House of Anna Acciarini is currently exhibiting in Hangzhou, China, with Silk, Known Again, a solo exhibition presented in collaboration with the China National Silk Museum during Silk Road Week 2026.

The exhibition explores silk, porcelain, pattern, ornament and cultural memory. It looks at the way decorative systems move between Chinese silk, European porcelain and contemporary silk scarf design.

That story now continues toward an upcoming exhibition at the Zhejiang Modern Ceramic Art Museum, from 28 September 2026–15 January 2027, where the conversation returns to the ceramic objects that helped shape many of the designs.

A living conversation between silk and porcelain

For House of Anna Acciarini, the silk scarf is not treated only as an accessory. It is approached as a silk artefact: a surface where histories of porcelain, textile design, painting, ornament and symbolism can meet.

Many of Anna Acciarini’s scarves begin with close looking. A border on a plate. A bird in flight. A flower inside a porcelain cartouche. A gold line. A painted cloud. A tiny decorative detail that once belonged to ceramic surface becomes the beginning of a new silk composition.

This process can be seen in the Porcelain silk scarf collection, where historic ceramic sources are reimagined in silk. Designs such as Northumbria Double-Sided Silk Scarf, L’Amitié Double Sided Silk Scarf, Starry Derby Double-Sided Long Silk Scarf and Chelsea Lovebirds Square Silk Scarf each carry porcelain into movement, light and touch.

The current Hangzhou exhibition

Silk, Known Again was created for Hangzhou, a city deeply connected with silk, making and cultural exchange.

The exhibition asks viewers to look again at pattern. Not as surface decoration alone, but as a form of memory. Birds, clouds, flowers, deer, phoenixes, horses and emblems appear across the work. Some belong to Chinese silk traditions. Some are found on European porcelain. Some have travelled through several worlds before returning to silk.

The wider thinking behind the exhibition is gathered in Words from the House, the journal of essays and research that explores silk, porcelain, pattern, ornament and meaning.

Why porcelain matters

Porcelain is central to the House of Anna Acciarini story because it preserves pattern with extraordinary clarity. A plate, dish, teapot or vase may hold flowers, birds, borders, reserves, scrolls, stars or emblems in a fixed ceramic form. Silk releases those structures into movement.

This relationship is explored in Stillness and Motion: Pattern Across Porcelain and Silk, where porcelain holds movement still and silk returns pattern to the body, air and light.

The same conversation appears in A First Object: Northumbria, which traces the creation of a silk scarf from an eighteenth-century Chelsea-Derby porcelain dish, and in Oh My Darling Porcelaine !!: The Making of a Scarf, which follows the transformation of historical Sèvres and Vincennes porcelain into silk.

The next chapter: porcelain

That enquiry has continued in Ceramic Language · Silk Translation (《瓷语·丝译》), Anna Acciarini's second exhibition in China, at the Zhejiang Museum of Modern Ceramic Art, Hangzhou, from 28 September 2026 to 15 January 2027.

The exhibition brings the conversation back to the ceramic objects themselves, examining the decorative relationships between English and Chinese porcelain and their translation into silk.

Together, the two exhibitions trace a continuing artistic enquiry: from porcelain to silk, and from silk back to porcelain.

Selected designs represented in the exhibition are available as finite, numbered silk editions through the Exhibition Collection.

Explore the work

Begin with the current exhibition, Silk, Known Again, then continue through Words from the House for the essays and research behind the work.

To see how porcelain becomes silk, explore the Porcelain silk scarf collection.