In the annals of business history, Josiah Wedgwood stands out as one of the most influential and innovative entrepreneurs of the Industrial Revolution. Born into a family of potters in Burslem, Staffordshire in 1730, Wedgwood transformed the English pottery industry from a collection of small-scale local craftsmen into an international business that set new standards for quality, design and marketing. Through a combination of technical ingenuity, artistic flair and promotional savvy, Wedgwood turned his own name into a global brand that endures to this day.
Mastering the Art and Science of Pottery
From an early age, Wedgwood displayed a keen interest in the science behind the pottery trade. He was particularly fascinated by the properties of different clays and glazes and spent countless hours experimenting to achieve the perfect formulas. According to Wedgwood‘s friend Erasmus Darwin, grandfather of Charles, "he had acquired a very extensive knowledge of chemistry, particularly in regard to the properties of the earths employed in his manufactory…which enabled him to produce a variety of colours, and beautiful imitations of precious stones, superior to anything that had been done before" [1].
Wedgwood‘s innovations went beyond just developing new materials. He also invented several tools and techniques to improve the pottery production process, such as a device called the "Pug Mill" which mixed clay more efficiently, and a new type of kiln that provided more even and consistent heat. These advancements allowed Wedgwood to produce pottery of exceptionally high quality at a much greater scale than his competitors.
The numbers speak to Wedgwood‘s success as a manufacturer. In 1759, his first year in business, Wedgwood‘s sales totaled £1,027. By 1765, that figure had grown to £11,032. And by the time of his death 30 years later, the company was generating annual sales of over £75,000 – an astounding sum for the time [2].
Setting the Style
Wedgwood wasn‘t content to simply make better pottery; he also wanted to make pottery that was stylish and fashionable. In this pursuit, he was greatly influenced by the emerging Neoclassical movement, which sought to revive the clean lines and elegant simplicity of ancient Greek and Roman art. Wedgwood‘s most iconic creation in this style was his "Jasperware" – an unglazed stoneware that came in soft pastel colors and was embellished with white bas-relief decorations.
First introduced in 1774, Jasperware soon became a sensation among Britain‘s upper classes. According to one contemporary account, "many persons of rank and fortune were so well pleased with this elegant ware that it became a kind of fashion to raise subscriptions for great quantities of it" [3]. Even Queen Charlotte herself commissioned a Wedgwood tea set, which the ever-savvy potter quickly began marketing as "Queen‘s Ware."
Wedgwood‘s ultimate triumph in the Neoclassical style was his reproduction of the famed Portland Vase. After viewing the original Roman glass vase in the collection of the Duchess of Portland, Wedgwood became determined to copy it in Jasperware. The technical challenges were immense, but after years of trial and error, Wedgwood finally unveiled his version in 1790. The public response was rapturous; more than 1,000 people reportedly turned up to view the vase when it was first displayed in London [4].
Marketing Genius
As innovative as he was in the realm of design and production, it was in marketing that Wedgwood truly earned his reputation as "the Father of English Potters." Unlike most of his contemporaries, who sold their wares almost exclusively to local markets, Wedgwood set his sights on a national and even international customer base. To reach these far-flung consumers, he employed a host of strategies that were virtually unheard of at the time.
One of Wedgwood‘s most effective marketing tools was his annual illustrated catalog, which he began distributing in 1773. These catalogs featured detailed engravings of Wedgwood‘s latest designs along with effusive descriptions and testimonials from satisfied customers. He also pioneered the use of traveling salesmen, or "riders," who crisscrossed the country displaying samples and taking orders.
Wedgwood‘s promotional efforts extended beyond traditional advertising. He regularly hosted lavish dinners and exhibitions at his London showrooms to court influential patrons and generate buzz for his latest products. He even commissioned prominent artists of the day, such as George Stubbs and Joshua Reynolds, to paint scenes featuring his pottery. These paintings were then turned into prints and sold to the public, further burnishing the Wedgwood brand.
Perhaps Wedgwood‘s most brilliant marketing coup was his decision to market his wares not just as functional objects but as symbols of refinement and good taste. By associating his brand with the lofty ideals of art and culture, Wedgwood appealed to the aspirational longings of the growing middle class, who saw owning a piece of Wedgwood as a way to signal their sophistication and social status.
The impact of Wedgwood‘s marketing innovations can hardly be overstated. In many ways, he wrote the playbook for modern advertising and branding that companies have been following ever since. As one historian puts it, "Wedgwood‘s most important legacy was to demonstrate the efficacy of marketing for converting a relatively ordinary product into a desirable status symbol" [5].
A Principled Businessman
For all his business acumen, Wedgwood was not just a ruthless capitalist out for profit. He was also a man of deep moral convictions who used his platform to advocate for social justice. Most notably, Wedgwood was a leading figure in the British abolition movement, which sought to end the slave trade.
In 1787, Wedgwood began mass-producing a jasperware medallion featuring a kneeling slave and the slogan "Am I not a man and a brother?" He distributed thousands of these medallions for free to supporters of abolition, helping to galvanize public opinion against slavery. According to one abolitionist of the time, Wedgwood‘s medallion "had an effect far beyond the most sanguine expectations of its promoters…fashion, which often confines itself to worthless things, was seen for once in the honourable office of promoting the cause of humanity and justice" [6].
Wedgwood‘s commitment to progressive causes extended to his own business practices. Unlike many factory owners of his era, he provided his workers with relatively clean and safe conditions, as well as access to healthcare and education. He even went so far as to build an entire village, which he called Etruria, to house his employees and their families. Such paternalistic gestures were virtually unheard of in an age when most industrialists cared little for the welfare of their workers.
A Lasting Legacy
Josiah Wedgwood died in 1795, but the company he founded would live on as one of the most iconic brands in British history. Under the leadership of his descendants, Wedgwood continued to innovate in both design and production throughout the 19th century. The company took full advantage of the new technologies of the industrial age, investing in steam-powered factories, railroads and steamships to expand its reach even further around the globe.
Today, more than 260 years after its founding, Wedgwood remains one of the most respected and beloved names in pottery and china. Its classic designs can be found in homes and museums around the world, and its enduring popularity is a testament to the genius and foresight of its founder.
But Wedgwood‘s impact extends far beyond the world of ceramics. In many ways, he embodied the spirit of innovation and entrepreneurship that defined the Industrial Revolution and set the stage for the modern era of business. Through his tireless experimentation, his flair for design, his marketing savvy and his social conscience, Wedgwood not only created an enduring brand but also helped to shape the values and aspirations of generations to come.
As historian Brian Dolan writes in his biography of Wedgwood, "He was more than a great potter; he was one of the outstanding figures of the Industrial Revolution. The story of his life is the story of the transformation of eighteenth-century Britain from a traditional, rural, aristocratic society into a modern, urban, democratic one" [7]. And that transformation, as much as his pottery, is the true legacy of Josiah Wedgwood.
References
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Erasmus Darwin, quoted in Reilly, Robin. Josiah Wedgwood 1730-1795. London: Macmillan, 1992, p. 37.
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Sales figures from Reilly, Robin. Josiah Wedgwood 1730-1795. London: Macmillan, 1992, p. 179.
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Anonymous, quoted in Meteyard, Eliza. The Life of Josiah Wedgwood: From His Private Correspondence and Family Papers. London: Hurst and Blackett, 1865, p. 408.
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Donovan, Tristan. The Portland Vase: The Extraordinary Odyssey of a Mysterious Roman Treasure. New York: HarperCollins, 2004, p. 142.
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McKendrick, Neil, John Brewer, and J.H. Plumb. The Birth of a Consumer Society: The Commercialization of Eighteenth-Century England. Bloomington: Indiana University Press, 1982, p. 107.
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Thomas Clarkson, quoted in Oldfield, J.R. Popular Politics and British Anti-Slavery: The Mobilisation of Public Opinion Against the Slave Trade, 1787-1807. Manchester: Manchester University Press, 1995, p. 157.
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Dolan, Brian. Wedgwood: The First Tycoon. New York: Viking, 2004, p. xxi.
