‘The people who make our products are a fundamental pillar of our company,’ says Emily, who is expanding its apprentice scheme. The common thread of these creative collaborations is the brand’s craftspeople. ‘Shona’s imagination is just incredible, the way that she is able to transfer her vision through to us is fantastic.’ ‘This is one of the most fantastical collections that we’ve worked on,’ says Emily.
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‘They’re not aware of the limitations of the materials, which means that they push the boundaries.’ Simultaneously, 1882 Ltd is developing a series of home accessories for British brand Jo Malone, created by set designer Shona Heath. ‘People who haven’t always worked with ceramics come and design a collection unbiased,’ she says. ‘He said to me, “Let’s make a ceramic garden with a bird”, and that’s what we did,’ recalls Emily. McLean, for example, considered his creation to be more than a candleholder. The candleholders represent a distillation of each designer’s collection into a single piece, enhancing their aesthetic richness. And McLean builds on his Garden Ware series of vessels decorated using a silk screen decal, his designed topped off with a bird figurine. Gray’s design expands her Lustre collection, featuring 22ct gold decals that create captivating motifs. Snarkitecture adds to its series of vessels designed to reveal the artisanal process behind their creation, their otherwise sleek surfaces interrupted by unexpected texture. Lamb’s offering joins his Crockery collection of bone china tableware, cast from moulds he carved in plaster and rendered with his signature beautiful imperfection. The new candleholders are additions to the four collaborators’ existing collections for 1882 Ltd. A collection of four candleholders by leading designers The bright, state-of-the-art facility will allow 1882 Ltd to amplify some of its more experimental and research-based work, including designer collaborations. Working with a network of local suppliers, Emily and her father have grown the brand and are now moving some of their production to Wedgwood’s factory, built in the late 1930s, in the nearby village of Barlaston – a process she describes as ‘going back as close to the mothership as humanly possible’. Christopher, a fourth-generation Johnson, had been running the family business, and was invited to join Wedgwood, where he stayed as head of production until his retirement in 2002.ġ882 Ltd strives to promote creative talent, while drawing on its founders’ multi-generational knowledge to support the ceramics industry of Stoke-on-Trent. The brothers’ company grew rapidly and eventually became part of the Wedgwood Group in 1968. Her family’s ties with Stoke-on-Trent’s artisanal heritage date back to the year 1882, when the Johnson Brothers started producing ceramics there. Collaborations to date include the likes of Paul Smith, Martino Gamper and Philippe Malouin. After a career in advertising in LA, Emily returned to London to study design, where she spotted a gap in the market for design-led, British-made ceramics.
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