Back

LOEWE FOUNDATION Craft Prize 2025

Award  /  15 May 2025
Published: 22.07.2024
Karl Fritsch. Ring: Pukana, 2020. Silver, gold and synthetic gemstones. Various dimensions. This set of five contemporary rings, crafted in silver and gold, demonstrates an innovative technique that upends the traditional method for setting stones in jewellery. The shape of the rings is modelled using wax which is punctuated with gemstones. After the casting process, these synthetic gemstones, including laboratory-created imitation sapphires and rubies, are reinserted into the holes and fixed in place. The bands feature unexpected spontaneous forms, and in many of the rings the gemstones protrude, moving through, rather than sitting on top of, the rings.. Karl Fritsch
Ring: Pukana, 2020
Silver, gold and synthetic gemstones
Various dimensions
This set of five contemporary rings, crafted in silver and gold, demonstrates an innovative technique that upends the traditional method for setting stones in jewellery. The shape of the rings is modelled using wax which is punctuated with gemstones. After the casting process, these synthetic gemstones, including laboratory-created imitation sapphires and rubies, are reinserted into the holes and fixed in place. The bands feature unexpected spontaneous forms, and in many of the rings the gemstones protrude, moving through, rather than sitting on top of, the rings.
© By the author. Read Klimt02.net Copyright.

Intro
The LOEWE FOUNDATION Craft Prize was launched in 2016 to showcase excellence, artistic merit and newness in modern craftsmanship. It seeks to acknowledge and support international artists who demonstrate an exceptional ability to create objects of superior aesthetic value, with the winner receiving 50,000 euros and two special mentions receiving 5,000 euros each.

>> Apply here to the Loewe Foundation Craft Prize 2025. 8th edition
 
The LOEWE FOUNDATION Craft Prize seeks to acknowledge and support international artisans whose work reinterprets existing knowledge and makes it relevant for today, whilst simultaneously reflecting its maker’s personal language and distinct hand. The Craft Prize is a showcase of the evolving contribution of craft to the culture of our times.

The winning work is selected by a Jury composed of leading experts and distinguished figures from the worlds of design, art, architecture, journalism and curatorship.

The winner and special mentions will feature alongside the shortlisted finalists in an exhibition and accompanying catalogue in Madrid in Spring 2025.

The LOEWE FOUNDATION Craft Prize is open to artists of all ages (over 18) and nationalities, regardless of experience or reputation. The Prize is judged on the strength of the work and values those who are pushing the boundaries of craft.

>> Faq's Loewe Craft Price 2025

An expert panel composed of artists, essayists and curators will consider all submitted works in order to select a shortlist of up to 30 submissions for the 2025 prize. New additions to the expert panel include Michelle Fisher, Curator of Contemporary Decorative Arts at the Museum of Fine Arts of Boston; Kevin Grey, metal artist and finalist of the 2024 Craft Prize; Ibrahim Mahama, mixed media artist, and Aya Oki glass artist and finalist of the 2024 Craft Prize. The panel’s choice will be based on a number of key criteria: originality, clear artistic vision and merit, precise execution, material excellence, innovative value and a distinct
authorial mark.

The shortlisted works will be exhibited at the Thyssen-Bornemisza National Museum in Madrid. The prize’s Jury will select the winning piece from the exhibition and the winner of the LOEWE FOUNDATION Craft Prize 2025 will be announced in a ceremony at the museum in spring 2025.

The newest members of the 2025 Jury are Andrés Anza winner of the LOEWE FOUNDATION Craft Prize 2024, and Frida Escobedo, essayist and architect.

Andrés Anza was announced as the winner of this year’s Prize on 14 May 2024, coinciding with the opening of the exhibition of the LOEWE FOUNDATION Craft Prize 2024 at the Palais de Tokyo, Paris.

Experts Panel
- Andrew Bonacina, LOEWE Art Advisor and Independent Curator.
- Antonia Boström, Director of Collections at the Victoria & Albert Museum, London.
- Hyeyoung Cho, Chairwoman at the Korea Association of Art and Design.
- Michelle Fisher, Curator of Contemporary Decorative Arts at the Museum of FineArts, Boston.
- Sara Flynn, ceramicist and LOEWE FOUNDATION Craft Prize 2017 finalist.
- Kevin Grey, metal artist and finalist of the LOEWE FOUNDATION Craft Prize 2024.
- Wolfgang Lösche, former Head of Exhibition and Fairs at the Chamber of Skilled Trades, Munich.
- Ibrahim Mahama, mixed media artist.
- Juha Marttila, LOEWE Leather Goods Design Director.
- Aya Oki, glass artist and finalist of the LOEWE FOUNDATION Craft Prize 2024.
- Anatxu Zabalbeascoa (Executive Secretary), Architecture and Design Correspondent for El País.

Jury
- Jonathan Anderson, LOEWE Creative Director.
- Andrés Anza, winner of the LOEWE FOUNDATION Craft Prize 2024.
- Minsuk Cho, architect and winner of the Golden Lion at the Venice Architecture Biennale 2014.
- Frida Escobedo, essayist and architect.
- Naoto Fukasawa, designer and Director of the Japan Folk Crafts Museum, Tokyo.
- Olivier Gabet, Director of the Department of Decorative Arts, Louvre Museum, Paris.
- Sheila Loewe (Chairwoman), President of the LOEWE FOUNDATION.
- Magdalene Odundo, ceramicist.
- Wang Shu, architect and Pritzker Prize winner.
- Deyan Sudjic, essayist and Director Emeritus of the Design Museum, London.
- Abraham Thomas, Curator of Modern Architecture, Design and Decorative Arts at the Metropolitan Museum of Art, New York.
- Patricia Urquiola, architect and industrial designer.
- Anatxu Zabalbeascoa, Architecture and Design Correspondent for El País.

Applications
Anyone over 18 years of age working in a craft-based profession is welcome to apply.

About the Craft Prize
The LOEWE FOUNDATION launched the international annual LOEWE FOUNDATION Craft Prize in 2016 to showcase and celebrate newness, excellence and artistic merit in modern craftsmanship. The LOEWE FOUNDATION Craft Prize recognises artists who have made fundamentally important contributions to the development of contemporary craft, including ceramics, jewelry, textiles, woodwork, glass, metalwork, furniture, papercraft and lacquer. The Prize functions as a multigenerational snapshot of the utmost excellence in craft today.
The award, which was envisioned by LOEWE creative director Jonathan Anderson, aims to acknowledge the importance of craft in today’s culture and recognise working artists whose talent, vision and will to innovate set a standard for the future. The incentive for the prize was inspired by LOEWE’s beginnings as a collective craft workshop in 1846, reflecting fashion’s vital link to culture and the importance of advanced, specialised knowledge to the field. Art, craft and design remain fundamental cornerstones to the house’s present chapter.

About the LOEWE FOUNDATION
The LOEWE FOUNDATION was established as a private cultural foundation in 1988 by Enrique Loewe, a fourth-generation member of LOEWE’s founding family. Today, under the direction of his daughter Sheila Loewe, the Foundation continues to promote creativity, organise educational programs and protect cultural heritage in the fields of craft, design, photography, poetry and dance. The Foundation was awarded the Gold Medal for Merit in the Fine Arts by the Spanish government in 2002.
 
Andrés Anza. Object: I only know what I have seen, 2023. Ceramic, acrylic paint. 45 x 40 x 150 cm. Awarded at: LOEWE FOUNDATION Craft Prize 2024. Winner of the Loewe Foundation Craft Prize 2024
. 
. This life-sized totemic ceramic conjures both plant and animal forms. Assembled in five parts, the work is constructed from refractory clay and features a dynamic composition that appears to twist, turn, and fold in on itself. Thousands of tiny, spiked protrusions covering the work’s surface lend it a further amorphic quality. After the work was fired in a kiln to give an even surface, acrylic paint was applied. This monochromatic finish allows light and shadow to further emphasize the work’s highly textured surface.. Andrés Anza
Object: I only know what I have seen, 2023
Ceramic, acrylic paint
45 x 40 x 150 cm
Awarded at: LOEWE FOUNDATION Craft Prize 2024
Winner of the Loewe Foundation Craft Prize 2024

This life-sized totemic ceramic conjures both plant and animal forms. Assembled in five parts, the work is constructed from refractory clay and features a dynamic composition that appears to twist, turn, and fold in on itself. Thousands of tiny, spiked protrusions covering the work’s surface lend it a further amorphic quality. After the work was fired in a kiln to give an even surface, acrylic paint was applied. This monochromatic finish allows light and shadow to further emphasize the work’s highly textured surface.
© By the author. Read Klimt02.net Copyright.
Debaroun (Dahyeon Yoo). Object: Harmony, 2023. Vegetable tanned leather. 25 x 13 x 13 cm. Straw weaving and plaiting techniques from the Korean Joseon Dynasty have been reinterpreted in leather to create this poised box that contrasts rough and smooth in a complex interplay of textures. Supple vegetable-tanned leather has been soaked, and twisted to create multiple strands, then delicately woven to form an intricate base and lid with a timeless quality. The work emphasizes the importance of harmony and embodies an attitude seeking inner balance and centering in a rapidly changing world. While each individual strand is fragile, when woven together they become strong and resilient. Wrinkles and unevenness in texture, usually viewed as flaws, are instead celebrated as a testament to the natural origins of the leather.. Debaroun (Dahyeon Yoo)
Object: Harmony, 2023
Vegetable tanned leather
25 x 13 x 13 cm
Straw weaving and plaiting techniques from the Korean Joseon Dynasty have been reinterpreted in leather to create this poised box that contrasts rough and smooth in a complex interplay of textures. Supple vegetable-tanned leather has been soaked, and twisted to create multiple strands, then delicately woven to form an intricate base and lid with a timeless quality. The work emphasizes the importance of harmony and embodies an attitude seeking inner balance and centering in a rapidly changing world. While each individual strand is fragile, when woven together they become strong and resilient. Wrinkles and unevenness in texture, usually viewed as flaws, are instead celebrated as a testament to the natural origins of the leather.
© By the author. Read Klimt02.net Copyright.
Dong Han. Sculpture: Rebirth, 2022. Bronze.. 53 x 67 x 40 cm. 
. This beautiful example of bronze casting uses ancient Chinese techniques to create a sculpture resembling a giant piece of jade. Wood has first been hand-carved into a smooth, organic shape before being cast in molten bronze. The smooth, highly tactile surface is decorated with a rich patina that recalls Chinese landscape painting.. Dong Han
Sculpture: Rebirth, 2022
Bronze.
53 x 67 x 40 cm

This beautiful example of bronze casting uses ancient Chinese techniques to create a sculpture resembling a giant piece of jade. Wood has first been hand-carved into a smooth, organic shape before being cast in molten bronze. The smooth, highly tactile surface is decorated with a rich patina that recalls Chinese landscape painting.
© By the author. Read Klimt02.net Copyright.
Jaiik Lee. Vessel: Transition VII, 2022. Copper, porcelain colour and gold leaf. 52.7 x 52.7 x 59.2 cm. 
. Based on a traditional Korean moon jar, this voluminous vessel updates the ceramic tradition by transposing it to metalwork. It has been created by spot welding sheets of copper plate, which have then been coated with porcelain to create a richly coloured surface. Its undulating organic form creates a sense of buckling and swelling, as though the vessel is expanding. Welding tracks on the surface reveal the repeated actions that have led to the object’s creation.. Jaiik Lee
Vessel: Transition VII, 2022
Copper, porcelain colour and gold leaf
52.7 x 52.7 x 59.2 cm

Based on a traditional Korean moon jar, this voluminous vessel updates the ceramic tradition by transposing it to metalwork. It has been created by spot welding sheets of copper plate, which have then been coated with porcelain to create a richly coloured surface. Its undulating organic form creates a sense of buckling and swelling, as though the vessel is expanding. Welding tracks on the surface reveal the repeated actions that have led to the object’s creation.
© By the author. Read Klimt02.net Copyright.