Each of our pieces are made up of a clay body and a glaze — this is the best way to think about how you’ll build your collection. When the clay and glaze are combined, you’ll see there is often a unique end result. (For example, if you have a thin glaze on a dark clay, you’re going to see more of the clay beneath the glaze, which causes the glaze to have a slightly darker, earthier tone.) It’s part of what makes handmade ceramics special, but it’s also something to be aware of when you’re shopping.

Here, you’ll find detail shots of each clay and glaze combination, with info about how you can expect them to look and feel in your hands. Once you have an idea of which pairing you like best, look out for our round swatches on the product pages, indicating which clay and glaze combinations are available for that style. All of our products are designed and manufactured to stand the test of time in high volume, commercial kitchens. They are dishwasher- and microwave-safe.

We occasionally introduce new, limited-edition glazes on our website, so subscribe to our newsletter at the bottom of the page for updates.


Our Birch dinnerware uses the Toasted clay and white glazes described above, but this style is differentiated in the way the glaze is applied. On Birch, the glaze covers both the interior and exterior of each piece, and the only exposed raw clay is found along the rim, which is achieved by an artisan in our studio wiping the rim by hand.

Little dark brown or black speckles may appear on the surface of the glaze where bits of iron come through.

Served at: The Peninsula Hotel NYC, Store Marais Taiwan

Dark Brown Clay With White Glaze

This is our foundational clay and glaze combination, available in the largest assortment of shapes. With this pairing, we apply a slightly thinner coat of glaze than on our Toasted clay—enabling some of the darker clay beneath to be seen and giving the glaze an off-white tone.

We use a glaze pump on our cups and smaller pieces, which leaves a variegated pattern with more of the clay showing through on parts of the inside of the pieces. Overall, the naturalistic qualities of this clay and glaze combination make it an excellent option for someone who appreciates design that centers raw, essential materials.

Served at: The Nomad Hotel, Jean Georges, The Breslin, The Four Seasons Westlake Village

Toasted Clay With White Glaze

Our Toasted clay with White glaze has a brigher finish than our Dark Brown clay with white glaze. The clay also has grog—pre-fired, ground pottery that’s mixed into clay—which is a bit rougher in our Toasted clay than in our Dark Brown clay, but it smoothes out over time. (Think of it like breaking in a pair of raw denim, except you do none of the work.)

Something to be aware of: Little dark brown or black speckles may appear on the surface of the glaze where bits of iron come through. In addition, the brighter white glaze on this combination is more susceptible to cutlery marks, which can be easily buffed out with Barkeepers Friend.

Served at: Lilia, Eataly, Honey Hi, The Soho House West Hollywood, Loring Place

Dark Brown Clay With Moss Glaze

Subtle changes in the temperature of the kiln can create a variation of shades in our Moss glaze — ranging from a matte, neutral sage to a deeper pine-green with a slight sheen to it. After the glaze is applied, each piece is hand-wiped, which creates a soft transition on the rim, where the glaze fades into the clay.

Served at: Felix Los Angeles, The Westwood UK, Edition Hotel Times Square, Aquavit

Toasted Clay With Turquoise Glaze

Similar to our Moss glaze, Turquoise comes in a range of hues — some pieces are a matte, robin egg shade and sometimes you’ll even see swirls of a darker, shiny blue. This glaze is especially photogenic, framing food colorfully on the plate. (That said, it still has a neutral quality that allows it to pair nicely with any other glaze in our collection.)

Served at: Momofuku Nishi, The Joseph Nashville, Hotel Magdalena, The Bellevue Club.

Toasted Clay With Blue Banding

On this option, our Toasted clay and white glaze are topped with a hand-painted blue band near the inside rim of the piece. Each band is different from the last, with darker tones of blue where the brushstrokes overlap. You will sometimes see tiny specks of blue paint on the white glaze — a result of the band being painted as the piece is spinning on the wheel.

Served at: Black Barn, The Elysian Bar at the Hotel Peter & Paul, Ivory Pearl, Forsythia

Ombre Glaze on Dark Brown Clay

Our ombre glazes are achieved in two steps: first we apply a base glaze color, then, after it’s dry, we gently spray on the second color to create a gradient effect. This process, as it likely sounds, produces some of the most individualized pieces in our collection. No two ombre pieces are the same.

Served at: Puesto, Well Met by Onyx

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