II ceramic

Michelle Leung (@ll.ceramic) is a ceramic designer based in London. After graduating from her MA in Ceramics at Staffordshire University in Stoke-on-Trent and BA Product Design at the Hong Kong Polytechnic University, she has developed a unique approach to tableware design. Michelle’s work aims to evoke cross-sensory experiences, where the colour, form, and texture of the ceramic pieces evoke the taste, flavour, and mouthfeel of the dishes they contain. Grounded in research, interviews, and material experimentation, her designs are driven by the expressive potential of the ceramic medium. Through the careful selection and application of glazes, as well as the integration of complementary materials like metal and resin, Michelle’s tableware captures the visual and physical perception of taste. The resulting pieces challenge the patron to engage with the dining experience in a multi-sensorial way, blurring the boundaries between sight, touch, and flavour.

Michelle’s design process is centred on allowing the inherent qualities of the ceramic material to shine. By embracing the unique characteristics of clay, slip, and glaze, she creates tableware that not only serves a functional purpose but also elicits an emotional and sensorial response from the user. The work invites the patron to savour both the food and the vessel that contains it, fostering a deeper appreciation for the act of dining.

Over the course of centuries, dining ware has undergone mass manufacturing, resulting in standardised, highly functional and durable products. Primarily designed to cater to broad audiences. After the pandemic, there has been a growing trend of localised production, with restaurants supporting local potters by purchasing tableware from them.

Dining is no longer solely about taste, it has transformed into a comprehensive sensory encounter. By integrating synaesthesia into tableware design, designers can enhance the dining experience by engaging multiple senses simultaneously.A test was conducted to further find out the relationship. Participants sampled each flavoured liquid (tabasco, sugar water, bitter melon juice, lemon juice, and salt water) individually and answered specific questions related to their sensory experiences. The interview questions were structured into two parts: visual and tactile sensory associations with each flavour. For the visual aspect, participants were prompted to imagine and visualise scenarios, shapes, and colours that represented the flavour. Their choices of colour and form, and the evoked emotions were evaluated.

The findings suggest that there are non-random associations between taste and visual features. The results showed that sweetness was associated with more rounded and voluminous shapes, while sourness and spiciness was matched with jagged and spiky shapes. Bitterness tends to give a flowy and bumpy texture which may relate to the lingering aftertaste. Saltiness was represented with gritty and grainy textures. These cross-modal correspondences between taste and visual features reveal some intriguing connections in how we visualise different tastes. Therefore, each flavour is paired with a specific cocktail and the vessel is designed according to the research.

The traditional cocktail glassware has been redesigned based on the visual associations with five distinct flavours. The vessel itself gives the drink a distinct character, and these visual cues provide an overall impression to enhance the drinking experience. Fine Bone China was chosen as it has strong ties to the country, and its delicacy made the design more sophisticated. Other materials such as resin and metal were also being incorporated in the design to achieve a desired texture that matches with the flavour.

more. www.shop.llceramicleung.com