WHO: Edith Heath
WHERE: Sausalito, CA
WHAT: Coupe Line Cereal Bowl
Heath Ceramics was founded in 1948 by Edith Heath and her husband Brian in Sausalito, California. The ceramics company, known for a casual but luxurious Marin vibe, still makes pottery, tableware, and architectural tiles with a design-minded, unadorned sensibility and a cult following. The Coupe line was Heath’s debut dinnerware collection and was an immediate hit for good reason: the lines are clean and minimal, it is glazed in color options that are rich and earthy and it has tons of tactile appeal (weight, smoothness, curve), giving the range an almost noumenal quality. Perfect forever.
You’ve seen the wavy pink mirror in your feed – the Ultrafragola (“ultimate strawberry”), glowing from the inside with LED lights, vaguely labia-like, and almost always the frame of a selfie with a few thousand likes. Lena Dunham has one of the mirrors. So do Frank Ocean, Bella Hadid, and Sophia Amoruso. A selfie in the $10,000 mirror has become as “Instagram” as latte art.
The Ultrafragola was designed in 1970, before Instagram was even a twinkle in Kevin Systrom’s eye. It was the creation of Ettore Sotsass, the Italian architect who went on to establish the Memphis Group -- the design and architecture collective that inspired a movement away from what was traditionally considered “in good taste” and toward dramatic color, shape, and patterns like stripes and squiggles. Memphis design, which now characterizes the 80’s and early 90’s (think Saved By The Bell) was groundbreaking, polarizing, and undeniably cool in its beginning.
The Sotsass mirror is also cool. It’s feminine, weird, and six-feet tall. It glows. It is simultaneously everywhere and hard to get your hands on. It’s both vintage and futuristic. But why the mirror’s popularity now, a good five decades after its conception? And why, specifically, its Instagram popularity?
The pace of “moments” in home decor is picking up (matching step with its restless cousins, Fashion and Beauty), and Instagram coupled with the stay-at-home mandates of the global COVID-19 pandemic have played a big role in its new cadence. On Instagram, we present our private lives – however we furnish them – as the backdrop for our own personal brands. We’re influenced by a constant stream of images, like a tiny hall of mirrors in the palm of our hands, wherein even the most mundane details of our lives become aesthetic data points.
Your food TikToks might use the same songs and recipes as everyone else, but at least make your vessel special. Plus, a really good bowl can really elevate a decidedly middling midweek salad. We love Heath’s philosophy about using and abusing our dishes too; watch her in this classic clip from 1989, explaining some of Heath’s appeal to Martha Stewart, “people are so grateful when they find out, they’ve had it all their lives and that it’s relatively indestructible; that in itself becomes a great satisfaction. It’s just part of your life, it’s a member of your family.”
Words by John Moy
Images courtesy of Heath Ceramics
These days, the way we decorate our homes is how we present ourselves, perhaps even more than fashion and a logical next step beyond the accumulation of rare sneakers and It bags. When it comes to personal identity, especially in this age of constant visibility, it is alluring to strike a note between “strange and off-kilter,” and “established and out-of-reach.” In other words, to be authentic but never vulnerable. To be interesting but never controversial. To be cool but never first. To have your cake and eat it, too.
Just as postmodern design pushed playfully against the minimalism of modernism, we seek to bring the flavor of human messiness to our two-dimensional online worlds, but not so much messiness that we are actually perceived in any real way. Enter: a beautiful, strange, tongue-in-cheek, $10,000 mirror with a storied design history that somehow makes perfect sense, with a perfect aesthetic right now. A way to say, “this is my home” and “this is me,” with one perfectly framed selfie. A way to see ourselves, show ourselves, and protect ourselves, in one fell swoop. And maybe, that’s what home decor is all about.
Words by Mary Click
Image courtesy of "Mobili grigi", Ettore Sottsass, Jr., 1970