{"id":7341,"date":"2026-05-27T02:42:54","date_gmt":"2026-05-26T17:42:54","guid":{"rendered":"https:\/\/en.kogei-japonica.com\/media\/?p=7341"},"modified":"2026-05-27T02:43:15","modified_gmt":"2026-05-26T17:43:15","slug":"loewe-craft-prize-2026","status":"publish","type":"post","link":"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/","title":{"rendered":"LOEWE Foundation Craft Prize 2026: Winner, Japanese Finalists &#038; What This Year&#8217;s Selection Reveals"},"content":{"rendered":"<p><strong>The LOEWE Foundation Craft Prize 2026 was awarded to Korean ceramicist Jongjin Park for <em>Strata of Illusion<\/em> (2025).<br \/>\nNow in its ninth edition, the prize received more than 5,100 applications from 133 countries and territories. The winner was announced on May 12 in Singapore, and the finalists&#8217; exhibition opened the following day at the National Gallery Singapore.<br \/>\nThree Japanese artists reached the finals: Misako Nakahira, Nobuyuki Tanaka, and Ayano Yoshizumi.<\/strong><\/p>\n<p>If you follow contemporary craft internationally, May 12 was a date worth keeping.<br \/>\nThe editor of Kogei Japonica was among those waiting on the announcement from Singapore.<\/p>\n<p>This article draws on primary sources \u2014 the LOEWE Foundation, the National Gallery Singapore, and major press coverage \u2014 to compile the winner, Special Mentions, and Japanese finalists in one place. It also offers an editorial reading of what this year&#8217;s finalist selection reveals about where contemporary craft evaluation currently stands.<br \/>\nExhibition details, a FAQ, and notes on each artist are included. We hope this serves collectors, gallerists, and practicing craft artists alike.<\/p>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_73 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Who_won_the_LOEWE_Foundation_Craft_Prize_2026\" title=\"Who won the LOEWE Foundation Craft Prize 2026?\">Who won the LOEWE Foundation Craft Prize 2026?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#About_the_winning_work_Strata_of_Illusion\" title=\"About the winning work: Strata of Illusion\">About the winning work: Strata of Illusion<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#The_two_Special_Mention_recipients\" title=\"The two Special Mention recipients\">The two Special Mention recipients<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Which_Japanese_artists_reached_the_finals\" title=\"Which Japanese artists reached the finals?\">Which Japanese artists reached the finals?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Misako_Nakahira_%E2%80%94_Tapestry_Weaving\" title=\"Misako Nakahira \u2014 Tapestry Weaving\">Misako Nakahira \u2014 Tapestry Weaving<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Nobuyuki_Tanaka_%E2%80%94_Kanshitsu_Dry_Lacquer\" title=\"Nobuyuki Tanaka \u2014 Kanshitsu Dry Lacquer\">Nobuyuki Tanaka \u2014 Kanshitsu Dry Lacquer<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Ayano_Yoshizumi_%E2%80%94_Glass\" title=\"Ayano Yoshizumi \u2014 Glass\">Ayano Yoshizumi \u2014 Glass<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#What_materials_and_techniques_make_up_the_2026_finalist_list\" title=\"What materials and techniques make up the 2026 finalist list?\">What materials and techniques make up the 2026 finalist list?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Full_list_of_30_finalists\" title=\"Full list of 30 finalists\">Full list of 30 finalists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Material_trends_across_the_2026_selection\" title=\"Material trends across the 2026 selection\">Material trends across the 2026 selection<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#This_years_criteria_material_transformation_and_the_crossing_of_boundaries\" title=\"This year&#8217;s criteria: material transformation and the crossing of boundaries\">This year&#8217;s criteria: material transformation and the crossing of boundaries<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#What_does_it_mean_for_a_luxury_house_to_run_a_craft_prize\" title=\"What does it mean for a luxury house to run a craft prize?\">What does it mean for a luxury house to run a craft prize?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Technical_tradition_is_only_part_of_what_is_evaluated\" title=\"Technical tradition is only part of what is evaluated\">Technical tradition is only part of what is evaluated<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#The_jury_and_the_participation_of_2025_winner_Kunimasa_Aoki\" title=\"The jury and the participation of 2025 winner Kunimasa Aoki\">The jury and the participation of 2025 winner Kunimasa Aoki<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#A_note_on_following_this_prize\" title=\"A note on following this prize\">A note on following this prize<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Where_and_until_when_is_the_exhibition_on_view\" title=\"Where and until when is the exhibition on view?\">Where and until when is the exhibition on view?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Why_Singapore\" title=\"Why Singapore?\">Why Singapore?<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#What_should_collectors_gallerists_and_craft_artists_look_for\" title=\"What should collectors, gallerists, and craft artists look for?\">What should collectors, gallerists, and craft artists look for?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#For_collectors\" title=\"For collectors\">For collectors<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#For_gallerists\" title=\"For gallerists\">For gallerists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#For_craft_artists\" title=\"For craft artists\">For craft artists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Ten_things_to_examine_when_following_an_international_craft_prize\" title=\"Ten things to examine when following an international craft prize\">Ten things to examine when following an international craft prize<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#What_can_the_2026_prize_tell_us_about_where_Japanese_craft_stands_internationally\" title=\"What can the 2026 prize tell us about where Japanese craft stands internationally?\">What can the 2026 prize tell us about where Japanese craft stands internationally?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Resisting_the_reflex_to_read_the_Japanese_finalists_as_representatives_of_%E2%80%9CJapanese_craft%E2%80%9D\" title=\"Resisting the reflex to read the Japanese finalists as representatives of &#8220;Japanese craft&#8221;\">Resisting the reflex to read the Japanese finalists as representatives of &#8220;Japanese craft&#8221;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#International_prizes_make_evaluation_criteria_legible\" title=\"International prizes make evaluation criteria legible\">International prizes make evaluation criteria legible<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Editors_note\" title=\"Editor&#8217;s note\">Editor&#8217;s note<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#FAQ_LOEWE_Foundation_Craft_Prize_2026\" title=\"FAQ: LOEWE Foundation Craft Prize 2026\">FAQ: LOEWE Foundation Craft Prize 2026<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-28\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/loewe-craft-prize-2026\/#Closing\" title=\"Closing\">Closing<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Who_won_the_LOEWE_Foundation_Craft_Prize_2026\"><\/span>Who won the LOEWE Foundation Craft Prize 2026?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<figure id=\"attachment_10405\" aria-describedby=\"caption-attachment-10405\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img fetchpriority=\"high\" decoding=\"async\" class=\"size-full wp-image-10405\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/04_loewe_2026_craft_prize_artist_portrait_rgb_cropped_3x4_jongjin_park-scaled.webp\" alt=\"Portrait of LOEWE Foundation Craft Prize 2026 winner Jongjin Park\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10405\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#jongjin_park\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p><strong>The 2026 prize was awarded to Korean ceramicist Jongjin Park for <em>Strata of Illusion<\/em> (2025). The work layers paper coated in porcelain slip \u2014 a liquid clay mixture \u2014 and fires it in a kiln, where the paper burns away and the combined forces of heat and gravity determine the final form.<\/strong><\/p>\n<p>On May 12, 2026, the LOEWE Foundation held the award ceremony at the National Gallery Singapore and formally announced the winner of the ninth Craft Prize.<br \/>\n(Source: <a href=\"https:\/\/www.loewe.com\/usa\/en\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a>)<br \/>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/trend\/jongjin-park\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/01\/jongjinpark-scaled.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Who is Jongjin Park Gaining Global Attention? - At the Forefront of Contempor...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/trend\/jongjin-park\/\">https:\/\/en.kogei-japonica.com\/media\/trend\/jongjin-park\/<\/div><div class=\"lkc-excerpt\">Jongjin Park is a Korean artist who has pioneered new expressive territories in contemporary craft by traversing the different material domains of paper forming and porcelain. His unique production process\u2014immersing paper towels in porcelain slip, layering and compressing them, then firing at high temperatures to fix the paper&#039;s structure in porcelain\u2014has earned international acclaim as forms that simultaneously embody ephemerality and permanence.In recent years, he has attracted attenti...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div><\/p>\n<h3><span class=\"ez-toc-section\" id=\"About_the_winning_work_Strata_of_Illusion\"><\/span>About the winning work: <em>Strata of Illusion<\/em><span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_10406\" aria-describedby=\"caption-attachment-10406\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"size-full wp-image-10406\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00051_3x4-scaled.webp\" alt=\"Strata of Illusion by Jongjin Park, LOEWE Foundation Craft Prize 2026 winning work\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10406\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#jongjin_park\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p><em>Strata of Illusion<\/em> \u2014 the title suggests layers of sediment as much as layers of perception \u2014 takes the form of a chair-like structure whose function is deliberately unresolved. Park coats paper in colored porcelain slip, stacks the sheets into rectangular formations, and fires the assembly in a kiln. The paper disappears in the process; heat and gravity introduce distortion and partial collapse. The finished work is not fully authored by the artist: material and physical law are active participants in shaping the outcome. In this sense, the piece moves beyond the familiar categories of vessel, sculpture, and furniture.<\/p>\n<p>The jury was reported to have recognized the work for its sculptural presence \u2014 one that overturns assumptions about what ceramics can be \u2014 and for the poetic quality of the paper&#8217;s erasure during firing. Park is based in Seoul and holds an assistant professorship in Craft and Collectible Design at Seoul Women&#8217;s University.<br \/>\n(Source: <a href=\"https:\/\/www.wallpaper.com\/design-interiors\/loewe-craft-prize-2026-winner-announcement\" target=\"_blank\" rel=\"noopener nofollow\">Loewe Craft Prize 2026 winner announced | Wallpaper*<\/a>)<br \/>\n(Source: <a href=\"https:\/\/elle.com.sg\/life-culture\/loewe-foundation-craft-prize-2026\/\" target=\"_blank\" rel=\"noopener nofollow\">The LOEWE Foundation Craft Prize 2026 Spotlights Its Finalists At The National Gallery Singapore | ELLE Singapore<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"The_two_Special_Mention_recipients\"><\/span>The two Special Mention recipients<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Alongside the main prize, two works received Special Mentions this year.<\/p>\n<p><strong>Baba Tree Master Weavers \u00d7 \u00c1lvaro Catal\u00e1n de Oc\u00f3n (Spain)<\/strong><br \/>\n<em>Frafra Tapestry<\/em> (2024) is a collaboration between Ghanaian artisan collective Baba Tree Master Weavers and Spanish designer \u00c1lvaro Catal\u00e1n de Oc\u00f3n. The work translates aerial drone footage of circular communal dwellings in the Gruni region of northern Ghana into a large-format tapestry using traditional basketry techniques with elephant grass.<\/p>\n<figure id=\"attachment_10410\" aria-describedby=\"caption-attachment-10410\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10410\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00028_3x4-scaled.webp\" alt=\"Frafra Tapestry by Baba Tree Master Weavers and \u00c1lvaro Catal\u00e1n de Oc\u00f3n, LOEWE Craft Prize 2026 Special Mention\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10410\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#graziano_visintin\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p><strong>Graziano Visintin (Italy)<\/strong><br \/>\n<em>Collier<\/em> (2025) by Italian goldsmith Graziano Visintin comprises two necklaces built from minute cubes of thin gold sheet, worked in niello \u2014 a black metallic inlay technique with ancient origins. The pieces bring historical goldsmithing into direct conversation with contemporary jewelry.<\/p>\n<p><figure id=\"attachment_10409\" aria-describedby=\"caption-attachment-10409\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10409\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00022_3x4-scaled.webp\" alt=\"Collier by Graziano Visintin, LOEWE Craft Prize 2026 Special Mention\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10409\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#graziano_visintin\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure><br \/>\n(Source: <a href=\"https:\/\/www.loewe.com\/usa\/en\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Which_Japanese_artists_reached_the_finals\"><\/span>Which Japanese artists reached the finals?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><strong>Three Japanese artists were selected from this year&#8217;s 30 finalists: Misako Nakahira (textile \/ tapestry), Nobuyuki Tanaka (kanshitsu dry lacquer), and Ayano Yoshizumi (glass). The fact that all three work in different materials and pursue distinct conceptual directions is itself a fair reflection of the range of practice currently coming out of Japan.<\/strong><br \/>\n(Source: <a href=\"https:\/\/www.kogeistandard.com\/jp\/insight\/serial\/featured-exhibitions-events\/2026-3-25\/\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | KOGEI STANDARD<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Misako_Nakahira_%E2%80%94_Tapestry_Weaving\"><\/span>Misako Nakahira \u2014 Tapestry Weaving<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_10397\" aria-describedby=\"caption-attachment-10397\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10397\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/06_loewe_2026_craft_prize_artist_portrait_rgb_cropped_3x4_misako_nakahira-scaled.webp\" alt=\"Portrait of Japanese finalist Misako Nakahira, LOEWE Foundation Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10397\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#misako_nakahira\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>According to KOGEI STANDARD, Kyoto-based Nakahira works through tapestry as a vehicle for reinterpreting striped pattern structures. Her submitted work is <em>Interaction #YB<\/em> (2024), a tapestry in wool and cotton measuring 1,134 \u00d7 1,023 \u00d7 8 mm.<\/p>\n<figure id=\"attachment_10398\" aria-describedby=\"caption-attachment-10398\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10398\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00007_3x4-scaled.webp\" alt=\"Interaction #YB by Misako Nakahira, Japanese finalist at LOEWE Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10398\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#misako_nakahira\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>In interviews, Nakahira has spoken about technique and concept as inseparable \u2014 neither, in her view, can carry a work on its own. The tension between material and intention sits at the center of her practice. She dyes her own wool, developing a personal color language through the dyeing process itself.<br \/>\n(Source: <a href=\"https:\/\/www.craftersoftoday.com\/stories\/misako-nakahira\" target=\"_blank\" rel=\"noopener nofollow\">Misako Nakahira Interview | Crafters of Today<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Nobuyuki_Tanaka_%E2%80%94_Kanshitsu_Dry_Lacquer\"><\/span>Nobuyuki Tanaka \u2014 Kanshitsu Dry Lacquer<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_10399\" aria-describedby=\"caption-attachment-10399\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10399\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/04_loewe_2026_craft_prize_artist_portrait_rgb_cropped_3x4_noboyuki_tanaka-scaled.webp\" alt=\"Portrait of Japanese finalist Nobuyuki Tanaka, LOEWE Foundation Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10399\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#nobuyuki_tanaka\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>Born in 1959, Tanaka studied lacquer art at the Tokyo University of the Arts (BA 1983, MA 1985) and continues to teach and make work at the Kanazawa College of Art. KOGEI STANDARD describes his practice as one that positions lacquer within a contemporary critical framework, working from his base in Kanazawa.<\/p>\n<p>The technical foundation of his work is kanshitsu \u2014 a process in which hemp cloth is saturated with urushi lacquer and built up in layers around a core form; once the structure has set, the core is removed and the interior and exterior surfaces are finished with further lacquer applications. His submitted work, <em>Inner Side \u2013 Outer Side 2021 N<\/em> (2021), is a large vessel-form sculpture standing over two meters tall. The exterior carries a mirror-finish lacquer black; the interior is matte. How the work presents itself shifts substantially depending on where light falls. Apollo Magazine described Tanaka&#8217;s forms as occupying a space &#8220;between strength and collapse.&#8221;<\/p>\n<figure id=\"attachment_10400\" aria-describedby=\"caption-attachment-10400\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10400\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00026_3x4-scaled.webp\" alt=\"Inner Side \u2013 Outer Side 2021 N by Nobuyuki Tanaka, Japanese finalist at LOEWE Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10400\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#nobuyuki_tanaka\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>His work is held in the collections of the V&#038;A in London, the Metropolitan Museum of Art in New York, and the 21st Century Museum of Contemporary Art, Kanazawa, among other institutions. He has consistently brought lacquer into international exhibition contexts as a sculptural language in its own right.<br \/>\n(Source: <a href=\"https:\/\/apollo-magazine.com\/loewe-foundation-craft-prize-2026-exhibition\/\" target=\"_blank\" rel=\"noopener nofollow\">The Loewe Foundation pushes craft out of its comfort zone | Apollo Magazine<\/a>)<br \/>\n(Source: <a href=\"https:\/\/lighthouse-kanata.com\/en\/artists\/nobuyuki-tanaka\/\" target=\"_blank\" rel=\"noopener nofollow\">Nobuyuki Tanaka | A Lighthouse called Kanata<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Ayano_Yoshizumi_%E2%80%94_Glass\"><\/span>Ayano Yoshizumi \u2014 Glass<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_10401\" aria-describedby=\"caption-attachment-10401\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10401\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/04_loewe_2026_craft_prize_artist_portrait_rgb_cropped_3x4_ayano_yoshizumi-scaled.webp\" alt=\"Portrait of Japanese finalist Ayano Yoshizumi, LOEWE Foundation Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10401\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#ayano_yoshizumi\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>According to KOGEI STANDARD, Yoshizumi is based in Toyama and draws on Fauvism and the Japanese spatial concept of <em>ma<\/em> \u2014 the meaningful pause or interval between forms \u2014 as starting points for her glass work. Her submitted piece, <em>ICON #2507 Group<\/em> (2023\u20132025), is a series that explores glass as a material through its transparency, refraction, and physical presence.<\/p>\n<figure id=\"attachment_10402\" aria-describedby=\"caption-attachment-10402\" style=\"width: 320px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10402\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/01_loewe_2026_craft_prize_hero_srgb_cropped_00047_3x4-scaled.webp\" alt=\"ICON #2507 Group by Ayano Yoshizumi, Japanese finalist at LOEWE Craft Prize 2026\" width=\"320\" height=\"960\" \/><figcaption id=\"caption-attachment-10402\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize-finalists.html#ayano_yoshizumi\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>For full biographical details, please refer to the official LOEWE finalists page and her gallery listings.<br \/>\n(Source: <a href=\"https:\/\/www.loewe.com\/int\/en\/stories-loewe-foundation\/craft-prize-finalists.html\" target=\"_blank\" rel=\"noopener nofollow\">Craft Prize 2026 Finalists | LOEWE Official<\/a>)<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Artist<\/th>\n<th>Material \/ Technique<\/th>\n<th>Submitted Work<\/th>\n<th>Year<\/th>\n<th>Base<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Misako Nakahira<\/td>\n<td>Textile \/ tapestry (wool, cotton)<\/td>\n<td><em>Interaction #YB<\/em><\/td>\n<td>2024<\/td>\n<td>Kyoto<\/td>\n<\/tr>\n<tr>\n<td>Nobuyuki Tanaka<\/td>\n<td>Kanshitsu dry lacquer (hemp, urushi)<\/td>\n<td><em>Inner Side \u2013 Outer Side 2021 N<\/em><\/td>\n<td>2021<\/td>\n<td>Kanazawa<\/td>\n<\/tr>\n<tr>\n<td>Ayano Yoshizumi<\/td>\n<td>Glass<\/td>\n<td><em>ICON #2507 Group<\/em><\/td>\n<td>2023\u20132025<\/td>\n<td>Toyama<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>\u203b Artist information compiled by the Kogei Japonica editorial team based on LOEWE Foundation official sources, KOGEI STANDARD, and related press coverage.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_materials_and_techniques_make_up_the_2026_finalist_list\"><\/span>What materials and techniques make up the 2026 finalist list?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><strong>The 30 finalists span ceramics, textiles, lacquer, glass, metalwork, woodworking, bookbinding, and more. A defining thread this year is the number of works that incorporate material transformation \u2014 collapse, conversion, negotiation with physical law \u2014 as an active element of the work, rather than simply demonstrating technical mastery of a single medium.<\/strong><br \/>\n(Source: <a href=\"https:\/\/www.loewe.com\/usa\/en\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Full_list_of_30_finalists\"><\/span>Full list of 30 finalists<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Artist<\/th>\n<th>Listed Country \/ Region<\/th>\n<th>Material Category (editorial classification)<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Baba Tree Master Weavers \u00d7 \u00c1lvaro Catal\u00e1n de Oc\u00f3n<\/td>\n<td>Spain<\/td>\n<td>Textile (elephant grass \/ basketry)<\/td>\n<\/tr>\n<tr>\n<td>Jobe Burns<\/td>\n<td>United Kingdom<\/td>\n<td>Metal (steel \/ lacquer finish)<\/td>\n<\/tr>\n<tr>\n<td>Soohyun Chou<\/td>\n<td>South Korea<\/td>\n<td>Metal \/ sculptural<\/td>\n<\/tr>\n<tr>\n<td>Morten L\u00f8bner Espersen<\/td>\n<td>Denmark<\/td>\n<td>Ceramics (glazed stoneware)<\/td>\n<\/tr>\n<tr>\n<td>Liam Fleming<\/td>\n<td>Australia<\/td>\n<td>Glass<\/td>\n<\/tr>\n<tr>\n<td>Oskar Gustafsson<\/td>\n<td>Sweden<\/td>\n<td>Woodworking<\/td>\n<\/tr>\n<tr>\n<td>Susan Halls<\/td>\n<td>United Kingdom<\/td>\n<td>Ceramics<\/td>\n<\/tr>\n<tr>\n<td>Gjertrud Hals<\/td>\n<td>Norway<\/td>\n<td>Textile (cotton, linen, resin)<\/td>\n<\/tr>\n<tr>\n<td>Chia-Chen Hsieh<\/td>\n<td>Taiwan<\/td>\n<td>Bamboo craft<\/td>\n<\/tr>\n<tr>\n<td>Adelene Koh<\/td>\n<td>Singapore<\/td>\n<td>Bookbinding \/ paper<\/td>\n<\/tr>\n<tr>\n<td>Maria Koshenkova<\/td>\n<td>Denmark<\/td>\n<td>Glass<\/td>\n<\/tr>\n<tr>\n<td>Jong In Lee<\/td>\n<td>South Korea<\/td>\n<td>Woodworking<\/td>\n<\/tr>\n<tr>\n<td>Somyeong Lee<\/td>\n<td>South Korea<\/td>\n<td>Ceramics \/ mixed media<\/td>\n<\/tr>\n<tr>\n<td><strong>Misako Nakahira<\/strong><\/td>\n<td><strong>Japan<\/strong><\/td>\n<td><strong>Textile \/ tapestry<\/strong><\/td>\n<\/tr>\n<tr>\n<td>Fadekemi Ogunsanya<\/td>\n<td>Nigeria<\/td>\n<td>Textile (embroidery, beadwork)<\/td>\n<\/tr>\n<tr>\n<td>Jieun Park<\/td>\n<td>South Korea<\/td>\n<td>Metal (silver)<\/td>\n<\/tr>\n<tr>\n<td><strong>Jongjin Park (winner)<\/strong><\/td>\n<td><strong>South Korea<\/strong><\/td>\n<td><strong>Ceramics (paper \/ porcelain slip)<\/strong><\/td>\n<\/tr>\n<tr>\n<td>Rafael P\u00e9rez Fern\u00e1ndez<\/td>\n<td>Spain<\/td>\n<td>Ceramics<\/td>\n<\/tr>\n<tr>\n<td>Dorothea Pr\u00fchl<\/td>\n<td>Germany<\/td>\n<td>Jewelry (titanium, gold)<\/td>\n<\/tr>\n<tr>\n<td>Kirstie Rea<\/td>\n<td>Australia<\/td>\n<td>Glass<\/td>\n<\/tr>\n<tr>\n<td>Vivi Rosa<\/td>\n<td>Brazil<\/td>\n<td>Mixed media<\/td>\n<\/tr>\n<tr>\n<td>Herv\u00e9 Sabin<\/td>\n<td>Haiti<\/td>\n<td>Mixed media<\/td>\n<\/tr>\n<tr>\n<td>Xanthe Somers<\/td>\n<td>Zimbabwe<\/td>\n<td>Ceramics (woven clay)<\/td>\n<\/tr>\n<tr>\n<td>Coco Sung<\/td>\n<td>South Korea<\/td>\n<td>Jewelry \/ mixed media<\/td>\n<\/tr>\n<tr>\n<td><strong>Nobuyuki Tanaka<\/strong><\/td>\n<td><strong>Japan<\/strong><\/td>\n<td><strong>Kanshitsu dry lacquer (hemp, urushi)<\/strong><\/td>\n<\/tr>\n<tr>\n<td>Graziano Visintin (Special Mention)<\/td>\n<td>Italy<\/td>\n<td>Jewelry (gold, niello)<\/td>\n<\/tr>\n<tr>\n<td>Rayah Wauters<\/td>\n<td>Belgium<\/td>\n<td>Textile \/ sculptural<\/td>\n<\/tr>\n<tr>\n<td>Nan Wei<\/td>\n<td>China<\/td>\n<td>Lacquer<\/td>\n<\/tr>\n<tr>\n<td>Jane Yang-D&#8217;Haene<\/td>\n<td>United States<\/td>\n<td>Ceramics (stoneware)<\/td>\n<\/tr>\n<tr>\n<td><strong>Ayano Yoshizumi<\/strong><\/td>\n<td><strong>Japan<\/strong><\/td>\n<td><strong>Glass<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>\u203b Material categories have been assigned by the Kogei Japonica editorial team for reader reference, based on LOEWE Foundation finalist information and related press coverage. They may differ in part from official LOEWE classifications.<br \/>\n(Source: <a href=\"https:\/\/www.loewe.com\/int\/en\/stories-loewe-foundation\/craft-prize-finalists.html\" target=\"_blank\" rel=\"noopener nofollow\">Craft Prize 2026 Finalists | LOEWE Official<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Material_trends_across_the_2026_selection\"><\/span>Material trends across the 2026 selection<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Looking across the 30 finalists by material, ceramics, textiles, and glass appear most frequently. Japan&#8217;s three representatives work across lacquer, textile, and glass \u2014 no overlap in material or approach \u2014 which reflects something of the selection&#8217;s broader interest in cross-material range.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"This_years_criteria_material_transformation_and_the_crossing_of_boundaries\"><\/span>This year&#8217;s criteria: material transformation and the crossing of boundaries<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>What stands out when reading the 2026 finalist list as a whole is how consistently it reaches toward work in which the material&#8217;s own transformation is built into the piece.<\/p>\n<p>In <em>Strata of Illusion<\/em>, paper burns and porcelain deforms. In Tanaka&#8217;s <em>Inner Side \u2013 Outer Side<\/em>, the accumulated time of layering hemp and lacquer becomes the form. Baba Tree Master Weavers&#8217; Special Mention work re-translates a contemporary drone perspective on Ghanaian architecture through traditional grass-weaving. Recent editions of the prize suggest a broader shift in craft evaluation: from technical transmission alone toward works that treat material as an active partner in the making process.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_does_it_mean_for_a_luxury_house_to_run_a_craft_prize\"><\/span>What does it mean for a luxury house to run a craft prize?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div class=\"box3\">\n<p><strong>[What is the LOEWE Foundation Craft Prize?]<\/strong><br \/>\nThe LOEWE Foundation Craft Prize was established in 2016 by the LOEWE Foundation (Madrid, Spain). Its stated criteria are technical excellence, innovation, a deep understanding of material, and clarity of artistic intent. The prize is open annually to craft practitioners worldwide. The ninth edition, in 2026, received more than 5,100 applications from 133 countries and territories. The main award carries a prize of \u20ac50,000, with \u20ac5,000 awarded to each Special Mention recipient.<\/p>\n<\/div>\n<p>LOEWE was founded in Madrid in 1846 as a collective leather workshop and is today a Spanish luxury brand within the LVMH group. It is from that historical grounding in craft that the prize emerged \u2014 created under then-creative director Jonathan Anderson with the explicit aim of recognizing craft&#8217;s place in contemporary culture.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Technical_tradition_is_only_part_of_what_is_evaluated\"><\/span>Technical tradition is only part of what is evaluated<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>What distinguishes this prize within the craft world is its stated indifference to traditional technique as an end in itself. Alongside technical excellence, the official criteria name innovation, artistic vision, and a deep understanding of material. The body of finalist work has been described in terms of &#8220;making as a careful negotiation between balance, instability and tension&#8221; \u2014 a framing that positions practice as inquiry rather than reproduction.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"The_jury_and_the_participation_of_2025_winner_Kunimasa_Aoki\"><\/span>The jury and the participation of 2025 winner Kunimasa Aoki<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_10403\" aria-describedby=\"caption-attachment-10403\" style=\"width: 1300px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10403\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/LOEWE_2026_CRAFT_PRIZE_JURY_RGB_CROPPED_01_16x9.webp\" alt=\"Jury panel for the LOEWE Foundation Craft Prize 2026\" width=\"1300\" height=\"732\" \/><figcaption id=\"caption-attachment-10403\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p>This year&#8217;s jury included design critic Deyan Sudjic, designer Patricia Urquiola, architect Frida Escobedo, Abraham Thomas of the Metropolitan Museum of Art, Olivier Gabet (head of decorative arts at the Louvre), and designer and director of the Japan Folk Crafts Museum Naoto Fukasawa. LOEWE&#8217;s new creative directors Jack McCollough and Lazaro Hernandez joined the jury for the first time. Also on the panel was 2025 prize winner Kunimasa Aoki.<\/p>\n<p>The structure in which the previous year&#8217;s winner joins the following year&#8217;s jury is worth noting as a signal of the prize&#8217;s continuity and its interest in sustaining dialogue between practitioners. What specific judgments Aoki brought to the 2026 deliberations is not part of the public record, but his presence on the jury is part of the broader picture of how Japanese craft practice is engaging with international evaluation platforms.<br \/>\n(Source: <a href=\"https:\/\/www.kogeistandard.com\/jp\/insight\/serial\/featured-exhibitions-events\/2026-3-25\/\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | KOGEI STANDARD<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"A_note_on_following_this_prize\"><\/span>A note on following this prize<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>To be direct about it: one reason Kogei Japonica follows this prize closely is the tension that runs through it. LOEWE is a luxury brand, and any prize run by its foundation will inevitably mix craft value with brand value.<\/p>\n<p>That said, the prize has earned a degree of credibility within the craft world \u2014 through the transparency of its selection process, the expertise of its juries, and the fact that its winners have consistently gone on to build substantive careers rather than simply providing a news cycle. This does not mean LOEWE defines what contemporary craft should be. But as a platform that makes certain evaluative priorities visible, this prize is worth tracking.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Where_and_until_when_is_the_exhibition_on_view\"><\/span>Where and until when is the exhibition on view?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<figure id=\"attachment_10404\" aria-describedby=\"caption-attachment-10404\" style=\"width: 300px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10404\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/LOEWE_2026_CRAFT_PRIZE_SPACE_CAPTURE_RGB_CROPPED_5_3x4.webp\" alt=\"Exhibition view of LOEWE Foundation Craft Prize 2026 at National Gallery Singapore\" width=\"300\" height=\"733\" \/><figcaption id=\"caption-attachment-10404\" class=\"wp-caption-text\"><a href=\"https:\/\/www.loewe.com\/jpn\/ja\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a><\/figcaption><\/figure>\n<p><strong>Works by all 30 finalists are on view at the National Gallery Singapore through June 14, 2026. Admission is free. Opening hours are 10:00\u201319:00 daily (last entry 18:30). Please check the official listings before visiting to confirm current details.<\/strong><\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Detail<\/th>\n<th>Information<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Dates<\/td>\n<td>May 13 (Wed) \u2013 June 14 (Sun), 2026<\/td>\n<\/tr>\n<tr>\n<td>Venue<\/td>\n<td>National Gallery Singapore<\/td>\n<\/tr>\n<tr>\n<td>Address<\/td>\n<td>1 St Andrew&#8217;s Road, Singapore 178957<\/td>\n<\/tr>\n<tr>\n<td>Admission<\/td>\n<td>Free<\/td>\n<\/tr>\n<tr>\n<td>Hours<\/td>\n<td>10:00\u201319:00 daily<\/td>\n<\/tr>\n<tr>\n<td>Last entry<\/td>\n<td>18:30<\/td>\n<\/tr>\n<tr>\n<td>Works on view<\/td>\n<td>All 30 finalists<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>(Source: <a href=\"https:\/\/www.loewe.com\/usa\/en\/pd\/stories-loewe-foundation\/craft-prize.html\" target=\"_blank\" rel=\"noopener nofollow\">LOEWE FOUNDATION Craft Prize 2026 | LOEWE Official<\/a>)<br \/>\n(Source: <a href=\"https:\/\/www.nationalgallery.sg\/\" target=\"_blank\" rel=\"noopener nofollow\">National Gallery Singapore Official<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Why_Singapore\"><\/span>Why Singapore?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The exhibition venue changes each year. In 2024 it was the Palais de Tokyo in Paris. For 2026, the LOEWE Foundation has cited a desire to bring the prize to cities where interest in contemporary craft is growing.<\/p>\n<p>This is not only a logistical choice. Singapore sits at an active intersection of art, design, and collectible culture internationally, and for local collectors and younger craft practitioners, the presence of an international craft prize on this scale offers direct contact with where the field is being evaluated. Finalist and Singapore-based artist Adelene Koh has spoken about the significance of the prize coming to Singapore in the context of mentorship and growing interest in craft among younger generations.<br \/>\n(Source: <a href=\"https:\/\/www.wallpaper.com\/design-interiors\/loewe-craft-prize-2026-winner-announcement\" target=\"_blank\" rel=\"noopener nofollow\">Loewe Craft Prize 2026 winner announced | Wallpaper*<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_should_collectors_gallerists_and_craft_artists_look_for\"><\/span>What should collectors, gallerists, and craft artists look for?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><strong>Reading the LOEWE Craft Prize announcement purely as a question of who won misses most of what the selection has to offer. Looking at material, process, artist statement, and how work reads in exhibition space gives a clearer picture of the criteria shaping contemporary craft evaluation internationally.<\/strong><\/p>\n<h3><span class=\"ez-toc-section\" id=\"For_collectors\"><\/span>For collectors<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>A finalist position in an international craft prize is one data point in assessing an artist&#8217;s trajectory \u2014 not a complete picture of a work&#8217;s value. If you are considering a purchase, verify conservation requirements, dimensions, representing gallery, and pricing independently. These vary significantly by work, artist, and point of sale; always consult the representing gallery or the artist&#8217;s official channels directly.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"For_gallerists\"><\/span>For gallerists<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>What stands out in this year&#8217;s finalist group is the number of works that presuppose a relationship with exhibition space rather than resolving as self-contained objects. Tanaka&#8217;s large-scale lacquer sculpture is the clearest example, but Nakahira&#8217;s tapestry is also a work that operates in dialogue with the wall plane. Approaching the works with gallery context in mind makes the connection between material choices, scale, and the artist&#8217;s underlying concept much easier to read.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"For_craft_artists\"><\/span>For craft artists<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>For artists considering an application to a future edition: the selection consistently rewards the pairing of technical achievement with a clearly articulated artistic position. Command of material is not sufficient on its own \u2014 the ability to state, in your own words, why this material and this form are the necessary answer to the question you are asking, matters. Preparing an English-language artist statement is a practical part of that preparation. Applications for the 2027 edition are expected to open after June 2026; check the LOEWE Foundation website for current information.<br \/>\n(Source: <a href=\"https:\/\/www.wallpaper.com\/design-interiors\/loewe-craft-prize-2026-winner-announcement\" target=\"_blank\" rel=\"noopener nofollow\">Loewe Craft Prize 2026 winner announced | Wallpaper*<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Ten_things_to_examine_when_following_an_international_craft_prize\"><\/span>Ten things to examine when following an international craft prize<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Artist name, nationality, and working base<\/li>\n<li>Title of submitted work and year of completion<\/li>\n<li>Primary material and technique<\/li>\n<li>How the material is handled \u2014 the making process<\/li>\n<li>The artist&#8217;s stated intent and central question<\/li>\n<li>Dimensions and mode of display<\/li>\n<li>How the work relates to the exhibition space<\/li>\n<li>Whether an artist statement exists, and in which languages<\/li>\n<li>Representing gallery and official contact information<\/li>\n<li>Exhibition and award history \u2014 verified through primary sources<\/li>\n<\/ul>\n<h2><span class=\"ez-toc-section\" id=\"What_can_the_2026_prize_tell_us_about_where_Japanese_craft_stands_internationally\"><\/span>What can the 2026 prize tell us about where Japanese craft stands internationally?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><strong>&#8220;Three Japanese artists were selected&#8221; is a starting point, not a conclusion. The more useful question is what kind of practice each of them was recognized for \u2014 and those are three different answers.<\/strong><\/p>\n<h3><span class=\"ez-toc-section\" id=\"Resisting_the_reflex_to_read_the_Japanese_finalists_as_representatives_of_%E2%80%9CJapanese_craft%E2%80%9D\"><\/span>Resisting the reflex to read the Japanese finalists as representatives of &#8220;Japanese craft&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Nakahira, Tanaka, and Yoshizumi were each selected for their individual practice. Grouping them as a single expression of &#8220;Japanese craft&#8221; does a disservice to what each of them is actually doing.<\/p>\n<p>Tanaka&#8217;s kanshitsu work has been developed as a sculptural language \u2014 one that draws on the optical properties of urushi and the accumulation of making time as formal elements. Nakahira&#8217;s tapestries come out of a specific practice of self-dyeing, wool as primary material, and a sustained investigation of stripe as structure. Yoshizumi&#8217;s glass work stands as its own inquiry into material presence and light. All three happen to be Japanese. That is a result of selection, not a shared artistic program.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"International_prizes_make_evaluation_criteria_legible\"><\/span>International prizes make evaluation criteria legible<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>What the LOEWE Craft Prize does, across editions, is make certain priorities in contemporary craft evaluation visible. This year&#8217;s selection \u2014 prize, Special Mentions, and finalists as a body \u2014 points toward work that re-examines the relationship between material and process, blurs the line between craft, sculpture, and design, and finds ways to connect individual technical knowledge with collective or collaborative practice.<\/p>\n<p>This does not mean LOEWE defines what contemporary craft should be. It is one influential international platform revealing its current angle of attention \u2014 which is a different and more limited claim, and the right way to read it.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Editors_note\"><\/span>Editor&#8217;s note<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<div class=\"box3\">\nJongjin Park&#8217;s winning work is framed as ceramics, yet its central act is burning paper \u2014 using another material&#8217;s disappearance as a forming force. The Baba Tree Master Weavers&#8217; Special Mention work routes a contemporary drone viewpoint through traditional grass-weaving as an act of re-translation. The consistency with which works like these are selected makes it clearer each year that what this prize is evaluating is not the faithful preservation of tradition but the practice of using material and technique to ask a question.<\/p>\n<p>When Japanese craft is discussed internationally, the framing of &#8220;transmission of tradition&#8221; tends to arrive first. But looking at the three Japanese finalists this year, each of them was selected as an artist engaged with a present-tense question through their material \u2014 not as a custodian of a historical form. Reading their selection as &#8220;Japanese craft being recognized&#8221; is less accurate than reading it as three artists, each recognized for a specific practice on its own terms. That, it seems to us, is the more honest form of attention.\n<\/p><\/div>\n<h2><span class=\"ez-toc-section\" id=\"FAQ_LOEWE_Foundation_Craft_Prize_2026\"><\/span>FAQ: LOEWE Foundation Craft Prize 2026<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><strong>Answers to common questions about the winner, exhibition, selection criteria, and how to apply.<\/strong><\/p>\n<dl>\n<dt>Q1. Who won the LOEWE Foundation Craft Prize 2026?<\/dt>\n<dd>Korean ceramicist Jongjin Park, for <em>Strata of Illusion<\/em> (2025). The main award carries a prize of \u20ac50,000.<\/dd>\n<dt>Q2. Which Japanese artists were selected as finalists?<\/dt>\n<dd>Misako Nakahira (textile \/ tapestry, Kyoto), Nobuyuki Tanaka (kanshitsu dry lacquer, Kanazawa), and Ayano Yoshizumi (glass, Toyama).<\/dd>\n<dt>Q3. Where is the finalists&#8217; exhibition being held?<\/dt>\n<dd>At the National Gallery Singapore (1 St Andrew&#8217;s Road, Singapore 178957). The exhibition runs May 13 \u2013 June 14, 2026. Admission is free; hours are 10:00\u201319:00 daily, last entry 18:30. Please check the official site before visiting to confirm current details.<\/dd>\n<dt>Q4. What are the selection criteria for the LOEWE Craft Prize?<\/dt>\n<dd>The official criteria are technical excellence, innovation, a deep understanding of material, and clarity of artistic intent. How a traditional technique connects to a contemporary conceptual position is part of what is evaluated, not just the technique itself.<\/dd>\n<dt>Q5. How many finalists are there?<\/dt>\n<dd>30 finalists in 2026, from more than 5,100 applications across 133 countries and territories. Country counts vary slightly between sources; this article focuses on artist numbers and material range.<\/dd>\n<dt>Q6. How can I apply for a future edition?<\/dt>\n<dd>Application requirements, deadlines, and submission details are updated each year. Applications for the 2027 edition are expected to open after June 2026. Check the LOEWE Foundation official site for current information.<\/dd>\n<dt>Q7. When and where was the 2026 winner announced?<\/dt>\n<dd>On Tuesday, May 12, 2026, at an award ceremony held at the National Gallery Singapore.<\/dd>\n<\/dl>\n<h2><span class=\"ez-toc-section\" id=\"Closing\"><\/span>Closing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>The LOEWE Foundation Craft Prize 2026 selected Jongjin Park&#8217;s <em>Strata of Illusion<\/em> as its main award winner from more than 5,100 applications across 133 countries and territories. Three Japanese artists \u2014 Misako Nakahira, Nobuyuki Tanaka, and Ayano Yoshizumi \u2014 reached the finals.<\/p>\n<p>Reading the selection as a national result, or flattening each artist into a single story about Japanese craft, leaves most of what is interesting on the table. Each of these three was recognized for a specific practice. That specificity is worth following.<\/p>\n<p>The exhibition continues through June 14. Scale and material presence are things that comparison tables cannot convey \u2014 worth seeing in person if you are in Singapore.<\/p>\n<div class=\"box3\">\n<strong>For craft artists and studios<\/strong><br \/>\nWe support international outreach for craft practitioners, including English-language portfolio development and exhibition preparation. Get in touch to discuss.<\/p>\n<p><strong>For galleries, hotels, and institutions<\/strong><br \/>\nWe consult on contemporary craft for spatial contexts and collection development. 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The winner was announced on May 12 in Singapore, and the finalists&#8217; exhibition opened the following day at the National<\/p>\n","protected":false},"author":2,"featured_media":7344,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[520],"tags":[],"class_list":["post-7341","post","type-post","status-publish","format-standard","has-post-thumbnail","category-trend"],"acf":[],"aioseo_notices":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7341","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/comments?post=7341"}],"version-history":[{"count":0,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7341\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media\/7344"}],"wp:attachment":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media?parent=7341"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/categories?post=7341"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/tags?post=7341"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}