When: May 11-17 Sotheby's has given over its Bond Street galleries entirely to craft for the week, and the result is something genuinely worth building a day around. At its heart is Secret Ceramics - now in its third edition - in which 100 works by leading and emerging artists are presented for sale at £650 each, entirely anonymously. You buy with your eye, or your gut, or both. The artist is revealed only when you make your purchase. It is, in the best possible way, a small act of trust - and the proceeds go directly to funding ceramics clubs for young people from disadvantaged backgrounds, which makes the whole thing feel as good as it looks. Elsewhere in the galleries, the House & Garden Craft Prize finalists are on show, Aiveen Daly presents new textile sculpture, and Intoart - a visual arts organisation championing learning disabled and autistic artists - brings a bold display of new commissions. On Saturday 16th, the Festival of Craft takes over: workshops with the Royal School of Needlework, a leather cardholder session with Elvis & Kresse, live demonstrations from a master picture framer and a thatching duo making furniture on site. Come for the ceramics. Stay for all of it.

When: May 12-16 Just off the King's Road, tucked inside New Forms - a listening bar and creative space that operates as a café by day and a vinyl room by night - Studio Brocky has installed a selection of hand-blown glass and cast metal pieces that feel entirely at home in the surroundings. Founded by Max Brockbank, the studio makes objects that carry the trace of their making: you can feel the decisions in them. That the work will be encountered over a flat white on a Tuesday morning or in the warmth of a Friday evening session, rather than in a white-walled gallery, is the point. New Forms and Studio Brocky share a belief in slowing down and paying attention. This is the one that feels most like a discovery.

When: Drinks Reception May 14 The launch of Emilia Wickstead Home is, strictly speaking, a fashion story - but it is equally an interiors one, and London Craft Week is the right moment for it. The collection is a natural extension of the house's design language: porcelain hand-crafted in Limoges, crystal blown in Murano, British silverware from heritage silversmiths Carrs of Sheffield. New for this edition is bed, bath and table linen in Italian and French cotton and linen, and a bespoke embroidery programme designed entirely in-house, offered on a made-to-order basis. The logic - that the same editing eye applied to how a woman dresses should extend to how she sets a table or makes a bed - is quietly persuasive. The drinks reception on the 14th is the moment to see it first.

When: May 12 - 13 Seven years after their first collaboration produced the Wild Flowers Collection, Scottish fragrance house Jorum and glass artist Juli Bolaños-Durman have reunited for an installation that asks what a perfume range looks like when translated into sculptural form. The answer, in this case, is deconstructed glass - discarded material reconfigured through play, embellished with hand-cut detail, given new life in the shape of wildflowers. On Wednesday the 13th, a ticketed evening brings the two worlds together more directly: live demonstrations, a conversation between Bolaños-Durman and Jorum co-founder Chloe Mullen, and a cocktail reception. It is an unusual thing to pull off - the sensory crossover between scent and material - and the fact that it works is reason enough to go.

When: May 11-15 Swedish designer and weaver Maja Johansson Starander is in store for the week, demonstrating tapestry techniques at the Pimlico Road fabric specialists. Vandra collaborates with designers including Neisha Crosland, interpreting personal stories and cherished motifs into bespoke woven pieces - their weavers work from an atelier in the Carpathian Mountains in Ukraine, a region with a long history of the craft. The workshops run throughout the week and are genuinely hands-on: visitors are invited not just to watch but to contribute to a piece being made in real time. It is the kind of thing that is very easy to walk past and very difficult to forget once you have stopped.

When: May 11-17 The Garden Museum's baptistery will be filled, for the duration of the week, with 4,800 hand-stitched Korean dumplings made from hand-dyed organza silk. They hang in strings, as mandu traditionally do - given between friends with a written message of good wishes tucked inside - and the effect, in that particular space, with that particular light, is genuinely arresting. The Cherry Blossom Project, organised by textile artist Sara Cook and supported by the British Korean Society, connects to a wider cultural tradition of gathering beneath blossom in spring to mark the season and share food. That it is free, that it is quiet, that it asks nothing more of you than to show up and look - makes it perhaps the most purely pleasurable thing on the list.

When: May 11-17 To mark the inaugural British Makers grant - an annual programme celebrating exceptional craft from the British Isles - Paul Smith's Foundation has commissioned five glassblowers to create new work and then documented the entire journey: from brief through development to finished object. The exhibition at Albemarle Street shows not just the pieces themselves but the sketchbooks, the in-studio footage, the thinking behind the decisions. The five makers are Jochen Holz, Gather, Emsie Sharp, Stewart Hearn and Bristol Blue, and the breadth of approach across the five - different relationships to material, to form, to the heritage of British glassblowing - is what makes the show genuinely interesting rather than simply handsome. A panel discussion on Tuesday the 12th brings the makers together to talk about why any of this still matters. The whole thing is free, which feels like the right price for something this considered.

When: May 17 On the last day of the week, at the V&A, Grand Tea Master Sōshin Kimura of the Hōshinkai Tea School in Kyoto will lead two sessions on urushi - Japanese lacquerware - within the context of the tea ceremony, drawing on a collection of historical and contemporary pieces he has brought from his own collection. Matcha will be served. Japanese sweets will be served. The workshop connects to the V&A's current display Urushi Now: Contemporary Japanese Lacquer, which traces 21st-century expressions of a craft that has been practised for thousands of years. For £5, it is perhaps the quietest and most transporting two hours the week has to offer. Book early.

When: May 11-17 Since founding her London atelier in 2005, Aiveen Daly has been quietly building a category that didn't previously exist — textile sculpture — and the work she is showing as part of Crafted at Sotheby's this week is as good a place as any to understand why that matters. Her practice brings together 18th-century silk floristry and hand-embroidery with modern structural engineering, the result sitting somewhere between couture and fine art, functional in neither direction but entirely resolved in its own terms. Daly describes what she makes as modern heirlooms, which is not a marketing line so much as an accurate description of the ambition: objects that transform technical textiles and leathers into something you would keep, and pass on. A Walpole Power List honoree and the holder of a reputation that extends from private residences to superyachts to landmark hotels across two continents, she is, in the most understated sense, the real thing. No booking required.

When: May 13 Jonathan Anderson has always understood that fashion and craft are not separate conversations, and the Pimlico Road store - which sits comfortably among the antique dealers and design boutiques of SW1 rather than the retail strips of the West End - reflects that understanding in its architecture, its objects, its edit. Described as a modern cabinet of curiosities, it stocks ready-to-wear alongside homeware, artisanal goods, and works by artists including Kira Freije, Gwen John and Robert Kulicke. The London Craft Week event on the 13th is the kind of thing Anderson does well: specific, considered, and not entirely predictable. Full details are to be confirmed - watch the brand's channels - but the store alone is worth the detour.

When: May 11-14 Since 1919, the same weaving technique has been passed from master weaver to master weaver at the Swedish atelier Märta Måås-Fjetterström - taught by hand, learned by hand, never written down. For London Craft Week, one of those master weavers has made the journey to Pimlico Road, where Nina Campbell's showroom is hosting a curated selection of rugs, cushions and tapestries alongside original archive watercolours dating back to the studio's founding year. The looms at the atelier in Båstad are the same ones used since 1949. That kind of continuity is increasingly rare, and increasingly worth paying attention to. Joining the exhibition is Sophia Elliot, a Nina Campbell alumna, hand-painting lampshades, trays and accessories throughout the week and taking commissions. Two very different practices, sharing a showroom, both entirely worth your time.

When: May 12-17 Lisa King came to this project through grief and inheritance - specifically through the rich textile archive left by her late mother Farida, whose Indonesian heritage runs through every decision in the show. Batik is a slow craft, symbolic and process-led, and King has spent time in Indonesia working closely with artisan communities there, alongside colour specialists in the UK and experts in Southeast Asian textiles, to produce a body of work that treats the technique not as historical document but as living language. The result pushes the boundaries of pattern, colour and form traditionally associated with batik while remaining entirely honest about where it comes from. It is one of the more personally weighted things on this list, and all the more interesting for it.

For one week only - two townhouses on Kennington Lane become one of the more interesting places to be in London. 8 Holland Street has taken its curatorial eye south of the river for a project that spreads six exhibitions across the two addresses, each one circling the same territory: the psychology of the home, the objects inside it, and what those objects carry. Forest + Found - the studio collective of Max Bainbridge and Abigail Booth - fill their rooms with works that explore domestic architecture stripped of its inhabitants, the trace of familial memory in materials and things. Frances Pinnock shows sculpture in states of tension and rest. Nicola Tassie brings ceramics that speak to the rituals of social life. Liorah Tchiprout presents etchings and monoprints drawn from memory and the imagined interior. Wondering People have assembled three artist couples - six makers in total - for a six-week residency under the title Lovers' Court. And threading through all of it, an edit of twentieth-century furniture by Mario Ceroli, Ettore Sottsass, Vico Magistretti and Charlotte Perriand, alongside lighting from Palefire Studio.