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During the spring of 2020, renowned textile designer Madeline Weinrib was in lockdown, sheltering in her Long Island beach house while the COVID epidemic raged and wondering what she could do to help. For 20 years, while running her namesake fabric and home-furnishings business, she had worked with artisans in India, Morocco, Turkey, and elsewhere, creating designs that infused age-old craftsmanship with a modern sensibility.

At the time El Fenn, the boutique hotel she co-owns in Marrakech, was shuttered, and AlNour, the nonprofit cooperative for Moroccan women with a range of disabilities (which furnishes the hotel’s exquisite embroidered linens), was languishing. Weinrib knew that many of her other collaborators, artisans from around the world, were out of work.

She’d been speaking with Stephen Mannello, the head of retail at The Metropolitan Museum of Art’s gift shop, when suddenly a light bulb went off. The 10th anniversary of The Met’s reimagined Islamic Wing was fast approaching. “The Met suggested we do something for the shop in honor of the anniversary—so I took that idea and ran with it,” Weinrib says. “Everyone then was dealing with challenges. We didn’t know if we’d be able to get products in from India, for example, which was particularly hard-hit. But knowing what was going on globally, I wanted to invite a lot of artisans and designers to participate.”

The result—now timed to celebrate the Islamic Wing’s 11th anniversary—is the Heirloom Project, a capsule collection of handmade accessories, fine jewelry, and housewares curated by Weinrib, who also acted as the collection’s creative director. Each item was inspired by a specific work in The Met’s Islamic Wing; all are available exclusively through The Met Store, with select items available online. (Weinrib will be appearing at The Met Store on April 22 and 23 from 5 to 8 p.m. for a trunk show alongside a presentation of antique Indian jewelry by the Mahnaz Collection.)

From Morocco, there are AlNour’s delicately embroidered table linens and striped, tassled towels by Made in Tangiers, the latter “perfect to drape over lounge chairs in the summer,” Weinrib says. From India, there are handwoven and embroidered scarves by Kashmir Loom and a caftan in the finest merino wool, “ideal,” she explains, “for holiday entertaining.” Evening purses created by Syrian refugees working in Jordan with traditional wood marquetry and inlay techniques (under the auspices of the nonprofit Turquoise Mountain) are uncannily elegant. “Participating in a celebration of The Met’s Islamic Wing was a tremendous source of pride for all these artisans,” Weinrib says.

At The Met one recent afternoon, I tried on a pair of dangling gold earrings, their surfaces enameled with an elaborate floral pattern, and felt myself immediately transported to a glamorous soiree in Jaipur. (The earrings were designed by Siddharth Kasliwal, whose father was the legendary Indian jeweler Munnu, and created by artisans at the family’s Gem Palace, where the legacy of craftsmanship stretches back nine generations.)

Floral forms were also strewn through the undulating arabesques of a turquoise silk caftan (itself inspired by the patterns on The Met’s 16th-century Iznik tiles) by New Dehli–based designer Peter d’Ascoli; and images of flowers were scattered across the dishes, table linens, and pillows featuring a poppy motif that Weinrib herself designed in collaboration with the Indian company Good Earth.

“The poppy is quintessentially Mughal,” says Navina Najat Haidar, head curator in charge of the Islamic Wing, pointing me to a magnificent, late-17th-century floor spread from India, covered with vibrant red blooms. Poppies and other assorted blossoms are not merely pretty, she explains (though certainly they are that too). “We think of these floral forms as accompanying the notion in Islam that paradise is a garden,” Haidar says. “They are not just decoration without meaning; they evoke a divine landscape.”

For Haidar, the Heirloom Project celebrates something precious and in danger of disappearing. “Every generation of craftsmen has a hard time persuading the next generation to continue on that path when they’d rather be computer programmers, for example,” she says. “It’s always a struggle. So that’s also something wonderful about this initiative—it celebrates the living crafts that have withstood the challenges of urbanization and modernization today.”

Shop some of the collection below: