Cabana Magazine N24 Pre-Order

Among the most exquisite and culturally resonant forms of Indigenous American artistry, Washoe basketry stands testament to ancestral knowledge, dexterous craftsmanship, and the intimate dialogue between maker and material. A new book by Rizzoli celebrates a technique that has always been present in American collections, revealing the profound meanings - linked to cosmology, family memories, and a strong sense of unity between utility and beauty - that Native women have infused into natural fibers for generations.

Nestled within a historic courtyard with distinctive yellow walls, the Fumagalli and Dossi Gypsotheque stands today as the only surviving heir of the gypsotheques tradition. The plaster reproductions are still handcrafted by the two artisans after whom the workshop is named, drawing on a captivating archive of moulds passed down by their predecessors to shape their sculptural repertoire.

Ebony Russell’s porcelain sculptures might look like confections, swirls of piped icing frozen mid-drip, but they are anything but delicate. Using a technique that transforms cake decorating into architectural form, Russell crafts gravity-defying pieces that celebrate excess, ornament, and the overlooked beauty of feminine coded traditions. Working in her Sydney studio, she reclaims decoration as structure.

The village of Burneside, on the edge of England’s Lake District, has been a water mill village for centuries. Its centerpiece, the James Cropper Mill—the oldest family-owned paper mill in the UK—traces its roots to 1746, when the village’s wool mill was converted for paper-making and sold to James Cropper in 1845. Today, James’ great-great-great-grandson, Mark Cropper, carries the family legacy with renewed fervour and a clear sense of purpose: to revive and safeguard the endangered art of handmade paper-making.

Renowned Colombian architect and textile designer, Jorge Lizarazo, has spent nearly 25 years creating distinctive textiles by combining unique and unexpected fibres in Hechizoo, his Bogotá atelier, and weaving light, nature and tradition into his work.

Born in Lima, Carlos Runcie Tanaka has built a passionate and poetic body of ceramic work, nurtured by the cultural blend of his British, Japanese and Peruvian heritage, and his continuous exploration of the past, the land and the power of fire. Over his 50 years as a professional ceramicist, Carlos has sought to elevate the recognition and value of ceramics amidst the visual arts in Perú.

In a world of ephemera and mass production, Asprey values the enduring beauty of the well-made, the deeply known, and the patiently crafted. Read on to discover five extraordinary objects crafted in collaboration with skilled artisans around the world.

Alaskan artist and wood carver, Erin Ggaadimits Ivalu Gingrich, grew up with a profound awareness of Indigenous traditions, cultures and crafts. Her masks and sculptural works are strongly influenced by Indigenous communities, time spent on homelands or wildplaces, research in museum collections, and visiting cultural belongings.

Self-taught ceramicist Frances Palmer has been making pottery for almost 40 years, inspired by ancient shapes and vessels, and the work of the Bloomsbury Group, and master studio potters including Lucie Rie and George Ohr. Frances' carefully crafted clay creations are objects of beauty and simplicity - but they are designed, first and foremost, for functional, everyday use.

Guido Toschi owes his well-earned reputation to his ability to restore outdoor tents to their former glory—when they were far more than temporary shelters. Once the true homes of nomadic peoples, the refuge of marching armies, or the splendid pavilions beneath which cultured audiences enjoyed theatrical performances, these structures now find new life through his vision.

For the Samburu of northern Kenya, beads and beaded adornments have specific and nuanced meanings tied to centuries-old traditions. Each bead is significant, and each magnificent piece is a fully realized story.

It is in the department of ‘Aude’ in Occitanie, near the well-known town of Castelnaudary (famous for its Cassoulet), down a small country road, across from the Canal du Midi that ‘Poterie Not' appears. The building which is nondescript is made up of a house, shed and a lime kiln. It’s as if time stood still, but behind those doors lies almost a century long history of a family-owned pottery business.