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Is Craft Practice
Still Relevant To
The Consumer In 2015?
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Industry Report
Nathan Mison
BA(hons) Textiles 2015
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Abstract...
The craft
sector is built upon notions of handmade, and is seen as a luxury. Recent
innovations of technology mean that manufacture is mainly a digital process. As
a result, 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? This question will be considered throughout the
report, discussing whether craft is still relevant to the consumer.
Through
research and statistics based around the craft industry, this report aims to
explore the current market, in order to investigate the maker’s practices and
how they have developed. Research will be carried out into the development of
digital technology and the possible impacts this could have on the craft
industry, in the form of questionnaire and content analysis. An understanding
of the consumer’s view of the craft industry will be gained through sources of
primary research; including their buying values is important research for the
report into the public’s perception of craft. This research will be aimed at
craft in the South-East of England, and whether this popular craft area has
seen any noticeable changes.
Set
against the argument into the decline of craft, new ideas have emerged into the
relevance of craft. Rather than pushing the craft industry into decline, recent
innovations have helped to boost it. The craft sector is slow to adapt to
change, but a huge movement in consumer perception have kept the local industry
alive.
Contents
Page
4
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Table
of illustrations.
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Page
5 - 6
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Introduction.
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Page
7 – 8
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Chapter 1: Exploring A Definition Of Craft And Its Place In
Relation To The Wider Textile Industry.
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Pages
9 – 12
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Chapter 2: The impacts the digitalisation of the textile
industry. Has this had an impact on the relevance of craft in the UK?
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Pages
13
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Chapter 3: Results of content analysis looking into the
development of advertising and whether it is used to its full potential to
promote craft design.
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Pages
14 – 15
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Chapter 4: Results of questionnaire, aimed at gaining the
consumer’s shopping habits and values in relation to their view of local
craft.
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Pages
16 – 17
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Chapter 5: Case Studies - Contemporary examples of designers/design
companies who are based in the craft market.
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Page
18
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Conclusion: How relevant is the craft industry to the consumer
in 2015?
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Pages
19 -22
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Appendices.
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Pages
23 – 24
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Bibliography
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Table of illustrations
Cover Illustration.
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Image taken by author of own work.
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Fig 1 – Bangladeshi factory collapse.
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Fig 2 – Cath Kidston ‘Sew’ book
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Fig 3 – CAD embroidery Machine.
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Fig 4 – Digital printer
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Fig 5 – Nikki McWilliams cushion.
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Fig 6 – Craft Guerrilla London, Logo.
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Fig 7 – Buyu Luggage.
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Introduction
In 2015 the textile industry is a vast empire of
design, an important part of everyone’s lives. This industry contains a variety
of sub-sectors, one of which is the craft industry, which is built upon notions
of individuality. It is often seen as a luxury part of the market, focusing
more on quality instead of pricing. With recent innovations, textile
manufacture is mainly a digital process and overseas mass production is seen as
a norm. As a result, has textile practice moved on from hand-made craft, or in
a consumer conscious retail industry, does this sector thrive off notions of
quality and individuality? This question will be considered throughout the
report, discussing whether craft is still relevant to the consumer.
This
industry report aims to explore the relevance of the craft industry in relation
to the wider textile industry, focusing on the impact that recent innovations
and shopping values have had on the consumer’s perception of the relevance of
the term ‘craft’ in 2015.
Chapter
One of the report, is focused on a definition of craft, which will be explored
with reference to statistics. Ideas will be discussed into the importance of
craft practice, whether it is a sector which still exists. This will be backed
up through an exploration of the current market and the use of statistics,
which suggest that although there are many definitions of craft practice, craft
is an important sector of the textiles market to the consumer.
Craft
is desired all over the world and Chapter Two aims to explore the mass
production of manufacture and whether this has impacted on the future of craft
practice. Research into digital design innovations and the global companies
will be explored to discuss whether craft has been affected. It could be the
case that rather than pushing the
craft industry into decline, recent innovations have helped to boost it. The
craft sector is slow to adapt to change, but a huge movement in consumer
perception have kept the local industry alive. An exploration into the
digitalisation of the textiles industry will prove that the consumer’s
perception of craft is still high. Amongst this, primary research has been
carried out into the development of digital technology and the possible impacts
this could have on the craft industry, in the form of content analysis, exploring
advertising opportunities, explored in Chapter Three.
An understanding of the consumer’s view of the
craft industry has been gained through the use of a questionnaire, which will
be discussed in Chapter Four. This will include an exploration of consumer
buying habits and values. This is important research for the report will prove
whether people on the street are willing to pay for hand crafted goods or
whether, in society based on fast fashion, price is a major factor. This
questionnaire was asked to a range of participants and aims to give a small
representation of customer shopping habits and buying values.
Chapter Five will explore current
makers and designers in the craft industry, in the form of case studies, and
what they are doing to help make sure their practice stays relevant to the
consumer in 2015. Two craft based designers will be explored in-depth and then
contrasted in the methods they use and how successful they are in what they are
achieving to do.
All of the research, data and ideas
discussed in each individual chapter will be collated at the end of the report,
in order to create a considered opinion which discusses the importance of craft
in 2015. To help illustrate that it is still a vital part of the textile
industry.
Chapter 1: Exploring A
Definition Of Craft And Its Place In Relation To The Wider Textile Industry.
Craft is a term often applied to a huge array of
skills and techniques, but in order to complete research into the craft sector,
it is vital to define craft. The depth of the craft industry makes it difficult
to pinpoint an exact definition for the term ‘craft’, as it covers a wide field
of expertise.
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 research
into this area, there is no clearly drawn line between mass produced and
individual design. A dictionary definition suggests craft is, “an occupation or trade
requiring special skill, esp. manual dexterity” (Collins. 2014). This
definition suggests craft is relation to the term ‘skill’, perhaps obtaining or
building upon it. When applied to the textile field this could refer to many
different ways of working including; screen-printing, knitting and even
computer created design.
There are
many definitions of craft practice, but in order to research craft an in-depth
definition is needed. Director of the Victoria and Albert Museum, Mark Jones
believes; “Craft is remembering that art is seen, felt and heard as well as
understood.” (V&A Museum. 2012). This definition suggests that craft is not
just the end product or how it was created, it is the use of multiple senses.
Craft products offer the consumer the idea of feeling and hearing their
purchase, rather than just seeing.
For the
purpose of this report, ‘Craft’ has been characterised based upon the Crafts
Council’s description, focusing on a more individual design, specialising in a discipline.
The Crafts Council is one of the UK’s leading bodies in reports and statistics
on craft practice. The Crafts Council give a more broken down image of the term
‘craft’ in their ‘Making It Local’ report; “those working with … basketry,
blacksmithing, book art, ceramics, furniture, glass, jewellery, lettering,
metalwork, mosaic, paper, printmaking, puppetry, stone carving, textiles and
wood” (Brown, J. 2014). This hints at the wide boundaries of craft
practice, from lettering to puppetry. The key behind this definition lies in
the presence of a skill or the engagement in an activity which improves a skill
base. Similar to the difference between clothing and interiors, craft practice
has its own, distinct style which makes it so desirable amongst consumers.
Craft is a sector of the textile industry which
is revived by consumer interest. Particularly in the UK, craft is an important
part of the economy and there are many places known locally for their craft
skills, such as Stoke-On-Trent, known for its pottery. A report by the ‘Crafts
Council’ in October 2014 revealed that, “craft skills generate £3.4 billion
for the UK’s economy” (Crafts council. 2014), a rise in contribution
compared to previous years. This rise in the amount generated by craft skills
proves that craft does provide to UK economy. People are still buying craft
goods, resulting in an increase meaning that craft is still relevant in 2015. On
the other hand, in relation to the “£71.4 billion the creative industries
contribute to the UK economy each year” (Yair, K. 2010), craft skills only
generate a small proportion for the economy.
Although the craft industry is only small part of
the wider textile industry, statistics prove that there is still a market for
handcraft. The consumer does still value an individualised product. It is a
relatively small part of the wider textile industry, but statistics show an
increased demand for luxury, handmade goods as recent trends move towards a
desire for a unique style, which reflects personality. Personal style and the
importance of individuality, has grown, leading to more interest in this area
of the market. Rosy Greenless, executive director of the Crafts Council, has
said that “recent statistics evidence the importance of craft skills the
UK’s economy. Craft contributes to the creative industry across all sectors”
(Crafts council. 2014). This suggests that craft is perhaps no longer a
standalone industry, but more spread across the sectors of the textile industry
bringing skills to other areas. The integration of craft into other areas of
the textile industry may have affected its relevance to the consumer, but
increased its importance amongst the other sectors.
With statistics displaying a rise in the craft
contribution to the UK economy, but no clear boundaries, it may be the case
that craft has diversified and become more spread across the creative sector. The
craft sector may help to boost other areas of the textile industry, perhaps as
a source of inspiration. It is clear, from the statistics however, that there
is still a craft industry, that it is an evident sector on its own.
The craft sector has diversified and changed with
the fast paced nature of design, so is less visible. Are ‘craft’ and ‘handmade’,
phrases which can remain relevant if the textile industry continues to become
so focused? Does this mean craft is no longer relevant?
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. But,
if it does contribute to other parts of the industry, could its collapse affect
the rest of the design world? It could in the textile industry’s interest to
keep the craft industry thriving. Perhaps it is more relevant to the textile
industry than the consumer. The creative industry in the UK is a major part of
the country’s economy and its contribution to the global export market. “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). These
statistics show that craft production is an important part of the textile
market, perhaps more important internationally than in the UK itself.
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. There is large market at
the moment for British based design, particularly in the U.S. and China. “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. UK based design is desired worldwide and is known for notions of
quality and style. It is a possibility that craft has become more desired
internationally than in the UK. The development of the brand label, ‘Made in
Britain’ is an example of how relevant British craft is worldwide.
Chapter 2: The impacts the digitalisation
of the textile industry. Has this had an impact on the relevance of craft in
the UK?
The
textile industry is a fast paced, ever changing world, where everything is
constantly developing and growing. Can the craft sector continue to survive and
remain relevant whilst global textile trends change so often? With recent developments
of digital production methods, including the introduction of digital print and
CAD embroidery, is there still a market for localised craft?
Developments
of technology in the textile industry have forced popular design into commercial
mass production. It seems that the development of recent technological advances
have favoured, fast fashion over craft design. Mass production cuts out the
costly and time consuming individuality to design. In a world where everyone
wants everything now, fast fashion is a quick fix and has led to a smaller
focus on hand production.
With
affordability and guaranteed safety, it is easy to see why mass production is
so popular amongst the textile industry. In many high street stores low pricing
is often valued over quality. There is more of a focus on the quantity of
stock, rather than quality of the technique. Products can be easily adjusted
and are often available at a more affordable price. “Products are made
overseas where labour costs are lower” (BBC, 2014). Many consumers are very
aware with working conditions overseas, particularly with recent events in the
news being beamed across the globe. An example of this the collapse of the
Bangladeshi factory in 2013 (Fig 1),
where a factory producing garment for high street store collapsed, killing over
one thousand people. People’s reaction to such crises proves that the consumer
wants companies to start taking responsibility for their actions. With news
like this spreading across the globe, many people’s attitudes to mass produced
design have changed, and the consumer is willing to pay more for local craft
design with higher morals.
Businesses
based on mass production worldwide have seen the potential of the craft and
handmade sector, and have sought to incorporate this into their designs. This
has led to a mass production of the distinct craft style. An example of this is
the brand, ‘Cath Kidston’. This brand was established 1993 in a small shop in
London, and was focused on upcycling. By 1999, the brand exploded and became
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). Cath Kidston has been built up with notions of craft at its
heart, with many products relating to this idea (Fig 2). The notion of re-creating individual craft elements in
their print patterns is desired worldwide, and has recently seen the brand
enter the notorious Chinese market. The future of craft, design seems to be
heading towards mass produced design which mimics the craft style, but has lost
the key idea of mastering a hand technique. The craft market is still relevant
to the consumer and larger companies are seizing the opportunity to take
advantage of this.
Computer Aided Design
CAD, computer aided design or computer aided
manufacture is an example of a recent advance in technology which has
affected the craft industry (fig 3). This form of digital design is widely used. Designs
can be produced or sent to systems, either aimed at stitch or weave. Many
companies use this process in a number of ways either embroidering a design, or
by as part of the production line to stitch things like pockets onto a garment.
(Tristram Shepard, 2004).
CAD technology is favoured over traditional hand
embroidered technique because samples can be produced cheaply, anywhere in the
world, thanks to digital software. Cad design is less labour intensive, more
precise, with no room for error. This has lessened the need for time consuming
hand stitching. Although, if there is a problem or fault in the production,
there could be an error in the whole order, which would be time consuming and
would lead to a lesser profit in the selling of the design.
CAD embroidery has also benefited the craft
industry. The introduction of CAD embroidery has meant that crafter can now
stamp themselves, their name and their brand onto their products, with
digitally created labels and CAD stitching.
Digital
Printing
Mass produced fabric is usually rotary screen
printed, which is a costly process, creating a unique screen for each colour.
Printing onto fabric using a digital printer is a much quicker technique;
fabric patterns can be designed, created and worn in a day. (Fashion-Incubator,
2010).
In theory,
digital printing would suit large mass produced companies because of the quick
turn over in pattern printing, but at its current stage, digital printing (Fig 4) is still an expensive process,
especially for large quantities of fabric as the cost mounts up each time you
print.
At its
current stage, digital printing is more for the individual designer. In a
lecture with Carol Lake she suggested that Digital Printing has helped the
small designer, more than large companies. Digital printing allows an
individual designer to print small lengths of fabric, relatively easily. As a
result the local designer can quickly reproduce their designs on a small scale,
so craft production is not so time consuming. Craft practice is moving and
changing, developing with the introduction of new technologies to stay relevant
in an ever-changing industry.
Although Craft
is often described as something handmade, it could be suggested that in an age
with the development of technology, having the skills necessary to use the
digital processes is a form of craft. There is an enormous amount of skill in
these digital technologies which have helped enrich and develop new
possibilities for craft.
The craft
industry has adapted the technological advances in production, but has also
taken advantage of the internet, with the introduction of sites such as, ETSY
and FOLKSY. These sites are accessible worldwide and allow anyone to sell their
craft products to consumers anywhere. These sites have become extremely popular,
they allow everyone from student, to part time crafter to become recognised and
sell their crafted products. As a result, craft has become globalised, being
sold around the world, but not mass produced, still focusing on an individual
maker. In 2009, “Etsy recorded sales totalling £110 million to 800,000 and £328
million in 2011”, similar to Folksy saw sales increase by 526% between June
2009 and June 2012 (Vanessa Barford, 8/11/12). These sires are being used by
both consumers and makers and are making an impact into the importance of
craft.
The craft
industry has taken advantage of an opportunity make selling easier, instead of
trudging around craft fairs over the country; makers can post their work online.
With the global high-street culture promoting fast fashion, craft offers and
individualised alternative, which with the introduction of the internet is too
readily available anywhere. "In an era where everyone is walking around
with Kindles and PCs…handmade and niche items are a real opportunity to express
personality," (Vanessa Barford, 8/11/12). This desire of
individualised products is being described as ‘Craftmania’. Craft offers one off
pieces and designs where no-one is the same.
Craft
based websites are also being used by scouting businesses to gain new Designers
and products for their collections. Sian Reeves, a creative director in the art
publishing industry for twenty years, explains that clients such as Next and
John Lewis are always looking for new talent, she scans these sites on a weekly
basis for up and coming designers. (Vanessa Barford, 8/11/12). Some businesses
still find artists and designers through trade shows, but are beginning to see
the importance of an online presence. An interview with Emily Curtis, gallery
and shop Manager at Smiths Row Art Gallery displayed ideas of an increased
crafts sphere. She and her team have to look in a variety of places before
designers and products are snapped up by others in the design world (Appendix 2).
“We choose work in a variety of ways, either
through direct approach from the makers themselves, travelling to high end
craft fairs, (Made London, Top-drawer, New Designers, Tent and Design Junction
and by one to one through our Artist Surgery programme. We also take part in
the Crafts Council, Professional Development scheme, Hothouse, which presents a
range of makers…”
The
development of an online art circle has given more opportunities for craft and
design to become recognised and sold, making the presence of the craft industry
relevant to other makers and buyers as well as consumers. The internet is a
rich source of inspiration and buying opportunities for larger brands and
businesses.
Nikki McWilliams is a designer whose work was
spotted online, and ever since has had amazing career. McWilliams creates bold
and playful homeware based upon the traditional 'tea break' (Fig 5). After completing a degree in
Fine art, McWilliams left university, setting out to create functional objects
which had a place outside the gallery setting. Whilst at university, McWilliams
saw the importance of the internet and the growing popularity in online shopping
and sharing on work and ideas (Nikki McWilliams, 2012). Designer McWilliams
said, “...Having an online presence is like having a window to the world…”
(Vanessa Barford, 8/11/12), in an article for the BBC which described the importance
of craft becoming digital. An online presence is an important part of Nikki McWilliams’
work, with a blog, Facebook, Twitter and Pinterest accounts, she is a very
visible designer online. All of this online work paid off for Nikki McWilliams
as her work was spotted online by and designer consultancy firm. As a result of
this she was chosen to have her cushions displayed in Selfridge’s windows
during the Queen’s Jubilee (Vanessa Barford, 8/11/12). This proves that
opportunities are coming out of the digitalisation of craft and the internet
has opened up many doors for craft production and recognition, proving that
craft is not just relevant for the consumer, but also the rest of the textile
market.
It is
clear that rather than being suppressed by the globalisation of the textile
market, the internet has provided the maker with a vast array of new
opportunities in the design world. Craft has been given an online presence,
developing a form of free advertising where consumer is able to follow the
thought processes or inspiration of the maker through blog work or online
articles, making the process even more individualised. Not only does the
consumer know the product was created by hand, but also the process, the
journey into the creation. The bond between crafter and consumer is enriched
and stronger than ever across the world.
Chapter 3: Results of
content analysis looking into the development of advertising and whether it is
used to its full potential to promote craft design.
A set of content analyses were set up for the report in order to
gain a picture into the use of advertising opportunities in the textiles
industry. Larger companies are based upon quantity so it is vital for them to
advertise their products to generate the maximum number of sales, but is this
so important to craft, or does it rely on a separate group of consumers buying
craft, and committing to return to buy more? Is craft advertised to its full
potential, or is costly advertising not a necessity?
The content analysis was set up over a period of two weeks, noting
down the number of advertising opportunities taken by both large companies and
small craft based businesses. Similarly to other research into this area, it
was difficult to distinguish between the two types of business, the boundaries are
blurred. The author based large companies with the term mass production,
anything smaller was craft based.
The first content analysis was focused on a variety of newspapers,
local and national, over the course of one week. The results displayed a clear
correlation (appendix 3). There was a
difference between local and national papers, probably due to the costs of
advertising. Smaller businesses are unlikely to have the money to spend on
advertising. More advertising was focused on craft based designers than
expected. This research was carried out around Christmas, a popular season
amongst handcraft. It would be interesting to see if this research was
replicable earlier in the year.
Following the content analysis on newspapers, more research was
completed to see whether this was the same correlation amongst different forms
of advertising. Another content analysis was completed based on T.V.
advertising. The results were different to what was expected (appendix 4). This shows that although
the majority of the television adverts were based upon larger companies,
smaller designers are getting some airtime, the gap between the two was less
than in the newspapers.
It is clear that in newspapers and adverts on television, larger
companies are taking more advantage of the advertising space than craft
designers. It is, however, interesting to note one area that the research did
not touch upon; the internet. The internet is a rich advertising opportunity,
which is probably viewed more often than television or newspapers.
Both television and the internet offer new opportunities for craft
production in relation to the wider textile industry, which are being used to
benefit this small area of production. The use on advertising has made the
consumer realise that there is an alternative to mass produced design out
there. Craft has been put back into the public sphere and many consumers see it
as a sector. This is particularly relevant in terms of current issues in the
world, such as environmental impacts and humanitarian issues in mass
production.
Chapter 4: Results of questionnaire, aimed at gaining the
consumer’s shopping habits and values in relation to their view of local craft.
As part of
primary research for the report, a questionnaire was carried out, both online
and in person (Appendix 1). The idea
behind the questionnaire was to gain a small insight into the consumer’s
opinion of craft and whether it is relevant in 2015. Although only carried out
on a small sample audience, results from the questionnaire prove interesting
reading.
Consumers
were asked which the most important factor when buying products. The majority
saw the cost of the product as important, with 83% saying it was very
important. The locality of the product, whether it was handmade, the air miles,
and originality of the product, is of much lower importance. In the commercial
textile market, this is where larger companies are succeeding, by aiming for
low costs. This is at the cost of other buying values, upheld by the minority.
This question does show there are still consumers who value locality and
originality; 32% of people said they consider the originality of the product. There
are factors other than cost which affect people’s buying habits; there is a
place for craft and its values in people’s minds.
More than
60% of the people questioned said they buy the majority of their clothing/textiles
from online stores which are based on popular high street brands. 37% buy their
textiles from high-street stores and only 3% from independent shops. In
response to this question, consumers were asked what do high street chains
offer that independent shops cannot. There was a variety of responses including;
cost of products, suitability to clothing needs, but the most common response
was the high street stores offered more choice, more variety. Independent
crafters are known for their creation of original products, patterns and
styles. They source local materials which they chose based upon texture or
weight rather than cost. However, when questioned further, it became clear that
high street chains offer more choice in the quantity of clothing; the style of
clothing and sizing options. This is down to the production methods used, as
mass produced goods can be standardised, rather than hand production which is
more time consuming.
It was
clear that of the people questioned, sites such as ETSY.com and FOLKSY had not been
considered when buying products online. 86% of people said they had not
considered buying from such sites. This is not uncommon, as sites like this are
still relatively new to the online shopping sphere, allowing anyone to sell
their crafts. Some of the people questioned had not even heard of such sites,
perhaps because they are not advertised as much as larger online retailers.
In the
final question, the consumer was asked whether they would be willing to pay
more for an individualised, personal product. Over half of the 43 people, said
that would be willing to pay more. “Handmade clothes have always been a
desired premium” (Marguerite, 2012). There is a growing trend against the
global capitalist culture, handmade crafting is a new trend and people are
willing to pay more for a sign of quality.
This
questionnaire, although only completed on a small scale, it does show that
although mass produced clothing and textiles are a part of our everyday life,
there is still a place for craft in the consumer’s opinion, craft is still
relevant.
Chapter 5: Case Studies - Contemporary examples of
designers/design companies who are based in the craft market.
'Craft Guerrilla', based in
East London, is an example of a new idea which
is hitting the craft industry, craft or art collectives. These collectives are
based on a group of artists/designers working together, alongside one another
to help promote each together. Craft Guerrilla (Fig 6) is a maker led collective, working alongside artists and
designers in the local community to produce and sell quality handmade goods.
The collective is set up against mass production and shows that the craft
industry is fighting back, "shared
idealism with regeneration, recycling, sharing of knowledge and the revaluation
of the handmade movement at its heart " (Craft Guerrilla, 2014).
In East London and across
the country Craft Guerrillas and designer collectives are forming as a popular
way of promoting individual designers. This
group of designers is not going to stand by and let large corporations take
their market around them. Instead of adapting and changing to globalisation,
the collective focuses on handmade production and quality, two values unique to
craft production. Together as a group, they are able to rent out unused spaces
for craft fairs and events which promote each of the designers. This is more
successful than a designer working on their own as there are more opportunities
for a small group to have their own exhibitions. As a group they are much more
effective at advertising themselves and putting themselves into the public’s
eye. By working together and bouncing ideas off each other, the group can
remain relevant and fresh in terms of their craft offerings.
This is in contrast to Buyu luggage. Created by Jeffrey Kimathi, Buyu Luggage is a
luxury luggage brand, (Fig 7) which
is based upon traditional local weaving craft in Kenya. The technique used to
create these unique bags was traditionally used to create baobab baskets and
has been reworked to be included in a collection of luggage. The globalisation
of the local craft industry is a worldwide phenomenon, and has led to many
craft practices being re-introduced into the market; this is an example of one
of these. The baobab weaving craft is being kept alive with these new market
opportunities. As well as a close link to Kenyan heritage and tradition, the
brand is based on a more sustainable goal, the local community, with 50% of
profits from the products being fed back into the community who create the
woven pieces (Yazeed Kamaldien, 1/6/14). Although based in Nigeria, this brand
establishment displays the notion of dying craft techniques being re-vitalised
by global recognition.
This company uses local crafters and the saving
of a specific craft practice as the major selling point of their products.
Unlike, the Craft Guerrilla, Buyu Luggage is aimed at a more luxury market
focused on people who are willing to pay much more to have a story behind their
possessions. Buyu luggage gets its place in the craft industry through the
craft recognition, many people are interested in this African craft which has
been used for years and has been put to a new purpose. This brand also plays
with ideas of sustainability, helping the local community and created more
eco-friendly products. These credentials mean that there is a wealth of
articles on this small African brand and demand is ever increasing. They are
leading to the set-up of an online shop shortly, but for the time being this
local craft is only available in Africa.
Both the businesses have managed to achieve recognition
in the textile industry, managing to stay afloat amongst the mass produced
textile industry. They both take very different ways of creating their place in
the market and this indicates that there is a desire for both types of
products. Without this desire for the craft industry, both businesses would
have died out. As more and more businesses focus on handmade values and the
‘Made in England’ label, it clear that craft is relevant in 2015.
How relevant is the craft industry to the consumer in 2015?
In a market focused on fast fashion, quick consumption and
cheap items, there is still part of the textiles sector reserved for craft
practice. The explosion of a globalised textile market, making much of design
mass produced, seems to have offered craft makers with new and exciting opportunities
instead of pushing a movement away from it. Both digital print and CAD
embroidery offer smaller makers with a step up into the market, and many of
them are taking advantage of this opportunity. The internet offers exciting
opportunities for recognition and many people are using it. This has recently
led to a huge push towards the handmade with the introduction of the ‘Made in
Britain’ label.
It is clear that mass production and fast fashion make up
the majority of the textiles market, but there is a desire, amongst consumer’s,
towards quality, handmade goods. It may only be a small part of the market, but
whilst the desire is still there, the craft market will still thrive.
This report has completely changed my idea of craft and
through research linked to my current studio practice, I want to explore
further. Instead of creating the new and innovating new ideas in textiles,
perhaps it would be best to explore craft technique and passing on the values
of it through teaching methods. Is this the way we can keep craft practice as
well as the craft market alive? The secret to this lies in the teaching and
passing on of skills and knowledge, so they are not lost or forgotten.
Appendices.
Appendix 1
Questionnaire.
1. Gender. (Please
circle appropriate)
Male Female
2. Age. (Please
circle appropriate)
16-26
27-36 37-46 47-56
57-66 67-76 77-86
86+
4. Where do you buy
most of your clothing/textiles from? (Please circle appropriate)
High Street Chains Online Independent
shops
5. What do high
street chains offer that independent shops can’t?
……………………………………………………………………………………………………………..……………………………………………………………………………………………………………..……………………………………………………………………
6. Have you
considered buying anything from online craft websites, such as ETSY.COM? (Please
circle appropriate)
Yes No
7. Would you be
willing to pay more for a more individual, personalised product? (Please circle
appropriate)
Yes No Undecided
Appendix 2
Email from Emily Curtis, Smiths Row Gallery manager.
“Dear Nathan,
How are you? So sorry to have delayed my response. We have been manic here for
the last fortnight and I am now only just getting round to looking at all of my
emails.
In terms of the way in which the shop works, we have indeed seen a definite
rise in the amount of digital processes. The use of digital means is apparent
in textiles, print making, and wood, with laser cutting and with some
jewellery. It would appear that mark making, by hand, has dwindled in its
importance with many emerging makers favouring CAD based processes or other
digital means.
Textiles certainly have a strong emphasis on digital design with the shift away
from traditional hand crafts, such as weaving, felting etc. And, as you know,
we are seeing a resurgence of these types’ crafts but they tend to follow a
certain price point and are not always accessible to all, in terms of sales of
high end craft in a retail environment. Printed textiles tend to sell better
for us as there is a lower price point.
We choose work in a variety of ways, either through direct approach from the
makers themselves, travelling to high end craft fairs, (Made London, Top-drawer,
New Designers, Tent and Design Junction and by one to one through our Artist
Surgery programme. We also take part in the Crafts Council, Professional
Development scheme, Hothouse, which presents a range of makers at different
stages who have been previously selected for our Christmas exhibition.
Could I ask you what statistical information you need? I might be able to help
you with it?
Any more info needed just give me a shout.
Hope you are well?
Emily.”
Appendix 3
Appendix 4
Bibliography
BBC, (2014) BBC Bitesize,
http://www.bbc.co.uk/schools/gcsebitesize/design/textiles/texsystemspracticesrev3.shtml,
Last accessed 4th January 2015.
Charles Arthur, (2013) Ethiopia’s Solerebels Handcraft Eco
Shoes and Win,
http://ourworld.unu.edu/en/ethiopias-solerebels-handcraft-eco-shoes-and-win,
Last Accessed 28th January 2015
Crafts Council. (2014). The Importance Of Place. CRAFTS. Last Accessed, 2nd
January 2015.
Crafts Council. (2014). Why Machines are Not the
Enemy. CRAFTS. Last Accessed, 2nd January 2015.
Dr Julie Brown. (2014). Making It Local: what
does this mean in the context of contemporary craft? May 2014. [online]. 1,
all pages. Available From:http://www.craftscouncil.org.uk/content/files/Crafts_Council_Local_Report_Web_SinglePages.pdf.
Tristram Shepard (2004), Design & Make It!
Maximise Your Mark Graphic Products Revision Guide, Cheltenham: Nelson
Thornes.
