Craft -the state of the nation In last month's newsletter, Crafts Council chief executive Leslie Reed asked questions about the future of Ireland's craft industry. This month, he hands the issues raised over to those in business — the craftspeople and retailers. With a healthy economy and a wider global market on one side, and lower trade barriers with advanced production technology on the other, it's time to take stock and see where one of the last human resource industries stands. What are your feelings on language, categorisation, marketing, sales trends, retailing, display and export? And as we near the millennium, where is the industry headed?
The C word Most who work within the craft industry tend to shrink or shy away from using the word 'craft'. With comments such as 'It's one of the most overused words in the world' and 'I would never describe myself as a craft worker', it is obvious to see that terms such as 'artist' and 'designer' or the more specific titles of potter, furniture maker, silversmith and weaver seem preferable to most. The same holds for those involved with retailing. The days of Ye olde Craft Shopee seem long gone. Craft has developed a business acumen, and now seems to have chosen the more professional terms of gallery, art and design to promote itself. Susan Zelouf, marketing manager for
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Michael Bell Design Furniture Makers comments, 'The word 'craft' conjures an image of something made with a kit. It implies a hobby - something an amateur does for love. Although Michael enjoys his work, he designs and builds furniture as a job, not purely for pleasure.' Martina Gillan, jewellery designer and owner of The Cat and The Moon Gallery in Sligo echoes these feelings. 'Craft workers must make no mistake as to why they're in business. There is a commercial purpose for handmade items that is beyond the aesthetic. Like anything else on sale, craft work is a business. Newer designers seem to have gleaned a greater sense of commerce through training with places like the Crescent Workshop in Kilkenny' So, is the word craft a help or a hindrance for today's creative business people? Textile designer Mel Bradley feels 'We may not like the word, but we must accept its regular usage and make the most of it. We should sell on the hand-made angle... the exclusivity of our trade. Then the word 'craft' can work to our advantage.' This fact seems especially so in Mel's highly
Mel Bradley, hand painted scarf.
Martina Gillan, The cat & the moon, Galway.
competitive field; with so much competition from high street retailers, it is essential to emphasise the originality and exclusivity of a higher priced, hand-made item. 'There was a time when nobody was making scarves, but now, big manufacturers have realised they are the easiest thing to do with textiles as they demand little extra work or finish. We crafts people must distinguish the positive points of our work over the sea of cheaper, mass-produced fashion product on sale everywhere.'
Michael Jackson of Stoneware Jackson is rational on the subject of the c-word; 'Personally, I don't like the term 'craft' and would always refer to myself as a potter, but we're stuck with the word and so must accept its global usage.' Jackson also makes the point that the term craft is a very nebulous one, meaning a lot of different things to different people, a matter also highlighted by silversmith Kevin O'Dwyer's feelings on those who work in highly specialised areas. O'Dwyer defines the role of the craft worker as someone with a valuable skill or knowledge which many, even within the industry will not possess. 'Often the designer will be unable to make their goods without the input of a particular skilled crafts person.'
To market, to market Though it is always referred to as a modern skill, marketing has been with us in one guise or another since barter was invented. However, it is in recent times that skills have become honed, and that the regular business person has had to develop a public persona for the creator and a brand image for the product. For the newcomer, the first marketing hurdle will be getting stocked by the everexpanding specialist craft and design stores and galleries, both here in Ireland and abroad. Martina Gillan of The Cat and The Moon Gallery in Sligo advises the craft workers to be very sure about their product before presenting it to a potential retailer; 'Make no apologies for personal style, and be decisive about and confident in what the product's unique
Exclusivity is also a great selling point to offer well known shops and a great way to get stocked by the larger design stores such as Meadows and Byrne and the Kilkenny shops. The crafts people who can separate their products and sell different styles to different retailers on an exclusive basis will often also benefit from better promotion and in-store displays. Linked into marketing is the task of brand development. Textile designer Mel Bradley has identified the importance of branding in the consumer-led 1990s and is currently researching brand development with other craft workers from complimentary disciplines. This will hopefully lead to export opportunities in the area of fashion accessories.
Micheal Bell Design Furniture Makers. Matador desk, Astaire chair, Drinks cabinet, Entertainment unit in Baldonnel Airport.
properties and selling points are. Presentation is important, but never more than quality and design. Also, don't try to tailor your product's personality to suit the buyer... how can anyone be sure of what they're stocking from a sample range if the true design has been altered? It would be a wasted opportunity to be rejected on a product which doesn't even reflect the craft worker's real style.' Pricing is also of paramount importance, as Commodum's Barbara Duda explains: 'Newcomers to the business must be realistic in pricing their goods. It takes time to develop a product and a brand reputation so those starting out must set reasonable targets. Along with quality, price is the biggest thing which will influence a purchasing decision.' Freda Hayes, Meadows and Byrne proprietor and buyer emphasises the importance of exclusivity. 'Don't sell to a few shops in the same area' she advises 'and try to sell different products to different retailers.'
Looking good Display is a facet which has become more and more important with the growing emphasis on consumerism and competition within the craft industry. Each retailer has his or her own policies as regards in-store and window displays, all based on personal experience as well as industry adages. The Kilkenny stores often involve the craft workers themselves in the layout of a collection, something Michael Jackson has become more involved with in recent years with Stoneware Jackson Pottery. 'This fully integrated relationship has helped us develop a much closer relationship with our wholesale and retail customers. By working with the shop's display team we learn more about who the Stoneware Jackson client is and what they look for in our designs.' Other craft outlets such as The Sun and The Moon in Sligo favour an informal 'gallery' setting, focusing on separate craft
workers from time to time amongst regular stock and thus continuously creating new reasons to visit the shop. Since a recent move of premises, owner Martina Gillan has over 1,000 square feet of retail space to fill, decorate and promote. She generally tries to change windows every three to four weeks whilst inside, stock is rotated and adjusted on a weekly basis, 'this keeps the look of the shop interesting and inviting which is especially important during the off-season months when tourists and visitors to the area are short on the ground.' This is in direct contradiction to Barbara Duda's Dingle-based shop Commodum, 'I rarely change the layout of my store as I'm visited by a mostly tourist customer base throughout the year, therefore there's no point in moving everything around. Also, my local clients are familiar with the layout of the shop and know where their favourite ranges are.'
Export
Craft workers from different disciplines have different feelings towards export. Textile designer Mel Bradley is actively looking towards developing her export market while silversmith Kevin O'Dwyer receives prestigious orders from American stores such as Henri Bendels and Maceys along with lucrative one-off commissions from galleries in the UK, the US and Germany. In contrast, Michael Jackson sees any committed involvement with an export business would result in a complete change in corporate direction. 'We prize ourselves in our ability to respond quickly and innovatively to market dictates within the home market and can operate a small but flexible operation dealing with a primarily Irish customer base. Were that to change, we would loose this market sensitivity and would have to streamline our production in order to compete All retailers have realised the importance of abroad. We probably fall foul of state good shop displays and the larger outlets, agencies and the Crafts Council of Ireland such as the Kilkenny shops, encourage with this attitude, but if we were to move crafts people to make or provide point of into the export market in any significant sale display material — pictures, leaflets, way, we would need to be a completely showcards or anything that can visually different business.' enhance the area without taking from the overall shop's appearance.
On the 'indirect export' side of the Irish craft market, what is purchased by visitors for shipping out of the country is, on the whole, dependent on how easy it is to freight. Some stores and galleries get over this hurdle by offering mailing and/ or freighting services. In general though, the Japanese choose small, simple products, the German customer looks for value while Italians are ruled by style. All in all, shop owners have noticed an increase in the quality of foreign purchases, with tourists eschewing traditional Irish 'souvenir' products for more unique, upmarket, hand-made products. This can only do the reputation of Irish craft proud around the world. In general, retailers agree that at present, it's fashionable to buy Irish — both Meadows and Byrne and the Kilkenny shops are experiencing a huge upsurge in sales of glass, pottery, jewellery and textiles to an indigenous and foreign customer base.
Micheal Jackson Stoneware Jackson Pottery.
pressures of modern consumerism. It is not sufficient for craft workers to be brilliantly creative, they must also be marketer's, business managers, public relations officers, financial wizards and sales agents... but If trends into the new millennium continue this is the challenge the future sets. The along present lines, the future looks good for final word from Susan Zelouf, marketing the Irish crafts industry - provided the manager with Michael Bell Design industry is sensitive to the changes in Furniture Makers: 'We must also make it marketing these trends also indicate. A a priority to educate the consumer as to fashionable flavour for all things Irish is the differences between mass production being pioneered by our entertainment, and craft design — our services and the music and fashion industries, thus creating quality associated with this exclusive genuine and profitable interest in other design business. It is up to us to keep our creative areas — glass, metalwork, knitwear, industry alive.' jewellery, wood and furniture, textiles and weaving are all cutting strides in the US, D-Side UK and Europe on individual and group levels. 2,000 to young potter Mark English. As Ireland develops in line with our European cousins, so do the opportunities for our crafts people - traditional and modern.
Towards the future It is up to each and every craft worker to spearhead their individual destinies. Some disciplines are experiencing a fantastic popularity at present whilst others need to be tailored to suit modern markets. Weaver Liesbeth Mulcahy has recognised the limitations within her craft; 'Weaving has no future as a stand-alone business for me. It is too time consuming and crafts people are scared to charge by the hour. The only way forward for me is to wholesale the scarf designing part of my business both at home here in Ireland and abroad, whilst working to order on my weaving. There is a market for art, and so I must approach my woven pieces in this way and promote them accordingly' There is also a growing interest from the corporate market in the commissioning of individual crafts people to produce innovative gifts, exclusive accessories,
Irish craft standards are high and with the help of Irish colleges and postgraduate centres such as The Crescent Workshop, a new generation of craft workers are emerging with talent, a keen eye for quality and product standards along with the necessary acumen to become independent and self-sufficient businesses. Meanwhile, the Crafts Council continues to try and find additional ways to promote as many craft workers as possible through exhibitions, workshops, referrals, Showcase and tiie
Barbara Duda, shop interior, Commodum, art & design, Dingle.
contract furniture and art works to order. The Irish EU Presidency of 1996 brought with it opportunities for Mel Bradley and Lorraine Bowen to produce gifts on behalf of the Irish government and the new Viking Centre at Wood Quay offered a commission to produce table settings for
new CD ROM database recently launched for the corporate market. It is a demanding time for the Irish craft industry, one governed by strict codes of quality, pricing, image and reputation whilst facing tough competition from abroad, from manufacturing and from the
A comment from the chief executive I hope that Newsletter readers have enjoyed the article commissioned from Melanie Morris of D-Side magazine. I deliberately asked her to interview a broad cross-section of craft manufacturers and designer/makers, as well as large retailers and smaller gallery owners so that no one interest group dominated. There is also a wide geographic spread of interviewees. If nothing else the article demonstrates that there is a very varied set of opinions in the manufacturing and retail sectors! The word 'craft' has its users and supporters (see Michael Jackson's and Mel Bradley's response), but it is interesting to note that they 'damn it with faint praise', and although Michael and Mel may agree on the continued use of the C-word, they have diametrically opposed views on export! This is because we use the words 'craft industry' as a convenience, often more in terms of a scale of manufacture or cultural association rather than because the people in the industry have identical needs. As we all know, the industry is made up of a number of diverse sectors with very different requirements in their marketing and in their cycle of product development. However, it is still up to the Crafts Council to formulate policies which meet the range of demands this creates. Not that we should accentuate the differences too much, as we also know that there are common difficulties faced by all small manufacturers, particularly in making the case of their economic importance to the larger state support agencies and to government. Here, the Council has a vital part to play in representing you, and strongly advocating your economic relevance and the need for state investment in craft and design enterprise. In future issues of the Newsletter we will have more detailed interviews with members of our Register and with our leading craft and design retailers dealing with the specific items raised in this last Newsletter of 1996. Finally I would like to pass on best wishes for 1997 from all of the Council staff.
Kevin J. O' Dwyer Designer/Metalsmith Vessel- sterling silver, acid matte finish.
Showcase Jury Panel 1997
Changes in the Council The Crafts Council of Ireland welcomes Terry Kelly whose appointment as the Council's Chairperson was announced at the launch of the Showcase job figures in November by Richard Bruton, Minister for Enterprise and Employment. Many Newsletter readers will be familiar with her previous work with the Council as Chief Executive. The respect she is held in by the industry, coupled with her experience and knowledge of craft and design, make her a most popular choice, particularly with those who know her.
70% of Village exhibitors took part in the poll which nominated the following: Geoffrey Healy Keith Leadbetter
Ceramics Glass
David Comerford Michael Bell
Wood Furniture
Suzanne May Seamus Gill
Ceramics Jewellery
Mel Bradley Lisbeth Mulcahy
Textiles Textiles
Clive Nunn Michael Roche
Ceramics
Furniture
Panel Members Selected by the Crafts Council of Ireland
We must also bid farewell to Cyril Forbes who has been a very effective chairman at a time of great change both in the Council and in the industry itself. He has won many friends for the unstinting support he gave to craftspeople all over the country and for the natural enthusiasm he brought to his role.
Erika Marks Bernie McCoy Aidan Breen
Jewellery Knitwear Jewellery
Lorna Donlon
Textiles
Michael Jackson
Ceramics
Marie Doyle
Buyer, Design
Lisbeth Mulcahy
Buyer
Weaver
Linen/ cotton scarf, twill weave. 40cm x 178cm
Centre, Kilkenny Helen Kilmartin
Buyer, Minima & Presents of Mind
The Management Committee 1996 Ms. Catherine Jordan
Chairperson
Ms. Terry Kelly
Information Officer
Vice Chairperson
Ms. Hilary Pratt
Admin. Assistant
Ms. Siobhan Doyle
Mr. Ed Kevin
Retail Manager
Ms. Lynn Stephens
Mr. Seamus Gill
Shop Assistant
Ms. Marian Doyle
Mr. Pat McBride
Shop Assistant (PT)
Ms. Ann Dack
Mr. David Comerford
Exhibition Co-ordinator Ms. Rhoda Me Manus
Dr. David Shaw-Smith Ms. Breda Haugh Mr. Knut Klimmek Mr. David Hargaden Mr. Jonathan Ryan Mr. Neil Read Ms. Kaethe Burt-O'Dea
The Crafts Council of Ireland Dublin Powerscourt Townhouse Centre South William Street Dublin 2 Telephone 01-6797368
The Crescent Workshop
Facsimile 01-6799197
Director of Training
Kilkenny
Mr. Leslie Reed
Business
The Crescent Workshop
Development Manager Ms. Emer Ferran
Castle Yard
Training Administrator Ms. Nuala McGrath
Kilkenny
Admin. Assistant
Telephone 056-61804
Ms. Breda Butler
Ms. Mary Jackson
Craft & Design Business Development
Ms. Bernadette Madden
Course Trainer
Ms. Anne Kennedy
Facsimile 056- 63754 All information is published in good faith but without research, so please check carefully before
Crafts Council Staff Thomastown Pottery Skills Course Dublin
Trainer
committing yourself to work or financial outlay.
Mr. Gus Mabelson Please forward all information to
Chief Executive
Mr. Leslie Reed
Administrative Officer
Ms. Margaret Jones
Jewellery Design & Production Skills Course
Nuala McGrath.
Accounts Assistant
Ms. Vicky Mullarkey
Trainer
The copy deadline for the next issue is 7th
Telephonist/ Information Assistant
Ms. Clare Me Parlane
Ms. Jane Huston
February. The print date is 14th February.