Red clay · Fired in İznik
Made for service,
not for the display case.
Warm red clay tableware for boutique hotels, restaurants and quiet homes. Made in small batches in İznik, and tested with you at sample stage before anything is repeated.
Why red clay
Three reasons a table
changes with red clay.
Warmth you can see
Red clay carries colour in the body itself, not only in the glaze. Under warm light it reads as terracotta rather than as white porcelain — food looks closer, quieter, more finished.
Made for the pass, not the vitrine
These are working pieces. Marks left by service read as patina on terracotta, where the same trace on blue-and-white would read as damage.
Small batches, checked by hand
Each batch is thrown, glazed and fired in İznik in limited numbers. Nothing is repeated before a sample has been on your table.
We publish no technical figures for the red clay line. The pieces are still at sample stage: we test them with you, in your own service, and we tell you what we observe rather than what a datasheet claims.
The red clay line
Four groups. One table.
Steak & main plates
Wide, flat-welled plates that hold heat and frame a single main course.
Meze bowls & trios
Small bowls and threes for sharing: olives, dips, cold starters, breakfast plates.
Dessert plates
Narrow rims and a white band that lets sugar, fruit and cream read clearly.
Coffee cups & rituals
Turkish coffee, espresso, morning cups — the part of the service a guest actually holds.
The cup
The one piece a guest
holds in both hands.
A coffee cup is the smallest object in a service and the most touched. In red clay it stays warm longer, it sits heavier in the hand, and it tells the guest — without a word — that the house chose its own vessels.
Where to begin
Twelve to eighteen pieces are enough to begin.
You do not need a full inventory to change how a table feels. One course, one ritual, one terrace — a small group of pieces, used every day, tells us more than a large order ever could.
Request a sampleHow it works
Four steps, no technical decisions on your side.
01
A short brief
Twenty to thirty minutes, in your own room. What you serve, how you serve it, what breaks.
02
One or two scenarios
We come back with a small set of options — forms, finishes, where each piece sits in your service.
03
A sample on your table
You use it. Dishwasher, pass, guests, stacking. We listen to what the piece does in your hands.
04
A small batch
Only what worked is repeated, in İznik, in limited numbers, with the same clay and the same firing.
The film
Red clay, from the bench
to the last cup of the evening.
Forty-five seconds, no voice. Sound is not needed.
Material & surface
Which material for
which surface.
Two lines leave this atelier. They are not rivals; they belong to different surfaces. The table asks for clay that can be used. The wall asks for tile that can be looked at.
| Surface | Our answer |
|---|---|
| Table top, daily service | Red clay |
| Breakfast, meze, sharing | Red clay, patterned everyday series |
| Wall, panel, lobby | İznik tile & panels |
| Collection, gift, display | İznik tile, art glaze pieces |
meet designers eva & nina
Eva Marling and Nina Marling are the fictional muses behind CERAMICA NICEA, created to embody the calm, timeless elegance that defines our Iznik‑inspired world. Through their eyes we explore interiors, seaside horizons and everyday rituals, showing how ceramics can quietly transform a space into something more poetic, personal and artful.
