Curated in collaboration with Creative Director Louise Trotter, the exhibition brings together four Thai contemporary artists whose works explore the concept of Intreccio.

Bottega Veneta’s <a href="https://www.lofficielsingapore.com/fashion/bottega-veneta-celebrates-50-years-intrecciato-craft-is-our-language-campaign-fashion-celebrities" target="_blank" rel="noopener">Intrecciato</a> remains one of fashion’s most iconic signatures. Born from artisanal necessity in the 1970s, the <a href="https://www.lofficielsingapore.com/fashion/why-bottega-veneta-iconic-weave-perfect-city-accessory-handbags-fashion" target="_blank" rel="noopener">handwoven motif</a> has evolved far beyond its leather goods origins, expanding into <a href="https://www.lofficielsingapore.com/fashion/bottega-veneta-fall-winter-2026-louis-trotter-milan-fashion-week-runway-celebrities-stray-kids-i-n" target="_blank" rel="noopener">ready-to-wear</a>, footwear, jewellery and home decor. Today, it even inspires the House’s artistic collaborations, as seen in the Weaving Matter and Memory exhibition presented at Bangkok Kunsthalle.

Running until 5 July, the showcase explores the concept of Intreccio (the act of weaving) through the works of four contemporary Thai artists, curated in collaboration Creative Director Louise Trotter. L’OFFICIEL SINGAPORE travelled to Bangkok for a special preview to check out these woven wonders alongside Brand Ambassadors Dew Jirawat and Thanaerng, and Friends of the House Sky Wongravee, Nycha and Junei.

Our favourite is Ash Flowers and We Are Family. The works are Imhathai Suwatthanasilp’s response to air pollution, environmental degradation and loss of biodiversity, drawing on her own experience with the suffocating atmosphere of Northern Thailand where she resides. Here, donated human hair is crocheted into leaves, flowers and skeletal animal forms to evoke the charred remains of forest fires, and housed inside light boxes that resemble medical X-rays, connecting environmental destruction to human health.
Suwatthanasilp’s use of hair is tied to a deeply personal family history. “Before his passing, my father divided his waist-length hair among his daughters as a symbolic inheritance because he had no money or property to leave behind,” the artist shares. Since then, she began collecting and crocheting her own hair, transforming it into a material through which she explores themes of memory, family, loss and intergenerational bonds.

The Super Massive Finger Trap is inspired by the experience of using mobile phones, particularly the act of endless scrolling. Through paintings and installations, Supawich Weesapen examines how technology captures our attention, with references ranging from Thai orthopaedic finger traps to black holes and the phenomenon of “spaghettification”.
As a child, Weesapen enjoyed weaving because he liked working with his hands, often creating palm-leaf animals and traditional Bai Sri decorations. Today, the concept of weaving is reflected in his own creative process. “My practice brings together diverse ideas — from science and mythology to technology and Internet culture — and weaves them into a singular narrative,” he explains. Even the artwork itself contains hidden layers: photographing The Super Massive Finger Trap with flash reveals a alternate version that exists primarily through the camera lens and screen.

Created for the Setouchi Triennale, Despatch addresses ageing communities not only in Japan, but across Asia. Made from garments donated by elderly Honjima residents, the five woven works incorporate personal messages and memories, reflecting how stories, relationships and lives become layered over time. “One particularly moving example involved an elderly woman who had recently lost her husband,” artist Jakkai Siributr shares. “She donated some of his suits and wrote what was essentially a love letter to him. Stories like these are an integral part of the work.”
Textiles have always been central to Siributr’s work, which is influenced by quilting traditions and by watching family members repair and repurpose clothing. Early collaborations with rural weaving communities taught him the importance of co-creation. “At the time, I approached it with the mindset that I was there to help,” he recalls. “I remember suggesting all sorts of new colour combinations, only for them to tell me quite directly that it was ugly!” That experience ultimately reinforced a philosophy that continues to guide his work today: meaningful collaboration is built on mutual respect and shared ownership.

Finally, Teerapon Sisung’s&nbsp;Weaving of the Divine Form got the most buzz during the preview. Comprising of two installations centred on ceremonial “crowns” and their mirrored reflections, it explores the relationship between reality and imagination through the dreamlike quality of objects floating in mid-air. To achieve the artwork’s stunning ethereality, the artist strips and weaves thousands of copper wire by hand, a highly labour-intensive undertaking that took approximately four to five months to complete.
“My work often begins with found objects and discarded materials,” Sisung explains. “By weaving and transforming them into new forms, I give them renewed life while preserving traces of memory and tradition.” One early work began with an old motorcycle wheel rim, where he discovered small metal components that reminded him of the spring-mounted ornamentation used in traditional Thai dance headdresses. That eventually led to the crown-like forms and sense of movement that characterise his work today.

Weaving Matter and Memory is the latest project in Bottega Veneta’s ongoing commitment to cultural advocacy and dialogue, following collaborations with the Pier Luigi Nervi Foundation in Venice and the Leeum Museum of Art in Seoul. A public panel discussion will also be held on 21 June, offering visitors the opportunity to engage more deeply with the artists and ideas behind the exhibition.

Inside Bottega Venata’s ‘Weaving Matter And Memory’ at Bangkok Kunsthalle

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