AS THE MAKING OF CLOTH AND IRON WAS revolutionized by technical change and factory organization, so, too, were the production and consumption of pottery. Acquiring beautiful tableware became a craze for eighteenth-century consumers, and continental monarchs often sought prestige in building royal china works. But the grand prize went to Josiah Wedgwood, who wanted to “astonish the world.”

The twelfth child of a poor potter, Josiah Wedgwood (1730–1795) grew up in the pottery district of Staffordshire in the English Midlands, where many tiny potteries made simple earthenware utensils for sale in local markets. Having grown up as an apprentice in the family business, Wedgwood struck off on his own in 1752. Soon manager of a small pottery, Wedgwood learned that new products recharged lagging sales. Studying chemistry and determined to succeed, he spent his evenings experimenting with different chemicals and firing conditions.

In 1759, after five years of tireless efforts, Wedgwood perfected a beautiful new green glaze. Now established as a master potter, he opened his own factory and began manufacturing teapots and tableware finished in his green and other unique glazes, or adorned with printed scenes far superior to those being produced by competitors. Wedgwood’s products caused a sensation among consumers, and his business quickly earned substantial profits. Subsequent breakthroughs, including ornamental vases imitating classical Greek models and jasperware for jewelry, contributed greatly to Wedgwood’s success.

Competitors were quick to copy Wedgwood’s new products and sell them at lower prices. Thus Wedgwood and his partner, Thomas Bentley, sought to cultivate an image of superior fashion, taste, and quality in order to develop and maintain a dominant market position. They did this by first capturing the business of the trendsetting elite. In one brilliant coup the partners first sold a very large cream-colored dinner set to Britain’s queen, which they quickly christened “Queen’s ware” and sold as a very expensive, must-have luxury to English aristocrats. Equally brilliant was Bentley’s suave expertise in the elegant London showroom selling Wedgwood’s imitation Greek vases, which became the rage after the rediscovery of the cities of Pompeii and Herculaneum in the mid-eighteenth century.

Above all, once Wedgwood had secured his position as the luxury market leader, he was able to successfully extend his famous brand to the growing middle class, capturing an enormous mass market for his “useful ware.” Thus, when sales of a luxury good grew “stale,” Wedgwood made tasteful modifications and sold it to the middling classes for twice the price his competitors could charge. This unbeatable combination of mass appeal and high prices brought Wedgwood great fame all across Europe and enormous wealth.

A workaholic with an authoritarian streak, Wedgwood contributed substantially to the development of the factory system. In 1769 he opened a model factory on a new canal he had promoted. With two hundred workers in several departments, Wedgwood exercised tremendous control over his workforce, imposing fines for many infractions, such as being late, drinking on the job, or wasting material. He wanted, he said, to create men who would be like “machines” that “cannot err.” Yet Wedgwood also recognized the value in treating workers well. He championed a division of labor that made most workers specialists who received ongoing training. He also encouraged employment of family groups, who were housed in company row houses. Paying relatively high wages and providing pensions and some benefits, Wedgwood developed a high-quality labor force that learned to accept his rigorous discipline and carried out his ambitious plans.

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