Handmade ceramics ground us in the everyday, turning repeated rituals into moments to savour rather than hurry through.
Our appreciation for the handmade is shared by James Thurstan Waterworth, whose interior design studio, Thurstan, honours the skill and artistry of human making. “I’m interested in creating spaces that feel welcoming and practical,” he explains, “while responding sensitively to the architecture, history and context of each project.” For Autumn Winter 2026, he has curated an edit of TOAST ceramics, applying this considered approach to a collection of wheel-thrown kitchenware, sculptural forms and slip-decorated dishes.
“The beauty of a handmade item isn't necessarily something you think about all the time,” James says. “But there are moments when you catch yourself holding it and remember someone physically sat down and hand-sculpted this piece.” One of his picks, a terracotta matcha set by TOAST New Maker Linnan Ye, embodies this connection between maker and object. “When you're preparing your matcha, you can feel the motions and processes behind what she created.”
James' preference for objects with character and purpose guides his wider design practice. “I’m not interested in filling a room for the sake of it,” he reflects. “I’d much rather have fewer things that mean something.” Since founding Thurstan in 2018, he has transformed spaces near and far, from The Zetter Bloomsbury to Soho House Miami. Based in London’s historic Charterhouse Square, his studio is discerning in its choice of pieces. Each project responds to its setting, with James especially drawn to objects with unusual provenance or the mark of the maker’s hand. “I think those discoveries bring a richness and individuality to a space.”
The Zetter Bloomsbury project was “particularly special”, involving the sourcing of thousands of antiques as a tribute to the hotel's proximity to the British Museum. “The ambition was to create somewhere that felt like the home of a well-travelled friend, with stories, objects and treasures gathered over time.” For James, this vision is best expressed through a mix of antiques and contemporary craft. “There are imperfections when something is handcrafted, but that’s what makes it beautiful. It’s one of the things I love about antiques; there’s a sort of faded grandeur that can’t be replicated.”
When curating his TOAST edit, James was guided by soft colour and texture, favouring ceramics that hold a quiet presence rather than demand attention. Subdued, earthy tones, simplified forms and restrained decoration establish a sense of cohesion. He began with the pieces that instinctively appealed, then revisited the selection to refine the balance between them. “I wanted to bring in some different shapes, so there’s contrast and variety among them.” The result echoes his usual way of working: led by intuition, then carefully honed to achieve harmony.
Alongside Linnan Ye’s matcha set, the collection features functional kitchenware by Cisco and the Sun, made using mineral-rich Cambodian stoneware, Matt Grimmitt’s expressive slipware plate, and hand-marbled dishes inspired by traditional Provençal ceramics. Hand-built candlesticks by New Talk Studio introduce a sculptural element, while Elke Lucas’ hand-carved forms are defined by their tactility.
Over time, these ceramics will develop a unique patina, deepening their character rather than compromising it. “Patina gives objects a sense of history and life,” says James. “I’m fascinated by the way time, use and nature can add to rather than diminish beauty.” It is a fitting reflection of the collection as a whole: objects chosen not simply to be admired, but to be lived with and appreciated year after year.
Discover the TOAST Ceramics edit curated by James Thurstan Waterworth.
Photography by Leia Morrison.
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