The loaded history of crafts is once again timely, with its antagonism towards mass production, tinged with ethical implications, coupled with new conditions in the world and in the market—from a general awareness of the environmental crisis, to the attempt to price and sell design differently to appeal to art collectors. Exhibitions and conferences abound, most recently with the phantasmagoric Power of Making show at London's Victoria and Albert Museum in 2011, curated by Daniel Charny, and the Me Craft/You Industry symposium launched by Jurgen Bey and organised by Premsela, the Netherlands Institute for Design and Fashion in late January 2012 at the Zuiderzeemuseum in Enkhuizen, to celebrate a show titled Industrious|Artefacts: The Evolution of Crafts.
There's nothing haphazard about choosing examples in Great Britain and the Netherlands, for these two countries are at the epicentre of the Crafts Renaissance. In Great Britain, structural engineering is almost considered a branch of aesthetics, and ceramics were the precursors of the Industrial Revolution in the famous Wedgwood factories of the 18th century. It is the country where craftsmanship and standardised manufacturing have shared the most productive dialogue and opposition, but also where mechanisation first took command and where its limits and potentials were first discussed.
![Top: Working phase
for <em>Madame Dakar</em>, M’Afrique
Collection by Moroso,
designed Ayse Birsel and
Bibi Seck, 2009. Above: Andreea Mandrescu,
<em>Inlaid Fantasies</em>, 2011. The
combination of materials
predominantly includes
fabrics, different kinds of
rubber, faux fur, veneers and
leather Top: Working phase
for <em>Madame Dakar</em>, M’Afrique
Collection by Moroso,
designed Ayse Birsel and
Bibi Seck, 2009. Above: Andreea Mandrescu,
<em>Inlaid Fantasies</em>, 2011. The
combination of materials
predominantly includes
fabrics, different kinds of
rubber, faux fur, veneers and
leather](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_9421_AndreeaMandrescu71.jpg.foto.rmedium.jpg)
![A handcrafted object
from the <em>Botanica</em> series,
2011. By exploring the
history of natural polymers,
Formafantasma produced
their own interpretation
of plastic materials with
a collection of objects
expressly designed for Plart A handcrafted object
from the <em>Botanica</em> series,
2011. By exploring the
history of natural polymers,
Formafantasma produced
their own interpretation
of plastic materials with
a collection of objects
expressly designed for Plart](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_8394_botanica_061.jpg.foto.rmedium.jpg)
The evolution in the role of technology has brought a cathartic return to the roots of making
![Julia Lohmann,
<em>Belinda</em>, 2004-2011. A series
of leather sofas in the shape
of headless cow torsos, each
upholstered with the high quality
leather of exactly one
cow Julia Lohmann,
<em>Belinda</em>, 2004-2011. A series
of leather sofas in the shape
of headless cow torsos, each
upholstered with the high quality
leather of exactly one
cow](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_8774_Cowbench_Belinda_031.jpg.foto.rmedium.jpg)
![Ma Ke, <em>Wu Yong
collection</em>, 2008. The
voluminous, sculptural
garments highlight the
qualities of organic materials
and the value of handcraft Ma Ke, <em>Wu Yong
collection</em>, 2008. The
voluminous, sculptural
garments highlight the
qualities of organic materials
and the value of handcraft](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_1354_Earth_031.jpg.foto.rmedium.jpg)
![<em>Merrick</em>, design Daan
van den Berg, a series of
objects obtained by infecting
the cad files of ikea products
with a virus which causes
random deformities <em>Merrick</em>, design Daan
van den Berg, a series of
objects obtained by infecting
the cad files of ikea products
with a virus which causes
random deformities](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_3767_pr_LAMPJE-1.jpg.foto.rmedium.jpg)
![Terracotta container from
the <em>Quirky</em> series, 2011,
designed by Israeli designer
Talia Mukmel. She took
inspiration from the crafts
and basic materials used by
African tribes Terracotta container from
the <em>Quirky</em> series, 2011,
designed by Israeli designer
Talia Mukmel. She took
inspiration from the crafts
and basic materials used by
African tribes](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_2351_taliamukmel_91.jpg.foto.rmedium.jpg)
![Hella Jongerius, <em>Frog Table</EM>
(Natura Design Magistra)
for Galerie kreo, 2009.
The table’s decoration
becomes an almost
autonomous 3D figure Hella Jongerius, <em>Frog Table</EM>
(Natura Design Magistra)
for Galerie kreo, 2009.
The table’s decoration
becomes an almost
autonomous 3D figure](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_6277_Table-grenouille-11.jpg.foto.rmedium.jpg)
![Hella Jongerius,
<em>Embroidered Tablecloth,</em>
1999, limited edition.
Decoration is reintroduced
as a meaningful component
in design Hella Jongerius,
<em>Embroidered Tablecloth,</em>
1999, limited edition.
Decoration is reintroduced
as a meaningful component
in design](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_6952_EmbroideredTablecloth_RGB.jpg.foto.rmedium.jpg)
![<em>Vermelha</em>, an
armchair designed by
Fernando and Humberto
Campana for Edra, 1998.
An expert weaver takes
four days to build it, using
500 meters of special
rope with an acrylic core
and covered in cotton <em>Vermelha</em>, an
armchair designed by
Fernando and Humberto
Campana for Edra, 1998.
An expert weaver takes
four days to build it, using
500 meters of special
rope with an acrylic core
and covered in cotton](/content/dam/domusweb/en/design/2012/03/26/states-of-design-11-handmade-design/big_377712_7219_Vermelha-Giuseppe.jpg.foto.rmedium.jpg)
Notes:
1. Iftikhar Dadi, The Future is Handmade: the Survival and Innovation of Crafts, in Iftikhar Dadi (a cura di), Prince Claus Fund Journal 10a, L'Aia, December 2003, p. 5