Style Profile: Lauren Jane Salt
Uma Wang Tompkins top. Jaga Angie skirt. Guidi classic 992 derby.
To celebrate the launch of Lauren Jane Salt's festive ceramic ornaments and objects made especially for Dilettante, we stepped into her studio—a haven of creativity brimming with works in progress, intricate drawings, and clusters of long-treasured flowers and plants. Surrounded by the tools and materials of her craft, Lauren shared the story of her artistic journey and the inspirations behind her unique creations.
For the second chapter of our new music series, Lauren presents a playlist that undoubtedly defines the atmosphere of her studio.
Listen here.
Comme des Garçons satin pan collar blouse. Marc Le Bihan skirt. Guidi PL1 front zip boots.
How did your journey as an artist begin, and what drew you to ceramics, floristry, and drawing as your primary mediums? How do these different practices intersect or inform each other in your creative process?
I come from a lineage of florists—on my mother’s side, I’m the third generation. So the influence and acknowledgment of nature was, fortunately, always present. However, I’ll admit I felt a certain sense of rebellion as a child, wanting to explore a medium outside of floristry.
Growing up with undiagnosed dyslexia, I often struggled within traditional academic structures, and as with many creative children, I found solace in drawing, as I still do today.
My early exploration of art eventually circled back to floristry, particularly through the teachings of Ikebana. The ethics and principles of Ikebana resonated deeply with me, shaping not only my approach to floral design but also my broader perspectives on art and life.
I enrolled in ceramics to experiment with a new medium. However, I quickly became obsessed, and over the past decade, clay has gradually asserted itself as my primary medium.
Your ceramics have such a bold, otherworldly quality, blending organic forms with a sense of whimsy and an alien floral aesthetic. How do you conceptualize these unique pieces, and what recurring themes or motifs drive your designs? Are these works representations of something living, symbolic, or part of a larger story or mythology?
My work is born from a mixture of influences, often beginning with dreams—both daydreams and those that come at night. I frequently drift off imagining the possibilities of form, and sometimes, through the night, these visions take on a life of their own. I’ll wake with the impression of a new character entirely.
At other times, my pieces emerge with more deliberate intent, rooted in personal symbols and intimate explorations. Recurring motifs from my life, often reflecting my fascination with the space between the familiar and the fantastical. Each form carries its own story, whether as a living entity, a symbolic gesture, or a fragment of a larger mythology. It continues!
Uma Wang check open cardigan. Pleats Please by Issey Miyake diagonal contrast pleat skirt. Guidi PL1 front zip boots.
If you could collaborate with any designer or create a body of work inspired by a fashion house, who would it be and what would that collaboration look like?
Oooo, I’m constantly noticing incredible emerging designers online who are breaking boundaries in fashion with innovative methods and unconventional materials—it’s very cool! That said, the thought of creating something with Kei Ninomiya is overwhelmingly exciting. And Daniela Lalita—I’d absolutely love to be part of their multidisciplinary world-building.
How does your background in floristry influence your ceramic designs? Do you feel there’s a shared philosophy or emotion between the two practices, and how does nature inspire your work?
I think there's a very natural connection between floristry and ceramics, as both are deeply rooted in a dialogue with life and nature. In particular, Ikebana has profoundly influenced my approach. Its philosophy asks you to reflect the lines and forms you observe in nature, respecting these principles as a foundation before allowing space to play and innovate.
This same balance exists in my ceramic practice. Clay, like nature, demands respect for its own rules, but once those boundaries are understood, it opens up endless possibilities for expression. For me, this interplay between structure and freedom mirrors not only my creative process but life itself—both are constantly evolving and inspiring one another.
Uma Wang Tompkins top. Jaga Angie skirt. Guidi PL1 front zip boots.
Your ceramics seem to blur the line between functional and sculptural art. How do you approach balancing form and function while maintaining such a distinct aesthetic?
Balancing form and function is something I grapple with. While I see the value in incorporating functionality into my pieces, function comes with its constraints. I find myself increasingly drawn toward purely sculptural work. For now, however, I aim to integrate both elements into my practice.
What role does experimentation play in your creative process? Have any “mistakes” led to particularly exciting discoveries?
Experimentation is essential to my creative process—any ceramicist will tell you it’s an inherent part of working with clay. The medium is so delicate at certain stages of making, and things don’t always go as planned. It’s something I often share with my students and one of the reasons I initially fell in love with ceramics.
The process can be confronting, especially when you lose a piece you’ve invested so much into. But it teaches you to let go, adapt, and see mistakes as opportunities to learn. Whether it’s trying again or approaching a piece differently, those moments of "failure" often lead to the most exciting discoveries. I’ve found this mindset invaluable, not just in ceramics but in life as well.
Lauren's studio.
What is the most rewarding part of teaching ceramics, and how does sharing your knowledge with students influence your own creative practice?
I’ve recently come to realize just how much I truly enjoy teaching—it was a bit of a surprise to me. I think what I find most rewarding is being part of someone’s creative journey. Many people begin with such low expectations of themselves, and I love helping them challenge self-imposed limitations. Watching them break through those ingrained walls, embracing failure, and learning from it, is incredibly fulfilling.
From there, it’s amazing how quickly people start developing their own sense of style and method, often discovering new sides of themselves in the process. It’s a privilege to witness and be a part of that transformation. Teaching has not only deepened my appreciation for ceramics but has also sparked fresh perspectives and a renewed sense of curiosity through my interactions with people.
Comme des Garçons sheer tiered shirt. Marc Le Bihan tulle skirt.
Looking at your entire practice, from ceramics to floristry and drawing, what do you hope to communicate or inspire in those who encounter your art? And are there any other mediums you’re eager to explore in the future?
I love hearing people’s interpretations of my work, even when they differ from or conflict with my original intentions. It feels like a process of handing over and letting go, which carries its own sense of purpose. My sculptures, in particular, are deeply personal, rooted in their own mythology and dialogue. When I share the stories behind them and they resonate with someone, it’s an incredibly rewarding experience. At the same time, even if the work is never seen, it still fulfills its purpose. For me, creating is a way of processing—of exploring and understanding my own emotions and perspectives. I’m very grateful to have the space to do so.
I’ve long aspired to delve into the world of glasswork, but I have a few more chapters to finalize with clay before taking on another distraction—hehe!
This holiday season, adorn your tree with handcrafted ceramic ornaments by Lauren Jane Salt, made exclusively for Dilettante and available in-store now.
Photography by Tülay Dinçel. Styling assisted by Emily Kate Cooper.