Craft Research - Volume 2, Issue 1, 2011

This article explores a different strategic role for the crafts in relation to contemporary industry, together with an analysis of potential benefits considered in two ways: first, as a pervasive craft influence to stimulate new design thinking, markets and values, within appropriate industrial contexts; and second, as a series of hands-on, craft interventions that directly affect the quality, aesthetics and role of products. The article examines the current and potential position of the crafts relative to art, design, industry and consumer culture, through a series of related schematic models. These trace the relationship of craft to practice, thinking and influence, and identify the related demands on the craftsperson in the move from a personal paradigm of making to the broader paradigm of production. It is argued that contemporary crafts should contribute to the production of socially directed goods of long-term value to a wider society than the current craft market niche.

This article aims to discuss the use of crafting as a reflective tool in creative practice in relation to a particular historical context. The task will be approached by introducing the project 'Power of Everyday Life', which includes an exhibition at the Gallen-Kallela Museum, Finland, as well as the craft-related processes of participating artists. In this article, we discuss the processes related to the making of the works by four of the exhibition artists. In this study, the provided historical context functions as a shared platform that offers a variety of approaches to the given task, dependent on the experiences and life situation of each artist. Working in the context of practice-led research, we utilize our position as reflective practitioners, i.e. practising artists who document, reflect and contextualize our own craft-related processes in the field of art and design.

In contemporary, pre-industrial, developing societies, either consciously or unconsciously, craft is a valued part of everyday life: objects made by hand may be looked after and repaired when broken, rather than being discarded. Careful adjustments to the design and making processes are often made in order to adapt artefacts to suit new functions. If developed, industrial and post-industrial cultures are to meet the challenges presented by the need for sustainable production methods, as well as sustainable consumption, the way that objects are made and the meaning they hold for us as producers and consumers must change. Traditionally, craft places an emphasis on the relationship between maker, materials, techniques, skill, environment and end user, and, as a means of production, can contribute to the movement against consumerism by foregrounding the qualities of artefacts that connote and embody the concern for sustainability.

The digital printing of textiles currently encompasses a wide range of processes, from craft related to technology based. As a result, artists, designers and craft practitioners are increasingly provided with new and exciting ways of combining and intertwining multiple layers of meaning from within the handmade and the digital. This article focuses on doctoral research into some of the opportunities for, and consequences of, using craft practices as interventions in the digital printing of textiles.

The article discusses a number of issues surrounding research through design (Frayling 1993: 1; Scrivener 2009: 76), and considers the impact that multiple materials, multiple processes and multiple technologies can have on practice. It seeks to explain why established research methods and methodologies are often inadequate for capturing and analysing the range and depth of interactions that exist between the material and the immaterial in digitally printed textile design. It argues instead for the development of a new generic methodology to take advantage of advanced technologies and extend existing methods for the benefit of researchers, practitioner–researchers, artists and designers, in order to bring the digital printing of textiles into line with established disciplines, such as those from the social sciences.

Social and economic development is more likely to succeed if specific cultural conditions are carefully nurtured through higher education and enterprise. When we reflect on the unifying potential of craft it may help us to improve prosperity. From this perspective, craft connects artists, writers, designers, musicians, conservators, farmers, gardeners, engineers, masons, scientists, chefs, surgeons and manufacturers. It may also provide a blueprint for a national innovation system, for a life that involves a drive to create something and a desire to consistently evaluate how craft, science and technology may be used to the benefit of society, education and the economy.

The discipline of design is constantly reshaping itself. In the case of craft, it is increasingly discussed in the realm of the economic world, although craft is normally associated with culturally orientated themes and the preservation of established craftsmanship. This article shows how the Finnish economic press represents craft as a part of the field of design. The main questions are how the economic press describes craft and how representatives of craft contribute to the press discussion. Altogether, 102 articles concerning craft and craft practice were included in the research materials for analysis. The classification of themes has been used as a method of data analysis. This study applies a hermeneutic approach through which the representation of craft is described and classified. Craft and design are linked to the larger social and economic context in the pages of the economic press. Based on the interpretation of the author, it is suggested that there are three major themes that emerge from the media publicity of craft in the economic press. These are (1) local cultures, history and traditions, (2) communal and societal themes and (3) the presentation of craftsmen's personality and practice. These are significant because the economic press tend to construct the meaning of craft in society on these socially acceptable and culturally shared meanings.

This article references ongoing research undertaken by Cockpit Arts, with a focus on the findings from Raising the Bar – a study of growth trends among Cockpit Arts studio holders and the impact of incubation on their development (Cockpit Arts 2009). The research project reflects Cockpit Arts' interest in raising aspirations for improved profitability and success in the craft sector and in highlighting the role that incubation can play. The article first outlines the aims and context of the project, the research methodology employed and some of its limitations. This is followed by a summary of the key findings, headlined by the fact that craft businesses at Cockpit Arts are experiencing significant business growth, despite a tough economic climate. The evidence highlights a number of key drivers contributing to this growth including craft discipline, age of business, product innovation, market diversification beyond the UK contemporary craft market, successfully outsourcing manufacture and exploitation of intellectual property through licensing. The article continues by exploring some of the barriers and challenges facing makers today in terms of business growth and sustainability. Incubation is shown to contribute to business growth through the mechanisms of strategic planning supported by one to one coaching and access to finance in particular. The research shows, however, that no set business model or combination of incubator services can guarantee business development or growth. One size does not fit all. To conclude, I argue that while measuring the impact of incubation is challenging, it can play a significant role in craft sector development. In particular, I make the case for an approach that focuses on the development of the owner-manager in order that they can exploit their creativity in the most effective, sustainable and profitable way.