Les Métiers D'art, D'excellence Et Du Luxe Et Les Savoir-Faire Traditionnels : L'avenir Entre Nos Mains

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Les Métiers D'art, D'excellence Et Du Luxe Et Les Savoir-Faire Traditionnels : L'avenir Entre Nos Mains Les métiers d'art, d'excellence et du luxe et les savoir-faire traditionnels : L'avenir entre nos mains Rapport à Monsieur le Premier ministre de Madame Catherine DUMAS, Sénatrice de Paris Septembre 2009 Sommaire Introduction ______________________________________________________________ 1 20 propositions pour une nouvelle dynamique en faveur des métiers d’art __________ 3 I. Dans leur diversité, les métiers d’art constituent un atout certain pour la France ______________________________________________________________ 5 A. Une hétérogénéité à maîtriser pour plus de visibilité________________________ 5 1. Les définitions existantes, un point de départ très utile ______________________ 5 a) Les trois critères des métiers d’art_____________________________________ 5 b) La nomenclature officielle___________________________________________ 5 2. Une diversité qui rend leur délimitation complexe __________________________ 5 a) Description n’est pas définition_______________________________________ 5 b) Les trois grandes familles d’activités __________________________________ 6 (1) Les métiers de tradition_________________________________________ 6 (2) Les métiers de restauration ______________________________________ 6 (3) Les métiers de création _________________________________________ 7 3. Une définition plus précise et plus complète pour mieux saisir le réel___________ 8 a) Préciser les critères ________________________________________________ 8 b) Compléter la liste des activités _______________________________________ 9 B. Une place toute particulière dans l’identité culturelle de la France et dans son économie___________________________________________________________ 11 1. Une culture nationale attachée aux métiers d’art __________________________ 11 a) Une tradition ancienne_____________________________________________ 11 b) Le XVIIIe siècle ou « La perfection de l’art français » ____________________ 13 c) Une tradition que la Révolution française ne remet pas durablement en cause _ 13 2. Un rôle économique à plusieurs dimensions______________________________ 15 a) Le rôle économique direct__________________________________________ 15 b) La vitrine de l’industrie du luxe _____________________________________ 17 c) Un capital précieux : l’image de la France _____________________________ 19 (1) Les métiers d’art expriment et confirment « une certaine idée de la France » 19 (2) Des perspectives de développement prometteuses ___________________ 20 II. Les trois axes d’une nouvelle dynamique en faveur des métiers d’art__________ 23 A. Encourager et généraliser la dynamique d’innovation déjà engagée__________ 23 1. Une évidence déjà intégrée par plusieurs métiers d’art : la tradition a besoin d’innovation___________________________________________________________ 23 a) L’innovation par les nouvelles technologies____________________________ 23 b) L’innovation par le design__________________________________________ 25 (1) Le design pour développer de nouveaux produits____________________ 26 (2) Le design pour revisiter les modèles classiques _____________________ 29 2. S’appuyer sur les instruments de soutien publics à l’innovation ______________ 29 a) Adapter l’action d’OSEO aux spécificités des métiers d’art________________ 29 b) Développer un outil stratégique qui a fait ses preuves : le crédit d’impôt en faveur des métiers d’art _____________________________________________________ 30 (1) Un dispositif récent ___________________________________________ 30 (2) Un dispositif plébiscité ________________________________________ 31 B. Améliorer la reconnaissance spécifique des métiers d’art à différents niveaux _ 31 1. La reconnaissance de la valeur des métiers d’art __________________________ 31 a) La dynamique engagée par la création du label « Entreprise du patrimoine vivant » ____________________________________________________________ 32 b) Le développement des instruments de la reconnaissance de l’identité des métiers d’art 33 (1) Vis-à-vis des professionnels eux-mêmes __________________________ 33 (2) Vis-à-vis des jeunes, cible privilégiée_____________________________ 34 (3) Vis-à-vis du grand public ______________________________________ 36 (4) Vis-à-vis d’un grand public particulier : les artisans amateurs __________ 37 c) La valorisation des hommes n’est pas exclusive de celle des produits________ 38 2. Une reconnaissance institutionnelle plus cohérente des métiers d’art __________ 39 a) Une multitude d’associations et organisations professionnelles _____________ 39 (1) Une association d’utilité publique : la SEMA_______________________ 39 (2) Les associations organisations professionnelles _____________________ 40 (3) Les organisations plus généralistes _______________________________ 42 b) La nécessité de remédier à l’insuffisante coordination des administrations publiques ___________________________________________________________ 43 (1) La tutelle théorique du ministère de la culture ______________________ 43 (2) Les autres ministères concernés _________________________________ 44 (3) La nécessité de réserver un département ministériel aux métiers d’art et du luxe 45 C. Préserver le patrimoine national que constitue les métiers d’art _____________ 46 1. La formation des artisans d’art de demain _______________________________ 47 a) Soutenir la transmission des savoir-faire_______________________________ 47 (1) Étendre le dispositif sur les maîtres d’art __________________________ 47 (2) Développer les formations par binôme ____________________________ 50 (3) Créer un conservatoire des outils ________________________________ 51 b) Repenser la formation _____________________________________________ 51 (1) Mieux enseigner les matières de base _____________________________ 51 (2) Élever le niveau de qualification_________________________________ 52 (3) Renforcer les liens avec les professionnels _________________________ 54 2. La préservation d’un modèle économique fragile__________________________ 57 a) Maintenir la commande publique ____________________________________ 58 (1) Adapter les marchés publics ____________________________________ 58 (2) Soutenir les grands projets _____________________________________ 59 b) Accompagner les métiers d’art et du luxe______________________________ 59 (1) Étudier la mise en place de mesures spécifiques_____________________ 59 (2) Soutenir le développement à l’international ________________________ 60 (3) Préserver la distribution sélective ________________________________ 61 (4) Encourager les initiatives en interne ______________________________ 61 c) Lutter contre la contrefaçon ________________________________________ 62 Annexe I Liste des métiers d’art ____________________________________________ 65 Annexe II Liste des personnes auditionnées ___________________________________ 72 Annexe III Comptes-rendus de déplacements et d'auditions _____________________ 76 Introduction Monsieur le Premier ministre, Les métiers d’art sont avant tout des métiers de passion. Il est difficile de comprendre les enjeux de ce secteur si on n’intègre pas cette donnée essentielle. Travailler dans les métiers d’art, c’est souvent l’engagement d’une vie. Cette passion est le fil d’Ariane qui unit des métiers pouvant être parfois très différents, de la dorure à la haute-couture en passant par la fabrication de porcelaine. Mais cette passion, si elle constitue une force indéniable, ne préserve pas pour autant ce secteur des difficultés. Comme les autres secteurs d’activités, et même parfois plus que d’autres, les métiers d’art rencontrent des difficultés pour s’adapter à un environnement économique et social en profonde mutation. C’est pourquoi, vous m’avez chargée d’une mission, afin de faire un état des lieux sur les métiers d’art, d’excellence et du luxe et sur les savoir-faire traditionnels, dans le but de formuler des propositions visant notamment à améliorer la transmission des savoirs, à favoriser le développement des nouvelles technologies et à dégager une approche globale et interministérielle des enjeux de ce secteur. Les soixante-douze auditions et vingt-deux déplacements que j’ai pu effectuer, tant à Paris qu’en province, m’ont confortée dans l’idée que les métiers d’art étaient une source de richesses extraordinaire pour notre pays, tant d’un point de vue culturel qu’économique, qu’il convient non seulement de préserver mais aussi de développer. A mille lieux de l’image poussiéreuse de l’artisan âgé tourné vers le passé, j’ai rencontré des hommes et des femmes dynamiques et enthousiastes, pleins de créativité et entièrement dévoués à leur entreprise. Je voudrais les remercier très chaleureusement du temps qu’ils ont pris pour me faire partager leur passion, leurs projets mais également leurs difficultés et leurs inquiétudes. Malgré l’extrême diversité de leurs statuts, qui vont de l’entreprise unipersonnelle à la multinationale du luxe, ces métiers sont confrontés à des problématiques communes. Cette communauté d’intérêt, la « grande famille des métiers d’art français », est bien réelle, même si certains n’en n’ont pas toujours conscience. Elle est notamment visible à travers la question de la transmission des savoir-faire et de la formation, qui constitue l’un des défis majeurs des métiers d’art pour les prochaines années. De nombreux artisans d’art vont en effet prendre leur retraite. Faute de repreneurs, certains métiers risquent de disparaître totalement, mettant en péril non seulement le patrimoine culturel de notre pays mais aussi un certain nombre de secteurs économiques qui
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