NORTH CANAAN — Each summer, Bob Riva looks forward to hiring a half dozen high school students to work the front counters at CA Lindell ACE Hardware.
“I like to bring in those kids from the high school and train them and work with them. They are very cheerful,” as they gain entry-level skills and bring their enthusiasm to the job and to customers, said the Canaan business owner.
But the 4.2% increase in the minimum wage, from $15.69 to $16.35, that went into effect Jan. 1, has reduced the number of summer jobs Riva will be able to offer to students this year.
“We end up getting a lot of kids, but does it make sense to pay someone in high school that large a minimum wage? It comes down to making decisions that you never had to make before,” said Riva.
“You get a little pickier and end up scrutinizing the people you are paying minimum wage to. We want our employees to make a good living, but the kids don’t have a house and are still in school. And for this new minimum wage right now, they’d better be moving, they’d better be doing a good job,” said Riva.
Five minimum wage hikes in four years
In 2019, Gov. Ned Lamont signed Public Act 19-4, which implemented five minimum wage increases over four years’ time, followed by subsequent adjustments tied to the percentage change in the federal Employment Cost Index (ECI).
In making the announcement, Lamont said the new law “ensures that as the economy grows, the wages of low-income workers can grow with it. This is a fair, modest adjustment for workers who will invest their earnings right back into our economy and support local businesses in their communities.”
According to Connecticut Labor Commissioner Dante Bartolomeo, the ECI increased by 4.2% over the 12-month period ending on June 30, 2024, accounting for the 66-cent hourly wage hike on Jan. 1.
“Minimum wage increases help ensure that no Connecticut worker gets left behind,” Bartolomeo said.
From 2022 to 2023, average salaries in Connecticut rose 3.1%, with the state having the fifth-highest average wage in the country, according to the Connecticut Business and Industry Association (CBIA).
State officials estimate 10% of the state’s workforce, about 169,000 workers, earn the minimum wage.
More harm than good?
Several Northwest Corner employers described the state’s method for doling out wage increases as burdensome and broken, and that they have little choice but to shift their hiring focus to employees whose productivity levels match the higher minimum wage.
As a result, the most vulnerable, especially those who may lack on-the-job training and have a lower literacy or disability and are most in need of employment, training and experience, will be negatively impacted.
Others are at risk of losing, or have lost important benefits such as health insurance, food and energy assistance, or even affordable housing because their new raises push them over the maximum income limits to qualify for benefits.
Carolyn Piccirelli, founder of Honeychurch Home in Salisbury, said although her business is not affected by the minimum wage hike as all employees are paid above that level, she supports efforts to increase wages.
However, she said she is aware of people who are being bumped off assistance programs because the latest minimum wage hike put them over the maximum income limit.
“What they have to do is find a work-around like reducing their hours” to maintain assistance, said Piccirelli. “As a result, employers have to hire more people.”
Piccirelli, who is expanding and relocating her business to Lenox, Mass., said she is in favor of a higher minimum wage, even though she feels lawmakers were oblivious to the negative impact the raises would have on small businesses.
“I don’t think any minimum wage is enough, frankly,” she noted. “It’s very common for the government to do things and not consider the fallout. The affected small businesses have to be part of the solution,” she said.
Lindell’s Riva had this warning for Connecticut lawmakers: “You are putting a lot of businesses out of business,” as California did when it raised its hourly minimum wage to $20. “Now you have many businesses that can’t make the next payroll and the economy hasn’t been strong.”
A better solution, said Riva, would have been to limit the wage increases only to workers age 21 and older and reserve a lower minimum wage for those ages 16 to 21, giving that younger age group time to gain experience and hone their work skills.
Minimum Wage Threat
According to the nonprofit Employment Policies Institute (EPI), which focuses on issues that affect entry level employment, research shows that raising the minimum wage hurts the least-skilled and least-experienced job seekers the most, “while having little to no effect on poverty rates.”
The EPI noted that a new survey conducted by CorCom Inc., a data management firm, and Carnegie Mellon University asked economists about their reaction to a $15 minimum wage. “It finds that 62 percent of U.S.-based economists oppose a $15 federal minimum wage,” EPI reported.
Three-quarters of respondents (75%) said that a $15 federal minimum wage “would have harmful effects on youth employment levels” and 81 percent of respondents said that a $15 minimum wage would make it more difficult for small businesses to stay in business.
Additionally, research conducted by economists from Miami and Trinity University found that as many as 1.2 million jobs could be lost with a $17 minimum wage
“Sixty-two percent will be among women, and 63 percent will be lost among 16- to 24- year-olds,” EPI reported.
Ryan Craig, owner of the Berkshire Country Store in Norfolk, said the rising minimum wage has negatively impacted his business, as well as some of his workers. Debra A. Aleksinas
‘I can’t be a first job anymore’
On a recent weekday in Norfolk’s quaint business center, Berkshire Country Store owner Ryan Craig greeted vendors, met with customers and assisted his bare-bones staff.
During a quick break, he recalled not so long ago when he had two store locations and 18 employees, 12 of them in Norfolk and a half-dozen in Canaan, which has since closed. Now he has six employees working full- and part-time.
Just days earlier, Berkshire Country Store marked its eighth anniversary, but its owner said he fears for his business’ future, as well as other small businesses in Northwest Corner, with no end in sight to the wage hikes.
“I think small towns are going to be in a world of hurt,” Craig predicted.
“When we opened the minimum wage was less than $10 an hour. That kind of stayed put for a while, and now it is $16.35,” he noted. To survive, the entrepreneur has raised costs and reduced hours of operation and staff. But it’s still a struggle, he said.
Like Riva in Canaan, Craig said he has stopped hiring high school students because “I can’t be a first job anymore.”
The Norfolk business owner said he is not against better pay for workers. He just thinks the system for handing out the raises is broken.
“Look at the cost of living here, and the struggle to find employees. They can’t afford to live in Norfolk,” said Craig, whose current staff commutes from Winsted. “And, soon, they may not be able to afford to live in Winsted.”
“If we are giving them a raise and they do better, that would be one thing. But because of the rising minimum wage, some of them are getting pulled off state benefits. So for that $1 an hour raise, they are now paying $500 a month for insurance, and also the deductibles.”
Craig said he feels like workers are being set up to fail.
“I feel like I’m doing something for the employees that is not helping them. And if it’s not helping me, then who is it helping?
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Stephanie Haboush Plunkett
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”
Visitors consider Norman Rockwell’s paintings on Civil Rights for Look Magazine, “New Kids in the Neighborhood” (1967) and “The Problem We All Live With” (1963.) L. Tomaino
She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
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A tray can help group items in a way that looks and feels thoughtful and intentional.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.
Styling a tray can give a home or room a re-fresh.Kerri-Lee Mayland
Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.
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