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Celebrating silver in style

Gay-owned furniture company Mitchell Gold + Bob Williams marks milestone

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Mitchell Gold, Bob Williams, furniture, design, home, gay news, Washington Blade
Mitchell Gold, Bob Williams, furniture, design, home, gay news, Washington Blade

Mitchell Gold (left) and business partner Bob Williams at their Washington store for an event in 2013. (Washington Blade file photo by

Mitchell Gold + Bob Williams

25th anniversary event

A benefit for Sitar Arts Center

Wednesday

6-9 p.m.

Mitchell Gold + Bob Williams Washington location

1526 14th St., N.W.

mgbwhome.com

RSVP requested

[email protected]

202-332-3433

Mitchell Gold and Bob Williams, co-owners of the eponymous furniture company, didn’t originally intend for their company to be as big as it is today.

Gold says they were originally thinking of a modest business model in which they’d work four days a week, have a small stable of customers and do about $5 million a year in sales.

“We didn’t have to make that much money,” Gold says. “It was just the two of us living down South, it’s much less expensive to live here, and we thought we would just have this nice little company. … But as Bob often tells people, ‘It’s not that Mitchell lied — it’s just that he can’t count.’”

Started in 1989 with about $60,000, things took off rather quickly. They sold about 800 dining tables and 5,000 chairs before they started making any of the pieces. Gold, who’d been fired from the furniture company he’d worked for, had connections with major retailers like J.C. Penney, Crate & Barrel and others, which he visited armed with sketches and fabrics Williams had made. They were profitable the first year they were in business.

“We had fabrics that were different and unusual for the time,” Gold says. “So we were able to show retailers, ‘This is how this will look in your store.’ And they bought it right away. People have said I’m not a bad salesman, so I was able to close the sales and get the production going quickly.”

The two, who’d been together as domestic partners about two years before, had moved to Hickory, N.C., from New York and were interested in going into business together.

“We just thought we could do it better than traditional manufacturers,” Gold says. “We thought we could make a better commitment to customers, ship it more quickly and with Bob’s sense of style, you know, I certainly felt we could offer people a more stylish look for a better price.”

Williams worked for a small ad agency and gradually cut back his time there as he spent more and more with the company, then known as the Mitchell Gold Company (it was changed to its present name in 2002).

Now they’re celebrating 25 years and have more than 700 employees, a stable of celebrity clients, 17 stores and plans to open four more by year’s end and a 600,000-square-foot factory and home base in Taylorsville, N.C.

Several spoke at a company event two weeks ago where 11 of their original 21 employees who are still with the company were recognized. It appears, from a transcript of comments, that morale there is strong.

Ken Hipp, the company’s senior vice president of retail stores and merchandising, has been with them for seven years and calls Gold and Williams “wonderful mentors.”

“It’s been quite a ride,” says Hipp, who’s also gay. “I can’t imagine my career or my life without them.”

Known for a style they call “quintessentially American,” their products are designed to be stylish, yet comfortable. Interior designer Brian Patrick Flynn of TBS’s “Movie & a Makeover” show has called their products “custom-looking pieces at medium-to-high price-points” and says it’s a “genius brand” he and his clients “can’t get enough of.”

On Wednesday, the two will be in town for an event at their D.C. store at 1526 14th St., N.W., an anniversary event that will benefit the Sitar Arts Center. It’s one of a series of events they’re having at their various locations throughout the year.

In a country where just 25 percent of new employer firms are still in business 15 years or more after starting according to the Small Business Administration, theirs is a nearly unfettered success story.

It hasn’t all been easy going, though. Williams remembers many long hours in the early years, though he also says those were some of the most “exhilarating times of my life.”

They recall years of working what felt like round-the-clock schedules and didn’t take a vacation until two years into it, but were gratified by strong out-of-the-gate sales.

“Customers liked what we were doing immediately,” Williams says. “We never had to go call on people. The more they heard about us, the more we had people wanting to buy from us.”

They broke up on the personal side about 12 years into the business, though they’re wholly comfortable working together and are each married and have been with other men for years — Gold has been with Tim Gold for seven years; Williams has been with Stephen Heavner for 11 years.

Might their relationship have lasted if it weren’t for the company? It’s a thorny question they don’t wish to dwell on.

“We don’t give much thought to it,” Williams says.

“It takes a lot of time and energy to go back and visit the past,” Gold says. “We’re more focused on the future.”

They acknowledge there were “a few little awkward moments, but not too much,” as Gold says. Keeping the company strong was chief among their priorities as always, they say.

The only time they had any significant downsizing was in 2008. Gold says it was a hard, but at the time necessary, decision in the face of a huge recession.

The company prides itself on the health care package it offers, on-site day care and cafeteria and unabashed LGBT advocacy work.

They say providing such amenities pays off in the long run.

“I think what we have proven is that you can be profitable and do the right thing,” he says. “When you have people who aren’t sick, they’re being more productive and that makes things more profitable. With our day care, if little junior has a problem, somebody goes and takes care of it and is back in 15 or 20 minutes, not the three hours it would take to go across town.”

They guess about 15 percent of their employees are also LGBT and estimate between 15-20 percent of their clientele is as well. Gold says it’s “certainly higher than other furniture retailers.”

Gold, who wrote a book called “Crisis: 40 Stories Revealing the Personal, Social and Religious Pain and Trauma of Growing up Gay in America” in 2008, says being open about such things is a central component to the company.

He relishes telling of a celebration dinner they had with loan officers after paying back a $25 million loan they’d used to expand. Several of the bank execs told him how reading “Crisis” had given them new compassion for LGBT issues, from one man who stepped up his giving at a homeless shelter to another whose wife came out.

“One by one, they went around the table and told us how much our advocacy work had meant to them,” Gold says.

Coming from a staid banking environment, Hipp says finding a place he could be out on the job was a revelation.

“I thought I loved banking but I realized banking did not love me,” he says. “I was very uncomfortable and very conflicted over my future and I was met with some very harsh realities. I could not believe that someone of my age, I was in my early 20s at the time, could actually go to work someplace where it was OK for me to be who I was. I didn’t have to tuck any part of myself under my sleeve. I could actually say that I was gay and it didn’t matter. … I was just a kid from the south and I thought that was the best it would get.”

Some of the 25th anniversary events will benefit LGBT and AIDS causes. Gold next plans an open letter to the Pope urging him to change Vatican teaching that homosexuality is sinful behavior.

“When you get down to it, that’s really the seminal reason why people think gay people should not have equality,” Gold says. “The whole issue of sin is really the crux of why people are against it.”

But has there been backlash or lost sales along the way?

“Our business just keeps going at such a pace that’s ahead of the industry with sales and growth and things like that,” he says. “You know, we can’t worry about the one or two people who aren’t going to buy from us because we’re gay and outspoken.”

 

Mitchell Gold and Bob Williams on:

 

Mitchell Gold, Bob Williams, furniture, design, home, gay news, Washington Blade

Bob Williams (left) and Mitchell Gold in the early years of their business. (Photo courtesy of Mitchell Gold + Bob Williams)

• Their all-time favorite products:

GOLD: Leather club chairs they designed after spotting vintage pieces at a Paris flea market.

“If something sells that well and looks pretty, I sure do like it,” he says.

WILLIAMS: “Our slipcovers are great because they’re just so versatile — you can dress them up or down, change the style and they just give off this great ambience of relaxed, casual comfort.”

 

• How practical the whites and neutrals they use so often are for everyday

GOLD: “Today’s fabrics are a lot different from what you saw 20-30 years ago. They’re much friendlier to live with and stain resistant.” And if you spill red wine? “In a lot of the fabrics, yes, it will come out. But you have to get it quickly, not let it sit there a day.”

 

• Nate Berkus

GOLD: “We love Nate Berkus.”

WILLIAMS: “He has great hair.”

GOLD: “Yes, he has great hair, he’s cute and adorable and we’re fairly friendly with him. I like his work a lot.”

WILLIAMS: “His last book was great.”

 

• Thom Filicia (of “Queer Eye” fame)

GOLD: “Sweet guy and talented. We were at a design kind of home in South Hampton and his room was really a standout.”

 

• 2013 sales?

GOLD: “Over $100 million.”

 

• Lulu, the company mascot

GOLD: “She’s resting in peace. She was 12 and a half and she will be the mascot in perpetuity. The thing about bulldogs is once they decide on something, that’s it. They figure out a way to get it. She came to work with us everyday and loved walking around and saying hi to everyone.”

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Theater

José Zayas brings ‘The House of Bernarda Alba’ to GALA Hispanic Theatre

Gay Spanish playwright Federico García Lorca wrote masterpiece before 1936 execution

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Luz Nicolás in ‘The House of Bernarda Alba’ at GALA Hispanic Theatre (Photo by Daniel Martinez)

‘The House of Bernarda Alba’
Through March 1
GALA Hispanic Theatre
3333 14th St., N.W.
$27-$52
Galatheatre.org

In Federico García Lorca’s “The House of Bernarda Alba,” now at GALA Hispanic Theatre in Columbia Heights, an impossibly oppressive domestic situation serves, in short, as an allegory for the repressive, patriarchal, and fascist atmosphere of 1930s Spain

The gay playwright completed his final and arguably best work in 1936, just months before he was executed by a right-wing firing squad. “Bernarda Alba” is set in the same year, sometime during a hot summer in rural Andalusia, the heart of “España profunda” (the deep Spain), where traditions are deeply rooted and mores seldom challenged. 

At Bernarda’s house, the atmosphere, already stifling, is about to get worse.

On the day of her second husband’s funeral, Bernarda Alba (superbly played by Luz Nicolás), a sixtyish woman accustomed to calling the shots, gathers her five unmarried daughters (ages ranging from 20 to 39) and matter-of-factly explain what’s to happen next.  

She says, “Through the eight years of mourning not a breeze shall enter this house. Consider the doors and windows as sealed with bricks. That’s how it was in my father’s house and my grandfather’s. Meanwhile, you can embroider your trousseaux.”

It’s not an altogether sunny plan. While Angustias (María del Mar Rodríguez), Bernarda’s daughter from her first marriage and heiress to a fortune, is betrothed to a much younger catch, Pepe el Romano, who never appears on stage, the remaining four stand little chance of finding suitable matches. Not only are they dowry-less, but no men, eligible or otherwise, are admitted into their mother’s house.  

Lorca is a literary hero known for his mastery of both lyrical poetry and visceral drama; still, “Bernarda Alba’s” plotline might suit a telenovela. Despotic mother heads a house of adult daughters. Said daughters are churning with passions and jealousies. When sneaky Martirio (Giselle Gonzáles) steals the photo of Angustias’s fiancé all heck kicks off. Lots of infighting and high drama ensue. There’s even a batty grandmother (Alicia Kaplan) in the wings for bleak comic relief.  

At GALA, the modern classic is lovingly staged by José Zayas. The New York-based out director has assembled a committed cast and creative team who’ve manifested an extraordinarily timely 90-minute production performed in Spanish with English subtitles easily ready seen on multiple screens.

In Lorca’s stage directions, he describes the set as an inner room in Bernarda’s house; it’s bright white with thick walls. At GALA, scenic designer Grisele Gonzáles continues the one-color theme with bright red walls and floor and closed doors. There are no props. 

In the airless room, women sit on straight back chairs sewing. They think of men, still. Two are fixated on their oldest siter’s hunky betrothed. Only Magdelena (Anna Malavé), the one sister who truly mourns their dead father, has given up on marriage entirely. 

The severity of the place is alleviated by men’s distant voices, Koki Lortkipanidze’s original music, movement (stir crazy sisters scratching walls), and even a precisely executed beatdown choreographed by Lorraine Ressegger-Slone.

In a short yet telling scene, Bernarda’s youngest daughter Adela (María Coral) proves she will serve as the rebellion to Bernarda’s dictatorship. Reluctant to mourn, Adela admires her reflection. She has traded her black togs for a seafoam green party dress. It’s a dreamily lit moment (compliments of lighting designer Hailey Laroe.)  

But there’s no mistaking who’s in charge. Dressed in unflattering widow weeds, her face locked in a disapproving sneer, Bernarda rules with an iron fist; and despite ramrod posture, she uses a cane (though mostly as a weapon during one of her frequent rages.) 

Bernarda’s countenance softens only when sharing a bit of gossip with Poncia, her longtime servant convincingly played by Evelyn Rosario Vega.

Nicolás has appeared in “Bernarda Alba” before, first as daughter Martirio in Madrid, and recently as the mother in an English language production at Carnegie Melon University in Pittsburgh. And now in D.C. where her Bernarda is dictatorial, prone to violence, and scarily pro-patriarchy. 

Words and phrases echo throughout Lorca’s play, all likely to signal a tightening oppression: “mourning,” “my house,” “honor,” and finally “silence.”

As a queer artist sympathetic to left wing causes, Lorca knew of what he wrote. He understood the provinces, the dangers of tyranny, and the dimming of democracy. Early in Spain’s Civil War, Lorca was dragged to the the woods and murdered by Franco’s thugs. Presumably buried in a mass grave, his remains have never been found.

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Photos

PHOTOS: Cupid’s Undie Run

Annual fundraiser for NF research held at The Wharf DC

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A dance party was held at Union Stage before Cupid's Undie Run on Saturday. (Washington Blade photo by Michael Key)

Cupid’s Undie Run, an annual fundraiser for neurofibromatosis (NF) research, was held at Union Stage and at The Wharf DC on Saturday, Feb. 21.

(Washington Blade photos by Michael Key)

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Out & About

Sweat DC expands to Shaw

Community workout and social planned for March 14

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Sweat DC is officially expanding to Shaw, opening a new location at 1818 7th St., N.W., on Saturday, March 28 — and they’re kicking things off with a high-energy, community-first launch event.

To celebrate, Sweat DC is hosting Sweat Fest, a free community workout and social on Saturday, March 14, at 10 a.m. at the historic Howard Theatre. The event features a group fitness class, live DJ, local food and wellness partners, and a mission-driven partnership with the Open Goal Project, which works to expand access to youth soccer for players from marginalized communities.

For more details, visit Sweat DC’s website and reserve a spot on Eventbrite.

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