The Cloud x British Council
อ่านบทความภาษาไทยได้ที่นี่

Alison Welsh was a regular in the front row of London Fashion Week.

In the eighties, she was one of the Knights of the Long Table, predicting the colours of the forthcoming fashion season two years ahead.

She collected photos from fashion shows as quickly as possible, to gain inspiration and learn about the influence of culture on British fashion, and compiled a book of the latest trends, newest colours and designs and sold them all over the world.

She was a fashion consultant for many big fashion companies producing jeans or sportswear. She gave them information and reassured them they were on the right track.

Fashion was fast, but Alison was faster. She knew which colours designers would use, or saw the shirt collar before they even sketched it.

ผ้าทอ, น่าน

All of that happened more than 30 years ago when Alison was fully immersed in the fashion business. When she decided to start a family, Alison moved away from London to work as a fashion design instructor at Manchester Metropolitan University.

Nowadays she travels all around the world. One of her tasks for the British Council is to teach young Thai designers and develop handwoven textiles in the Nan Province.

The day we met in the Pua District, Nan Province, Alison wasn’t wearing anything ultra-modern. On the contrary, she wore a handwoven Indian cotton dress which she got 10 years ago, and was very proud of.

The Head of Fashion Research at MMU hasn’t turned her back on pretty clothes, but she is so certain that the fashion business which is the second dirtiest industry in the world next to Big Oil will eventually lead to craft and become environmentally responsible.

“The fashion world will slow down — this is our only path since we don’t have another planet to spare.”

ผ้าทอ, น่าน

Before working here, I’ve heard that your previous job was great fun.

I was working in fashion trend prediction. I was not quite comfortable with the word “prediction” because it sounds like a mystical thing. Actually, my work was based on facts, gathering information and making decisions.

In the early eighties, Jean-Paul Gaultier was a big influence. His fashion show was a theatrical extravaganza but still very trendy. When I was younger, I would sit in the front row and take photographs of fashion shows. I would absorb and digest that information. My predictions were quite accurate, especially for menswear since the change is quite small. It’s easy to say next year the colour is going to change from a subtle grey to a warmer grey, the collar will get smaller or suits will be double-breasted.

I worked closely with big companies. They would come and talk to me every season. I would do presentations 18 months ahead of the season, or two years for colour. I never knew what year it was because my brain was always a few years ahead.

Why did you have to start work so early prior to the season?

Colour is the first thing in the season and the most interesting because when you choose the colour, you give it to the textile mills, and they then weave the clothes. The textile mills need at least six months to weave.

ผ้าทอ, น่าน

ผ้าทอ, น่าน

How did you predict fashion?

I always had an eye for designers introducing new works, influential films, exhibitions, music or even poetry. I would be looking at a broad range of influences on fashion and colours. In England, I used to go to a colour group meeting with people who worked in the textile industry. We would meet and decide twice a year what colour to use in the next season.

I was probably the youngest person at the meeting. The day before I would collect information; I would buy books on painting, or anything else that inspired me because we had no internet. I would refer to an exhibition I saw in Paris or Florence.

We would sit around a long table and wait for our turn to explain our thinking to the others. When we sat down, the first person expresses their thoughts, and then the next, and so on. By the time six people had taken their turn, it became very interesting because there would be similarities between them. Some might say warm grey and a touch of brown and the next person would say they had grey too. I’ve been looking at concrete and hard surfaces and urban landscape. Somebody else would say they had been looking at architecture and white and grey.

Although our own research was conducted instinctively, by the time all those very knowledgeable people had come together, the result was very interesting. After the meeting, the group would collect all the information and publish a British colour card, and that went into an international group where all the different countries matched. The Japanese, British, Italian and French would all meet and do the same thing. From there, the international colour card would be published and sold at Premier Vision — a big textile fair in Paris.

Do these countries still have a colour group meeting?

They still do it nowadays but there is no longer a trend book. A lot of people kept those expensive books. They’re full of design ideas. I would draw ideas and publish images, details, technical information and trend pages. Companies in Japan, America, Australia and England used to buy them.

Now we live in a completely different world. Everything is on the internet instantly. Burberry did livestream years ago.

ผ้าทอ, น่าน

Can we predict fashion now?

I don’t think we can do it anymore. Silhouettes, shapes and skirt lengths belong to the past. Now anything goes and people can wear whatever they like — something from 10 years, 20 years or 30 years ago and nobody cares.

What is the current fashion trend?

People are looking at different things now. Fast fashion is cheap and affordable, especially for young people. In England at the moment, online companies are doing very well. Very often young kids will buy six outfits, and have them delivered to the house the next day. Kids can try six things on, choose which one they want to keep and send the rest back.

A lot of companies are looking at methods of dissuading customers from sending so much back. If it fits the body really well, customers are unlikely to send it back because they look great in it. Many companies invest a great deal in making garments fit properly. They measure hundreds of size 8 women — it’s both difficult and interesting.

The problem is there are those who want to buy something really cheap from a store. They can wear it that night and never again because it looks good on Instagram or for a particular occasion.

I can understand that. When I was young I made my own clothes. I understand the need for instantaneous change and the excitement of wearing something new all the time. Most people get bored with their wardrobe or what they are wearing — I used to, but don’t anymore.

Why?

If you keep something for longer you go through a barrier whereby you become less bored with it. You start to love it again. I got this dress 10 years ago and I’m happy to wear it today, even more than I was 10 years ago because I kept it and looked after it.

The research on why people keep garments in their wardrobes is fascinating. It could influence the next design that comes along. People have garments in their wardrobes that they love and never throw away, we keep them for a reason. It might be sentimental, practical, might just fit really well or might be great for every occasion.

In the past, we were embarrassed to keep things for a long time. Now we can start to be proud of them and happy to be able to still wear them.

Alison Welsh อดีตนักทำนายเทรนด์แฟชั่นอังกฤษ ที่ผันตัวมาออกแบบผ้าทอมือไทย

ผ้าทอ, น่าน

If we wear only old clothes then fashion is not predictable anymore. What does the future hold for the fashion business?

The big companies around the world have a department to take care of social responsibility. They’re looking at the future of the fashion business. People are finding a way to reduce the amount of waste. H&M has sustainable projects. They have a big competition on sustainability, and people who are not in the fashion world can apply. They support projects so they can move on. That’s a very clear statement.

Some designers have started to appreciate that and want to produce something to pass on to the next generation with a life beyond the weaver; made slowly, carefully and hand stitched. You can see the love that goes into it. You can feel the spirit of the maker in the items. An exquisite handmade skirt is something you will never throw away. You just know from the minute you look at it that it will pass on from one generation to another.

I was always afraid to wear something made of organic cotton with massive hand stitches but that had to stop. If you have something, you have to wear it. The handwoven natural dyed clothes will fade gently and softly. They are getting better as time goes by, and look better after 10 years — like a pair of jeans.

ผ้าทอ, น่าน

ผ้าทอ, น่าน

How do you know that Slow Fashion is a coming trend?

Years ago, if you went to buy a loaf of bread in Paris, you would just see a smart, pristine bakery but now the oven is in the centre of the shop, and you can see the man making the bread. You can smell the bread, look at the baker, shake his hand and talk about how he made the bread, the flour he used, even the time he got up in the morning.

The craft of food is really obvious now. Not everywhere, but there is an understanding of where the ham came from, or which mill produced the flour in Italy. It is on the label and we can see it.

I think the clothing and fashion industry are not far away from that. People are waking up and beginning to realise the potential of buying handmade or handcrafted items. The food industry is probably 10 years ahead of the fashion industry. We can learn from their achievements. We can absorb their methods. Food has not suddenly become organic or ethical. It’s about every person making an effort to be organic. A move to become responsible in farming. If everybody does a little bit, we move on.

We just need people who really make a difference. Part of that is working directly with makers or cutting down waste. These fabrics are handwoven. It’s a crime to cut them off.

One of the young designers is trying to make a dress without cutting it at all. That is just one small example in Thailand. I have no doubt there are a lot of similar examples all around the world, where people are looking at how to stop wasting fabric and throwing things away because there has to be a future. It has to work that way.

ผ้าทอ, น่าน

ผ้าทอ, น่าน

How do you develop the Pua District’s handwoven cotton?

The fabric we have there has potential. Some of it has been used to make a lovely lightweight coat. It is quite light because it is handwoven and quite warm too.

Now we are working with natural dyes because it is part of the heritage of the region. The countryside in the Pua District has been used for natural dyes or weaving fabric. Ginger fibre or banana bark can turn into fibre for use in bags or clothes. They are organic and wearable. There is knowledge about using trees, and each tree has a value. The rambutan bush can be used for dyeing; banana trees for weaving.

Gradually we are growing used to natural dyes here because they’re slipping away. I’ve been discussing with local artisans about colours that hurt the eyes and colours that are gentle. Chemical dye is easy, affordable and doesn’t run. It gives a strong colour, whereas natural dyes are soft and gentle to the eyes.

Natural colours are so gentle, even the brightest pink obtained from plants is still gentle. You hardly have to make a colour card because natural colours have something in common. It’s quite easy to make it work. They’re already matched.

ผ้าทอ, น่าน

ผ้าทอ, น่าน

What made you come back to Thailand to help these communities?

It’s fantastic to work internationally and I like working with young designers. Part of my job here is to encourage young people to get involved in heritage and tradition. The weavers here are getting older and older — their skills are highly developed, really technical and very sophisticated.

If we turn our backs on heritage and traditions, they will disappear. I don’t want to be too nostalgic because in Britain we lost our handcrafting skills a hundred years ago through the industrial revolution. The whole of Manchester was full of cotton mills before beautiful apartments replaced them.

Dynamic women are running the business here and the community revolves around them. I’m thriving in many ways and it’s fantastic to be here. It’s a real joy to work on a project like this. You can see people really benefiting.

ผ้าทอ, น่าน

ผ้าทอ, น่าน

Crafting Futures supports the future of craft around the globe. This British Council programme strengthens economic, social and cultural development through learning and access. The Crafting Futures project supports practices and people, through research, collaboration and education. For more information, Click here

Here is the list of all the local brands Alison gave her design lessons.

Phaeo Phafai

Facebook | แพวผ้าฝ้าย น่าน
Tel. 089-851-8918

Baan Donchai

Tel. 086-115-8424, 081-366-7323

Baan Sala

Tel. 087-249-8112

KRAM-HUG

Facebook |   KRAM-HUG.co
Tel.  080-104-7150, 085-717-7494

Krit Boutique

Facebook |   Krit   Boutique
Tel. 085-106-9357

RuayBoon Natural Textile

Facebook |   รวยบุญ ผ้าธรรมชาติ : RuayBoon Natural Textile

Writer

ภัทรียา พัวพงศกร

บรรณาธิการและนักจัดทริปแห่ง The Cloud ที่สนใจตึกเก่า งานคราฟต์ กลิ่น และละครเวทีพอๆ กับการเดินทาง

Photographer

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นินทร์ชอบถ่ายรูปมาตั้งแต่เด็ก พ่อแม่ซื้อฟิล์มให้ไม่ยั้ง ตื่นเต้นกับเสียงชัตเตอร์เสมอต้นเสมอปลาย เพื่อนชอบชวนไปทะเล ไม่ใช่เพราะนินทร์น่าคบเพียงอย่างเดียวแน่นอน :)

Crafting Futures

ความสวยงามของงานคราฟต์ที่ไม่ถูกทำให้เป็นแค่กระแส

The Cloud x British Council

Carol Sinclair has run a successful ceramic design business for over 30 years. She is truly an artist but knows she can be more.

Years of experience and meeting many people from all over the world has given her extensive knowledge of the craft business, and she is passing this on to all handicraft artisans. Whether they live in Scotland, Afghanistan, or Thailand, makers and small business entrepreneurs face the same challenges.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

The board member of Applied Art Scotland have collaborated with the British Council in Thailand many times through Crafting Futures to strengthen the craft sector around the globe. Carol has presented workshops for local designers and artisans in Thailand and does not hesitate to share the lessons she has learnt and the tools she believes will lead to a successful creative path.

Do you consider yourself to be a businesswoman or an artist?

A bit of both, I think. I’ve been a business adviser for probably 18 years. I love working with other makers. I came to Thailand in 2014 and worked for the British Council in different ways, as a freelance artist or a project facilitator for different projects. After a while, I looked for different ways to work in Thailand because I enjoyed it so much. 

I recently worked with Applied Art Scotland; a charity set up more than 25 years ago. It runs projects and exhibitions in the craft business for makers to promote each other. We all want to make it easier for one another.

How can you be good at both the commercial and artistic sides of the craft business? Most local makers here know how to make beautiful things, but few know how to run a business.

Every maker I know has this problem because they have so many different jobs to do. They must have the necessary skills and take the time to learn how to make things, as well as have the ability to design and try different styles to find something that works. Then they have to be able to sell it and speak to customers, and also know about marketing. 

I think it’s the same for every small business. For craft, in particular, we need people driven by love. Highly passionate people focus on their materials and skills. But it takes time. How can a craft person find the time to do all these different jobs? It’s difficult. One has to be quite disciplined, and sometimes admit that there is not enough time.

The work I have been doing for all these years involves people needing to work out how to manage their time, how to make the business as straightforward as possible, and how to make it reflect the things they feel passionate about. It’s not about separating the creative part from the business. It’s about finding ways to be creative in marketing. It’s about making it efficient and enjoyable.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

Back when you just started your ceramic business, did society embrace craft like nowadays?

In my experience, this is the best time ever to be a craft person. There is a greater understanding of craft, but I am not familiar with the educational system in Thailand. Back in Scotland, one of the problems we have is that craft education is being lost. I studied ceramics for four years to get better and better and obtained a degree in ceramics. Now, there are no longer any degree courses in Scotland for ceramics. Students can do ceramics as part of something else, but can’t dedicate themselves to study ceramics anymore. They have to go to another part of the world. 

Although craft education is in decline, the interest in craft is growing. The demand from the public to learn about craft is bigger than it’s ever been. It provides lots of opportunities for makers to earn a living, not just from making and selling products but also from teaching. I’ve noticed that there is a much greater demand for teaching craft in Thailand too. Nothing beats being taught face-to-face.

Craft is something everybody should be able to experience. Especially when we become more digital, hand-making and hand skills are actually very important. One thing I think is really important is for school children to be taught craft. The problem in Scotland is that we have also lost craft education in primary school. Children grow up never having a chance to try craft. Crafting skills are completely transferable, so even if someone never becomes a professional craft person, the skills gained are really useful in everyday life. There are stories in Scotland about surgeons who didn’t do craft at school, being sent by the university to make jewellery, to learn how to make things by hand. If someone were to operate on me, I would like them to have very good hand skills. (laugh)

Over the years, I’ve seen many people develop a career in craft later in life. They might have another career first and then finally get the chance to do something they always wanted to do. People come to craft in many stages.

What do Scottish and Thai makes have in common?

Passion – people are very clear about what they want to do. They tend to really care about the environment as well, and often work with natural materials. They care about their communities. Many craft people run social enterprises because they not only want to benefit themselves but the community as well. Craft people are very generous and kind and like to share. They want to support one another, and I like being part of that.

Which qualities do Thai makers lack?

Thai entrepreneurs understand how to sell, but maybe sometimes they don’t tell their stories very effectively. I try to help them understand all the different parts of their stories people will be interested in. It’s not about teaching them to do things differently, but teaching them a little bit about doing it more effectively and telling their stories in a more effective way, and sometimes presenting their work.

The challenges faced by Thai makers are no different to those of Scottish makers. Sometimes it’s about not telling the world everything but trying to tell people something easy to understand which makes sense to them so they can easily connect with it.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor
“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

Can you give some examples?

When I ran my own ceramic tile business, I had at least 20 different designs. When I did a trade show, I was so desperate to show everybody everything I did – all the things I was excited about. People would come to see what I was selling and became confused. They couldn’t see what they wanted because it was too busy. So I learnt that actually it was much better to present a simpler story, full of passion and something I enjoyed, rather than try to tell customers every single thing that excited me. 

So the major issue is marketing?

Yes, marketing is storytelling. It’s also about building a relationship with customers. One piece of business advice I have learnt along the way is that it takes 12 times as much effort to create a new customer, as it does to maintain existing customers. Taking time to build relationships with customers encourages them to come back again and again in the coming years. 

How can you make people believe in your brand?

At home, movement is slow, like slow-cooked food, making things takes time and skills. The appreciation of that sometimes comes from the way stories are told. Again, I have an example of my own experience. When I had just started making ceramic tiles, I thought about the price I would pay for the materials and set the selling price. When I presented my products, people would tell me they were expensive. I thought “Oh, okay” and immediately reduced the price, even though the tiles were handmade and took a long time to produce. 

I thought the customer knew best. But eventually, when I took the time to work out how long they would take to make, how much material was involved, and all the different processes, I should actually have been charging double for my tiles.

I was very nervous when I presented my tiles again. They all said, “That’s very expensive”, customers always think that. Now I can tell them that actually, it’s not expensive, but very good value for money because this tile is hand-painted, I had to fire it many times, and also do various other things to it, and they then understood. They would say, “Okay” and buy twice as many, because they understood the value. This is an example of storytelling – it’s not just about the product, but the story of how it got there and what goes into making it. 

Things that take time need to cost more money but are very good value for money because something well-made will last a long time. It’s an investment. Marketing and storytelling all come together. All the work I do with craft people have the same theme, whether in Afghanistan, Mexico, Thailand, or Scotland. It’s about getting customers to understand what it takes to produce a beautiful item. 

Did you learn that from your own experience or somewhere else?

I have learnt a lot from my own experience. When I got the chance to become a business adviser and trainer I was keen to share my own experiences. Then I worked with all sorts of creative people; musicians, dancers, makers, etc. and realised one of our common challenges was having enough time to do things well. 

As makers, most of us prefer to sit there and create beautiful objects. It’s nice to talk to people, and lovely to feel enthusiastic in a market where people find beautiful objects. They start to learn stories and meet the people who made the products. Connecting to a customer is a fantastic feeling. But it’s such a great feeling just to sit and make things. It’s relaxing and therapeutic. So sometimes we have to push ourselves to the next level. 

How long did it take you to understand these lessons and be able to teach others?

I learnt along the way, but I have a lot more to learn. When I first came to Thailand as a business adviser, I never told people what to do, I just helped them decide for themselves what to make and ask them to set a target. Once they find the answers, it’s much easier to travel in one direction efficiently. People want to buy products that come from the heart.

Which Thai makers have you taught? 

Many of the people I taught in the craft field in 2014 have gone on to become craft superstars. It’s amazing to see them running very successful businesses and becoming curators, like PiN metal art, Thaniya, Mann Craft, and Varni. They were selected to join the craft showcase in London. I’ve been working with some of the most amazing people over the years. To see them grow and build their businesses is very satisfying.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor
“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor
“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

What did you teach them?

I can’t take full responsibility for their fame and fortune. They continue to work hard. But the training was different from what they had been used to. Rather than telling them what they must do, I asked them to do things like draw pictures of their customers and asked them to work together and decide what they wanted to do. It’s a different kind of approach which is more common now. At the time it was quite different from other training sessions. 

As confidence grew in the value of their work, they started to make decisions and push the business forward in the direction they wanted. To be successful, I think it’s very important for a person to take hold of their business. Making people think about their choices is the theme we tried to create, so we made a Digital Craft Toolkit. It’s a free web application. Anybody can use it however and whenever they want. They just need to register to use it.

What is inside the Digital Craft Toolkit?

We developed the toolkit into four sections; the first involves setting goals so people can sit back and think about what they want to do before getting caught up with all sorts of practicalities. If a person knows what they want to do, and is very clear about the goal, then it is much easier to get there. 

The second section deals with developing products. We have a great fun tool called a product randomiser. It will throw out conditions randomly like place, colour, or occasion. We want people to loosen up their way of thinking. They start to have fun with suggestions on how they might develop their products. We have tried to bring a game style into this toolkit to invigorate thinking, instead of dry business subjects. 

The third section is about people telling a story, understanding who their customers are. There is an exercise on attracting customers to help craft people identify customers, not just old ones but to go out there and find the perfect customer. Connecting to people who really understand the craft person’s passion. 

The final section is about money. Money is really important, and craft persons need to know that by selling their work, they are making enough money to obtain a profit and can continue. 

What do people think of this free online class?

So far, people really like it. We did some training last August with over a hundred people. Some of them use the toolkit as a group. Others used it individually. People may want to look at a particular thing or go through the whole thing to create a very simple business plan. It’s quite fun to use. It’s a combination of the work we’ve been doing and the experience I have had with craft makers in other countries. 

Different countries are truly interesting; sometimes it’s a different environment, sometimes different materials, sometimes different languages but the challenges are always the same. How to get people to know the value of the things they do with their hands.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

What makes this Toolkit so practical?

We used Scottish developers to help us, but came to Thailand over a year ago to film some Thai makers. We asked them about running their businesses, and we also asked Scottish makers too, so the toolkit also has a series of short films showing makers we know with very good practices. So people can get inspiration from those who have actually done it. It’s one thing talking about business in theory, but seeing it in practice is so much more useful. Makers are very generous about sharing what they have learnt with other people. When a craft person feels overwhelmed they can watch the films and feel they can be successful too. 

We wanted to make sure that the toolkit was launched here in Thailand, and next year we want to introduce the toolkit in Scotland as well. We are interested in other Crafting Futures projects as well and might develop it in India and Argentina. We want to translate the toolkit and films of the makers to have examples for every country. Wherever a person is in the world, seeing examples from other countries is inspiring, and they will realise most things are the same. Makers feel globally connected and not so isolated when seeing examples of other countries. Even though makers may not speak the same language, they communicate with their hands, so get on very well together. 

 Wanita’s members also joined your workshop. Is teaching local artisans different from teaching designers?

It was one of the most emotional training sessions I have ever given. They want to share with the world that different religions can live happily together. It is such a big message for me to take home. There were no dry eyes on the last day, we all cried. I just realised how difficult life is for them, and if I can help a bit, that’s great. 

It’s amazing to see not just the products, but how happy the makers are. They have real joy and confidence. When we first met, they didn’t even look us in the eye. They were too shy and didn’t feel valued. This morning we hugged and said hello and were really happy to see each other, and that feels fantastic. They have real pride in what they’ve achieved. Their products are absolutely beautiful. The makers are highly skilled and the products have a lovely contemporary feel. They have been making these products automatically for years, now they give them new life. There’s an energy and passion they didn’t have for a while. 

We talked to one of the basket makers. When we first met him he had a very serious face. He was quite sad, and not selling his work and making money like he used to, but now he has a whole new invigorating product range which he is proud and very excited about. He feels very good, as can be seen through his body language. He stands tall.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

The Lipao group used to make beautiful, but time-consuming, baskets that were turned into handbags for traditional ceremonies. There were fewer and fewer markets so they needed to look for a new product. They now make smaller contemporary baskets, jewellery, cufflinks, headbands and hairpieces with a high level of original skills. The bamboo group and the sedge group made a nicely shaped basket. The pandan group made a well-considered collection; a beach set in colours representing the sky, sea and the surrounding nature.

“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor
“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor
“This is the best time to be a craft person” Business advice from Carol Sinclair, ceramic artist turned business counselor

The local artisans made a selective, cohesive collection of work people can really understand and buy. It’s about making a collection, not just some random pieces, to encourage customers to buy more than one, or come back again and again. It’s a way of gaining customers.

What is the problem with the craft market in Thailand? How can Thai craft makers fix it? 

There are many beautiful crafts in Thailand, but one’s eyes can become confused. There is so much indigo everywhere. How can craft people make their products stand out? It has to come from a very authentic place where makers feel pride and passion in what they do. 

How can the makers connect their stories for customers? When talking about the beach that gave them daily inspiration, their customers will want to go to the beach and be part of it. Makers should ask themselves, “What do you do well?” and “How are you different?” People often think a unique selling point is one thing, but it’s a combination of place, heritage, identity, materials, and modern thinking as well. It’s how all those things are brought together to tell a beautiful story in craft. 

If products are very popular, soon there will be copycats. What should makers do? 

That’s a hard one. When people see something they think is successful, they want to be part of that too, but that’s hardly likely to help anyone. The only thing a copycat can do is to make the product cheaper, which doesn’t really serve them well. It’s not their story but someone else’s. We have to explain to everybody that they need their own USP. It doesn’t make sense to copy others. Makers must strive to be unique and by continuing to keep moving, they will always have something to offer.

Crafting Futures supports the future of craft around the globe. This British Council programme strengthens economic, social and cultural development through learning and access. The Crafting Futures project supports practices and people, through research, collaboration and education. For more information, Click here. And Discover Wanita’s craft works from new collection at Facebook : WANITA

Let’s try Craft Toolkit!

Writer

ภัทรียา พัวพงศกร

บรรณาธิการและนักจัดทริปแห่ง The Cloud ที่สนใจตึกเก่า งานคราฟต์ กลิ่น และละครเวทีพอๆ กับการเดินทาง

Photographer

สโรชา อินอิ่ม

Freelance photographer ชอบความอิสระ ชอบเดินทางท่องเที่ยว บันทึกความทรงจำผ่านภาพถ่าย

อ่านต่อ

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