Again, today I continued to write my industry report. Today, it was a lot more difficult as it involved sorting out a lot more research and writing again from scratch. I was working today and perhaps a little distracted, so did not get as much done as I would have like, BUT as my new years resolution states, I will celebrate every victory, however small. Today I have written just over 400 words, bringing my total up to 1,478 Words. As long as I continue to write, I will be progressing in the essay :)
On top of my writing in my research I discovered a luggage brand based on traditional craft. Created by Jeffrey Kimathi, Buyu Luggage is based upon local weaving craft in Kenya which was traditionally used to create baobab baskets. The brand is intended to go global and is based on a more sustainable goal, of sustaining the craft and the local community, with 50% of profits from the products being fed back into the community.
On top of my writing in my research I discovered a luggage brand based on traditional craft. Created by Jeffrey Kimathi, Buyu Luggage is based upon local weaving craft in Kenya which was traditionally used to create baobab baskets. The brand is intended to go global and is based on a more sustainable goal, of sustaining the craft and the local community, with 50% of profits from the products being fed back into the community.
Today's writing...........
The possible impacts the globalisation of the textile industry has on the relevance of craft in the UK.
The expansion of a global craft market brings a wider audience and more opportunities for craft recognition, but is there a downfall in these globalisation? Does local craft get lost amongst other makers from across the continent? And with fast fashion easy available anywhere, is the consumer willing to pay more for handmade? Has large, globalised successful business resulted in a lesser focus on craft?
Businesses see the potential of the craft and handmade sector, and look to incorporate this into their designs. This gives them an edge over the sheer volume of design worldwide. A great example is the global brand Cath Kidston. This brand was established 1993 in a small shop in London, and 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). The company has grown, based on re-creating that individual craft element which is desired worldwide and has recently seen the brand enter the Chinese market. Is this the future of craft, design being mass produced to mimic the craft style? Can this still be considered craft?
However, the Craft industry has seen to adapt the changing nature of consumerism with the introduction of sites such as, ETSY and FOLKSY. These sites are available all over the world and allow anyone to sell their craft products to consumers everywhere. These sites are extremely popular as they allow everyone from student, to part time crafter to sell, and as a result, craft has become globalised. In 2009, Etsy recorded it number of active sellers at 150,000 with sales totalling £110 million to 800,000 and £328 million in 2011. Similarly, Folksy saw sales increase by 526% between June 2009 and June 2012. (Vanessa Barford, 8/11/12).
It would seem that 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 and delivered anywhere. This has put craft back into the public sphere and with the global high-street culture promoting fast fashion, craft offers and individualised alternative. "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 is being described as ‘Craftmania’.
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