Have advances in digital technology put independent craft production in the South-East in decline?
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Introduction
Is craft practice still relevant in the twenty-first century? The modern textile industry contains a variety of sectors, one of which is the craft industry. However, recent innovations of technology mean that manufacture is mainly a digital process. Has textile practice moved on from hand-made craft and design? Or in a consumer conscious retail industry, does this sector thrive off notions of quality and individuality?
Through research and statistics based around the craft industry, the current market will be discussed, in order to prove a development, although slow, in the maker’s practices. Research will be completed into the development of digital technology and mass production. Also the possible impacts this could have had on the craft industry, posed against an actual picture. An understanding of the consumer’s view of the craft industry, including their shopping habits and buying values is important research for the report into the public’s perception of craft. Finally these ideas will be aimed at craft in the South-East of England, and whether this popular craft area has seen any noticeable changes in the relationship between individual design and large corporal companies.
Throughout the research from the report, I have reached my own conclusions which suggest, rather than pushing the craft industry into decline, recent developments have in fact boosted it. The craft sector is slow to adapt to change, but a huge movement in consumer perception and values have kept the local design industry alive.
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In order to complete research into the craft sector, it is vital to define craft; however the depth of this industry makes it difficult to pinpoint an exact definition. A dictionary definition suggests; “an occupation or trade requiring special skill, esp. manual dexterity” (reference!!). This definition suggests that craft is focused on building and maintaining a level of skill. Director of the Victoria and Albert Museum, Mark Jones believes that; “Craft is remembering that art is seen, felt and heard as well as understood, knowing that not all ideas start with words, thinking with hands as well as head.” (Collins. 2014). Whilst Director of the crafts study centre, Professor Simon Olding says; 'An expression of human endeavour creatively realised on the borders of utility, design, architecture, sculpture and art. Craft is specific, recognizable and broad enough to carry loaded meaning with good cheer. It means little without its association to the individual maker and the organisations that give it life and value.'(Victoria and Albert Museum. 2012). Whilst many people agree that craft cover a mass of individual practices, the term has diverse meanings to different people. Defining craft is a problem for the whole textiles industry, where do you draw the line between mass produced and individual design?
The crafts council give a more broken down image of the variety of the term ‘craft’ in their ‘Making It Local’ report; “those working with a contemporary aesthetic in craft disciplines including but not exclusive to automata, basketry, blacksmithing, book art, ceramics, furniture, glass, jewellery, lettering, metalwork, mosaic, paper, printmaking, puppetry, stone carving, textiles and wood” (Brown, J. 2014).
For the purpose of this report, ‘Craft’ has been characterised based upon the Crafts Council’s description, focusing on a more individual design, small design businesses specialising in a discipline.
The craft sector is a major part of the textile industry, particularly in the UK. A report by the ‘Crafts Council’ in October 2014 has revealed that craft skills generate £3.4 billion for the UK’s economy. (Crafts council. 2014). This displays a rise in craft industry’s contribution to the UK economy compared to £3 billion in 2008 (Department for Culture, Media & Sport and The Rt Hon Maria Miller MP. (2014). However, in relation to the £71.4 billion the creative industries contribute to the UK economy each year, it is only a small proportion. (Yair, K. (2010).
Despite this, Rosy Greenless, executive director of the Crafts Council, has said that recent statistics display evidence for the importance of craft skills the UK’s economy. She has suggested that craft contributes across the range of creative industries, to boost creative production as a whole, for most of which the UK leads the world. (Crafts council. 2014). This is further backed up by the following statistics from the Crafts Council which suggests that craft is not a standalone industry, craft skills are contributing;
£745 million to the economy through the craft sector
£243 million to the economy through creative industries such as fashion, film and architecture
£2.4 billion to the wider economy in industries such as bio-medicine, science and engineering
(Crafts council. 2014)
With statistics displaying a rise in the craft contribution to the UK economy, is it possible the craft is less in the limelight and more of a background player? Has it diversified and become more spread across the creative sector?
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It could be argued that the craft industry is such as small part of the global textile industry, that it is no longer relevant in today’s consumer conscious culture. In fact, in 2012 the creative industry was responsible for one in twelve jobs in the UK. (Department for Culture, Media & Sport. (2014).
In the UK, our creative industry is a major part of the economy and our contribution to the wider, global market. In 2010, the creative industry brought £71.4 billion to the UK economy and in 2011; the value of services exported by the Creative Industries was £15.5 billion. This was eight per cent of total UK service exports. (Department for Culture, Media & Sport. (2014).
It is fair to speculate that design in the UK is a growing sector as more and more large UK based companies are becoming recognised globally. Growing global brands such as Orla Kiely and Cath Kidston boast 166 stores globally and international sales of £46 million (Jamieson. (2014), the UK is definitely a distinct player in the global creative industry.
But, does large successful business result in a lesser focus on craft? Businesses see the potential of the wider textile industry and lose the handmade edge to their work. A great example is the global brand Cath Kidston. This brand was established 1993 in a small shop in London, revamping vintage furniture “everything she made was practical, fit for purpose, cheery and fun”. However by 1999, the brand exploded and began to become the international brand it is today, “today more than 50% of women aged 16-65 are aware of the Cath Kidston brand” Cath Kidston. (2014). However, as the company has grown, they have lost the individual element. Whilst it is still a very popular brand, it has recently had to diversify from the vintage floral to keep up with interior trends which seem to be moving on. Shops are popping up everywhere and Cath Kidston is no longer a unique product.
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