continued. . . 

It’s a trait Stocker has long admired and it’s the reason they worked together in the first place. “We met years ago,” Stocker recalls, “when I licensed Kate’s art for a bath line I produced. So when Kate was looking for someone to produce her designs I thought it would be smart to marry our skills to make a perfect match.” The union has been so productive, the workload has been 24/7. “We’ve essentially killed ourselves to get to a point that all of our bases are covered,” Stocker apprises. “It’s been tough, but every collection has sold well to our retail accounts and then to the consumer and that’s confirmed that Kate and I are on the right track.”

That product – shown throughout these pages – indeed reflects Williams’ varied and skilled hand. “I love all types of design,” says Williams, “but if I could fill my cupboards with just beautiful faïence I’d be very happy.” Inspiration abounds, but nature is often where she starts. “All I have to do is look at a field of flowers, let my imagination go, and I’m set,” Williams notes.

The fact is Williams’ imagination has propelled her to a successful design career for more than two decades, and counting. “I love home furnishings because I love the home,” she delights. “Without being completely venal and frivolous, people should absolutely love where they live. Their home should be aesthetically pleasing and comfortable. I love the idea of beautiful tableware, of sitting at a table with family and friends with a gorgeous table set. I’ve been very lucky that I’ve been able to be a part of something I love so much. ”When Kate Williams reconnected with Deborah Stocker in 2006 both had little idea that their new venture – Global Design Connections – would prove so successful that 16-hour days and seven-day weeks would be the norm. Uniting myriad talents – both are adept at design, marketing, sourcing, and manufacturing – they’ve created a multimillion-dollar operation in less than two years servicing major retailers with tableware, packaging, and promotional materials, the whole kit and kaboodle. This one-stop shop, multi-purpose operation based in their respective environs – Williams works out of Connecticut; Stocker is based in Massachusetts – is a 21st century invention capitalizing on 40-plus years of experience tailored to retail clients. Shipping direct container loads developed exclusively for majors like TJMaxx has proven frenetic, Williams admits. “It’s been a lot of work, much more than either Deb or I thought it would be,” Williams acknowledges in her mile-a-minute patter which just may be as jam-packed as the workload she’s describing. “The biggest surprise and challenge without a doubt,” she continues, “has been the sheer amount of work. Still, we’ve learned to balance and manage the business so it’s not some runaway horse.”

The mustang metaphor is apt; the unbridled Williams clearly speaks her mind and her workhorse business ethic yielded dozens of collections to launch Global Design Connections last year. Although a few designs were drawn from Williams’ portfolio whilst she was director of design at the now defunct Essex Collection, for the most part the extensive catalog was developed for the burgeoning business. Happily for Williams, upwards of 80% of her time is spent at the drawing board in her farmhouse studio overlooking verdant woods at the end of a bucolic country road plying a trade honed over a quarter-century.

Williams was reared in Kalamazoo, Michigan, the daughter of a sculptor and painter who instilled a deep love of creativity in all their progeny. “We grew up in a house where art and literature were the mainstays,” imparts Williams. “We had a steady intellectual and aesthetic diet of drawing, writing, and painting.” No surprise then that Williams decided to forego a pre-med major to study art at the country’s oldest art school, the Pennsylvania Academy of Fine Arts. “The tutelage was invaluable,” Williams declares, “and I developed a skill level which allowed me to draw and paint anything.”

It’s a proficiency and expertise, she adds, which has proven very useful in business. “For me, it all originates on a draft board by hand so mastering the ability to create something on paper is critical,” Williams explains. “Whatever I draw I can later manipulate on computer, but it all starts at the drawing board.” Technology, she proceeds, can be a significant help, but it’s no substitute for an artist’s hand. “Life is infinitely easier and amendable with technology which is an invaluable device,” she accedes, “but it’s not where I start.”

After graduation, Williams lived abroad for two years, a vagabond delighting in travels through India and Europe, often setting up her easel alongside picturesque landscapes, an indelible period which continues to resonate in her work. When she returned to the U.S. Williams settled in as a decorative painter, but when the opportunity to create a line of textiles provided a pivotal path change she jumped. “I loved textiles and figured it was easy enough to do, but I really didn’t have a clue,” she allows. “It’s always been my way to say I can do something and then I figure it out later.” This baptism-by-fire in textile design convinced Williams that home furnishings could prove the ideal field for her skills.

One door led to another (including magazine photo styling in which she still dabbles, time permitting) when in the mid-’80s Williams found her way to tableware courtesy of Deruta of Italy’s Salvatore Termini, known for giving designers their first shot at ceramics design. (Editor’s note: an article on Termini appears on page 74.) Williams designed three patterns for Deruta. “I didn’t find the execution as difficult as designing textiles, and I instantly loved the category,” Williams says. “It’s so direct; you get what you paint. It’s a true artisan’s medium and that’s very gratifying.” And creating shapes tapped into her passion for sculpting. “It was love at first sight,” she allows.

Williams opted to license her designs from the get-go – “You can’t generate money selling a design at a time,” she proffers – and found work with enterprises like Porta, Sadek, and The Essex Collection. Despite her considerable skills, Williams eventually came to a certain conclusion. “Ceramics is a tough industry to make money in,” she laughs. “This isn’t just about satisfying a muse. This is my livelihood and it wasn’t so easy generating volume.” Still, Williams was adept enough to adapt her skills to a myriad roster of clients. “I always design to my customers even if their market isn’t necessarily my style,” Williams states. “I’m always directed by what they’re looking for. Maybe that means having a tighter painting style or using a broader stroke. Whatever’s needed reflects my training. I was taught to draw whatever I had to draw and that’s invaluable. I can change my technique, my hand, or my finish to the task at hand. My style is what the customer and the marketplace want.”

When Williams’ association with The Essex Collection ended in 2002, the artist faced a crossroads. “Tabletop was growing very price conscious and the price point was being driven down further every day,” she sighs. A brief hiatus led to reconnecting with Stocker and the decision to create Global Design Connections which would tap the creative skills of both. “Kate’s a great artist and I’m proud to partner with her,” says Stocker. “She has a unique painting hand and can capture any style. If you look at our line you can see how Kate is able to create many different looks in order to appeal to a variety of tastes.”

It’s a trait Stocker has long admired and it’s the reason they worked together in the first place. “We met years ago,” Stocker recalls, “when I licensed Kate’s art for a bath line I produced. So when Kate was looking for someone to produce her designs I thought it would be smart to marry our skills to make a perfect match.” The union has been so productive, the workload has been 24/7. “We’ve essentially killed ourselves to get to a point that all of our bases are covered,” Stocker apprises. “It’s been tough, but every collection has sold well to our retail accounts and then to the consumer and that’s confirmed that Kate and I are on the right track.”

That product – shown throughout these pages – indeed reflects Williams’ varied and skilled hand. “I love all types of design,” says Williams, “but if I could fill my cupboards with just beautiful faïence I’d be very happy.” Inspiration abounds, but nature is often where she starts. “All I have to do is look at a field of flowers, let my imagination go, and I’m set,” Williams notes.

The fact is Williams’ imagination has propelled her to a successful design career for more than two decades, and counting. “I love home furnishings because I love the home,” she delights. “Without being completely venal and frivolous, people should absolutely love where they live. Their home should be aesthetically pleasing and comfortable. I love the idea of beautiful tableware, of sitting at a table with family and friends with a gorgeous table set. I’ve been very lucky that I’ve been able to be a part of something I love so much.”