Two newlyweds, a set of old glasses and a family house in France.

Juliska is a tableware brand built by a married couple. On the company’s own “Our Story” page, the founders say that they started Juliska in 2001, as “newlyweds and unabashed romantics”, with a small collection of mouth-blown Bohemian glasses. The co-founders are Capucine De Wulf Gooding and David Gooding. Charleston Magazine, in a profile published in June 2024, described David as a Londoner and Capucine as a Parisian, and said the pair met and married in New York, where their custom wedding china illustrated their romance with a hot air balloon.

The glass itself set the tone. Charleston Magazine reported in 2024 that the first collection was inspired by 17th-century Bohemian glassware the couple found in Paris. The magazine’s earlier profile, from July 2021, said the Goodings began by importing a small range of mouth-blown Bohemian glass and introduced stoneware in 2004. From there the line grew, in the 2024 profile’s words, to take in ceramics, flatware, linens and decorative accessories.

The founders bring two different backgrounds. According to the 2024 profile, David learned the tableware trade from his father, an English tableware importer, while Capucine came to the business without formal design training and serves as Juliska’s chief creative officer. The same article noted that she also produces jewellery under the name Capucine De Wulf. Capucine calls the couple’s shared style “Franglais”, a blend, as she put it, of European heritage and American sensibility.

A specific place sits behind the look. On the company’s site, Capucine names her grandparents’ house “in the farmlands of France” as the centre of her inspiration and references for the brand. She describes it as the home of a Parisian ballet dancer and a gentleman farmer who married against their parents’ wishes and became well known as hosts, giving black-tie dinners, garden parties and family weddings. That story of formal occasions held in a country house runs through the brand’s language, which the company sums up in phrases such as “Casually Formal” and “Savoir Vivre”.

Family workshops abroad, a move south and a flagship on King Street.

Juliska works with craftspeople outside the United States. Charleston Magazine reported in June 2024 that master glassblowers in the Czech Republic, Portugal and Thailand make all of the brand’s glassware. In the same article Capucine said that most of the manufacturers Juliska works with are family businesses, where the technical knowledge of each craft is passed from one generation to the next, and that some of those relationships began on a handshake in the company’s early years.

The company puts that handwork at the centre of how it presents itself. Its “Our Craft” page says it celebrates “the idiosyncratic beauty of handmade imperfections”, so that a bump in the glass or an extra wash of glaze is treated as a signature rather than a flaw, and states that no two Juliska products are identical. The 2024 profile describes the other side of the approach: Capucine called the company a blend of old-world artistry and modern technology, and the magazine said the team developed a decaled stoneware made to look hand-painted while standing up to everyday use, and mouth-blown glass that can go in the dishwasher.

A signature pattern is Berry & Thread. Charleston Magazine recorded Capucine’s memory that when the dinnerware first launched, the plates differed from one another in design and shape, which she described as unusual at the time. The same profile pictured other lines that show the range of the catalogue, including the Puro marbled glassware and a stoneware collection with glazes developed to look like pewter. The hot air balloon from the couple’s wedding china has also returned as a motif across dinnerware, baskets and salt and pepper shakers, the magazine said.

The company has also moved. Charleston Magazine wrote in 2024 that Juliska began in Connecticut and New York before the Goodings relocated its headquarters to Charleston, South Carolina, in 2021; the magazine’s July 2021 report described a new headquarters, distribution centre and outlet in North Charleston. The 2024 profile added that Juliska had opened a flagship store on King Street in Charleston the previous year, with a table-setting studio for registry couples and an upstairs workshop area. In October 2022 the couple published a book, Together at the Table: Entertaining at Home with the Creators of Juliska, with Abrams. Charleston Magazine described David and Capucine Gooding as the company’s owners in 2021.

Design and documentation.

The houses in this group make tableware and giftware: pottery, glass and metal pieces meant for the table, the sideboard and the gift box. Some began as a single maker’s studio, some as importers or shops, and some now belong to larger home-goods groups, so the name on the base of a plate does not always tell you who owns the business or where the piece was made.

A tableware house’s identity is usually carried less by a logo than by the pieces themselves: a repeated pattern, a recognisable edge or glaze, a stamp or signature on the underside, and the boxes, catalogues and showrooms that present them. Because a design can stay in production for many years while ownership and factories change, the plain questions are worth asking for each name: who started it, who owns it now, and where its pieces are actually made and decorated.

Each guide separates what independent sources record from what the company says about itself — its founding story, its owners over time, where its pieces are made and how its marks and patterns have changed — and marks plainly what rests only on the company’s own word.

A brand built on a couple’s own story.

Juliska’s identity leans on its founders’ story more than on a single mark. The company’s own pages are written in the first person, with Capucine De Wulf Gooding’s words about her grandparents’ French house standing in for a brand manifesto. The values it lists, from “Casually Formal” to “Savoir Vivre” and “Perfectly Imperfect”, read like a description of a way of entertaining rather than a product list.

The French phrases are deliberate. The site opens with “L’Amour et Savoir Vivre”, which it translates as love and the art of knowing how to live well, and the company’s journal, written with Capucine, mixes stories, recipes and the things that inspire her. That bilingual tone matches the “Franglais” label she used in Charleston Magazine in 2024 to describe a European heritage combined with an American sensibility.

The product itself carries much of the visual identity. Berry & Thread, with its raised texture and pieces that do not match exactly, is the pattern most closely tied to the name, and the 2024 profile treated it as the brand’s signature. The Bohemian-style glass the company began with, made by family workshops in the Czech Republic, Portugal and Thailand, gives a second constant: a weighty, mouth-blown look in which small irregularities are presented as part of the appeal. The hot air balloon from the founders’ wedding china is a recurring illustrated motif, and the company has said its collections are designed to set a scene rather than simply fill a table.

The places matter too. The brand started in Connecticut and New York, and its move to Charleston in 2021 made the South Carolina city its base, with a flagship store on King Street opened in 2023, according to the 2024 profile. The couple’s book with Abrams in 2022 extended the same voice into print, presenting the brand through the founders’ way of hosting.

For a design guide, Juliska shows how a tableware brand can make its founders’ story, a signature textured pattern and a bilingual voice do the work of a logo. Compare a Vermont glass and pottery workshop in our Simon Pearce brand guidelines and another American tableware house built on hand-painted pattern in our MacKenzie-Childs brand guidelines. For this guide we use Bohemian blue, berry sage and whitewash linen with a serif, an unofficial interpretation; no product or logo is reproduced.

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