Collections · The Triangle Selection
The Triangle Selection
Starry Seas
An oatmeal glaze that grows crystals as the kiln cools. Where the glaze runs thickest — the well of a plate, the inside of a bowl — it breaks into clusters of pale blue and grey-green specks, and where it thins over a rim it goes back to plain sand.
The glaze
Crystals that grow as it cools
Oatmeal · sand · sea grey · star blue · deep blue
One glaze, cooled slowly on purpose. As the kiln comes down through temperature the glaze begins to crystallise, and the crystals only form where there is enough glaze to feed them. That puts the blue in the centre of a plate and the base of a bowl, fading out toward the rim where the coat is thinner.
The density of the speckle changes with the thickness of the pour, so one plate reads as scattered stars and the next as a dense field. Rims and feet stay a plain warm oatmeal, which is what keeps the effect from looking busy on a laid table.
A few pieces
For inspiration
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A selection, not the full range. Over 300 shapes are made in this glaze, and bespoke shapes to order.
Your dish on Starry Seas
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On the plate
Plating Starry Seas
What it flatters
Fish and shellfish above all — the blue in the glaze does the work a garnish usually has to. Also good with white sauces, potato, cauliflower and anything poached.
Contrast that works
Black and green read hardest: squid ink, seaweed, herb oil, charred leek. Warm browns sit quietly with the oatmeal rim rather than fighting it.
Building a table
Cool at the centre, warm at the edge, so it works on both pale oak and grey stone. Keep serving pieces in the same glaze and cover plates plain if the dish is busy.
In service
Two dishes on Starry Seas
Short enough to hand to a section chef.
On the round plate
Roasted Halibut, Brown Butter & Capers
2 halibut portions, 180g each · 100g butter · 2 tbsp capers, rinsed · 1 lemon · 400g potato purée, kept loose · chervil · sea aster or samphire · olive oil · flaked salt
- Salt the halibut fifteen minutes ahead and pat it dry. Dry fish browns, wet fish steams.
- Colour it in oil on the presentation side only, then finish it in the oven at 180°C for four to five minutes. It should just flake.
- Brown the butter until it smells of hazelnut, then drop in the capers and a squeeze of lemon off the heat.
- Spoon the purée in a wide comma across the plate and set the fish on it, browned side up.
- Pour the caper butter around, not over, and finish with chervil, lemon zest and the sea greens.
White fish over the blue centre is the pairing this glaze was made for, and the brown butter picks the oatmeal rim back up.
On the wide plate
Squid Ink Linguine & Clams
200g squid ink linguine · 400g clams · 4 razor clams · 3 garlic cloves · 1 chilli · 100ml white wine · parsley oil · bottarga or toasted breadcrumb · olive oil
- Purge the clams in salted water and discard any that will not close.
- Open the clams and razor clams separately in oil, garlic, chilli and wine, lifting each out the moment it opens. Keep the liquor.
- Strain the liquor through muslin and reduce it slightly. Grit ruins the dish.
- Finish the pasta in the liquor until it is glossy, then twist it into a high nest in the centre.
- Stand the razor clams against the nest, ring the clams around it, and finish with parsley oil and grated bottarga.
Black pasta on pale blue is the strongest contrast in the range, and the wide rim keeps the shells and the oil from crowding the middle.
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