Story: Purist Beauties

A bulbous vase whose body tapers towards the top, the bright blue jug with a geometric handle shape, simple bowls reminiscent of eternal ice in terms of their structure and colour – who would have thought that the designs for these Scandinavian-looking ceramics were drawn up in a Tuscan farmhouse? But this is exactly where Britta Herrmann lives and works, in the mountains of Pistoia. She puts pen to paper and produces the initial sketches for her ceramics label MANI in her studio, which has a view of her olive grove, with her pets wandering around while she works. The result reflects her Nordic roots and the vibrant ‘arte di vivre’ of Tuscany. ‘I am a very straightforward and direct type of person and really need order. The crazy thing is that I live and work in circumstances here that run contrary to this aspect of my personality’, she says, continuing: ‘Here, everyday life and people are often quite chaotic in a loveable way. Life is to be enjoyed, nothing is timed. I feel less pressure and less need to abide by conventions. I think feeling this kind of contentment is just as inspiring for me as the architecture or nature that I am surrounded with here in Italy’.

For the expat, the handcrafted expertise of the ceramicists that she uses to realise her projects is just as important to her as her sources of inspiration – and the name of her label, MANI, reflects this. Translated into English, this word means ‘hands’: after all, dexterity is what is needed to turn the 49-year-old’s ideas into a whole collection of ceramics for retail. ‘The production of each individual MANI product starts with a sketch by hand. I then work together with very experienced mould makers to create a prototype’, explains Britta Herrmann and grins, because this is the exact point at which tradition meets modernity. It can be a challenge for both sides. ‘When I show my design to one of the experienced, older ceramicists, I’m often greeted with a shake of the head. Then we bat ideas back and forth a bit and sometimes even change the design as we work on the prototype. When we have a beautiful, contemporary ceramic model standing before us at the end of the process, I often see a look of pride in the eyes of my sceptical colleague’, she says. As someone who came to ceramics through a career change, she values the expertise and skill of the craftsmen. She even often names a product after the man who ‘brought it to life’ with his hands.

‘For me, a glimpse of the ceramic manufactories and discussions with craftsmen were a key experience for me when I first came to Tuscany’, she recounts. No wonder, because handmade ceramics in the region around 50 km to the north and west of Florence is a centuries-old tradition. The knowledge and craftsmanship passed down through several generations is still to be found in the workshops covered in clay dust in Montelupo. ‘I learnt so much about the material, processing techniques and design possibilities there that I knew I wanted to make my designs in this way’, she explains.

The new ‘Circle’ collection was produced by hand and with passion. The focus is again on surfaces that feel sumptuous to the touch, perfect glazes and a geometric shape. ‘I wanted to add the circle to the straight lines of my collection and make it a bit more feminine’, adds Britta Herrmann. As ever, many of the designs are available in various sizes and form whole product families.

Each piece is a pure and unique piece and functions as a standalone eye-catcher, whether in a modern loft or on a dining table in a farmhouse. ‘MANI should be affordable, timeless and yet artistic. If my designs make a home look more beautiful and are also used every day, I’ve achieved exactly what I set out to do’.

With its subtle natural tones, exquisite hand-painted stripes and the special silhouette, the ‘Otto’ vase draws the eye, even when there are no flowers in it.