Tag Archives: Heath Ceramics



Our seven-year long collaboration with Heath Ceramics began in 2011 with hand-etched dinnerware ceramics. Founded in 1948 by Edith Heath, Heath Ceramics is run by Cathy Bailey and Robin Petravic, who both have a deep background in design.

While our collaboration has been ongoing, it’s been a few years since we worked deeply with Heath Ceramics on new developments. The Camellia design was released in 2013, Bird’s Nest and Indigo designs in 2015, and Natalie also visited California for our “Alabama on Alabama” show that summer.

If you are new to our Journal, read back for a wealth of information and history about this incredible California-based ceramics company. And Heath Ceramics celebrates 70 years this year. Wow. Congratulations Cathy, Robin, and the Heath team!


Today, we announce new product designs in the Alabama Chanin-Heath Ceramics collaborative style. These hand-etched necklaces are an Alabama Chanin and Heath Ceramics exclusive available only on AlabamaChanin.com and at The Factory Store.  Our interview with Cathy catches us up-to-speed on their recent endeavors and new projects at Heath, including our jewelry line.


AC: It’s been a while since we’ve checked in with you. How is the world of Heath Ceramics? Are you still producing as many pottery lines as you were when we began our collaboration?

CB: Yes, we make changes slowly! Especially to our dinnerware lines. Recently we updated our color palette to our Coupe Dinnerware line; it had been 15 years since we had re-worked that palette. So it was really exciting to be able to add some new glazes. The new palette consists of both classic historic glazes and some newly designed colors.

AC: You have begun to expand your offerings beyond the clay and flatware we have been accustomed to. What spurred that decision?

CB: We are led by design, and so we always have new ideas of things we would like to create. Designing beyond clay has been happening slowly for many years, but usually, the products were offshoots of something we made in clay, like wooden trays or glass parts for our candle holders. We also make bags and soft goods now, from leather and textiles. This started after our friend Sherry Stein retired from making her line of bags. We learned how to make bags from her and now reproduce some of her designs alongside our own designs. Once we had the tools and expertise to work in these materials other ideas kept coming, from cat keychains to leather coasters, and currently, we are working with a local textile weaver on a line of tabletop textiles. 

AC: You have remained committed to your belief in collaborations with lines like your Muir Flatware collection. Can you explain to us a bit about how you make it? And how did the collaboration with Sherrill Manufacturing come about?

CB: Since dinnerware goes hand in hand with flatware we’ve always had the desire to create our own flatware designs, but it was not until we found Sherrill Manufacturing (the last flatware manufacturer in the US) that we believed we could create a product with the integrity that we needed to do the project.

Sherrill is the last remaining flatware manufacturer in America. We have an affinity for companies with heritage and even more so for those remaining when all others have gone elsewhere or are no longer. When visiting Sherrill, we saw similarities in our Sausalito dinnerware factory: an honest spirit committed to craft with original machinery, generations of skill, minimal computers, and many hands instead. The Sherrill team is comprised of up to 50 people and operates today in the 125,000 square foot former Oneida flatware facility. Each team member is deeply skilled in different aspects of the manufacturing process; there are usually 15 to 20 steps to create just one piece of flatware. They also use US steel and sustainable energy to make their products.

AC: You have also expanded your traditional kitchen linens line to include fashion accessories like tote bags. Have you been able to keep this production in-house, as has been your tradition? 

CB: Yes, Heath Sews is our own sewing studio where we work with textiles and leathers. We even started hand dying our leathers. Currently, we have five craftspeople working in our sewing studio which is in our San Francisco location.

AC: We love your “Fun and Unique” line. How did you incorporate items like playing cards into your brand?

CB: Sometimes we just include things because we like them, even if they don’t fit strictly into categories that we think our customer knows us for, or that even make sense. From playing cards to Swedish gnomes we just love these products and want to share them, so we sell them! Soon we’ll have our playing cards available on our website, which was an idea that came from one of our graphic designers who is an amazing illustrator. She thought some of her illustrations that she was working on for other projects could translate to Heath playing cards, so we encouraged her to do it!

AC: Your San Francisco location has a Newsstand, which you describe as a community hub. What made you want to open up your space to the public, to a greater degree?

CB: We created the newsstand to inspire and unite the community. Exposing culture from far off lands, and different perspectives from our own, while being a neighborhood hub for all. We have a passion for the printed medium, and our friendly, knowledgeable staff helps to build the local community on a face-to-face basis. It’s something we feel is important as our world becomes more mass produced and technology pushes us away from tangible face-to-face contact with each other. The newsstand is a democratic place with a depth in design, food, and culture, though not at the expense of classic news and periodicals.

AC: Alabama Chanin and Heath Ceramics are collaborating once again, this time on a jewelry line. How long have you been producing jewelry and what was this process like for you?

CB: That’s a good question and not a simple answer. Edith Heath used to create beads that she called kiln fillers because they could fit in-between the larger pieces in a kiln firing, thus not requiring any additional energy to produce. About 10 years ago we figured out how to create beads using Heath clay that were in a similar style to Edith’s beads; we’ve been evolving the designs ever since. About 2 years ago we started producing rectangular flat pieces that we make into necklaces. These pieces allow us a flat surface to showcase the remarkable beauty and detail in the glazes that we design. What was exciting about the collaboration for the Alabama Chanin Jewelry is that we were able to incorporate the etching technique that we use on the Alabama Chanin line of dinnerware. It’s an highly skilled technique to precisely etch the designs without a template, and the result is beautiful on the scale of the new jewelry.

AC: Do you have plans to expand your offerings even further in the future?

Right now we’re just refining all things that we do, which includes additional flatware designs and some new linens, so that is keeping us busy. We love to design and create beautiful things and that will always continue.



If you ever find yourself with a surplus of strawberries after picking, puree the extra and make a delicious summer cocktail. Any excess puree can also be stored in the freezer for future use; however, strawberry cocktails are popular at my house and there is rarely much leftover puree.

Experiment with any ripe fruit as you progress through the holidays. We’ve shared other strawberry cocktail recipes: Homemade Strawberry “Fruli” and strawberry-tarragon simple syrup with Prosecco. This recipe combines watermelon juice and orange bitters. Garnish with blueberries on rosemary stems for the perfect combination of tart, spicy, sweet, and bubbly.

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There is sometimes no greater pleasure than planning for holiday get-togethers and the excitement that goes along with them. Many of us have traditions we look forward to all year, and family or friends that we only see on special occasions. There is meaning to be found in the —smallest things, from preparing a dish or setting the table—or doing the dishes together. You wash, and I’ll dry.


In an effort to get things just right, it is possible to let preparations overshadow the occasion, shifting the attention from the people to the scenery. The easiest way to avoid this is to involve more people in the process—to allow the event to become more of a collaboration. It really is okay to let someone else choose the napkins, and even really young children can set the table with just a little help.


The table will never be the most important part of a holiday, but it is our gathering place. Mismatched plates can make as beautiful a place setting as your grandmother’s wedding china, as long as there is a seat for everyone. Our newest home goods collection is designed for almost anyone’s table (holiday or not). These new machine-sewn items are meant to be practical, but beautiful and are available in an array of colors and designs. Our new offerings include: Top-Stitch Coasters, Top-Stitch Placemats, and Colorblock Napkins. Shop our updated home collection, alongside other carefully curated kitchen and dining items here.


P.S.: Mix and match your place settings with our Heath Ceramics dinner and serving ware—and soon to come Shelter Glassware collaboration with The Commons.


For as long as we’ve known about their existence, we have been in love with Heath Ceramics. Their philosophies, their processes, their intentions—all align closely with our own. Our collaboration with Heath is our longest collaboration, dating back to 2011. When we partnered for our first collection together, they worked diligently to interpret the work we do at Alabama Chanin using their own medium. The artists at Heath Ceramics hand etched designs that mimicked and were inspired by our techniques. As we continuously explore and reveal how we make things at Alabama Chanin, we hope you will also be inspired by how Heath Ceramics creates their products.

Heath Ceramics – Who They Are

A historic pottery turned designer, maker, and seller of goods that embody creativity, craftsmanship, elevate the every day, and enhance the way people eat, live, and connect.

Founded in 1948 by husband and wife team, Edith and Brian Heath, the company was purchased in 2003 by another couple, Robin Petravic and Catherine Bailey. Their plan for growth included: boosting productivity, streamlining offerings, creating new products, and collaborating with other artists and companies with complementary visions.

Heath wants to become a model for U.S. manufacturing—inspiring designers and manufacturers to think creatively about their business models, placing financial profit as the means, rather than the end.


What They Believe

The Heath Ceramics team shares much of the philosophy of its founder, Edith Heath. They are driven by design and function, are committed to handcrafted work, and determined to question the status quo.

Their goal is to work with these values in mind, by making responsible and holistic decisions for the long-term benefit of their customers, employees, and the environment. For those reasons, they prioritize these principles:

  • Local manufacturing – Like Alabama Chanin, Heath believes that the craft of manufacturing has been largely lost as a value in modern culture, and they work hard to retain it. Their dinnerware is made using a blend of mechanized processes and hand craftsmanship, to obtain the highest quality product. Customers build relationships with the things they buy when they also build relationships with the people, processes, and values behind those products. Local manufacturing also has social and cultural rewards in bringing pride to community.
  • The real cost of products – A product’s price reflects the actual cost of its production. Heath products comply with strict environmental standards, both government regulated and self-imposed. Their staff is compensated fairly, receive full health care benefits, and have retirement benefits. This means their processes can sometimes be expensive, but fair and safe standards and practices are important to the Heath philosophy. When you outsource processes, you lose control over the conditions your products are made under. A cheaper price usually reflects that difference in standards.
  • Product safety – Heath dinnerware products meet and exceed U.S. and California safety standards. Likewise, their children’s products exceed food and product safety standards.
  • Environmental responsibility – Heath is a design-led manufacturer of products meant to be extremely durable and to function for a lifetime. Many of their products have been in continuous production for over 60 years; the designers work to design new products to complement existing collections, in order to increase their longevity and decrease the need to replace them. By manufacturing in an urban environment, they must abide by environmental standards set for communities where people live – making them even more certain they are not doing harm to the environment and community.
  • Recycling – Heath uses a gray-water system, which recycles water used in production for use in their glaze and cleanup operations. They also recycle scrap unfired clay, meaning there is recycled content in every Heath product. They also ship all products using materials made from 100% post-industrial waste and that is reusable and recyclable. And, they are setting up their San Francisco factory to be a zero waste facility.
  • Energy Efficiency – Their ceramic clay requires only one firing (at a lower than normal temperature), as opposed to the typical two firings. Heath rebuilt their kilns to increase capacity, allowing them to fire more tiles per kiln and reducing gas consumption.


How They Work

Robin and Catherine say they ask “why” a lot. That is because they are designing and adapting their business as thoughtfully as they design their products. Here, they explain how they work:

  • We offer goods that last. We believe in quality over quantity, only making and selling beautiful, well-made goods that stand the test of time.
  • We design and make and Being responsible for it all means that we’re better at each aspect of what we do.
  • We build environments around our mission. From showrooms to factories to offices, Heath’s spaces bring together people and communities to learn from each other, forge lasting bonds, and create lots of good energy.
  • We believe in growing responsibly. By working smart and growing prudently, we’re building a strong business that allows us to make good things and do good work.


Their Vision for the Future

Heath continues to look for ways to reduce its environmental impact. Their goal is to become a closed-gap company, always looking for new ways to reuse and recycle their waste. Their goals of sustaining local manufacturing, creating high-quality, well-designed products, maintaining a fair and responsible workplace for our employees, and reducing our environmental impact helps us set their financial goals and business model, not the other way around.

In the spirit of both transparency and community, Heath invites you to learn more about the people who work for them and welcomes you into their clay studio. Because Heath wants to make their work tangible for the community and consumer, you can visit their Sausalito dinnerware or San Francisco tile factory to see just how they do things. You can schedule a  tour here.

You can shop our Alabama Chanin + Heath Ceramics products in The Factory store or online.


Photos by Rinne Allen


The Alabama Chanin, Heath Ceramics, and Boiler Room teams have been working together over the past few months in preparation for our show in San Francisco, which opens tomorrow evening. Needless to say, we are very excited. The show, Alabama on Alabama, is the fourth ever exhibition in Heath Ceramics’ new event space, the Boiler Room. Heath Ceramics opened the Boiler Room last year as a place of discovery, inspiration, and exploration—bringing together the unexpected, hard-to-define worlds of art, design, and craft. Those realms are explored through collections, shows, events, and pop-ups. We have to admit that ours fits the bill perfectly and are honored to be included.

Alabama on Alabama is a month-long journey into the soul of the modern South. Natalie’s work spearheads the exhibit, which also includes works by Butch Anthony, known for his ‘intertwangled” paintings and creations using found objects, and materials and works on paper by artist (and longtime Butch Anthony collaborator) Mr. John Henry Toney. Alabama on Alabama also showcases the work of our dear friend and photographer, Rinne Allen.


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Our first collaboration with Heath Ceramics, launched in 2011, has built a lasting, creatively symbiotic relationship. That joint development was a beautifully intensive design process that blended our techniques with theirs. Our Heath + Alabama Chanin line of dinnerware is made by hand, just like our Alabama Chanin handmade Collection. The artisans at Heath etch the designs into clay in much the same way that we embroider our garments. And just as our stitchers initial the garments they create, the Heath artists leave their marks on each of the finished products.

Over the last year, as we began experimenting with our indigo dye house, we became excited about the possibilities of this natural color and the richness and variations it creates. This excitement carried over into our ongoing conversations with Heath about expanding our collaboration. The new pieces build upon our previous work together and today we launch two new themes in our Alabama Chanin + Heath Ceramics collaboration: Indigo and Bird’s Nest.


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Two years ago, Cathy Bailey and her son Jasper came to visit Maggie and me in The Shoals via train. It was Jasper’s spring break and they boarded the California Zephyr to Birmingham by way of Washington D.C., and traversed the entire country to spend time in North Alabama. Needless to say, Jasper and Maggie became fast friends, our collaboration with Heath Ceramics continued to grow, Cathy and I became even better friends, and the next year, they came again. In a few short days, Maggie and I will be taking the California Zephyr to San Francisco. We’ve come to call it “Jasper’s Trip,” since Jasper has given me (and Maggie) a renewed love for trains.


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Over the last five years, our work with Cathy Bailey and Robin Petravic has been some of the most productive, exciting, and meaningful work that we’ve had the opportunity to do. Robin and Cathy are husband and wife, parents to Jasper, writers of the new book, Tile Makes the Room, and the owners and operators of Heath Ceramics. Cathy was an early member of our Makeshift initiative and has participated in almost every major Makeshift event since its inception. Our ongoing collaboration with Heath is one of our proudest (and longest lasting) joint design ventures. And throughout the process, Cathy has become a trusted friend.

Prior to her work at Heath, Cathy founded One & Co., a design consultancy with clients like Microsoft, Palm, and Apple. (Prior to THAT, she worked as a footwear designer at Nike in Portland.) In 2004, she and Robin purchased and rehabilitated Heath Ceramics, founded by Edith Heath in 1948 and run by Edith and her family until Edith was in her 80s. When they made the purchase, both were searching for more satisfying outlets for designing and making—and found that at Heath, which required hands-on work to revive and preserve, while keeping the original design aesthetic intact.


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It’s no secret that we at Alabama Chanin have long been admirers of Heath Ceramics – their work, their approach to responsible manufacturing, and their embrace of beautiful, sustainable design sets them apart from so many companies today. We have also been honored (and excited) to collaborate with them on several projects, including a line of dinnerware, the MAKESHIFT conversations, and most recently, two clocks designed to celebrate the 10 year ownership of the company by friends Cathy Bailey and Robin Petrovic.

Edith Heath originally founded Heath Ceramics in Sausalito, California, in 1948. She was an accomplished ceramist who cared deeply for the craft and believed in the importance of using quality materials. She grew up in rural Iowa during the Great Depression, which made her a natural conservator. In the late 1930s she worked with Bauhaus artist Laszlo Moholy-Nagy, which influenced her design aesthetic. Heath searched constantly to source the right materials and experimented for years to find the best techniques and glazes; she was once quoted as saying that she wanted to use clay that had “character” and “guts”.

Edith’s attempts to adapt her hand-thrown techniques using industrial production methods were met with controversy. She was told that machine-produced items didn’t qualify as “craft,” which prompted her to respond, “The machine doesn’t decide what the shape is going to be; a human being has to decide that… Just because you make it by hand doesn’t make it good, or a work of art.”

Alabama Chanin - The Factory Store + Cafe - Photographer Rinne Allen (63)

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Heath Ceramics is celebrating 10 years of design by showcasing interpretations of time in the form of one-of-a-kind clocks designed by friends and collaborators. I was honored to design and contribute two clocks, featuring Alabama Chanin’s etched Camellia pattern. It’s really common in my family to hang plates on the wall, and I was inspired by this tradition. I remember all the plates on the walls at my grandmother’s house, and I have continued the practice by hanging Heath + Alabama Chanin plates on the wall in my own kitchen. It made perfect sense to design clocks that reflected that tradition. Heath10Clock-NatalieChanin2-WEB The Alabama Chanin clocks will be available at Heath’s Design in Time show this weekend, along with several other collaborations and interpretations. The show opens this Saturday, December 7 from 5:30pm – 8:30pm at both the San Francisco and Los Angeles showrooms. xoNatalie and all of us @ Alabama Chanin

Photos courtesy of Heath Ceramics.


In anticipation of tomorrow evening’s opening exhibit of our BBQ’ed Dresses Collection at Warehouse Row in Chattanooga, Tennessee, we mixed up a celebratory cocktail. Our friend Brooks Reitz of the Jack Rudy Cocktail Co. sent us a few more bottles of his Small Batch Tonic for the event, and the Chattanooga Whiskey Co. is providing the booze, so we mixed the two together, plus a touch of lemonade for sweetness, and found ourselves in a dreamy barbeque state of mind.


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The practice of numbering houses supposedly began in Paris in the 1500’s. Having a house number is something we don’t give a second thought to these days, but they have not always been used and they certainly have not always been popular.

Some countries have numbered zones, requirements for the number of digits, double sets of numbers, and different color street numbers for different purposes, like upstairs and downstairs. Every country, state, city, or county seems to have their own numbering system. Early numbering systems were developed for the controversial purposes of census taking, drafting men into the military, taxation, creating borders, and other government functions. They were not created for their current purpose: ease of navigation. No matter the country, modern day houses are often required to be numbered for purposes of delivering mail or in case emergency services are needed.

Early identification methods didn’t involve numbers at all. If you wanted to identify or contact the residents of a home, you used the house’s name. But house names were not always displayed, there was no central directory, and sometimes there was more than one house with the same name. This meant that locals could find other locals, but outsiders had a difficult time finding their way around. When the idea of numbering houses was introduced, the idea was not incredibly popular, as it was seen by many as a form of government control.

Today, in modern day America, there is no set standard for how streets get numbered, but there are some practices that are used often. For instance, odd numbered houses are almost always on one side of the street, and even numbered houses are on the opposite side. Some cities are designed as grids with a center point; each block that moves farther from the center increases by 100 (2nd, 3rd, 4th Avenue, etc.) and directional modifiers are determined based upon this point (2nd Avenue North, for example).

My father has been hounding me for years about numbering my house. I’ve never been sure why it was important, since I get my mail and people seem to find the place pretty easily. But, when I saw these numbered tiles, part of a collaboration between House Industries and Heath Ceramics, I coveted house numbers. House Industries creates beautiful fonts and designs, often from unusual or inspired origins. Their typography can take inspiration from a number of sources, blending musical, cultural, and graphic elements. Their design aesthetic works perfectly with the Heath brand. Both companies focus on craftsmanship and forming partnerships and each of them use a hands-on approach when creating products. I purchased the Neutra numbers, but there is also an Eames-inspired collection that is just as beautiful.

I guess my house will not remain incognito anymore. I like that the house numbers add warmth to the entrance and my father is happy to know my house is now properly attired.



We’ve loved every plate, bowl and serving dish from our collaboration with Heath Ceramics that has come through the studio. But it’s this newest addition, the Camellia pattern, that is easily my favorite, and the most elegant. Each piece is hand-etched by a Heath Ceramics artisan and comes in Opaque White. The design is offered on the Deep Serving Bowl, Dinner Plate, and a Serving Platter, and is a natural addition to the current Alabama Chanin @ Heath Ceramics collection.

The Alabama Chanin @ Heath Ceramics collection is available in Heath Ceramics stores, on the Heath Ceramics website, and our online store.


Some five years ago, Martha Hall Foose visited Florence, and made the best strawberry cobbler I’ve had to date. Strawberry season came a little early this year. In early May, my patch began producing.  I’m hoping that the plants will continue bearing through the coming weeks so my son, Zach, can make his classic strawberry cobbler for our 4th of July celebration.

We originally shared his recipe in our ‘Celebrate America’ catalog.

Looking forward to the upcoming holiday…

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When I was working on our Heath Ceramics collaboration, we worked with colors rooted in the Southern vernacular and my upbringing in the 1960s and 70s in Alabama. When I look at the dishes, I see parts of my childhood in the shades of red and blue.

The chosen red is appropriately called red clay, as it was inspired by the color of Alabama soil. This miraculous color used to bring tears to my eyes as I would fly in from my time living in Europe.  As a child, our summer clothes were stained with the color. The bottoms of our feet were permanently red clay colored after the temperature reached 78 degrees. Gillian Welch’s song “Red Clay Halo” cannot say it any better:

All the girls all dance with the boys from the city,
And they don’t care to dance with me.
Now it ain’t my fault that the fields are muddy,
And the red clay stains my feet.

Being a barefoot child who played in the garden, I knew this color intimately. This is the color of hard-working farmers and farm wives; it is the story of a community.

Southern musicians have written about Alabama’s red soil for decades. EmmyLou Harris’ “Red Dirt Girl” is another iconic example.

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A traditional southern barbecue will almost always have the option of pork, whether in the form of pulled pork sandwiches, slow-cooked ribs, or smoked pork butt. Our July 4th pork dish may be a little more formal than those options, but it is actually very easy to prepare.

Our pork loin was sourced locally and roasted with fresh herbs from my garden. It looks even more delicious in a Large Serving Dish by Heath Ceramics. The dish helps hold the moisture, keeping the pork moist and allowing the flavors to emerge. I love the red color in contrast to our White and Navy Center Stripe Table Cloth.

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Cathy Bailey of HEATH Ceramics has frequented this blog for a number of years as a friend and a colleague. After loving her work (and her) from afar, we were fortunate to collaborate with HEATH Ceramics to produce a line of table and dinner wares that were launched last fall.

Cathy (her husband, Robin), and I share much of the same passion about design, craft, and local production. Next week, Cathy and I will share the stage at the Standard Talks. This coming Tuesday, Alabama Chanin presents MAKESHIFT: Shifting Thoughts on Design, Fashion, Craft, and DIY, our first event in a series of many as we continue a conversation on the intersection of design, fashion, craft, and DIY.

Heath Ceramics: An impressive view from within from Heath Ceramics on Vimeo.

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Spending the past couple of days in the San Francisco Bay Area, I’ve seen firsthand the “making” spirit that defines the unique culture and character of life here. Alabama Chanin feels very connected to–and inspired by the creativity, craftsmanship, quality, and local manufacturing in this community.

Watch Monocle’s video which highlights some of the craftsmen and advocates that are pushing the maker movement ahead:  SFMade, New Resource Bank, and HEATH Ceramics.

From Make, Do, Change:

“ …that creativity is very strongly back to appreciating good craftsmanship and quality in physical objects, and the idea that making products and working with your hands is something to be respected…”

-Robin Petravic, of HEATH Ceramics.


Our local bakery—called Sugarbakers—makes the most beautiful cakes. I personally think of them as “old-timey,” because they remind me of my childhood birthday cakes with white buttercream frosting and plenty of scallops and swags.

Here is a beautiful cake they recently made for me for a special occasion using a “stitched” Anna’s Garden pattern on the top. I think that this would make such a beautiful wedding cake (or birthday, or shower, or anniversary).

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In the spirit of “The Best Of” week as we move towards New Year’s Eve, I had to recap some of the best meals of my year – and they were plenty (despite my detox).

2011 started with a trip to Blackberry Farm’s Taste of the South with an amazing array of chefs and artisans.  The weekend is somewhat of a blur – perhaps because of all the wine tasting with Angie Mosier, and Charles and Kristie Abney.  I remember a biodynamic wine that was a glowing, beautiful orange color. (Charles and Kristie – if you are reading, can you remind me of the name of this wine? I would love to share it with others!)

Pardis Stitt will not let you leave her house, restaurant, or presence without a “to-go” box. And I know this may come as a surprise, but one of the best meal moments of my year was eating freshly cooked homemade chips and charred onion dip from Bottega in my car, on my way home to North Alabama. The recipe for this deliciousness can be found on page 23 of Bottega Favorita: A Southern Chef’s Love Affair with Italian Food. I have not been able to replicate the perfection of that afternoon in my own kitchen – must have been the “Pardis Love” that made the difference.

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Thanks to all the HEATH Ceramics team for this lovely piece on Alabama Chanin in their November Newsletter:

Slowing Down (and Sitting Down) with Alabama Chanin

Stitch and clay intersect to create modern heirlooms in our newest collection

Slow down. This may feel like an impossible pursuit, particularly in this season, but when Heath Ceramics Creative Director Catherine Bailey explained that one of the intentions of Heath’s collaboration with Owner + Designer Natalie Chanin of Alabama Chanin was to “celebrate slow, thoughtful design,” the word really resonated.

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It’s officially launched.

From the HEATH website:

“The point of intersection between stitch and clay. A collaboration between Natalie Chanin and Heath Ceramics yields an anthology of carefully crafted modern heirlooms in a new and permanent dinnerware line.

This collection celebrates texture and a range of layering possibilities in thoughtfully curated place settings, plates and serving bowls.”

Shop our tabletop collection @ HEATH Ceramics


So excited about our collaboration with HEATH Ceramics. Look for the entire collection to launch next week. Until then, a little sneak preview via the New York Times



From Vogue Daily:

Still under the radar, West Coast-based Heath Ceramics is a Vogue editor favorite. Imagine our delight upon discovering that their new color for fall, out today, is this divine shade of red, reminding us of the fall collections (think Prada, Louis Vuitton, and Galliano). “Even though we’re in California, the warmth of red ceramic ware in winter takes the chill off our damp, foggy afternoons,” says coowner Catherine Bailey of the new shade.

Heath is a family affair (Catherine owns the company with her husband, Robin), and when asked what they will be serving in this fabulous casserole (of which only 75 were produced), the couple suggest Maryana Vollstedt’s Brussels Sprouts and Baby Onions with Mustard recipe from The Big Book of Casseroles (Chronicle).

“Our whole family loves brussels sprouts, and the bonus is that they look great in this red dish.” Another suggestion is a Baked Couscous Pudding with Raisins from John Pawson and Annie Bell’s Living and Eating (Clarkson Potter). “The recipe is simple and the texture is a great surprise in a pudding. I find the leftovers can make a great breakfast as well,” says Catherine. It is no wonder they count Alice Waters’s Chez Panisse among their clients (they collaborated on the restaurant’s dinnerware) and, as they happily admit, they have found solace creating simple, beautiful things. What’s next? A collaboration with Alabama Chanin is in the works.

Heath Ceramics large red casserole, $195; heathceramics.com.

—Virginia Tupker

Photo: Liam Goodman

Recipes below…

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