Wedgwood: The First Tycoon

There was a time when consumers had no brand names to go by, and now we have plenty of them. What was the first one? A good case could be made for the name Wedgwood, the fine pottery that has come for over two hundred years from the factory founded by Josiah Wedgwood in the pottery towns of Staffordshire, England. Not only has the name continued, but it has been from the beginning synonymous with fine taste. Its finest wares were bought for their elegance by aristocrats, and then there were other pottery creations that lesser mortals could buy as their betters set the trends for taste. Josiah Wedgwood knew all about the importance of a name, and about the need to catch the public taste and predict the next fashion. In _Wedgwood: The First Tycoon_ (Viking), Brian Dolan has given us a compelling account of a commercial success story that has many resonances with modern business practices on the cutting edge of technology, while taking into account a wider view of the social aspects of commerce in the eighteenth century. It is in many ways a rags to riches tale. Wedgwood's family had been Staffordshire potters for generations, but the potting works had been allowed to languish by Wedgwood's grandfather and father, who had no idea what innovation was. He was determined to do things differently, and he had absorbed the idea that progress and profits could be made scientifically. He was a Dissenter, a non-Anglican who favored rational inquiry rather than biblical interpretation as be the best manner of understanding the way the world works. He loved experimenting all his life. "Labor I will not call it," he said of his time-consuming and exacting experiments. He instead called it "entertainment," and he entertained himself into some of the most technically advanced potting techniques of the time. His innovations allowed calculated business gambles, which generally paid off. He was astute in predicting or making tastes; when Pompeian styles became vogue, Wedgwood was at the fore with the invention of "colored jasper", his medium for reproducing ancient pots. Wedgwood was dedicated to self improvement and to improvement of his society, and knew that business was a means to accomplish both. In pursuit of better business, he caused better roads and then a canal to be built as part of his social schemes. He provided training, housing, education, health care, and even retirement plans for those who worked for him. He was a tough boss, fuming against "dilatory, drunken, Idle, worthless workmen." When he strolled through the workshop, he might spy an offending vessel that failed to meet with his standards. He would smash it with his stick, exclaiming, "This will not do for Josiah Wedgwood." He was troubled by others stealing his ideas; there are tales here of commercial chicanery and theft that are the same as newspapers might report today. He valued fair competition; of another manufacturer, Matthew Boulton, he wrote, "He will not be

My mother and some of my siblings worked in a pottery factory, and in my youth I went there many times and caught some glimpses of how things were done. This factory employed hundreds of workers. doing some awful, monotonous, carpal tunnel-generating routines. They made only the most basic stuff, quickly and cheaply. Nothing produced was of much beauty, but it was the town's most important employer, and many workers gave their lives over to it. Wedgewood pottery has always intrigued me--how the devil do they produce such incredibly beautiful stuff, so different from what I saw there? How are the finer pieces made with such reproducibility and perfection? There is a fine story here and Dolan has told it well. When Josiah Wedgewood was born in 1730, the youngest of twelve children, into the home of a potter in the Britain's Midlands. His humble beginnings, rising through the ranks, finally, at the age of 29, led him to establish his own small pottery business. Wedgewood was determined to achieve greater success and made a key decision--that he would continuously improve the processes used and invent new and wonderful things. He established a routine of constant experimentation and recorded all of his results meticulously into a laboratory notebook. He was constantly looking for new combinations of materials and firing methods to get new glazes and improved results. He looked for reliable, reproducible processes that could be introduced into his small factory. And he inspired his men to improve right along with the processes by paying careful attention to their working conditions, their safety, and their security. His men loved him, and he succeeded to become the foremost manufacturer of his day. Wedgewood's paid very careful attention to the fashions of the day, and strived to keep abreast. This required an approach that was constantly changing--resting on one's laurels and yesterday's success would only lead to failure. He produced much that was top of the line, and learned to market to the trend setters and royalty, then moving the product into the growing middle class. The setting in which he struggled was the early industrial revolution, where change was accelerating in Britain through a confluence of forces that are only poorly understood even today. Giants seemed to stalk the earth, and Wedgewood came to know many of them. He knew James Watt, and his metal-working partner Mathew Boulton, who at one point even tried to compete with him. This was the era of canal-building, and Wedgewood played a big role in this too. Much of this story is contained, though in much less detail, in _The Lunar Men_ by Jenny Uglow, which I would also recommend. Curiously, though, Wedgewood is counted as one of the five central members of the Lunar Society (encompassing a whole column in the index), this is mentioned only once by Dolan. The author has done an outstanding job in this book and it is well written. The sixteen pages of