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Valuing the Unique: Re-Thinking Scale

February 24, 2016/in Articles/by Judy Frater

a talk given at the Indian Institute of Management Ahmedabad, for
“Crafting Luxury and Lifestyle Businesses.” February 2016

Two important marks of luxury are customization and hand-work.

Paradoxically, craft is often valued as inexpensive. How do we bridge this gap so that the artisan benefits, so that we can insure that quality hand work will continue?

What is the most ethical way to engage artisans in luxury work?

When I originally made this presentation, it was as a keynote address for the International Textile and Apparel Association. At that time, I was asked to consider the role of textile artisan work in the fast emerging “creative economy.” I had to think on that. Traditional craft in the contemporary world is an evolving relationship. Society evolves, the market evolves– at an ever faster pace. Artisans try to keep up their own evolution, with integrity. There is an inherent challenge, however, because craft is NOT fast. The stage at which we have arrived, which is just that: considering traditional craft in the context of the creative economy, is the most challenging yet. I do not yet have solutions, but I am working on defining the points we have to address…

To me, the key point is Value. While we celebrate the unique, how do we insure that we also value it?

There is a range of craft practiced today, from traditional to professional/ commercial. I am focusing on traditional crafts, those that are an integral part of culture, and express identity and cultural heritage, and those that are designed as well as made by the artisan.  I believe that we need to address traditional craft to keep genuinely valuable hand work not only alive but evolving.

We know there is a market for good, tradition-based craft, (which is also called “folk art.”)

In India, we are blessed with a robust urban domestic market. In addition, a growing number of artisans from India, and all over the world, have had the opportunity to attend The International Folk Art Market| Santa Fe, now considered the apex of the traditional craft market.

The IFAM |SF has been growing since 2004. Here are some statistics for 2015:

173 folk artists from 57 countries

19,000 visitors

$2.9 million of folk art sold in 21 hours

Average booth sales over $20,000

This is some good evidence that there is a market- and value- for craft with excellent design, production and market readiness.

But the Santa Fe Folk Art Market’s reach is limited. What percentage of world artisans would 173 be? And a number of these artisans are returnees who have come to depend on the market for a comfortable livelihood.

If we want to celebrate the unique, how can the other thousands of artisans all over the world find a market to value their work so that they can increase their income to an equitable and sustainable level? Because in many places, when artisans cannot earn equitably, they simply leave craft.

How are artisans going to market?

We can we learn a lot from the International Folk Art Market.

It celebrates- and values the unique. The event has been voted #1 art festival in the USA and a top 20 must-see event globally! Buyers fly in from all over the country and the world to experience this event, when surely they could buy craft closer to home.

One key to its success is the personal, joyful connection between maker and user– the original essence of traditional craft.

But, where to go from here? One thing I hear continually is “scaling up craft production.”

Funding agencies overtly or covertly make this a prerequisite for fundable projects. Sometimes scaling up is mentioned in the same breath as lauding the personal aspects of craft!  I keenly question the fit of “large scale” and “Folk Art.”

Is this simply an assumption based on an industrial-oriented society?

Who is asking for scale in craft?

Do Artisans want scale? Traditionally, craft was never done in big scale. In fact, in Kutch it was a part-time occupation, practiced in lulls of the agricultural cycle. The consumers, traditionally, were well known and production was close to customized.

My concern is that scaling up will extinguish the essence of hand made craft. If craft is mass-produced, what is the meaning of hand work? Did we not invent machines to do just this: mass produce?

The next question is, how much do artisans need to produce to be economically viable?

I asked the three SKV artisans who participated in the IFAM| Santa Fe in July 2015 their views on scale. Interestingly, they represent three levels of scale:

Junaid, a block printer does large-scale work. He said, “There is demand for scale, and an advantage, but it requires standardization, accurate costing, and a good capital base. We have both scale and quality, but we have problems with colour variation. So we work with customers who accept this.

Abdulaziz, a bandhani artist, has increased his scale to mid-range. He said, “With increase in scale, there is a compromise in quality. We need and want to increase scale. But the question is, how to do it and keep the quality?”

Dahyalal, a small scale family production weaver, said, “I don’t believe in large scale for craft. It is then not craft.”

Scaling up is the industrial model, with the goals of faster, cheaper, and more standard production. For craft and artisans, growth must engage the vital aspects of traditional art:

  1. First, folk art is hand made. It is the creation of the human hand guided by the human spirit.
  2. Folk art is slow, labour intensive,
  3. Folk art limited in production- or one of a kind, and full of quirky character.
  4. Folk art has meaning. It is the expression of cultural heritage and identity.
  5. Traditionally, folk art is crafted of natural materials, with ecologically sound practices.
  6. Folk art is produced in rural, remote regions of the world.

If artisans are not interested in scale, is it craft consumers who want scale?

Most often, the customer for craft is not interested in mass production; that is why s/he is buying craft. An informative study of craft markets done by the Craft Council of England in 2010 elaborates on what craft consumers want.[1] First, in England craft consumption is significant. 63% of the population consumes £913m/ of craft a year.

Craft consumers tend to be women, educated, older, culturally active, open and independent thinking. More important, the study defines cultural consumption and it correlates craft buying choices to current consumer trends.

English consumers value craft in terms of authenticity, quality, workmanship, and personal touch. In a time termed the Era of Consequences, consumer demand has shifted towards value-centered products that meet emotional as well as functional needs. People buy craft as a unique and also ethical route for consuming objects. They consider craft buying as an experience, and a new way of signaling connoisseurship. In short, scaling up hand craft production will not likely meet the needs of these consumers.

The study I am citing was Euro-centric, where there is a sense of “creative economy,” and hand craft is relatively rare and perceived as valuable. In applying its findings to traditional craft in developing countries there are some significant differences. In India, for example, craft is not so rare. There are large numbers of traditional artisans (as well as others who have acquired craft skills).

Foremost in this scenario is the core issue of value, which becomes aggravated with scaling up craft. In the social hierarchy of India, working with one’s hands is equated with low social status. In order to create a greater supply of lower value craft, Master Artisans, those who are economically stronger, employ other artisans as job workers at the lowest possible wages. This further reinforces the perception that the artisan is a laborer. Thus the artisan as well as the craft is de-valued.

India is not yet conscious of a creative economy. Although- as in the West- machines have taken over the work of the essential, craft continues to be considered in terms of productivity. Government policies view craft as languishing, an inferior type of production, and subsidize handloom artisans to produce plain white cotton-polyester sheets for the Indian Railways, and yardage for children’s school uniforms. Higher value products such as saris and scarves are woven by power looms.

Clearly, the essential characteristics of craft that are valued by consumers in England are not yet well recognized!

In addition, because artisans are perceived as anonymous workers- hands without heads. many good artisans aspire to not working but supervising others- the Peter Principle.

But, the cultural consumption market is not primarily price conscious. So, thinking from the needs of both artisans and consumers, can we think of enhancing value rather than volume? This would mean better wages and better quality of life for more people- horizontal expansion

Genuine enhancing of value for craft begins with perceptions of artisan and craft, from the perspectives of artisan, society and consumer. Thinking on this, and beginning with self worth of the artisan, I launched design education for traditional artisans of Kutch, which I have run for a decade. Design is recognized as valuable– til now, more valuable than craft. It was in directing the program, that I realized that a key result of the education was to encourage the unique. In 135 graduates, we had clear success in individuals emerging in better markets– and no duplication.

After operating the design course for 8 years, I realized that to reap full economic benefit, a bit of business was also needed. So in 2014, I started a course in Business and Management for Artisans. The key learning from this course was the importance of ownership, which dramatically increased capacity, and the value of artisan and craft.

Both courses end in public events.   Fashion shows compel the public to value craft and artisans in other ways. Student- planned and implemented exhibitions in prestigious venues in Mumbai provide immediate confirmation of increased value.

Design and entrepreneurship tap individual creativity and unquestionably generate higher value, as well as diversity. Diversity has in turn expanded the market. Artisan designers have increased their income from 10 to 600% and enjoyed new opportunities. Significantly, when asked when they felt their craft was most valued, several artisans responded, “When we are teaching.”

Education for artisans has increased the value of the unique among artisans in one region of a developing country. From this microcosm, we zoom out to the original question: where are artisans with increased capacity going to market their work? Or, perhaps this can be re-worded: how are artisans going to tap that craft market that we have begun to define?

I would like to think of creating a model from the original situation- scaling out, rather than up. This would look like small-scale artisan designer entrepreneurs creating one of a kind or limited edition, highly valued craft. The amount of work produced would be about the same- maybe more! But diversity, de-centralization, ownership, and value would be increased, and benefit would be widely shared.

To build such artisan enterprise, we need to develop an appropriate market.

Arjo Klamer, Priyatej Kotipalli, and others at Erasmus University write of nurturing a Creative Craft Culture.[2] In such a culture, crafts would encompass what we are achieving through education for artisans:

-Young people viewing the creative crafts as a career worth striving for

-Strong traditions of apprenticeship

-A strong sense of tradition,

-Recognition of the masters; fair and effective

-A strong sense of collegiality among creative craftspeople

-A spirit of creativity and innovativeness

-A strong appreciation of entrepreneurship

– Core values and a clear sense of mission (promoting and sustaining quality, contributing to a joyful and inspiring life)

Equally critical for this culture are:

-people who know the world of creative crafts

-appreciation of creative quality

-willingness to pay

-Significant local demand as well as international interest-

So, what Artisans- and craft consumers need is a network of venues in congruence with unique work. Imagine a marketing organization that comprises small, unique venues across the country…. Or the world.

The point of developing local demand is an important one. It will insure broad sustainability. To raise the value of craft to that of design, Marketing is essential.

Consumer trends indicate directions –targeting consumers of luxury goods who are looking to signal connoisseurship in new ways, and people with ethical or ecological motivations.

Do we dare to market traditional craft as valuable for its creativity, authenticity, and uniqueness, and as luxurious for its limited edition, bespoke quality?

The final, critical third component in developing a Creative Craft Culture is:

strong intermediaries- in addition to special shops, experts, journalists, scholarship, and intensive discussions of the works of creative crafts people.

Success is first determined by experts, then by others who pay attention and are able and willing to pay the price. As a wonderful example, three Somaiya Kala Vidya artisan designers- Dahyalal Kudecha, Abdulaziz A. Khatri, and Khalid Amin Khatri- were included in the contemporary design section of a major exhibition at the V&A Museum in UK, Fabric of India. Not only that, but it has been noticed and discussed!

We all can play a part in building a Creative Crafts Culture, insuring that unique craft traditions are not just celebrated but also valued, and insuring that artisans benefit equitably in the process.

[1] McIntyre, Morris Haargreaves, Consuming Craft: the Contemporary Craft Market in a Changing Economy. London: Crafts Council of England, 2010.

[2] Klamer, Arjo, Priyatej Kotipalli, Lili Jiang, Dr. Anna Mignosa, Prof.

Dr. Kazuko Goto, and Thora Fjeldsted , “Crafting Culture: The importance of craftsmanship for the world of the arts and the economy at large.” Erasmus University, June, 2012.

https://textileslive.com/wp-content/uploads/aziz-w-elizabeth-crop-tight-sm-0108.webp 523 460 Judy Frater https://textileslive.com/wp-content/uploads/TextilesLive_Logo_150.png Judy Frater2016-02-24 15:08:062023-04-04 21:05:47Valuing the Unique: Re-Thinking Scale

Design Matters: A Discussion Between Artisan Designers of Kutch and Craft Experts of India

February 14, 2016/in Articles/by Judy Frater

from a translation by Nilanjan Mondal, SKV Programme Coordinator

On 24 October 2016, the artisan design students of Somaiya Kala Vidya in Kutch participated in the final jury of their eleven-month course. Jury members included world renowned designer Ritu Kumar, Anuradha Kumra, senior designer for Fabindia, Gita Ram, Chairperson, Crafts Council of India, and Reena Bhatia, Design Faculty at Maharaja Sayajirao University Baroda. That evening, SKV held a seminar for the artisan design community and this expert panel. Following is a translation of the discussion.

From Handicraft to Design Craft: Marketing Tradition in the Contemporary World

Judy Frater, Founder Director, SKV- We started SKV to take a program to an institute, because design education is important for artisans. We have reached an era where craft is in demand, but artisans, whose heritage is craft traditions, are becoming laborers. So in our education we aim to bring value to art and artisan. When we held our final presentation I saw hope in artisans and their families. As Aslam realized, craft is not just livelihood. It is cultural heritage. When artisans value this, so will the world.  There are many challenges to bringing tradition to the appropriate market. I hope this evening we can take full benefit of our highly experienced panel with an open discussion between artisans and jury.

 Shweta Dhariwal, Designer and Moderator-Let’s begin with fashion. How important for an artisan is an understanding of trend forecast?

Anuradha Kumra, Senior Designer, Fabindia –I personally feel that it is very important for an artisan to have a fair idea what is going in the fashion world. I am not saying that artisans should follow trends blindly. They are a guideline. if artisans can take some direction or inspiration it is useful. Fashion is entertainment. Everything is in fashion. You just need to interpret properly. Artisans are now going to foreign countries and participating in different exhibitions. Everywhere people have different taste. You have to know the particular market or customers you are targeting, and what to include and what not to. When we buy products for Fabindia for example, we keep in mind that West Bengal’s taste is different from Ahmedabad’s. Trend forecasts can help you understand these variations.

Ritu Kumar, Designer – I agree with Anuradha to some extent, but at the same time I also feel that fashion, colour etc. does not work in the craft sector. Whatever you are making or producing has to be appealing.

Reena Bhatia, Faculty Maharaja Sayajirao University- You have traditional knowledge but if you are not able to make products according to market demand, you will never succeed. Taste changes. We did a project with weavers of Paitani saris. They had not innovated and were not getting enough work. We kept the same colours and fabric but changed some layouts and the saris sold.

Shamji Vishramji Siju, weaver and SKV Advisor- Based on my experience, I feel that we should balance fashion and tradition. Previously we used to make dhabla/ blankets. Now we are making stoles, dupattas, shawls, etc. But all are based on our traditional design. Market demand changes every year. If you focus only on fashion, two or three years later you may lose the market, but if you keep a balance of fashion and tradition, it will give you decent business for a long time.

Laxmi Kalyanji Puvar, suf embroiderer and SKV Faculty- What do customers want in suf embroidery? I made butterfly motifs in suf embroidery. Customers at an exhibition in Mumbai did not like them because they looked like machine embroidery and were modern. I explained my concept and my work. But customers advised me to stick to tradition.

Gita Ram, Chairperson, Crafts Council of India- If your design is good, colours are good, the quality of the fabric is good and you are in the right market then you do not need to think so much. Your product will sell.

Laxmi Kalyanji Puvar- I understand that, but I still want to know exactly what the market wants?

Ritu Kumar- The Market does not know what it wants! You have to show it what it wants!

Dahyalal Kudecha, weaver and SKV Faculty- We always talk about customers’ demands. What about artisans’ desires? Do we ever think what artisans actually want?

Anuradha Kumra- I would like to point out that you artisans actually brought market-oriented product innovation. I joined Fabindia in 2008 and that time there was a huge demand for short kurtas. The demand for dupattas was going down. You brought us stoles with the designs and colours of dupattas and it worked out tremendously. So you innovated on the product using a balance of market demand and tradition. Fabindia is proud to give you a platform where you can showcase your designs, your traditions, and your creativity.

Juned Ismail Khatri, Ajrakh Printer- Originally only three ajrakh products were made: a lungi, a turban and a shoulder cloth. Now you will find at least twenty ajrakh products. Allah has given us brains. We just need to use them. If you know how to balance between tradition and the fashion world, you do not need to think about how to get an order.

Adil Mustak Khatri, Bandhani Artist- Should craft be mass-produced? If the same design is replicated in 2,000 pieces or 3,000 or meters is it going in the right direction?

Reena Bhatia- If you are the creator of the design and are replicating it without compromising the quality of the product, it’s fine. It is good that a large number of people will get products you have designed. That will help you create your own brand, your own identity in the market.

Shweta Dhariwal-  It is many artisans’ dream to work with Fabindia. But considering Fabindia’s large-scale production, small-scale artisans can’t even think of it. What possibilities do artisans with limited production capacity have?

Anuradha Kumra – In weaving we started with Shamjibhai and gradually ordered from other artisans who had limited production capacity. We did this with other crafts too. In Fabindia, you are all welcome. We understand that all products can’t be mass-produced. We send some products to only 30 out of 200 stores, and some products to only 5 stores. We have many inspiring stories. One woman from Chennai started working with Fabindia in 2008, with only two sewing machines. Today she has 150 machines and her annual turnover is 6 crore.

Khalid Usman Khatri, Ajrakh Printer- Someone liked one of my products and placed a huge order. But I am a small artisan with limited production capacity. Should I take the order or should I leave it?

Anuradha Kumra – We have a very good example, Jabbarbhai, who gets orders for 30,000/ meters of running fabric. He takes the entire order and splits it between 5 or 6 people. Everyone is happy.

 Soyab Abdulkarim Khatri, Ajrakh Printer- You mentioned brand. All design and BMA graduates have created their individual brands. But how can we promote our brands in the market? We do not get invitations from some exhibition organizers, as they do not know us. What do you suggest?

Reena Bhatia- Have patience. Ritu Kumar is now a brand but she had to struggle forty-five years. Forty-five years ago the road was not as smooth as it is now. You can use e-commerce, Facebook and other social network sites, create a blog, a website.

Soyab Abdulkarim Khatri- I have been working with e-commerce sites and I have a personal website. But I still feel that I have not been able to promote my brand.

Reena Bhatia- Don’t try to rush. Keep doing good work. If your products are good they will automatically promote your brand.

Gita Ram- And I will invite you to exhibitions in Chennai, Hyderabad and Karnataka!

Abdulaziz Alimamad Khatri, Bandhani Artist- How can we solve the problem of design copying or stealing? For example, screen printers are printing block print designs in huge quantities. What kind of designs should we make so that they can’t be copied?

Ritu Kumar- I know this is a common problem in every craft. But keep in mind that people who are copying your design will not be able to make products with the same quality as you make. People copy because your work is good and there is a demand in the market. If you have nothing in your hand, nobody will copy you. But copying is actually diluting. If your craft is diluted, what is its future? Don’t be de-motivated. You have design education and lots of creativity. This is your intellectual property. Someone can steal your design but no one can steal your intellectual property. Keep going forward, make new designs.

Gulam Husain Umar Khatri, Bandhani Artist and SKV Advisor- As a traditional artisan, I feel that whatever happens, we should not lose our confidence. We have to be strong. As a real artisan we should make only quality products. Never compromise quality.

Khalid Usman Khatri- What should I do if, for example, I am asking Rs 500 for a particular product and the customer says Rs 450? If I do not sell it in that price he will go to another artisan.

Anuradha Kumra; – There is no right answer. You need to take decisions individually. I would say customers need to be more sensitive, and artisans should avoid competition among themselves. Otherwise it will be dirty.

Khalil Usman Khatri, Ajrakh Printer- We all know that Khadi Bhandar is a central government organization. A few months ago I bought some khadi from Khadi Bhandar, Bhuj. I had some doubts about the quality. Judyben confirmed that was not khadi. How can we find quality materials when we can’t trust a government agency?

Gita Ram – This is really unfortunate. There is a lot of corruption. The only recourse is for you to be knowledgeable and careful when you buy materials.

Shweta Dhariwal- Besides quality materials, what else do artisans need to consider to become successful in business?

Reena Bhatia- I feel that they should think of environmental sustainability. If artisans can focus on water use, how to store the rainwater and recycle dye baths, and even set up solar panels in workshops it will help to promote businesses and brands. Sustainability can be a selling point for products.

Shweta Dhariwal- How can the government provide for craft development?

Ritu Kumar- The government has a handicrafts development board, money, power, and facilities, and can assist craft development. But its role should be restricted to dispensing money and providing facilities to artisans. It should not interfere in design and marketing. I really object that the government calls for tenders in hiring designers. They select the designer who gives the lowest budget! Tell me how many good designers would apply in that situation? This has an adverse effect.

Sandeep Issrani, English Teacher, SKV- I feel that there is a lack of awareness about craft. We could increase awareness by launching a campaign about SKV’s work in schools, colleges and other institutes. Our design and business graduates can help us spread awareness.

Gita Ram- That would be a good direction, and I would like to tell you that in the South- in Hyderabad, Karnataka and Chennai- there are already craft teachers in every school.

Reena Bhatia – If I had never tasted jalebi I could never choose jalebi as my favorite sweet. The same is true with craft. If people do not know craft, how could we expect them to buy it? We have to increase customer awareness of craft.

Shamji Vishramji Siju- For the last few years we have already been bringing students from schools and colleges in Bhuj and Madhapur to Bhujodi. They spend the whole day observing the process of weaving and go back and share with their parents.

Shweta Dhariwal- SKV is doing artisan-to-artisan outreach, with artisan designers of Kutch guiding weavers from Bagalkot and embroiderers from Lucknow. Maybe SKV could do a project where artisan designers and faculty work with students of schools and colleges in Kutch.

Lokesh Ghai, Designer and SKV Governing Council Member – How can artisan designers and urban designers work together?

Ritu Kumar- This is a very important question for the next century. When an artisan becomes an artisan designer, s/he can develop designs and provide them to the world. I understand that many of the young generation feel that craft has a limited future. But you are the future of traditional craft. You have a tremendous resource. Do not dilute it.

Shweta Dhariwal- Let’s hear from this year’s soon-to-graduate artisan designers. What was your experience this year?

Mustafa Khalid Khatri, Ajrakh Printer- I had been block printing for two years. I did not want to be a job worker. I wanted to move ahead. The design course at SKV really brought changes in my attitude and thinking level. I gained the knowledge to describe my work and sell my products in the high-end market. SKV helped me open my mind.

Razak Anvarali Khatri, Bandhani Artist- SKV provided me confidence to make different kinds of designs and target the high-end market. I can play with design principles and hope people will like my work.

Poonam Arjan Vankar, Weaver- I have been weaving for the last 20 years. I have participated in various exhibitions. SKV helped me become more confident. Now I can see a bigger dream. If we do our craft well, there is great scope. We can be more successful than if we do a job.

Reena Bhatia- Can we all make a promise? How many of you will promise that you will teach your craft to your children?

(Here, the entire audience enthusiastically raises their hands.)

Abdulaziz Alimamad Khatri- I have the answer to your question. Today I came here with my daughter. I am a design graduate, but I never told my daughter to learn craft. Rather, I always respect her individual preferences. But now she is interested in craft, and she is learning bandhani from me. So it is a live example. We have already started the process.

https://textileslive.com/wp-content/uploads/who-wants-their-children-to-be-artisans-sm-5720.webp 306 460 Judy Frater https://textileslive.com/wp-content/uploads/TextilesLive_Logo_150.png Judy Frater2016-02-14 15:11:402023-04-04 21:06:05Design Matters: A Discussion Between Artisan Designers of Kutch and Craft Experts of India

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