continued. . . 

Eager to proffer a hand in that regard, Moore paved the way for the historically-rich, but innovatively-poor enterprise to move beyond harps and shamrocks by remaining an attentive but behind-the-scenes chairman. ”Executives are free to run their businesses,” Moore insists. To a point that is. This is, after all, one of Eire’s wealthiest expats; the Irish Times puts him third on the list of richest Irishmen who make their homes elsewhere. (Moore is in Ireland often enough though; he makes the trip across the pond roughly every six weeks.)

The deep-pocketed investor couldn’t be more delighted with his crown jewel’s facelift. “There’s no doubt we had an old product which looked dated,” he agrees, “but we’re now appealing to a younger demographic profile which has been great for wedding registries and which creates lifetime Belleek buyers.” Belleek Living, Moore continues, will be the core growth brand moving forward although the company will continue to service customers coveting traditional Belleek. “Every company must appeal to different segments of the market,” Moore acknowledges, “and the backbone of our company has been our traditional ware.” But for a company to survive 150 years, a great depression, two world wars, troubles in Northern Ireland, inflationary periods, and industrial actions in the U.K., Belleek, Moore adds, has proven it can be flexible and change when necessary.

And it was necessary, Maguire injects. “For 147 years we were a collectible, but the younger generation just isn’t interested in that anymore,” the exec says. With 50 million Irish Americans and the U.S. always Belleek’s top market, it was essential, nay critical, to switch gears to attract younger people just not interested in the old Belleek. Maguire says since the launch of Belleek Living, domestic sales have grown 50%, buoyed by ten Belleek Living stores (there are eight more in the works), and the new brand represents 40% of overall worldwide volume. And that’s notwithstanding a soft U.S. launch. (Despite the poor reception, the U.S. contributes 70% to the company’s coffers annually, almost all from traditional Belleek.)

Reed & Barton distributes Belleek stateside and has carried the Living brand, but later this year Belleek will establish its own distribution to peddle Living. (Reed & Barton will continue to distribute traditional Belleek.) “We see tremendous opportunity for Belleek Living in America,” Maguire discloses.

During Maguire’s tenure Belleek has blossomed from a $3 million concern to $20 million, from 120 to 200 employees. (And under the Belleek umbrella now: Galway and Donegal Crystal and Aynsley China.) Maguire explains that it’s been a “slow and steady” climb changing market perception of the 150-year-old brand. “When I came to Belleek,” Maguire observes, “it was clear this company needed new ideas and new blood and we were able to grow it despite little investment, an antiquated factory, and late deliveries.” But with Moore’s acquisition, Maguire continues, change was faster than a water spaniel in pursuit of fowl: orders now ship within two days; the factory was enlarged to 50,000 square feet, and renovated to include a museum, restaurant, and visitor’s center; and, the culmination, the long-anticipated Belleek Living brand.
It’s a true testament to a brand which was established to help local farmers severely affected by the potato famine. And like many a good Irish yarn, this one is as rich as homemade barmbrack eager to be gobbled up.

It began in 1849 when John Caldwell Bloomfield inherited the rundown Castle Caldwell estate. Looking to bring worthwhile employment to the town gravely affected by the potato blight ten years earlier, the amateur mineralogist discovered his land was rich in the raw materials needed to produce pottery. And by tapping the resources of the strategically-situated River Erne to power the factory, the enterprising lad figured he had the necessary ingredients to open a pottery. Bloomfield even persuaded the county to build a railway line into Belleek to deliver coal to fire the kilns, and he was clever enough to cross the Channel and convince 14 talented Stoke-on-Trent potters to leave secure jobs by dangling the prospect of higher wages and pastoral environs.

It wasn’t until 1863 that Belleek produced its first Parian ware, but, surprisingly, earthenware remained Belleek’s principal product until 1920. Export markets – notably the U.S. – were targeted from the start. And although both world wars created substantial challenges (especially bans on exports), the factory never ceased production. After the second world war, though, Belleek stopped producing earthenware and centered on what would become its signature: creamy Parian ware. (The term Parian comes from the southeast Greek isle of Páros, known for its white, semi-translucent marble which Parian porcelain is said to resemble.)

continued . . . .