Wedgwood production paused as demand wanes; Fiskars to shutter Barlaston plant for up to 90 days

Fiskars Group will temporarily pause production at Wedgwood's Barlaston factory near Stoke-on-Trent for up to 90 days, starting Sept. 29, 2025, in a move authorities say is designed to address elevated inventory and softer consumer demand in key markets. About 70 employees will be placed on temporary leave, and factory tours at the World of Wedgwood site will be suspended during the period, with production and tours slated to resume in early January 2026.

Wedgwood, founded in 1759 by Josiah Wedgwood, rose to prominence as a standard-bearer for fine, hand-painted porcelain and accrued an elite clientele. Its china has been associated with Buckingham Palace, the White House, the Vatican and even the Kremlin. Yet rising energy costs and shifting consumer tastes have eroded demand for traditional porcelain in recent years, contributing to a broader downturn in the British ceramics sector. Fiskars bought Wedgwood in 2015 after a different industry crisis, and the brand has since continued to produce high-end pieces at the Barlaston site, though the parent company reported a red ink year in 2023, including a £1.4 million loss in its Wedgwood operations.

Ceramics expert John Sandon, a prolific author on ceramics and glass who appears on the BBC Antiques Roadshow, says the decline in demand for traditional porcelain is less about quality and more about changing attitudes toward formality. He told the Daily Mail that many see their best china or inherited crockery as “old fashioned,” and that most families now prefer more casual dinnerware. "Not using your old china tea services and fruit sets is nothing to do with the reason people choose plain white from Ikea and The Range instead of very expensive Wedgwood from John Lewis," Sandon said. He added that while collectable Wedgwood remains highly regarded, its day-to-day appeal has faded for many consumers, and the sustainability case for old china has not translated into daily use for most households.

Pauline Kent, whose father Roy was one of seven Stoke-on-Trent potters employed by Wedgwood, said public affection for formal dining has waned. She recalled her father starting in the mould-making department at age 14 and later retiring to Norfolk at 65, dying at 95. Pauline said the British public has “fallen out of love with formality,” noting that family meals increasingly center on casual settings and takeaway culture. Despite the decline, she remains attached to Wedgwood and other local brands, expressing a hope that the market for heirloom pieces might eventually rebound, even as everyday taste shifts toward simpler wares.

In 2009, a broader consolidation shook the British ceramics world when Waterford Wedgwood Royal Doulton collapsed, prompting Fiskars to acquire Wedgwood five years later. Since the takeover, Wedgwood has persisted as a premium producer of hand-finished pieces at its Barlaston factory, including items in Jasperware and other traditional lines. Still, the company’s performance has been pressured by higher energy costs and softer demand in several markets, a reality echoed by local officials in Stoke-on-Trent.

Tom Hammersley, marketing manager at the Staffordshire Chambers of Commerce, told the BBC that Wedgwood had strong global demand in places such as China and Japan, but that any slowdown in those markets, when paired with rising costs, created significant concern for the business. Gareth Snell, MP for Stoke-on-Trent Central, called the pause “incredibly worrying” and urged concrete immediate support for the ceramics sector, rather than promises for tomorrow.

The broader ceramics sector has faced a string of pressures in recent years. In addition to the Wedgwood case, Royal Stafford shut down in February amid similar cost pressures, while Moorcroft Pottery temporarily faltered before reopening under new ownership. Still, there is a sense of resilience in local craft, with some producers aiming to lean into heritage branding and premium, hand-finished lines as a pathway to recovery. Pauline Kent expressed both sadness and resolve: she will hold onto family heirlooms and continue to collect pieces from Stoke-on-Trent brands, even as she recognizes that the market has shifted away from formal dining.

As Wedgwood navigates this pause, observers note that any revival in interest will likely hinge on a combination of cost controls, targeted marketing to luxury and international buyers, and a cultural rethink around dining aesthetics. The company’s leadership underscored that the pause is a temporary measure tied to inventory levels and market demand, with a stated aim to resume production and maintain the heritage of a brand long associated with English craftsmanship. The broader lesson for the sector remains: while demand for heirloom porcelain may ebb in daily life, appreciation for the artistry and history of Wedgwood endures among collectors and enthusiasts, and a path toward renewed relevance may still emerge in time.