Two ceramicists and a product photographer started sharing a single secondhand kiln off Albert Road. The first pieces were test tiles and glaze failures, logged in a notebook that still sits on the studio shelf.

What came out of that year was a habit: photograph every stage, measure every piece, keep the rejects. That record became the backbone of how we document work today.

A café in Observatory asked for a full service of stoneware that could survive a commercial dishwasher. We threw 24 pieces in white stoneware, left the rims unglazed, and fired to 1240 °C. Three of the original cups are still in rotation there.

That order taught us to design for weight and stacking, not just for the shelf. Wall thickness between 6 and 8 mm became our working range.

We added a metal bench and started brushing brass by hand for a pendant family in three diameters. The linen shades are cut and sewn in-house, which means a lead time we can actually predict.

Around the same time we began dyeing wool and cotton with acacia bark, madder root, and onion skin. Every dye batch gets a colour card, so a repeat order two years later still lands in the same range.

The workshop now holds four makers and one photographer. We take commissions from design shops, galleries, and cafés, and we keep a limited run of pieces available directly from the studio.

Visits are by appointment so the kiln schedule isn't interrupted. If you want to see glaze samples in person or talk through a commission, that's the easiest way to start.