IN CONVERSATION: CLAUDIA SCHOEMIG, POETRY IN PORCELAIN

The artist's cosy Prenzlauer Berg studio doubles as a store, housing a team of four, a dog and many porcelain designs in various stages.

In her intimate Prenzlauer Berg studio, ceramicist Claudia Schoemig greets us with warmth and a subtle Franconian lilt. Surrounded by shelves of luminous porcelain, the space reflects her precise yet poetic approach to craft. Our conversation coincides with MYKITA presents Schoemig Porzellan at the MYKITA store in Berlin-Mitte – an evening devoted to design, material and craftsmanship, and the launch of the exclusive MYKITA × SCHOEMIG PORZELLAN Edition.
 
The collaboration traces back to 2013, when MYKITA founder Moritz Krueger first discovered Schoemig’s work at a design market. Three years later, their first handmade cup marked the start of an enduring creative partnership. In our conversation, Claudia speaks about her enduring fascination with porcelain – an ‘unforgiving diva’ that demands total presence – and what it means to pursue craftsmanship in an age that often values speed over depth. She reflects on the rhythm of her work, the tension between perfection and spontaneity, and how building an independent studio has allowed her to create, in her words, “a beautiful island where I can define my own way of work life.”

The MYKITA X SCHOEMIG PORZELLAN Edition sits on the middle shelf awaiting further finishing steps.

How did you come to settle in Berlin?. What does the city give you as a designer and maker?

Claudia Schoemig: When I first came to Berlin – that was in the end-nineties – I immediately soaked in that free spirited atmosphere, roaming around in a city that offered tons of space for experimentation. Everybody seemed to have something exciting going on. The city has changed enormously since that time, and the affordable niches that keep an authentic culture flourishing have nearly vanished. But I see the shift to more internationality as something that brings fresh perspectives and inspiration, also on a grassroot level, from person to person. Being here for so long, I’m grateful to enjoy a generous net of like-minded people and creatives sharing genuine values, holding space for an empowering community and playfully exchanging impulses.

Seen in the background are pieces from the GRAPH tableware collection, featuring ultrafine, hand-painted lines.

Let’s talk about porcelain. What drew you to this material and what are the qualities that still make it so compelling? What are the specific things you can only achieve with this material? 

CS: Before I started with porcelain, I worked for many years in stoneware workshops. Stoneware is much more friendly to handle, but being familiar with similar processes helps a lot when going for next level – porcelain is known as this unforgiving diva of a material. But that’s part of the challenge – for me, working with it feels vital. I have to stay alert and always work with 100% concentration. I also love the brightness and brilliance of the material, and its translucency. When it comes to everyday use, despite of its reputation, porcelain is the most durable ceramic material. And you can work with unglazed, pure surfaces, because of the impermeability that is generated by the high firing temperatures. 
 
As a master in your craft, what is your relationship to the learning process – do mistakes or happy accidents still happen? Do you feel the need to experiment or rather to refine and ‘perfect’?

CS: I love both – experimenting and getting into the flow of a beautiful routine, releasing what mind and body has learned to intuitively perform. I really love this state, and I was always quite ambitious in what I call ‘hunting for the perfect wave’. Eventually, I could efficiently throw 500 pieces practically in my sleep, and they would look exactly the same. I felt a bit like “Ok, I have seen it all on the wheel, but what now?” With the erratic FLEUVE bowls, I wanted to step out of perfection and have more of a dialogue with the material, giving space to the dynamics on the wheel, instead of controlling. It’s more about supporting the unique character of the pieces – and to stop in the most beautiful state. With FLEUVE, I can surprise myself again and I really enjoy the process.

Sometimes I provoke failures, and often things work out against all odds, shifting boundaries. At other times, when something unexpected happens, I pick it up and add it to my studio “library” and maybe include it into new work.

The glazed cup edition receives a customised imprint.

Craftsmanship is central to your work. How do you think about craft today, in an age that often values speed and convenience?

CS: Personally, craft and everything that has to do with it feels more like a path of life than a business. I think it is all about dedication, research, practice – taking your time is crucial if you intend to venture into really interesting terrain. I always enjoyed getting lost in a workshop, during my ceramic apprenticeship, while working for other manufactories or later in my own atelier. It felt like a time capsule when I did not think about an own business, and all I was looking for was understanding this vast realm of materials and approaches, learn, refine, train, train, train. That experience was very precious, and I build on this today.
 
I still see refined craftmanship as something very powerful. You grow professionally, and personally when you join that universe where it’s about translating such a rich heritage into contemporary contexts and participate in generating cultural value. It may seem faster to jump-start with a beautiful Instagram account. But I think it can be really hard when reality hits, and you don’t know how to technically realize your ideas, how to troubleshoot or simply how to smoothly produce a large batch of orders.
 
At the same time, craft needs people who think freely outside the box, mix it with other disciplines and the latest techniques, or invent new methods. It’s a problem that there are not many experienced craftspeople left who offer professional apprenticeships, which is a great base for exploration – we are currently the only studio in Berlin doing apprenticeships!
 
At MYKITA, we often speak about eyewear as both design object and everyday companion. How do you see your designs?

CS: My core motivation is to create something where poetic imagination and refined techniques come together. The best reward is customers telling me they bought their first teacup at my studio, and now it’s their favourite one to start the day. If they feel touched and elevated, inspired in their daily rituals because I did a good job – this is why I do it.
 
How do you think about sustainability in your studio – is it more about process, material choice, or the way your pieces are used?

CS: Ceramic needs resources and energy, but we always look for local sources and suppliers and ways to minimize impact. For example, we reuse most of the scrap that falls off, ship with plastic-free packaging, and I think working with sustainable energy is a matter of course. The clay in the porcelain slip is from Oberfranken in Germany and the other one from France, so I try to stay with local or at least European materials.

Aside from that my customers usually appreciate profound and authentic work. They often think a long time about what to invest in, because it will accompany them for many years.

Porcelain cups in their raw state before firing turns the material into its characteristic lucid white tone. 

Running a small, independent studio means balancing creativity with the practicalities of business. What have been the biggest challenges – and rewards – in that balance for you?

CS: For a while, I found it hard to spend so much time with admin work and building a niche business with prices that come with refined handmade quality is not the easiest thing. It needs time to nourish that little cosmos and connect with people who recognize what you do, who value holistic approaches, quality, the special gems.
 
But over time, I feel like having reached a point where I get back so much from it. I have the loveliest customers coming by in my studio store, and I’m absolutely glad to be able to work with the most incredible partners. My team is extraordinarily wonderful – we are all into refinement and growth, and we have a lot of fun together.
 
I now feel like I have created that beautiful independent Island where I can define my own way of  work life. For example, I also have the freedom to take a quirky detour if I think it could be good for the result, and as we have everything here under one roof, I can test and develop anytime. I really enjoy this a lot.
 
Looking ahead, are there new directions or ideas you’d like to pursue personally or with Schoemig Porzellan?

CS: I most love tinkering with new creations and directions, so currently I’m working on adapting structures to generate more freedom for that, and my work will be presented at Maison et Objet fair in Paris in January to meet an international audience.
 
Wishing you much success on the international stage, and thank you so much for your time and conversation!
 
MYKITA presents Schoemig Porzellan on Thursday, 13 November 2025 at the Berlin-Mitte store – an evening dedicated to design, material and craftsmanship, celebrating the launch of the exclusive MYKITA × SCHOEMIG PORZELLAN Edition.