Nigel Slater, the renowned food writer, has shared insights into his profound appreciation for ceramics, describing how his life can be traced through the collection of pots, dishes, plates, and cups he has accumulated over the years. These pieces, which have often accompanied his weekly columns, are valued not only for their utility but also for their quiet aesthetic appeal.

Slater’s collection features tableware in muted, earthy tones—from ivory and clotted cream plates to bowls shaded in grey and rust, and cups in hues reminiscent of sand and peat. Many of these ceramics, crafted by contemporary potters, are designed to be used daily to serve food and drink. Among his everyday favorites are a candlestick by Scottish potters Jono Smart and Emily Stephen, a moss-green salt pot by Florian Gadsby, wood-fired teacups by Danish potter Anne Mette Hjortshøj, and ivory-white plates by Isatu Hyde. Some objects, like the deep soup bowls purchased from Richard Batterham three decades ago, remain in frequent use.

In addition to functional ware, Slater keeps a smaller collection of non-utilitarian ceramics displayed throughout his home. These pieces are meant to provide a sense of calm and visual serenity rather than serve at the table. Moon jars, large vessels placed on the floor as intended, and various other forms occupy shelves and window ledges. Slater views himself more as a custodian of these works, mindful of their preservation and hopeful that they will be cared for and appreciated by future generations.

Many items in his assemblage share characteristics such as subdued coloration and tactile surfaces. Most are undecorated, some unglazed, inviting touch and close observation, with their details evolving under different lighting conditions throughout the day. The size of these pieces varies widely. The largest is a porcelain installation by Edmund de Waal titled “Tea, Fire, Smoke,” composed of 279 small vessels arranged on a kitchen wall. The smallest is a single white button inscribed with a poem by the same artist. Slater also collects works by Scottish potter Jennifer Lee, whose unglazed pots, fashioned from carefully aged clays, possess a meditative poise.

Slater acquires pieces solely based on personal affection rather than investment. Among his most exceptional is a delicate, raku-fired tea bowl by Japanese potter Raku Kichizaemon XV Jikinyū, noted for its fragility and feather-like lightness. He also treasures a set of daily-use cups, saucers, and a sugar bowl by Lucie Rie, instruments of everyday life that reflect their maker’s intent for practical enjoyment. A significant piece by Rie—a small white bowl with a broad bronze manganese rim from the 1980s—once exhibited in Issey Miyake’s 1989 Tokyo show, is currently on display in London, leaving Slater’s home feeling noticeably unsettled in its absence.

Recently, Slater encountered the work of Japanese potter Matsui Kosei, a national treasure in his home country whose creations have not previously been exhibited internationally. Kosei’s unglazed vessels, employing the neriage technique—a method of layering and entwining different clays—impressed Slater for their tactile quality and natural clay tones of rust, grey, cream, and sand. Over 40 of Matsui’s works are set to be exhibited at Margaret Howell in collaboration with the De Biousse & West gallery.

Slater admits he never intended to become a collector, but one salt-glazed cup with a distinctive pocked surface and a beautifully curling handle sparked his journey into ceramics, a pursuit that has since deepened into a lasting fascination.