We recently connected with Gina DeSantis and have shared our conversation below.
Gina, looking forward to hearing all of your stories today. Often outsiders look at a successful business and think it became a success overnight. Even media and especially movies love to gloss over nitty, gritty details that went into that middle phase of your business – after you started but before you got to where you are today. In our experience, overnight success is usually the result of years of hard work laying the foundation for success, but unfortunately, it’s exactly this part of the story that most of the media ignores. Can you talk to us about your scaling up story – what are some of the nitty, gritty details folks should know about?
My education in ceramics began in 1999 at a local community college. I eventually went on to earn my MFA in 2006 from Kent State University with the goal of being a college professor. When I started out Etsy was just taking off and the handmade maker movement had just begun. There were no professional practices courses or business advice given to us in our program. I spent a few years working other jobs while working in the evenings and weekends as an artist. This included visual merchandising, non-profit administration and teaching classes. In 2013 I decided to make the leap to full time self-employment. I did a wholesale show that February along with launching a classroom space. Both took off immediately. At this show I met a buyer from Uncommon Goods and that was my first lesson in scaling up.
I had a line of dinnerware with a tree trunk/faux bois pattern. I was asked to personalize this item. I said why not? Then in July I received my forecast. They predicted I would sell 1000 sets or 2000 mugs in the 4th quarter with catalog placement. The first season was intense. With the help of a few artist friends looking to make money my studio managed to produce 2000 hand carved personalized mugs. I often joke my business plan would be called “Not going to do that again.” Each year I learn what worked and what didn’t. This was a huge learning curve. It took about 6 months but I managed to find a studio in Texas that did slipcast production. By the next holiday season I had small batch production of this item ready to go. The cost was also a huge investment so I am grateful for business loans to help get this project off the ground.
By 2014 I was able to start focusing more on my artwork with this beast of a product under control. My classroom was thriving but it was hard to find staff to help teach and run the space. I continued wholesale during this time and slowly scaled up. Then in 2020 the pandemic caused me to shut down my classroom space. At first that was a temporary solution. I spent the entire month of May 2020 shipping out sale mystery boxes to offset the refunds. I essentially worked the entire month of May alone just to break even on refunds. I applied for PPE and a SBA loan. Wholesale shows like Shoppe Object pivoted quickly. Through their online platform I was able to gain clients such as Anthropologie, McGee & Co, Shoppe Amber Interiors and Sundance Catalog. I made the decision to not re-open the classroom and went full scale production. In 2021 I was able to hire 3 part time employees to help with production and shipping.
My ability to pivot has helped to sustain my business. I continue to grow slowly working with large and small wholesale accounts and have begun taking orders to work with restaurants that want handmade dinnerware. Each year is different but stronger. I have a decade of learning what not to do under my belt. What we often see as failure is actually an opportunity for growth.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
Gina DeSantis Ceramics strives to create well-crafted wares for the home and table. I use stoneware clay as my medium to craft plates, bowls, mugs, vases and more. My hope is that these items will become heirlooms in your home. My work is crafted in Lakewood, Ohio. My studio is in the former Templar Auto Plant. This building houses a variety of studios and businesses and has become a hub for the arts.
I am most proud to have created jobs in the arts in the Cleveland area. I employ three young artists that are on their own paths to becoming artists. Two of these individuals work as production assistants and help with glaze mixing, loading kilns, prepping clay, creating slab built items and glaze chemistry. Another employee is in charge of shipping all artwork and quality control. I hope to continue adding jobs as my business grows.
I’m fortunate to work with over 400 retailers large and small across the USA and over seas. I also work to create custom items for some of my stores and restaurants. Because we work on small batch items and do not have a factory the process can take 4-10 weeks to complete some orders. I am grateful for customers who appreciate that each item is handcrafted with care and realize the work is worth the wait.
Can you talk to us about manufacturing? How’d you figure it all out? We’d love to hear the story.
Creating ways to streamline the creative process has been on my mind for the last decade. I have struggled with how big do I want to go and what can I reasonably make in a year that does not compromise the craftsmanship and integrity of the work. There are amazing examples of this in the industry such as Jono Pandolfi or East Fork Pottery. They have found ways to manufacture in the USA and should be applauded for their businesses.
My limitations include physical space and funding as we scale up production. I do now work with a reputable manufacturer in Hong Kong to slip cast my porcelain line. This is about 10% of my line. The other 90% is handmade by me and my team in Lakewood, Ohio. I am a very proficient wheel thrower. I’m only limited by the space in my studio dictating how much work I can make in a week. My team is very hands on in the process. They are trained to assist in trimming pots, creating and attaching handles, glaze mixing/chemistry, loading/unloading kilns, quality control, using templates for hand built projects and personalizing products produced at the studio.
As I consider how to ramp up production I don’t know that I want to run a small factory. I would rather work as a designer with larger companies to produce my work. This would help me maintain focus as a designer. I have realized throughout the years my time is best well spent being a creator.
Do you have multiple revenue streams – if so, can you talk to us about those streams and how your developed them?
The large majority of my business is wholesale. Working with a combination of large and small clients has created a solid balance at the studio. I use channels such as Faire and Powered by People online for wholesale clients to find me. Other clients have seen my work on Anthropologie or Shoppe Amber Interiors and reach out to collaborate. I also do occasional in person wholesale shows but I find that they are a lot of work and money. They are not sustainable for my business as the travel and preparation keeps me away from the studio. I also have multiple products on Uncommon Goods that have created a constant stream of income.
In regard to retail there are four shopping events at my studio building each year. I do not have a storefront and my studio is in an old industrial complex so it’s not the easiest to find but I do have in person shoppers throughout the year. I also host private events. I do one to two shows offsite but they are not always my best source of revenue. If I do a show it has to be one with a large audience. Doing smaller markets can be a lot of work with little return. It was never the best option for my price point or artwork.
When I closed my classroom in 2020 I opened a membership studio. This space is for experienced ceramic artists and hobbyists who want a space to create but who do not want to invest in the equipment. Because of my clientele from the former classroom this space has been a solid revenue stream since its conception.
Contact Info:
- Website: https://www.ginadesantisceramics.com
- Instagram: https://www.instagram.com/ginadesantisceramics
- Facebook: https://www.facebook.com/GinaDeSantisCeramics
- Linkedin: https://www.linkedin.com/in/ginadesantis/
- Twitter: https://www.twitter.com/gina_d_ceramics
- Other: https://www.tiktok.com/@ginadesantisceramics
Image Credits
Gina DeSantis Whitney Traylor