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Based in Copenhagen, Yonobi Studio showcases ceramic artists across an international radar. What inspired you to set up the design shop and specialize in this medium?

YONOBI is created on the basis of interest and curiosity for the ceramic artist and craftsmanship. And therein also a desire to pass on the story behind the craft. I have always been driven by a desire to tell the little story - and the presentation of this. YONOBI is thus, in addition to a shop, a desire to inform and tell the good and exciting stories behind the work in ceramics.

The aspect of ‘buying less - but better’ is an ethos Yonobi champions. Do you feel this aspect has agency in the growth of the craft industry? Can handmade, one-off pieces lend themselves to sustainable production or does further use of sustainable materials be present?

- I definitely feel that the ‘buying less - but better’ is the reason why the whole craft industry is experiencing growth these years. Our customers are much aware of the history of the product; how its made, by whom, if it’s unique or part of a larger production. And this has all led to a higher demand for all retail companies to present sustainable collections - where the focus, among other things, is on the transparency of the production and inviting the customers into the production.
- Furthermore, I also see a tendency in all artists’ work, that they are much more aware of their production. They reuse their materials, make special collections based on ‘leftover’ glazes, clays, and more. So, generally, I feel that small handmade productions are the future in terms of creating a more sustainable market.

How does Yonobi select artists to exhibit and display in your shop? What criteria do you follow in this selection process and what tools do you use to source new artists?

- For me choosing a new artist or ceramic piece for the store is a very emotional thing. I always choose 100% with my heart. If I can’t feel a piece or the story that the artist is trying to tell it won’t end up in the store. Therefore I also try to visit all artists in their studios, so I have a much better understanding of their work of craft. I always try to avoid trends and what is popular at the moment. And go for what I feel is a good example of craftsmanship and design.



What aspects of the contemporary craft scene do you see as most prevalent or in need of that audiences today desire for their home / environment and why?

- In the history of YONOBI, we have definitely seen a shift in what our customers are interested in. Back in 2016 when we launched our webshop, it was the everyday items that were popular, so mugs, plates, and bowls. So, practical items that could be used in the everyday life. But in the last year’s time, we have seen a rise in the more sculptural pieces, so the pieces don’t have to have a functional purpose - but are generally bought as a piece of art for the home.
- I believe this is part of the general development and popularity of the craft market. The desire to own something unique and special makes the customer willing to invest in more special items. This is a fantastic development and makes it so much more fun as a store owner, cause we can take in more unique and different pieces, which we couldn’t before.

What first inspired you to work in the contemporary craft scene? For those just recently coming to terms with craft and design, are there any platforms you would recommend?

- My passion for craft and ceramics started during my travels - going to local ceramic markets in the south of France, or antique markets in Japan. It was here that my desire for craftmanship was awakened, and it is still a big part of how I find new pieces for YONOBI.

- So, every time you are out traveling or maybe just exploring your own country - try to look up the local artists. There are tons of guides online, so go explore and be curious about craftsmanship. YONOBI also has a few ceramic travel guides on our site, with some of our favorite must-visit places :)

“Our lives are filled with objects. Everyday things used in everyday settings, they are our constant companions.” (Soetsu Yanagi). What then do you feel audiences desire most when purchasing a hand-made piece, has there been any shift in purchasing needs/desires during the pandemic?

- I can definitely feel that during the pandemic, and the “staying at home” people have become more aware of the objects they surround themselves with.

- So we have definitely seen a rise in new customers from all over the world, both interested in unique sculptural objects - but also everyday ceramics - like cups, bowls, plates, etc. Surrounding yourself with handmade and carefully crafted objects can bring you a sense of joy and appreciation in the daily use of these. And I definitely feel that the pandemic has made us be more critical in terms of what objects we use and look at in our everyday lives. In many ways I believe that the pieces we surround us with, have to have a sense of value. It’s not just enough that it is a cup. Why is the cup formed like this? how is it made? what are the thoughts behind its shape, color, etc.

Recently Yonobi held ‘3 Days of Design’ an exhibition exploring the beauty of everyday things. With a rise in understanding the importance of craft and to make our surrounding environment a place of relaxation; Can you give us an insight to the exhibition and importance of it’s themes during this time?

- Together with Studio0405, we presented a carefully curated exhibition during 3daysofdesign 2020. The exhibition ‘Beauty of things’ was inspired by a quote by Soetsu Yanagi: “Our lives are filled with objects. Everyday things used in everyday settings, they are our constant companions. They should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy, and safe — anesthetic fulfillment of our practical needs. They should, in short, be things of beauty.“ The exhibition was in its simple way - A celebration of craftsmanship and of the objects that surround us. The exhibition will present selected works both in ceramic, glass, and wood. During the exhibition, we presented a short film by Japanese photographer Maya Matsuura and a musical performance by Ida Noerby - composed by Aya Yoshida.

- It was important to us to both be able to showcase a wide and carefully selected universe of fine and functional craft - and by this be able to share our knowledge and the little stories behind the crafts.

Yonobi translates a particular vision and creative story into spatial experiences in contemporary craft. What advice would you offer creatives in exploring their visual approach and the agency this holds in developing their practice?

- My best advice is to find the story you want to present and really focus on this. Don’t be afraid to take chances and showcase your story in your own special way.

- Also, find a partner that you can develop and create ideas with. When we opened our new store in Copenhagen we started our collaboration with Nikolaj Mentze from Studio0405 - a Copenhagen-based architecture and design agency - and the collaboration with him has pushed us to go new and exciting ways and challenging our ‘normal’ way of thinking about customer experiences, space, and display.

- Collaborations are crucial for my store development, it’s a way for me to be challenged and develop new ways of thinking about my company. Latest we have collaborated with Japanese photographer Maya Matsuura, who has led us into including video as a way of presting and explaining about our artists and vision.. 

What does the future hold for Yonobi, are there any insights you can share with us?

- The future of YONOBI is very much focused on how we can share the story of ceramics and the artists even better. We are at the moment working on videos as a new way of showing our artists working, our store, exhibitions, and more. - Furthermore, we’re looking for a new and larger space, where we will be able to develop our pottery studio and our pottery classes.

Thank you for reading,
Lucy Swift & Cluster Team.