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The Value of Design in Craft for a More Sustainable Future

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The Value of Design in Craft for a More Sustainable Future University of Huddersfield Repository Cassidy, Tracy Diane The value of design in craft for a more sustainable future Original Citation Cassidy, Tracy Diane (2015) The value of design in craft for a more sustainable future. Making futures, 4. ISSN 2042-1664 This version is available at http://eprints.hud.ac.uk/id/eprint/28476/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Value of Design in Craft for a More Sustainable Future Tracy Cassidy University of Huddersfield Abstract: Key concepts of sustainability in the contemporary consumer society include cradle-to-cradle, slow- fashion, locally-made, re-use, recycle and re-make (or upcycle). Each of these concepts focuses on the design and manufacture of products that are essentially made to comply to a theoretical sustainable framework, thus enabling people to live in harmony with our planet. In an ideal world we would consume and waste less however, to be truly sustainable we also require a healthy economy and so there is dichotomy to be resolved in our consumption behaviours and economic needs; Craft practices have been identified as fitting the bill rather aptly allowing us, in theory, to consume goods at less expense to the environment. Currently we are experiencing a period of, let’s call it Crafts Nouveau, unlike the Arts and Crafts Movement of the late nineteenth and early twentieth centuries where craft was employed by designer-entrepreneurs, and unlike the Art Nouveau Movement which again harnessed the skills of designers and artists, today amateur craft-workers are joining the trained artisans in bringing hand-crafted items to the marketplace in their droves. Online platforms such as eBay and Etsy are helping such keen, but untrained producers of craft articles to set up micro businesses to sell their wares adding considerably to the amount of stuff available to consumers. As Luckman (2013: 260) states with regard to Etsy, there is ‘no gatekeeping around formal training’ and that this ‘inclusiveness’ potentially fixes a price of less value to all craft items, including the work of those with comparatively higher skill sets and expertise. The Craft Council (2014) reported 11,620 craft businesses operating in the UK employing around 43,250 people, of which, almost 17% are unregistered microbusinesses; while it is not to say that all of these unregistered 1 businesses are run by amateur crafters, but the concept of devaluing skilled craft labour may still be appreciated within this. This paper explores the value of design in craft from a theoretical perspective, drawing on a broad range of texts beyond those confined to craft to bring about a more holistic understanding within the context of sustainable production, with the addition of observations and insights from personal experience. The personal insights originate from the researcher’s accounts and observations of the journey from crafter to trained designer to master class practitioner in order to better understand the role of design in craft in the applied sense. The researcher continues to practice secondary to academia for the purpose of pleasure, experimentation and for further learning and research purposes. Research approaches are used to develop this inquiry to evaluate the role of design in the wider concept of craft as a sustainable means, both economically and socially. While the larger body of research considers a range of crafts, the emphasis in this paper is on those related to textiles given the researcher’s experience and the relationship with fashion, trends and marketing, which must not be discounted as a driver of the current craft revival. As the research study is still in its infancy the purpose of this paper is to attempt to begin to consolidate a range of perspectives gained from theory and observational research in order to invite a critical debate around the value of design in craft and the new craft movement in the context of sustainable futures. Brief personal background and rationale for the study Crafts have always played an important part in the life of the author beginning with childhood activities such as bobbin knitting, painting by numbers, cross stitch and making small textile animal toys. Some of the activities were undertaken at home and others at school and at Brownies / Girl Guides. Prior to leaving school hand knitting had become not just a hobby but also a means for creating exciting unique wears. There was of course the added attraction of being able to watch television and listen to popular music while making a new garment to show-off at the next high school event or weekend disco at the 2 local town hall. Having learned basic needlework and dressmaking skills at school it felt natural to use these for a new business venture making bespoke bridal-wear after deciding that selling fashion on a market stall had lost its appeal due to the limited stock variations available at wholesalers. The author is blessed to have been taught pattern drafting and pattern cutting by a wonderful elderly lady at adult college who had a lifetime’s worth of experience clothing all members of her family. While bridal-wear design and production was a highly fulfilling and privileged occupation the love of creating the textile as achieved through knitting was sorely missed and instigated a move back to knit. In order to fully appreciate knit design and to refine and expand on production knowledge and skills, at a mature age, the author embarked on an undergraduate degree, BSc (Hons) Knitwear Design & Production, and continued through to Master’s and PhD before establishing an academic career. Forever the student, the author’s love of antiques and vintage for the home led to an interest in upholstery and a master class course was undertaken working with traditional and contemporary techniques and materials. It was at this point that the principles of design and design integrity came to the forefront of the craftwork undertaken; and hence the development of the rationale for this theoretical study based upon reflections of practice and the current popularity of craft-based micro businesses, predominantly through online platforms and craft fairs. Recycling, or re-using products is considered to be highly beneficial to the environment. Similarly restoring items and using upcycle techniques to create new products from old with a higher monetary and aesthetic value have become popular practice incorporating the concept of sustainability. Such practice has enabled many individuals and small companies (micro-businesses) to establish hobby / part-time or full-time enterprises. However, while this practice keeps product from landfill, as new product still floods the market, then there is even more product in circulation and therefore the competition for sales increases. We are all well aware of the compromise on quality for low cost production, it is the quality of the resulting products in the marketplace from the craft-based enterprises operating predominantly through online platforms such as eBay and Etsy that is in question in 3 this study, as individuals with no formal design knowledge or training can easily enter the market; and hence exploring the value of design in craft from a sustainability perspective. An example of poor design in upholstery The chair shown in figure 1 below shows a mid-nineteenth century nursing / arm chair fully re- upholstered in a contemporary fabric and otherwise traditional materials (horse-hair) and techniques. The shaping of the inner upholstery works with the chair frame shown in the two images in figure 2. Figure 3 shows two images of the chair in its previous re-upholstered state where no consideration had been given to the design of the chair frame, nor to the end aesthetic, nor to the use of appropriate materials. While one may profess artistic licence the customer of the chair in figure 3 is getting a substandard product made with materials that are particularly damaging to the environment when discarded to landfill. The author agrees with William Arthur Smith Benson of 1893 (Adamson, 2010: 16) that there is a the need for the student (craftsperson / entrepreneur) to understand ‘beauty’ and to realise a ‘lifelong respect for craftsmanship’ and similarly with Hal Riegger’s insistence when speaking of pottery, the ‘responsibility’ of the craftsperson ‘for the whole process’ having ‘an ethical as well as a practical aspect’ and that ‘apparently simple techniques can often require more rather than less skill, because they lack the safeguards of more technically complex processes’ (Adamson 2010: 34); thus inferring in this that individuals with no knowledge or regard for design and craftsmanship will invariably compromise on product quality, if not also the design aesthetic. 4 Figure 1: Newly upholstered mid-nineteenth century nursing / arm chair re-upholstered in a contemporary fabric with traditional materials and techniques with deep consideration of the frame design in relation to the intended aesthetic look of the end result. Figure 2: The stripped chair frame with new webbing (left-hand image) and (right-hand image) the chair frame with the beginnings of the horse hair stuffing applied to the inner back and sides (traditional materials and techniques).
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