‘IN THEIR HANDS’: TEXTILESEEKERS BRINGS HERITAGE, CRAFT AND RITUAL TO PARIS
words MARIA MOTA
On 16 July, Barcelona-based design house TextileSeekers presents In Their Hands, a one-day only exhibition in Paris inspired by the Vietnamese coming-of-age ceremony Thôi Nôi. Hidden inside a former 17th-century inn in Le Marais, once home to Renzo Piano's Paris office, the presentation marks the studio's first solo exhibition.
At its centre are two new bodies of work. Object 23, a limited-edition lacquer box created with Nick Tran, Head of Buying & Merchandising at Dover Street Market Paris, for the ongoing Objects by TextileSeekers series. Its modular compartments can be separated to hold jewelry, incense or whatever small trinkets have accumulated at the bottom of your bag. Alongside it sits Collection 04 – Adornment, a series of hand-carved combs. They're impossibly chic, the sort of pieces that deserve to be tucked into everyone's hair. Once you see them, a plain hair tie suddenly feels a little underdressed.
Ahead of the opening, we caught up with TextileSeekers founder Thao Phuong for a closer look at the ideas, inspirations and stories behind the new collections.
For those discovering TextileSeekers for the first time, how would you describe the world you’ve created? And how did it all begin?
TextileSeekers is an ecosystem of travel, objects and stories. It began through my travels and my own search for a clearer path and a deeper understanding of my identity. During those travels, I connected with makers and Indigenous communities whose traditional crafts were at risk of disappearing. That really resonated with me, and I wanted to find a way to support the continuation of those skills.
My background is in fashion design, so I was able to connect through materials and textiles. They became a shared language between myself and the communities I encountered. TextileSeekers grew from those relationships, bringing together objects, places, people and the stories behind how things are made.
How was it to collaborate with Nick Tran, and how did that introduction come about?
Nick first came across TextileSeekers when I presented a small private collection in Paris. The objects resonated with him, and we soon got in touch.
Our conversations naturally developed around our individual heritage, identity and how those experiences influence what we create. When we eventually met in person, I immediately felt at ease. I remember telling him that it felt as though we had known each other for a long time, perhaps even in a past life. The collaboration developed very naturally from that connection. It felt right for Nick to become one of the people I create with, alongside collaborators such as Caroline Issa.
You’re presenting this collaboration in Paris. What does it mean to debut Collection 04 in the context of the city’s design scene?
This is the first solo presentation I have created for TextileSeekers, hosted hidden inside a former 17th-century inn, and once home to architect Renzo Piano’s office in Le Marais. I will be unveiling both Collection 04, Adornment, and a new object from In Their Hands, the ongoing collaboration series that includes my work with Nick.
Paris feels like an important place to bring these two parts of TextileSeekers together. It is a city where fashion, art, design and craftsmanship naturally intersect. The presentation gives me the opportunity to introduce the wider world of TextileSeekers and show how individual collections and collaborations form part of the same creative ecosystem.
To you, how does design affect or shape everyday life?
Design affects how we experience everyday life, often through very simple interactions. The objects we use can influence how we feel, how we move through a space and the rituals we create around them. I am interested in objects that are functional but also carry meaning. They should become part of someone’s life rather than simply existing as decoration.
Throughout your collections, there’s a strong appreciation for traditional craftsmanship. How do you approach preserving these techniques while creating something that feels contemporary?
I begin with the skills and knowledge the makers already have. I am not interested in changing a traditional technique simply to make it appear modern. Instead, I work with the makers through form, proportion, colour and function. It is a dialogue between their existing knowledge and my design background. The aim is to respect the integrity of the craft while creating an object that feels relevant to how we live today.
Collection 04, Adornment’s hand-carved combs are incredibly chic and timeless, rather than trend-driven. Is timelessness something you consciously pursue?
Definitely. I try not to design around trends. I am more interested in creating objects that are considered, useful and made to be kept. For me, timelessness comes from the quality of the material, the skill involved in making the object and the clarity of its design. I want each piece to feel relevant now but also to remain meaningful over time.
Hair has long been tied to identity, confidence, ritual and power. Were any of those ideas on your mind while creating the comb collection?
I believe hair is deeply connected to identity, and my own hair has also become part of how I see and express myself. A comb is functional, but it is also a very personal and intimate object. I was interested in the private ritual of caring for oneself and in creating something that could become part of that everyday act.
Can you describe Collection 04 in three words?
Personal, sculptural and enduring.
