
Her newest body of work - a jewellery line - emerged through this process. “I’d been drawn to the idea of making jewellery for a long time,” she says. “I wanted to create something that wasn’t just art to admire in galleries, but something you could wear, keep close to your body. I made these rings thinking about how special it is that I shape each one by hand, and then give it to someone who, in turn, fits it onto their own hand.” The project allowed her to also channel the physical intensity of the glassblowing process into something tangible and personal. As she puts it: ‘The intimacy of the making process becomes the intimacy of the hand that receives it. I found it fascinating that through such a gesture, I could offer someone the most essential part of what glasswork means to me.”
The jewellery line will include rings, bracelets, pendants, and earrings. “I’d love to grow this project further,” she says. While she is already selling made-to-order pieces, she plans to launch an online shop soon. “Fashion has always been a powerful tool for self-expression for me, so translating my craft into that language feels like a natural evolution.”
Those interested in Filomena’s work can explore and purchase her available pieces through OBJEKT Gallery, which represents her in Poland. For behind-the-scenes glimpses into her process, as well as updates on projects and exhibitions, follow her profile on Instagram.
Dominika Gacka and Julia Piekarska
Rest Studio – Traditional Weaving, Reimagined
Founded by Dominika Gacka and Julia Piekarska, both graduates of the Academy of Fine Arts in Łódź, Rest Studio explores the boundaries of traditional weaving through tactile experimentation and a bold approach to ideas and form. Their projects are always richly structured, focusing on haptic qualities and environmentally conscious practices, often incorporating deadstock yarn into their work.
Their creative process begins with drawings, digital sketches, paper models, or even sculpting in plasticine. “We always begin with experimentation,” says Julia. All their pieces are handwoven on analogue harness looms, where traditional textile-making is subverted through unexpected techniques and innovative manipulations. “We ask how a woven form might behave when treated differently. We’re drawn to oddities and strangeness. Also, our work often takes up space. We want to create something that feels new, even if it means finding a way to recreate the wildest ideas.” Dominika adds, “Many textile studios focus purely on kilims or heritage techniques as their starting points. We, on the other hand, are often guided first by a texture or a colour, and only later figure out how that idea could live within a textile. It’s stressful, with lots of trial and error, but also incredibly rewarding.”
Green Yarns Lab by Rest Studio; photo by Adam Rutkowski
Their first collaboration, Green Yarns Lab, was developed during a 2020 masterclass led by textile designer Aleksandra Gaca. The interior textile, woven from Polish sheep’s wool, linen, hemp, and casein fibres, played with contrast. It was at once soft and scratchy and smooth and fibrous. The project became a springboard for future experiments, and Gaca’s forward-looking approach continues to inspire their work. Like her, they treat textiles as autonomous forms and move fluidly between craft, fashion, art, and spatial design.
Though still early in their journey, Rest Studio has already completed a number of ambitious commissions. A breakthrough came with their move into fashion set and window display design. One of their first large-scale projects was a handwoven grass installation for Answear, developed in collaboration with set designer Anna Szczęsny.
grass textile for Answear window display; design concept by Anna Szczęsny
It involved crafting 28 square metres of handwoven grass panels on big wooden frames. As the project found them during an artist residency in Slovakia, they worked on this large scale commission from a tiny room there. “The grass was turning everything green, it was chaos,” they laugh. “It took us over a month to weave. Later, we transported it back to Poland in a giant van, and for the first time, spread it all out in Dominika’s garden to see how much we have made. Her neighbours asked why we were covering grass… with grass.” they recall laughing.
That special project opened doors to new collaborations, including one with Polish brand Magda Butrym. Collaboration with Butrym involved two projects for the brand’s Fall/Winter 2025 show at Paris Fashion Week and a pop-up in New York. Again, it was a large-scale work - a 200 m² handwoven linen installation in a rich, saturated red that, in line with the collection’s lineup, resonated with feminine energy and a combination of delicacy, strength, and craftsmanship. The process included over 150 hours of loom work, followed by intricate hand-finishing. The fabric was woven loosely with the warp left exposed, which gave the piece lightness, transparency, and a spatial dimension.
handwoven linen installation for Magda Butrym; design concept by Anna Szczęsny
When asked about the broader craft revival in Poland, they reflect on how much has shifted. “Craft is no longer associated only with folk aesthetics or Cepelia,” they say. “It’s increasingly seen as part of the art world, no longer sidelined by painting or sculpture.” They also note a growing confidence among Polish artists, who are now more focused on developing their own aesthetics rather than chasing Western trends. “Of course, there are still trends,” says Dominika, “but you can really see artists leaning into their individuality. Most importantly, I think there are finally clients who are genuinely interested in this kind of work.'”
Looking ahead, Julia shares her dream of creating something for public space “something large-scale, but made to be touched, lived with, and experienced. A project that isn’t just for a fleeting moment or a gallery setting, but designed for a specific public environment.”
Dominika smiles, adding, “In our case, most things happen spontaneously. That’s how many of our collaborations begin. But if we had to name a dream client - Hermès would definitely be a lovely one. Still, I think my biggest dream is simple: to keep working calmly and steadily on what we love. To have that balance.”
Explore Rest Studio website to explore their projects and stay up to date with exhibitions and what’s next via their Instagram.
Kasia Kucharska - Crafting Lace Of The Future
Kasia Kucharska brings a fresh perspective to fashion, proving that craftsmanship and technology-driven production go hand in hand.
Raised in the Allgäu region of southern Germany by Polish-born parents, she draws from a multidisciplinary background that combines architecture, industrial design, and fashion, having studied in Kyoto, Stuttgart, and Berlin. This broad, cross-disciplinary education shapes how she approaches garment-making - not as a set formula, but as an open system to be questioned and reimagined.
“It all started during my studies at UdK,” she told Sleek magazine. “The process of making clothes has remained largely unchanged for centuries… I knew there had to be other ways.” It was during her time at Berlin’s Universität der Künste that she began experimenting with liquid latex through hand-pouring and developing early prototypes, seeking to challenge the established rules of garment construction. When she started sharing her explorations on social media, the response was immediate. Unfamiliar forms and tactile appeal of her otherworldly latex designs piqued interest of stylists, retailers and early clients. What began as a material investigation has since become the foundation of her namesake brand, founded in 2021.
In just a few years, Kucharska has garnered critical attention and accolades, including the prestigious FCG/Vogue Fashion Fund prize. Today, anyone following contemporary fashion will likely recognise her work on sight. With her signature futuristic latex lace, even the most historical references from her mood boards are reimagined into strikingly modern pieces that speak to the present moment.
Her 3D-printed latex creations transform natural rubber into fluid, organic motifs that cling to the body like a second skin, yet remain surprisingly wearable thanks to the material’s innate elasticity. The range spans bodysuits, leggings, tops, dresses, and accessories, with patterns that shift from satisfyingly symmetrical lines, reminiscent of topographic maps, to romantic, dreamlike florals or scribbly child-like doodles.
What makes Kucharska’s work truly compelling is how she manages to strike a balance between form and function. She often references modernist architect Adolf Loos and his essay Ornament and Crime, which argues that ornamentation must serve a purpose. Following that thought, in her collections, latex isn’t just decorative - it becomes structural, replacing traditional stitching to join panels or appear in knitwear. Moreover, by exposing and exaggerating what is usually hidden, she turns seams into bold design features, merging construction with concept.
There’s also an important sustainability aspect to her material of choice: natural latex , which is simply a milk from a tree, is biodegradable and lends itself to a zero-waste process. As Kucharska often puts it, latex is “a tricky and bitchy material” as it’s highly sensitive to many external conditions such as sunlight, air or handling. But that very vulnerability is part of its charm, echoing the delicacy of handmade lace or fine embroidery. Its tendency to shift colour over time gives each piece a sense of aliveness.
Kucharska’s work, like Filomena Smola’s, was also featured in the Romantic Brutalism exhibition, adding a distinctly futuristic layer to the show and offering a forward-looking take on traditional craft.
After several seasons at Paris Fashion Week, where she presented her pieces in conceptually curated showrooms, she returned to Berlin this year with her Fall 2025 collection.
Just as her silhouettes don’t chase trends but evolve from the materials she invents, Kucharska doesn’t follow the traditional fashion calendar. Her process takes time, allowing space for experimentation and refinement. It’s exciting to see where she’ll take things next.
Explore her website to see her full collection.