In a completely open world where you can find the same product in Madrid and Berlin, the way to differentiate is to offer something exclusive. This was raised by Kumi Furió and Rosa Bou , two industrial designers specialized in graphic design, who began to interest in ceramics as a work material a few years ago. Thus came the idea of applying their knowledge of design to the ceramic products creating Limoceramics in 2012 and combining the company with their work.
This exclusive differentiation has led these entrepreneurs to limit their collections to 150 pieces, made in artisan workshops of Valencian potters and painted one by one by different illustrators. “We work with different artists, which allows us to customize a limited series of unique pieces of author, which ultimately is what our audience is looking for and what they are interested in,” they explain. In fact, the Center of Crafts of the Valencian Community has granted them the certificate of craftsmanship, which certifies the character of the company.
They follow a manufacturing process by which they determine the designs of all products, materials to be used and finishes. After making a prototype of tests, they make the original model from which the molds are made for reproduction. Furió and Bou control the quality and the production process from beginning to end, taking care that there are no defects and watching to the smallest detail.
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At the moment they sell their pieces in stores in Madrid, Barcelona, Valencia and Seville, and also work on the start up of their online store to sell directly to their customers
Handcrafted small-batch ceramics are everywhere these days
And among certain creative-minded millennials, ceramics have replaced jewelry and furniture made from salvaged lumber as the craft du jour, with access to choice kilns as a status symbol to be flaunted on Pinterest and Instagram.
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There is beauty in imperfection and having items that are really handmade said the fashion designer Steven Alan, who populates his boutiques with textural American and Japanese ceramics in neutral hues. While terrariums, Edison bulb light fixtures and fixed-gear bicycles have all enjoyed moments of demarcating cool, handcrafted small-batch ceramics are suddenly the accessory of the moment. Just as those earlier trends represented a tactile, down-to-earth counterbalance to our sped-up, technology-centered world, the rejection of factory-produced sameness in dinnerware and vases reflects a desire to get back to something more essential.
We want to know where our free-range eggs come from, and where our coffee beans are grown and roasted. We also want the vessels we use to consume those things to embody a deeper story about craftsmanship and creativity.People are looking to have their humanity reflected back at them,” said the veteran potter David Reid, a co-founder of KleinReid, a ceramics company in New York. “People are moving back from slick and stainless steel to something warmer.
For the interior designer Kelly Wearstler, who recently teamed up with the ceramist Ben Medansky on a line of tableware bedecked with golden cubes, ceramics imbue a room with a sense of purpose. “Something made of the hand is so special, it inherently adds soul and dimension within a space,” she said.
Robert Sullivan, the contributing editor at Vogue who wrote the magazine’s ceramics article, said that ceramics are popular now because they are “among the most obviously and literally handmade things.”
Julie Carlson, editor in chief of the design website Remodelista, has chronicled the rise. “It’s entwined with the farm-to-table movement,” she said. “It’s this desire to know the origin of what’s in your kitchen
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