A new collection of shirts, jackets, dresses and more from fashion designer Mary Katrantzou recalls two very different design movements, one focusing on the hand-made (Arts & Crafts) and one on powerful, industrial-age graphics and shapes (the Bauhaus).

Debuted on the catwalk of London Fashion Week, this series celebrates the 100th anniversary of the Bauhaus, featuring colors, geometries and typographies recalling the school and movement. These are imprinted, however, on delicate and decorative apparel.

“The collection explores an intermingling of two different breeds of aesthetic, using their components to discover a new hybrid,”says Katrantzou, who drew inspiration in part from vintage Bauhaus posters but also Victorian-era patterns.

“I don’t think anyone would put the Arts and Crafts movement and the Bauhaus together conceptually, but I think it was the beginning of modernism, even if aesthetically it is not as visible.” In a way, these divergent styles represent different paths, but both were built on attention to detail and a belief in the careful and complete designs of everyday objects. Her pieces stitch together the utilitarian and organic sensibilities of the two movements.

“We wanted to choose some of the colours that are present in William Morris’ work and the Arts and Crafts movement, and bring them into the Bauhaus posters, and vice versa. I always loved the Bauhaus posters for their symbolic nature, and equally, I think William Morris as a visual language is equally distinctive.” Katrantzou, who studied at the Rhode Island School of Design, draws a lot of ideas from architecture and built environments, often referencing structures from streets to steel trusses.

Bought at auction by a florist last year, this dilapidated multifamily home was destined to be demolished but given a last chance to blossom thanks to a team of florists and array of volunteers packing the place inside and out with a flowers.

Deserted houses in Detroit are famously sold for as little as a dollar by the city, giving florist  Lisa Waud (photos by Heather Saunders) an idea.

She purchased this place for just $250 at auction, then turned a trash-filled abandonment into a work of art as well as a fundraiser for a flower farm and design center on the site.

The Flower House was given over to contributing florists, each encouraged to turn a space, wall or ceiling into a blank canvas for their creations. The results are remarkable.

Following the project, “the house that held the exhibition will be responsibly deconstructed and its materials repurposed. the land will be converted into a flower farm and design center on their formerly neglected properties.”

Combining a Japanese floral arrangement tradition (ikebana) with the hunting convention of mounted trophies, these plant holders allow for clever, colorful and ever-changing organic displays.

The Elkebana consists of a pair of glass flower holders set into a familiar wooden wall plaque, designed by Fabio Milito & Paula Studio and hand-crafted in Italy.

Its creators have had quite a bit of fun naming some of their experimental arrangements, including Nora the Angora, Girgenta the Goat, Jason the Aries, Isidoro the Oryx and Frank the Buck.

Unlike the more morbid mounts that inspired this creation, there is also a greater degree of flexibility – change the flowers or their organization and you change the piece.

And unlike traditional tabletop vessels for botanical displays, this one works well for small living spaces where surface area cannot be sacrificed.

Made of high quality birch plywood, solid walnut, solid oak or cork shield, the wall mounts hold your botanical arrangements in the two hand-blown glass vases.

From its makers: “The ‘ikebana is the ancient Japanese art of arranging floral elements in harmonious compositions. Elkebana brings the ancient art of ikebana to the wall, in order to transform the wall trophy idea into a continuously mutating, colourful creature.”

The writing is on the walls, but only when they get wet – that is when the secret messages or hidden designs appear in these seemingly innocuous concrete surfaces, like a durable and built-in version of Neverwet graffiti.

The project is called Silent Poetry and its creators, Frederik Molenschot & Susanne Happle, have started with a high-contrast approach: organic forms hidden in strict geometric slabs, but any other patterns are equally compatible with the approach.

The underlying magic-caliber, moisture-sparked trick works whether the material is drizzled on by the rain, doused in running water, touched by steam or impacted by condensation on a hot and humid day, making for innumerable creative possibilities both inside and outdoors.

Picture a public sidewalk, parking lot or city center on the one hand or a private walkway or concrete-tiled bathroom on the other. But also consider the range of applications from wayfinding in urban settings to domestic decorations on front decks or walkways that appear with the morning dew, using either modular precast tiles or larger poured-in-place slabs.

From the designers: “The possible applications of solid poetry are various: either at home in the bathroom, in the garden, in saunas and dance clubs, where the humidity is high or public spaces like bus stops or pavements. All forms of solid poetry have in common that they change the whole setting; they are surprising and have a life of their own.”