Copy of Industry Report.

	Is Craft Practice Still Relevant To The Consumer In 2015?
		Industry Report Nathan Mison BA(hons) Textiles 2015

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	Table of illustrations.
Page 5 - 6	Introduction.
Page 7 – 8	Chapter 1: Exploring A Definition Of Craft And Its Place In Relation To The Wider Textile Industry.
Pages 9 – 12	Chapter 2: The impacts the digitalisation of the textile industry. Has this had an impact on the relevance of craft in the UK?
Pages 13	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.
Pages 14 – 15	Chapter 4: Results of questionnaire, aimed at gaining the consumer’s shopping habits and values in relation to their view of local craft.
Pages 16 – 17	Chapter 5: Case Studies - Contemporary examples of designers/design companies who are based in the craft market.
Page 18	Conclusion: How relevant is the craft industry to the consumer in 2015?
Pages 19 -22	Appendices.
Pages 23 – 24	Bibliography .

Table of illustrations

Cover Illustration.	Image taken by author of own work.
Fig 1 – Bangladeshi factory collapse.	Image available from - http://www.telegraph.co.uk/culture/tvandradio/10980503/This-World-Clothes-To-Die-For-BBC-Two-review-blunt-and-brilliant.html  (Last accessed 28/1/2015).
Fig 2 – Cath Kidston ‘Sew’ book	Image available from - http://www.cathkidston.com/home/knitting-sewing-and-crafts/list?ctry=US  (Last accessed 28/1/2015).
Fig 3 – CAD embroidery Machine.	Image available from - http://erosebarnes.blogspot.co.uk/2012/01/cad-embroidery.html (Last accessed 14/1/2015).
Fig 4 – Digital printer	Image available from - http://www.fashion-incubator.com/archive/introduction-to-digital-fabric-printing/  (Last accessed 18/1/2015).
Fig 5 – Nikki McWilliams cushion.	Image available from - http://www.nikkimcwilliams.com/product/tunnocks-teacake-cushion-2/ (14/1/2015).
Fig 6 – Craft Guerrilla London, Logo.	Image available from - http://www.londonsartistquarter.org/content/craft-guerrilla-craft-book (Last accessed 14/1/2015).
Fig 7 – Buyu Luggage.	Image available from - https://afrosocialiting.wordpress.com/2012/09/29/throw-it-in-the-bag/  (Last accessed 13/1/2015).

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

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