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At the Color Association's recent forecasting meeting for Interiors 2006-2007, there was a strong emphasis on hard surfaces. Our fashion forecasting commitees also echoed a growing preference for shine and gloss. Thus, the brilliant effects of enamel are likely to more and more make it a hot commodity. Kiln Enamel, a Brooklyn enterprise, is already making hipsters take note with their sylish collection of jewelry and home accessories. Owner-designers Elissa Ehlin and James Leritz started Kiln in spring 2001, teaching themselves and perfecting the art of enameling in a Brooklyn studio. With a luscious palette that spans the rainbow and sophisticated graphics, Kiln has not only caught the eye of consumers but is now collaborating with high-end retailers like Barneys, Calvin Klein and Kate Spade.
Following is an interview with Elissa Ehlin:
Why did this strike a chord with you and James when you first thought of making enamel pieces?
I think the medium affected us both differently. For Jay, it appealed to his technical side as well as for its three-dimensional for and functionality. He was using the medium at the time to create sculpture and kinetic art, combining it with other metals and stones such as granite, marble and wood. For me it satisfied a way to use color in a manner I hadn't thought of. I had studied fine art and color theory in school but didn't want to be a painter. I went on to be a colorist and interior designer because that allowed me to use color in spaces. Opaque enamel opened a door for me to create color combinations in a way that I wanted it to happen, as opposed to working with a palette that my clients selected.
What are your sources of color?
When we create our palette, we first begin with what's available. If we can't readily get the color that we want to try to have a color match made, but if that can't be done we move on to another color. From there it goes deeper. We try to cover the whole spectrum so that we can appeal to all of our customers. We generally don't work seasonally because I feel our customers know themselves and what colors they like. I try not to be trend oriented- I want to see our color combinations withstand the test of time instead of becoming obsolete. I feel fortunate to always be so aware of colors around me. I think people take colors for granted. My general philosophy is to be aware of what colors are in you environment at all times- the sky, a stoplight, pigeon feet (which are carnelian red), flowers, dirt, people's clothes, anything. Color is constantly happening, and when we accept that, life becomes very inspiring. I would say living is our source of color.
How do you think your product, as something that is at once contemporary and yet old-world, fit into consumer markets?
When Jay and I first started the company we didn't really put much thought into how our products would be accepted. People just responded to them immediately- they like what they see and know it's different. Enamel has gotten a bad rap as an outdated, fuddy-duddy art form. The resurgence that we're creating with enamel doesn't fully have it's place yet in the marketplace, but it's changing quickly. The amazing thing about our home and jewelry products is that they are hip and stylish but also hand-made with an ancient technique. I think what keeps our heads above water is the fact that we're not trying to make something that's already been made- we're innovating, not imitating. We've come up with very modern techniques so our products fit into contemporary life. Consumers understand the timelessness to it but appreciate the modern appeal. They want to collect it and pass it down the line. It's an investment, not a trendy splurge without meaning, yet it still has an everyday appeal and usability. You'll see our products in Lucky Magazine and at the Smithsonian.
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