A vase placed naked on a shelf, empty, without flowers or gills — there is nothing to add. The shape is enough.
This is perhaps the best definition of decorative vase: an object that exists by itself, regardless of what it contains. Of course, it can accommodate fresh flowers, pampas herbs, some dried branches or a bouquet of eucalyptus. But it can also remain empty, placed on a buffet or console, and fully participate in the decorative composition without asking anything but to be there. At Amberkiln, our collection of vases covers a very wide spectrum: vases in artisanal ceramics, blown glass, sandstone, concrete, resin, metal — in shapes ranging from the perfect sphere to the organic silhouette, from the sleek cylinder to the asymmetrical cut. Unique pieces and standard models, from the small format to be placed on a coffee table to the large floor vase.
Ceramic, glass or concrete vase: which material to choose from?
The material of a vase determines its character, texture, the light it captures and the atmosphere it creates in space. This is often the first criterion of choice — well before form or colour.
The Ceramics is the most versatile and rich material. Depending on the way it is worked—gloss enamelled, matt enamelled, hand-turned, molded—it can be smooth and precise or irregular and crafty on the contrary. A terracotta enamelled ceramic vase has a very different look from a almond green enamelled sandstone vase, even if both are technically ceramic. This diversity makes it the most represented material in our collection, with models that cover all decorative styles. Ceramics are also particularly resistant: a well-made sandstone vase lasts decades without losing its colours or shape.
The glass has a property that no other matter can reproduce: transparency. A blown glass vase shows the stems of the submerged flowers, the air bubbles trapped in the thickness, the color variations in the mass. The amber or smoked glass filters the light differently from the transparent glass, creating a warmer and more intimate atmosphere. The glass vases blown in the mouth each have a slightly unique shape, with irregularities due to the artisanal process — that is precisely what gives them their value.
The concrete brings a raw and contemporary material that contrasts nicely with the lightness of a flower or the delicateness of a branch. Its granular texture, its grey colour drawing towards beige or blue depending on the composition, its weight — all contributes to an industrial aesthetic highly appreciated in contemporary interiors. Concrete vases are particularly well combined with raw wood, black metals and plants with graphic foliage.
The metal — brushed brass, copper, stainless steel, wrought iron — gives vases that capture and reflect light with an intensity that other materials do not have. A brushed golden brass vase placed next to a sunny window produces a very different set of reflections than that which it will create with artificial evening light. It is an object that changes according to the time of day.
What size and shape for your vase?
Size and shape are not just a matter of aesthetics — they also determine what one can put in the vase and where one can put it.
The large floor vase to be laid — from 40 or 50 cm high — is an autonomous decoration accessory, almost sculptural. Placed in a sitting area, in an entrance or next to a sofa, it occupies the space with a presence that no small object can match. It is ideally home to pampas herbs, large branches, dried reeds or long stems. Its base must be stable enough for its content — check the basic height/diameter ratio, especially if you put water and heavy fresh flowers.
The medium-sized vase — between 20 and 40 cm — is the most versatile format. Placed on a coffee table, console, buffet or shelf, it fits most configurations. It can accommodate a bouquet of reasonable size or be presented empty as decorative object.
The small vase — below 15 cm — often has more character than it appears. Placed alone, it may seem modest. Combined with other small vases of different shapes and heights, it creates a composition on shelf or console that has a lot of life and personality. It is also the ideal format for wildflowers, short branches or dried flowers.
On the form side, a few large families stand out. The cylindrical or tubular shape is the most universal — it fits all long stems flowers and fits into all styles. The spherical or ball shape is more graphic, less practical for some bouquets, but very effective as an empty decorative object. The organic forms — Asymmetric, nature-inspired, unanticipated curves — are those that have the most personality and effect in a composition.
How do I stage his vases?
A vase alone may suffice — provided it is remarkable enough to hold the stage. But most of the time, it is in collective staging that vases reveal their full potential.
A few principles that work: vary the heights rather than choose all your vases at the same size. Mix the materials — a matte ceramic vase next to a transparent glass vase next to a metal vase, it's a rich and interesting composition. Various shapes also: a cylinder, a sphere and an organic silhouette together create a visually dynamic trio. On the other hand, stay in a consistent colour palette — two or three tones that respond — to avoid the effect of the scorching.
The vegetation that you put in your vases (or that you do not put in them) contributes as much to the composition as the vases themselves. Pampas herbs in a large beige ceramic vase, a few stems of eucalyptus in an amber glass vase, a bouquet of dried flowers in a small sandstone vase — each association creates a different atmosphere, and it is this freedom of composition that makes the vase one of the most pleasant decorative accessories to work.
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