A new report from the European Craft Alliance prompts the question of how we promote authenticity.
“This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man”
William Shakespeare, Hamlet
If you’re reading this on the Internet, you’ve probably encountered a crowd of pop-up advertisements (not on Garland, of course). How do you promote handmade objects amongst gadgets, fast fashion and viral memes? Three new reports provide a European perspective on the place of craft in the contemporary market.
A European craft perspective
This year, the European Craft Alliance published three reports funded by the Creative Europe Programme of the European Union as part of the EU-co-funded CRAFTING project. While the European Market for Crafts is regionally specific, the other two reports have broad relevance. These reports were produced by Ohayō, a brand consultancy that follows Japanese principles.
Let’s look at the two general reports.
Understanding the New Technological Context for Craftsmanship—A Study on the Integration of Digital Design and Fabrication Technologies in the European Craft Sector focuses on the impact of digital technology on craft. It reveals many impressive new developments in European craft that utilise technologies such as 3D printing, CNC milling and artificial intelligence. Material experimentation is a strength of European craft, which is well articulated in forums such as Glenn Adamson’s Material Intelligence series, Grant Gibson’s Material Matters podcast and the Loewe Craft Prize.
The underlying principle of this material focus is modernist: individual designer-makers push the physical boundaries of craft. We are very familiar with this story in domains like science and technology. But it’s not the only story. As I’ve argued elsewhere, craft can also play a critical role as an antidote to “progress”, particularly as AI threatens to take away human agency. And in the Asian context, craft is more likely to have a symbolic meaning as an expression of cultural identity, rather than a source of innovation for its own sake. However, it is possible to encompass both futurist and traditional approaches in a diverse craft world. The point is not to privilege one as more “forward-looking” than the other.
The third report is particularly interesting as a speculative take on the value of craft in the different consumer segments. Unveiling the Potential of the Craft Sector: A Study on Production and Business Opportunities identifies several “megatrends” that may be useful in product development and marketing. Megatrends “capture the social, cultural, and artistic feelings and moods” of the time and can give value to brands and products.
Their report identifies six megatrends:
- Ancestral is in vogue
- Craft & technology
- Ode to imperfection
- Hacker culture
- Survival
- Make it simple
The first megatrend is most relevant to the makers featured on the Garland platform. “Ancestral is in vogue” involves “a reinvention of tradition aimed at finding a place for it in the contemporary world.” This translation of ancient techniques is evident in many of our stories, such as Bubu Ogisi’s revival of African masquerade. What’s critical here is that ancestral quality is not something added for its fashionability: we have faith in Bubu’s underlying commitment to her culture—it’s not a gimmick.
Strangely, the examples that Ohayō offers have absolutely nothing to do with tradition. They link the “ancestral” megatrend to two practices: biomaterials as a way of connecting to nature and blockchain solutions that guarantee authenticity. The designated “lighthouse” example for this megatrend is Miss Clazie Studio, which produces leather made with bioplastics. While these practices are important and innovative, they highlight innovation, not tradition.
Making tradition a “trend” is contradictory.
This mismatch signals an underlying problem with the statement that “ancestral is in vogue.” Making tradition a “trend” is contradictory, as though we might say, “timelessness is in fashion.”
Underlying this is an issue with the basic premise of such marketing, which usually focuses on an individual consumer seeking sources of pleasure. For many cultures, the value of ancestry precedes the individual self. It entails a moral value (duty) that acknowledges our debt to previous generations. We need to understand the past in order to imagine a future, as in the Tongan saying, “The past is in front of us.”
An Indian craft perspective
Shakil-bhai and Khushbu Matthur discussing design options
I was curious to get an Indian perspective, so I asked one of our perennials, Khushbu Mathur, who helps artisans find their markets. From our conversation, I learnt that Khushbu always begins her collaborations with the artisan’s perspective. For Khusbhu, craft technique is non-negotiable: the artisan’s “signature” cannot be changed to suit market trends. What Khushbu feels she can suggest is a new “application” that might help them align with a different market. A block printer might use the same blocks but with a different colour. She might also suggest ways to customise the garment to different measurement systems.
Khushbu described working with Shakil-bhai, a sixth-generation batik artisan. Shakil faces the challenge of the perception of batik as a cheap fabric. “His vision is to bring back the glory of batik. So his entire family is producing very high-quality boutiques.” She was able to suggest particular designs that would fit all sizes and highlight the natural dyes. This range was a sell-out.
Considering the statement, “ancestral is in vogue”, it would have seemed odd for Khushbu to say to Shakil-bhai, “You should do something traditional because that’s the latest trend.” Traditional is “timeless.” That’s what “traditional” means. It is not conditional on a market fluctuation.
So, how do we promote authenticity authentically?
The importance of trust
Authenticity is not a marketing gimmick. It involves a relationship of trust between maker and consumer. This is the underlying principle of Garland, where every story has an author. When we read one of these stories, we establish a trusted connection to the author, especially if we’ve listened to their welcome message. We carry this relationship forward if we read another of their stories or follow up on their social channels. This relational value is exclusive to humans. ChatGPT can never generate that relationship, no matter how perfect the text.
Similarly, when we buy directly from the artisan, we build a relationship that is then embodied in the product. We presume that the artisan has made something not just to please us. Something of the artisan’s core values is present in the product, which we thus support with our purchase.
As a stark demonstration, consider the spate of AI-generated campaigns which market mass-produced products as lovingly crafted by venerable individual artisans. Such advertisements undermine the relationship of trust that gives value to the handmade.
Consumers of craft foster authenticity through their curiosity.
The challenge of authenticity rests not only with the producers. Consumers of craft foster authenticity through their curiosity. They’d like to know who made the product—where, when and with what materials. Garland feeds this curiosity by privileging the maker’s voice.
Putting this criticism to one side, we should be grateful to the Europeans for the work they do in showcasing individual excellence through their elegant museums, generous prizes and elaborate reports such as the CRAFTING Europe series. While they may not have the same cultural meaning as other regions, they help raise the value of craft as a whole.
But there are other perspectives. Poetically, the difference between East and West is reflected in the origin of the sunrise versus the destiny of the sunset. We need to balance the lure of the new with the guidance of the old.
