Concepts/ Insights

1) Function

2) Story Telling/Narrating

3) Need identification & product making

4) Scope of innovation

5) Different ways to bring in innovation in crafts

1) Promote Make in India etc as a part of country's culture instead of schemes, give more depth to the concept

2) Cross-pollinating the craft skills for innovation

3) Artists exploring their unknown potential during lock down and developing creative ideas that add to their work.

4) Narrative innovation

5) Product innovation

6) Process innovation

1) Aesthetics of the surrounding

2) Material availability

3) Geographical Identity (Natural)

4) Influences of other cultures

5) Inspiration from lifestyle (local)

6) Craftsman and artisan - skill to make it himself

7) Scientist - knew the material and technology well

8) Artist - work was aesthetically pleasing

1) Handicrafts are not a single person job entire family involvement can be seen

2) Sharing responsibilities

3) Transmitted from generation to generation

4) Mastercraftsman to trainee craftsmen

5) Artisans children trying to sell through social media platforms

6) Artisans kids are ready to do jobs at lower pays but are not ready to work hard in their own craft to maybe earn more and promote the craft

7) Person who creates craft objects using traditional knowledge

8) Circular economy principle in crafts

9) Exploring materials and process - Understands demand-supply equation. The dealer keeps getting orders, so he continues working as a craftsman.

10) They make the products as per the client's order

11) Women have additional duties like craft helping apart from taking care of the family

12) wives were assistants and handled part of the production

13) Women are maintaining their families by accepting handicrafts as a source of income and occupation

14) Hard part is done by men

Soft parts like refinements and decoration are done by women.

Women also do household work

15) Example

In the Northeast, more than 90% of women are employed in the handloom sector.

The raw material is supplied and products are collected from them.

1) He is used to sitting for long hours for working. And as for the dust, there is a gas pipe which sucks the dust away which reduces the problem of dust - working condition- artisan finding their own jugad

2) Believes that an artist/artisan cannot handle all aspects without having a large team

3) He is willing to collaborate and learn with other artists and designers

4) Like working with designers, future forecasting sense

5) Does not expect free stuff, give us work, make us make things that will sell

6) Hates people who buy awards and reap its benefits

7) Expect facilities from govt side

8) Does not expect free stuff, give us work, make us make things that will sell

9) Training is necessary for unique, innovative products

10) To Handle digital tools

11) Job satisfaction, doing something new, new challenge

12) Believes that if you are a real artist, you can get in the depths of creativity in this craft

13) Loves being appreciated for their craft

1) Inclusive economy that's owned by the founding stakeholders.

2) Upliftment of artisan's financial standards

3) Introducing standardized work culture to compensate artisans' wages to reflect their level of skills, and experience.

4) Transparency in payments to ensure fair process.

5) Supporting regional craftsmen by identifying their local strengths

6) Encouraging individual artisans towards self-driven businesses and marketing

7) Supporting hand-making in large scale productions

8) Platforms for artisans to speak about their challenges and concerns

9) Addressing the concerns of artisans related to support, assurance and revenue, during the pandemic.

10) Accurate tabulation of artisan population through census

11) Giving credit to the artisans and promoting direct purchase from the real maker.

12) Improvement in artisan's societal perception

1. Workplace safety

2. Physical Work Condition (cleanliness, lighting, temperature, ventilation)

3. No ventilation (High temperature)

4. Infrastructure

    1.Unorganized working environment

1.Long sitting Hours

2.Musculoskeletal disorders

• Back problems

• Eye sight issue

• Grip pain

• Cervical problems

3.Less formal education

4.Hygiene issues

2.Tools and equipments

1. Lack of ergonomically feasible Tools and Equipments for Women Craftsperson for increased efficiency

2. No proper training provided

3. Poor Safety

4. Lack of knowledge about tools

3.Seasonal based problems

1. High temperature in summers

2. No proper facilities ( Electricity, raw material, tools, etc )

3. Material procurement

Opportunity

1. Exercises of hands in between the work

2. Ergonomic interventions

3. and protective equipments

4. Need to improve workstation and workplace

5. environment

6. Need of technological support and training through government platforms

1. Preserves ancient cultures

2. Artisans started to understand the psychology of urban people and deliver what's needed in today's society

   1. Artisan's Behavior

   2. Adoption of newer ideas and values in changing times

3. Ability to transform perceptions

   1. Provides society with valuable information and plays an important role in building social awareness

   2. Puppetry for entertainment and moral education

   3. A strong medium of mass communication

Opportunity

Portable ergonomic workstation

Features

1. Multiple purpose applicability in small electronic repair, costume jewelry, factory assembly, hobbyists, craft workers and the physically challenged, etc.

2. Support frame attached to an arm rest base

3. Optimal positioning of the upper body and the secured working materials.

4. People are coming up with portable workstations concepts where they can adjust their working place as well can be carried along while travelling. Need to improve work stations and workplace because of unorganized working environment which ultimately results in several health problems.

5. Design intervention in tool design with application of technology.

6. Handle of blocks were smaller in sizes which resulted in injuries as well as reduced efficiency but with good utilization of technology, the size of the handle has been increased and there has been change in materials which lead to better efficiency and less hand fatigue. The need for ergonomically designed hand tool

7. interventions that might reduce the accumulation of loss in static muscle strength.

1) Lack of education

2) Poor health conditions

3) Economic downturns

4) Lack of necessary qualification

5) overworked under hazardous environments for meagre pay and in poor working conditions.

6) Most women handworkers do not have employment contracts legal rights or any form of social protection, and are often not paid enough to escape the poverty cycle

7) Women have additional duties like taking care of their off-springs and well being of the entire family

8) 600 million women are in the most insecure and precarious forms of work.

9) Dual role of women

10) Harsh working conditions

11) Gender discrimination

12) Compromised food, safety, sanitation and shelter

13) Struggle to get fair treatment

14) Women are maintaining their family by accepting handicraft as a source of income and occupation

15) Difficult to manage household chores as well as craft work

16) Adult women that work as self-employed within the confines of their homes, and contribute to the family income, engaged in making handicrafts particularly apparel — clothing or beddings

17) The major challenges like inadequate training and access to information, lack of awareness about Governmental programs and work-family interface are ranked by the women artisans.

18) Limitation in women's mobility

19) Designed in such a way which enables women to work at home

20) Lack of safety and security

21) Gender Inequality

22) Lack of business skills in Women

1) Women Entrepreneurship

2) Reduce the gender gap in the workforce

3) Multi faceted Nature

4) Creating job opportunities for other women too

5) Economic establishment

6) Self reliance

7) Reduction in poverty

8) Fairly paid

9) Increase in Productivity

10) Invest time in improving skills and knowledge

11) Committed to career

1) Craft sector has the potential to eliminate existing inequality

2) Effective platform to empower women

3) Overcoming Gendered Challenges

4) Overcoming Gendered Challenges

5) Initiatives and programs to improve living conditions of women in craft and encourage their greater participation, and to equip women with specific skills

6) Attention to women needs

7) Provides more opportunities to learn different skills

8) Women entrepreneurship in the context of society, therefore, good training programs including projects and exhibitions will stimulate entrepreneurial activities

9) Urgency of women’s education was felt and thus facilities for the same were made

1. Homologous clusters Similar Style of craft practices - Transmitted from generation to generation

2. Analogous clusters Different Style of craft practices - Learned from other craft practitioners

1. Ways of growth

2. Ways of survival

3. Ways of sustenance

1. Emotion attached to their Culture

2. Craft as a livelihood is seen by only a small percentage of the communities

3. Identity of crafts- Traditional aesthetics and regional values

4. Creativity highly influenced by their skill and material knowledge

5. Handling specific material and its constraint

1. Cognitive appraisal

2. Subjective experience

3. Physical environment

1. Decision making

2. Problem solving approach

3. Risk taking

4. Implementation

1. Formation of perceptions out of people

2. Situations

3. Environment

1. Production done after order is taken when orders are customized, as per specification.

2. Influence from digital platform in terms of design inspirations like Pinterest, etc.

3. Sales of goods across the globe

4. Making Process Transparency

5. Revival of traditional crafts- The narration of stories attached with the crafts to make younger generation aware about their own traditions.

1. Social media

2. Digital mass media

3. Websites

1. Planning to make online platform but due to internet issues it is not yet implemented

2. Scared of the online mode for the responsibility of breakage of products

1. Quality check of finished products at different levels

2. Competition from fake Chinese products

3. Generally product is produced daily and stored in warehouses, irrespective of order numbers

4. Online platforms make business to customer selling easy. B2B market is difficult.

5. Packaging of products is a problem when shipping

6. Online platform broadens the market reach of craft product from locally to globally

7. Authenticity of products is questionable when purchased through online.

1. Understands demand supply equation. The dealer keeps getting orders, so he continues working as a craftsman.

2. Their only point of contact is dealer. Dealer is the one who manages orders and further ships the products.

3. Work only on the orders they receive as per the client's order.

4. Do not make anything of their wish/ imagination

5. Globalization has impacted the craft sector, as today, every consumer wants branded and international stuff

1. Transmission of values,traditions, behavior, beliefs is easy.

2. Wish to sell the products directly to our customers, more margin

3. Helps in building social relationships

4. Face to face interaction with Seller

5. Freedom of bargaining

6. Sensorial Interaction , Ease in selection of colors, texture and feel of product

7. Ease in decision making and understanding of ambience and environment.

8. Outlets- Local Market, " Craft Mela ", Trade Fair

1. Institutional outlets (NGO outlets, Govt emporium, Shops, educational institute shops etc)

2. Artisan-Student interactions

3. Awareness about the crafts and their culture

4. Outlets- Govt. emporium, International and national Exhibitions

1. Tie-up with other brands

2. Competition within Domestic market

3. Face to face interaction with Seller

4. Sensorial Interaction , Ease in selection of colors, texture and feel of product

5. Outlets- Trade Fair, International and national Exhibitions, Local or Regional market, Flea markets, Roadside stalls.

6. Export, Intermediaries

1. Horizontal work approach instead of top to bottom assigning culture

2. Smooth transition of individual craftsmen into collaborations - Change management

3. Holistic framework in Design Entrepreneurship that is inclusive of Management focusing on Return of Investment and Design focusing on people and society

4. Understanding the emotions that drives employees during pandemic for better productivity

5. Creating talent exchange pools, providing mental counselling, making employees part of a solution, acknowledging the extended workforce.

Mahatma Gandhi had emphasized that handicrafts should be taught “not merely for production work but for developing intellect of the pupils.” And, this idea has been implemented in schools as Socially Useful and Productive Work (SUPW) as per reports of landmark commissions and policy.

Learning by doing,

Work integrated learning,

Respect for manual skills,

Self-reliance through sustainable livelihoods

Craft-centered education creates a balance between theory and monotonous learning through creative stimulation and self-expression.

1. Cognitive / Intellectual

2. Cultural knowledge

3. Haptic modality- Tools / Technical knowledge, Material knowledge

4. Tacit /Intuition Knowledge- Experience and Practice, Embodied Knowledge

1. Awareness

Design education about finer nuances of craft production and manufacturing processes

Craft sensitisation through education from school, university and workplaces

2. Legitimacy

Introduction of craft schools across states of the country that enable assured careers in the line of crafts

Certificate based Training for craftsmen that provides recognition and legitimacy in their practices

Documentation of crafts’ history, making, material, process, techniques, surface

3. Training Artisans

Teaching micro financing to craftsman turned entrepreneurs

Training artisans for life skills, marketing, social media to make craft accessible

Short term craft skilling classes for expanding job avenues

social skills training for artisans to increase their competence

4. Colearning - Designers x Artisans

New contemporary exchange of knowledge between artisans and designers

Lectures and workshops by artisans in design schools with a changed perspective about the craftsmanship of India.

Education - An important role in upliftment of Artisans

Artisans: Self adopted multiple role as a maker, creative thinker, marketer, seller

1. Unaware of Online platforms

2. Unaware of New Technology and tools

3. No proper training

4. Communication

5. Less knowledge about Promotion of crafts

6. Business strategies

7. Problem faced in marketing

8. Unaware of Online platforms

1. Existing Knowledge: SKILL BASED + We need: INTELLECTUAL KNOWLEDGE

2. Work + Personality of the Craftsperson

3. STRENGTHENING IDENTITY OF NATION

4. INNOVATION

1. Loves being appreciated for his craft

2. Expanded his area of work apart from bangles- animals flower patterns etc

3. Either installs machines in their homes, or in his own place

4. Due to COVID - lack of oxygen supply being hinderance in work

5. Shift in material with availability of borosil and china glass

6. Most of the tools are made by themselves

7. Some specialised tools are manufactured on order

8. Intricacy of work increased, due to advanced tools

9. Now work in the nearby Common Facility Centre, Craft Development Institute

10. Thorough understanding of economics, marketing and other aspects which are not directly in the purview of design or creative field & goes into area of management is necessary

11. developing small training modules to deliver to craft communities

12. artisans have skill training, design techniques can be shared

13. communication

14. english training

15. social media, whatsapp (digital media)

1. Building trust is necessary

2. Understanding the meaning of it

3. Time and effort, understanding who will do what

4. Understanding nuances of what people are saying

5. Professional communication isnt enough with artisans

1. Creative co-working space

2. New community creative space that functions as an accelerator for young entrepreneurs and artisan businesses.

3. Technological glimpse

4. Updated with Cross disciplinary streams

5. Sharing and exchange of skills and knowledge

6. Collaboration - (cross-pollination of ideas and skills of creators)

7. To become innovative creators.

8. To up-skill their skill sets.

9. To survive in the challenging times and tougher markets.

10. Sharing social aims (cooperation, shared use of space and time, social interactions)

11. Collective making to encourage happiness, wellbeing, conversation, relax, memory

There has been a one Side Collaboration: Domination Upper Force

1. Issues identified in the current collaborative system

2. Unfair wages

3. Hierarchy problem

4. Unequal treatment

5. Difficulty due to involvement of multiple stakeholders

6. snail-paced decision-making

Co- Promote

1. Using different platforms like social media / newspapers/ magazines, television to advertise artisans, pamphlets.

2. Collaborating with product users to better understand their needs.

Co- Production

1. Products/ services are implemented and delivered

2. Blurring of traditional roles

3. Nurture personal relationships as drivers of local change

4. Empowering users to become co-producers

5. To sustain collaborative systems

Co- Design

A design approach in which a designer encourages people to identify a problem and empowers them to solve it peer-to-peer collaboration can empower local communities to respond to their own needs

1. Artisans X Artisans

1. Cross collaborations between craft skills

2. Training the artisans in social sciences, basic accounting, basic management, communication which come under the larger purview of management

2. Designers x Artisans

1. Creation of forums of designers willing to help artisans

2. Collaborations and common platforms for designers, entrepreneurs,NGOs, influencers, ambassadors

3. Design as a problem solving approach where newness is not the primary attribute

4. Understand the complexity of the system & the various relationships and factors which goes into the system

3. Market x Artisan

Creating innovation led business models that are fundamentally profitable and sustainably scalable.

1. Craft as a major source of foreign currency

2. Retain the artisans

3. Appealing to new customers

4. Aiding in artisans' financial status

5. Enabling the business to stay ahead of competitors

6. Offering more to existing customers

7. Growing their business

8. Keeping the business alive during pandemic

1. implementation of digitization

2. manufacturers and producers can hire skilled manpower from the local market to bring diversity in their product ranges

3. Producing products with competitive prices through creative incorporation of new technologies

4. expansion of existing product range

5. Products for new areas

6. thinking about the needs of the target market and trying to identify new opportunities

Environment

1. Information synthesis

2. Active

3. Passive

4. Acquiring Knowledge

Creativity

1. Material culture

2. Craft product

3. Space specific (Region)

1. Deep-rooted Cultural identity

2. Intrinsic values of high quality work

3. Ethics and authenticity

4. Ethical process of making

5. Timelessness

6. Cultural expression

7. Rich Materiality

8. Longevity

9. Valuing cultural aspects of place - localness

1. Localism

Utilization of local resources, local knowledge, and aims to satisfy local human needs. "Local" is the central vision of holistic sustainability.

2. Eco-effectiveness

• Use of natural materials, renewable resources.

• Aim of effective sustainable approaches (circular economy, C2C) - i.e. not necessarily efficient but effective, waste from one process is a resource for another

• Clarify the difference between needs and desires

• Modern lifestyles fueled, by continual change and constantly creating desires but failing to meet people’s essential needs and are at the root of many wicked problems.

1. Cosmopolitanism

• Cosmopolitanism is a key concept of sustainability, which means the ability to exchange knowledge and technology between communities.

• Crafts have deep relations to specific places, which can make them closed, isolated and lacking a global view and reluctant to engage in exchange

• Many traditional folk crafts are located in remotely rural areas where they are isolated from modern technology and the global economy.

2. Productivity

Craft based on the traditionally pre-industrial technique is uncompetitive against the modern machine and advanced technology in term of productivity (but modern production generally ignores the full social and environmental costs)

3. Economic viability

Most craft cannot maintain financial viability in the modern economic system. Craftspeople cannot make living by making craft. Compared to their inputs in production, the market price does not match the value and cost.

Environmental perspective

1. Increase in wastage

2. Wasteful processes as part of a supply chain

3. Carbon Footprint

4. Fast paced manufacturing processes

5. Climatic changes

6. Sea level rise

7. Air pollution

8. Non-decomposable packaging

9. Harmful effects of production

Socio-Cultural Aspects

1. Human rights

2. Education

3. Peace

4. Irresponsible behavior towards resources

5. Increasing Health Problems

6. Culture

7. Religion

8. Increase in Poverty

Economic Perspective

1. Artisans are not ready to make living with crafts, because of new types of jobs available

2. The artisans state that with the evolution of technology and

3. digital art setting in, not many are ready to carry on the practice

4. Making money at any cost

5. High Maintainence of craft products

6. Increased Productivity

7. Variety of choices

8. Increasing Environmental issues due to profit earning mindset

9. Natural inclination towards readily available products

10. Availability of Cheaper products

11. Corporate Green washing

1. PRESENT CONTEXT -

Current design interventions which focus on consumption (Consumption of products, services, entertainments, and experiences) , rather superficial innovation and profit

2. PROSPECTIVE APPROACH

Comprehensive sustainable direction with the respect of local culture, indigenous knowledge, and self-transcendence/intrinsic values

1. Balance between traditionalism and modernism

2. Repurpose

3. Zero waste

4. Upcycling

5. Consciousness towards purchasing products and services from brands working toward environmental and social sustainability

6. Rediscover the value of traditions

7. Traditional ways of Thinking + Behavior from modern sensibility

8. Culture in transforming our world: the 2030 agenda for sustainable development

9. Reconceptualization of culture development Nexus

10. Culture as a unique dimension of sustainable development

11. Culture as a driver and enabler of sustainability

1. Economic health

2. Culture

3. Social equity

4. Environment responsibility

Culture as a driver and enabler for sustainable development

1. Zero Hunger

2. Clean Water & Sanitisation

3. Life Under Water

4. Life On Land

5. Climate Action

6. Responsible Consumption And Production

7. Decent Work & Economic Growth

8. Reduced Inequalities

9. No Poverty

10. Peace, Justice & Strong Institutions

11. Sustainable Cities & Communities

12. Sustainable Cities & Communities

13. Gender Equality

14. Quality Education

15. Good Health & Wellbeing

1. Young people's participation in World Heritage Preservation and Promotion

2. Encourage people to participate in Heritage preservation

3. Response to the threats faced by heritage

• To preserve Cultural resources

• Promote cultural identity

• Respect diversity

• Encourage intercultural dialogue

With changing times, there is a change in market situations, Trends, lifestyle of people, taste, material, tools and technology and artisans adapts and respond to the changed situations. Their own values are revised and refined with time.

1. Government Policy: The government policy encourages artisans to set up industrial units in local areas by giving various tax incentives in the form of remission of excise duty and sales tax.

2. Legal Environment: Legal environment determined by various laws and court decisions also put pressure on the artisans.

3. Natural and climatic considerations

4. Power and Fuel: An adequate supply of power and fuel is an important factor for the uninterrupted operations.

5. Transport and Communication Facilities: Transport services are required for assembling of materials and distribution of products.

6. Proximity to the Market: Market located near local areas are beneficial. (cutting cost of transportation ,etc.)

7. Artisan Supply: Most of the craft production requires an adequate supply of artisan with appropriate skills.

8. Availability of Raw Materials: The availability of the required quality and quantity of raw materials at reasonable prices is an important factor for determining the location of an industrial unit.

1. Artisans turned entrepreneurs should focus on frugal production by mindful study of the market

2. Design Entrepreneurship should include Strategizing, co-creation, collaboration with artisans and individual work ethics.

1. Artisans turned entrepreneurs should focus on frugal production by mindful study of the market

2. Design Entrepreneurship should include Strategizing, co-creation, collaboration with artisans and individual work ethics.

1. Promoting natural and traditional materials of each craft

2. Creating awareness about the use of traditional material in crafts with their respective scientific backing.

1. Creating opportunities for craftsmen to showcase their work in high end markets.

2. Making Global market accessible to the artisans.

1. Identification of the market and positioning the business accordingly.

2. Exploring market linkages for diversification of craft products.

3. Marketing and creating a platform for traditionally made craft products.

4. Investment in mechanization to expand craft, to be able to produce more output.

5. Organizations and Businesses diversifying to solve according to the problems faced in the pandemic.

1. Dependency on online platform has increase due to COVID19

2. Increase wastage

3. Human connect is missing. Overall experience of shopping is lost.

4. Sensorial interaction is missing

5. Time consuming process in selection from variety of products

6. Confusion in colors, texture and overall feel of it.

7. No guarantee of a product's quality. Quite difficult for them to conduct quality checks on each and every one of the products

8. Moving towards materialistic mindset

9.Problems with size fit

1. Shortage of financial resources

2. Small scale of operation

3. Shortage of raw material

4. Unorganized marketing

5. Inadequate infrastructure facilities

6. Seasonal based problems

1. Product - Diversification of product is not the whole solution because when you create a new product, a new market for that also needs to be created.

2. Place - Discovering out exisiting channels, theme based or purpose

3. Promotion - Craft villages, advertisements, digital content creators, photographers, social engagement events, social media influencers.

4. Price - Price Uniformity in Handicraft by the traders based on unique production.

1. Understanding local culture

2. Translation of local language

3. Every artisan is different and has different perspectives.

4. Craft is very difficult to generalize in India because of its diverse geography , each sector comes with its own set of challenges and nuances that is difficult to generalize.

1. Missing personal interaction- limits the opportunity to transfer Face-to-face knowledge Issue with Building trust

2. Use of Internet platforms and new media for social change and community benefits.

3. Social movements for online activism to educate, organize, communicate, lobby, protest, fundraise, democratize information and increase social awareness.

4. Online movements is the formation of global ‘‘online communities’’ or ‘‘virtual communities’’ where widely dispersed but like-minded users come together in cyberspace based on similar interests, transcending geographical and social boundaries.

1) Making Process

2) Raw Materials

3) Working Space

4) Plans or process

5) Shift in material with availability cheaper alternatives

6) Dominance by TNCs and large monopoly retail businesses

7) Shifting fashion styles and trends

8) General market corruption and unreliability

9) Lack of labour union and laws

10) Health risks

11) Poor Safety

12) Lack of formalisation craft skills

13) Relative success and popularity of the craft is leading to its partial demise

14) lack of variety of high quality, finished product.

15) level of skill of the artisans

16) Artisans becoming de- skilled

17) Try to learn 1 or 2 popular methods

18) Activity operating at the margins of the mainstream economy

19)Intensive and prevailing division of labour based on class and gender

20) Traditional craft production for localised market

1)

• development of strong visual identities for traditional crafts

• improving production processes

• documentation of traditional patterns to enrich artisans’ repertoires (all the things that a person is able to do)

2)

• redesign of craft products to suit the needs of contemporary customers

• geographical and cultural differences between makers and customers- changes in colour, form, pattern and purpose

• simplifying designs for sale purposes creates pressure on the time making work coarser

3) way of sustaining elements of traditional culture, while providing a useful and accessible means of economic development

4) Develop flexible specialisation in their crafts manufacturing

5) more common approach to revitalisation

6) modernised and industrialisation

7) develop existing commercial enterprises

8) crafts have undergone a direct transition from domestic to commercial practice

9)

• branding,

• the redesign of production processes,

• communication of practical knowledge

10)

• ability of traditional craftspeople to continue operating on a domestic or local scale is adversely affected

• no guarantee of long-lasting survival for traditional crafts

11)

• opening up new markets, beyond the local community

• improving the goods on offer in terms of aesthetic appeal, quality or utility

1) 30% decline of artisans in India

2) Replaced goods produced by artisans

3) Expensive raw material

4) Cheap Factory items

5) Standardisation

6) Mass production

7) Popularization of Handicrafts

8) Competition amongst the artisans

9) Success of Artisanal crafts

10) Each other to the point of market- saturation

11) Declining Market Desire

12) Over Supply

13) Global Consumer Demand

1) diverse creative strategies

2) symbolism and narrative as an inspiration

3) concept and function of the design accessible to a market

4) cultural transfer

5) leverage high quality local artisan craft skill

6) customisation

7) product types to develop new innovative functions for export products

8) use local materials

9) products need to match local output (materials, finishes, making skills, functions etc) with demand from western markets (for new unique products, interesting making skills, heirloom qualities, authenticity, individuality).

1) repositioning of traditional crafts as amateur activities

2) traditional crafts in danger of extinction

3)

• provenance (place of origin),

• local distinctiveness

• authenticity

• growth of maker culture and its ethos (set of ideas) of amateur creativity

4) post-industrial countries

5) Domestication= de-commercialisation ameteur nature + domestic practice) = commercial opportunities may emerge, through increased demand for instruction, patterns and materials

6) amateur practice - practices that are culturally significant: linked to local, regional and national communities through tradition and a sense of place.

7) skill and innovation

8) contemporary making activities based on new technologies

9) new generation makers discovering traditional crafts

10)

• experimentation within the crafts,

• open-ended innovation

11) co-existence of amateur and professional activity

12) domestication can be carried out in places where crafts are continuing to provide a living for communities of makers, as well as in contexts where professional craftspeople face severe challenges

1) use of contemporary design collaborations

2) international press coverage for manufactured items in both consumer and design media

3) successful selling to customers - objects designed for GoGlobal

4) high level of personal satisfaction

• amount learnt,

• perceived quality of output,

• enjoyment of the project,

• benefit of collaboration,

• cultural crossover benefit

5) future engagement

6) stimulate design manufacturing sector

7) e-commerce models

• facilitate an online customer interface and ordering system,

• marketing and branding,

• all financial transactions throughout the supply chain,

• tracking and delivery supply chain management

• operate without traditional infrastructure.

8) reduced level of industrialistion

• restrict choice of materials and production processes.

• impacting on quality control and packaging

9) poor transport and infrastructure

• supply chain becomes more complex and costly

• impacting reliability and damage to merchandise

10) financial transaction

• complexities at every level relating to the payment for goods and materials and shipping

• Banking can be rudimentary and not cover all of the stakeholders involved in a project

• interest rates can be very high and use of cash flow to avoid financial fraud

• return policies for overseas shipped goods

11) design management and strategy

12)Identification of an appropriate host developing country using Positive and Negative criteria

13) Establishment of an evolved model for contemporary design collaboration

14) Identification of project partners for the execution phase with a local University partner

15) Establishment of a model for e-commerce for global reach into developed countries’ markets

16) Establishment of the metrics for measurement of success considering framework and design

17) Execution of project collaboration

1) Political approach - Defines social capital as “features of social organization, such as trust, norms, and networks, that can improve the efficiency of society by facilitating coordinated actions''. Social capital focuses on individual involvement in informal networks and formal civic organizations

2) An instrument to achieve a better level of welfare based on the strength of social relations

3) social capital as “resources embedded in a social structure which are accessed and mobilized in purposive actions”

• resources bring values, and they are then distributed to society

• individual actors get access to the resources through social interaction and networks

• mobilize social resources for gain

4) Artisan crafts - Everyday use - Quotidian crafts - Veritable variety - global mass consumption

Elite crafts - high quality- rare- with great artistic beauty= intricately constructed - elite consumers

5) The sustainability of microfinance

6) The improvement in wellbeing and business performance is an indicator to measure the success of microfinance as it relates to the borrowers ability to repay their loans

7) sustainable microfinance can be measured by credit risk

8) Microfinance institutions must be Independent in terms of funding, so that they should no longer depend on subsidies and donation granted by government and private sector

9) The microcredit borrower's condition needs to be considered to evaluate the borrowing capacity as it links with their ability to repay the loan.

10) Lending the poor who do not have any skills in financial management and entrepreneurship would be useless and add more burdens because they need to repay their loans.

11) microcredit borrowers should not only be provided with additional support, including training and accompaniment programs but also regularly supervised to create sustainability.

12) The practice of microfinance that has good performance is sustainable in which the providers can run their business sustainably, and the beneficiaries are not in default.

13) Individualism leads to people to borrow individually, and individual loans are commonly smaller than group lending.

14) In a society with a collectivist culture that has a strong social network, microfinance is more diffused. Microfinance practices in a collectivist culture which are mostly in group lending have lower risk as each member of the group will do internal monitoring so that it can create accountability. Peer pressure encourages individuals to honor the loan contract; thus, credit risk can be minimized. Microfinance institutions can be more successful in community groups that have a high level of trust and strong collective norms, cooperative behavior is well established, and it creates a high sense of responsibility within a group that may substitute formal rules

15) High power distance culture has an insignificant negative impact on the number of borrowers and the loan size.

16) The number of borrowers increases as people in this culture are more assertive and aggressive to get loans, although the impact is not considerable

1- Both online and offline market should exist

2- More designs, more possibilities of orders

3- New segments are emerging

1- Choose different artisans on basis of funding and project specifications

2- Getting funding from govt according to project specifications

1. Finding a space to fit between unfamiliar and established brands

1.2 Create producer to consumer model

2. Online producer to consumer model. Design wise and in different aspects, we are trying to figure out to do more affordable designs

2.1 Income will be substantial

2.2 Consumer will get to know about the artisan, place, craft, region

2.3 "Prosumers" producer is the consumer where artisan should be able to wear their own products

3. Exhibitions in different places

3.2 Build customer base through exhibitions and develop outlets

3.3 Expand to other states

1- Marketing issue against competitors

2.1 Availability of china products which are cheap preference by audience

• General public do not know the problem and think only expenses

2.2 Hand made products are expensive comparatively

2.3 Lack of awareness in public about benefit of natural fibre and its importance

3- Online product damage selling is high

• Online product selling services are increasing rapidly.

• Covid impacted marketing- how to sell products online

• Unable to travel and sell products in outlets/ exhibitions

Health care facilities provided to artisans

1- State govt. provides mediclaim to certain families (poor families)

2- Provide general private mediclaim

3- No schemes involving medical insurance for artisans at present

Central govt does not provide support

1- "we fight like equal partners and there is a space for negotiation"

2- Most of the time are NGOs are very weak in marketing

2.1 GOV schemes for development are beautifully designed actually they address all the components but fail in all implementations of those schemes

3- Want to create an HR in the institution

4- Introduce technology in the activities which are repetitive

4.1 Understand the value chain and mechanize activities that could be

4.2 Introduction of soft technology, which doesn't replace artisans- selling, planning, projection, marketing etc. should be computerized

1 Need to attract youth for marketing

• Youth involvement to make it profitable

2 New generation youth are not ready to cooperate with craft

• What ecosystem change is needed to put their children in craft?

• Design or weaving/handcrafting we need to get lots of sense of pride purpose

• Knowledge sharing and creative ability enhancing institutions

• Creating feedback system

3 Time consuming process and includes a lot of work

4 Differently abled people will join since they face a lack of income sources

• Develop CFC, a common facility centre for differently abled people. Arrange conveyance system, provide the proper working place with modern amenities

5 Many artisans want to get out of their profession and all this it's purely because of economic reasons

6 Consumers think crafts products are expensive as they are mostly not aware about the efforts put in the work

7 Handmade products are expensive due to the process and craftsmenship involved

1-Resource development & technical assistance

2-Market opportunities

3-Cost optimization

4-Education

5-Quality improvement

6-Market feedback

7-Product design & functionality development

8-Environmental well-being

9-Self-sustainability & self-confidence

10-Financial support

11-Development and preservation of art

12-Employment opportunities

13-Infrastructure development

14-Social & economic welfare projects

15-Capacity building & enhancement

16-Process improvement

17-Enterprise building

We are going to see a significant change in demand patterns for craft products, the demand which has been significantly offline so far will shift online and there would be more focus on essential everyday products. Markets would take a long time to recover and I think it is going to take at least a couple of months or more before people start visiting markets and start buying products like how it was before. But, there would be a stronger consumer focus on ethical and sustainable products and where most craft products fit in very well. This should help greatly in the recovery of the craft sector. It is very important for start-ups to communicate strongly, through their online presence, how crafts and handmade products are not only better for the environment but also for the communities.

- This period has given time to all businesses to rethink and reshape and re-assess. Identification and segregation of craft and the craftsman basis their capabilities to either produce their most exquisite pieces or the most useful.

- Meaningful design intervention on both ends is critical to avoid production beyond need. Consumption would be cautious.

- The consumer would either spend on a craft for its irresistible gorgeousness or for the sheer utility at a competitive price. In both the cases, their wages must get protected either by higher value or effective scale.

We witnessed the failure of the classic approach to the craft economy where the relevant metrics are consumption and production and craftspeople are reduced to being the workforce. It is time for a system change in India. The transition to a value-based craft economy where craftsmanship integrity and community well-being prevail.

It’s going to be tough as retailers and designers will take time to launch their collections but we are planning to focus on essential items and ultra-luxury items for clients. The export market seems to become more sustainable fashion oriented, so we stand a good chance there.

To increase their visibility, the government launched the 'India Handmade Bazaar' in 2017, an online portal for direct market access to weavers and artisans.

- Dastkari Haat Samiti, a non profit organization that works with artisans across the country, Dilli Haat has provided artisans with much-needed market linkages and access to consumers.

- Development Commissioners for Handicrafts and for Handlooms run a number of emporiums across the country, which are retail outlets for crafts from different regions.

Government efforts in the crafts sector are often designed with the intention of large-scale poverty alleviation. Schemes such as the Rajiv Gandhi Shilpi Swasthya Bima Yojana and the Janshree Bima Yojana for Handicrafts Artisans, under which artisans in the age group of 18-60 receive health and life insurance in association with the Life Insurance Corporation of India for themselves and three dependents, provide some social security.

Aims at financially enabling the artisans’ community to access to the best of healthcare facilities in the country

In recent years, the Government has moved its focus towards sustainable development of crafts through the participation of artisans. Capacity building efforts such as the Artisan Credit Card scheme and the Baba Saheb Ambedkar Hastshilp Vikas Yojana scheme are generally led by the Development Commissioner of Handicrafts.

Efforts include skills development, technological intervention, design and marketing support and reviving languishing crafts.

• Baseline Survey & Mobilization of Artisans

• Design & Technology Upgradation

• Human Resource Development

• Direct Benefit to Artisans

• Infrastructure and Technology Support

• Research and Development

• Marketing Support & Services

Each year, the Ministry of Textiles recognizes the work of several master craftspeople through the distribution of national awards. These are highly coveted accolades that enhance the reputation enjoyed by master craftsmen and function as a quality approval of sorts.

United Nations Agencies such as UNESCO provided platforms for sharing best practices, research and documentation

1) Financial Aid

2) Loans

3) Health Insurance

4) Financial facilitie

Government has taken initiative to organize campaign to educate cluster artisans about the scope of handicraft producer company, its importance for long term sustainable business development for the cluster and motivate prospective artisans/Self Help Groups members to form producer companies in various cluster areas across the country.

Policies that support women education

Policies that aid the physical health

Online platforms and government collaboration for selling products ( Karigar and Saheli sellers)

Policies to provide all the necessary assistance to senior citizens related to healthcare, insurance facilities, etc.

• Policies promote export and import trade of the country

• Display of new design through exporters for creating awareness and marketing.

• Scheme for Promoting Innovation, Rural Industry and Entrepreneurship (ASPIRE) was started in 2015 to fuel the creations of startups and cooperatives in this space. In 2016, the Madhya Pradesh government started a periodic marketplace in metropolitan cities and overseas markets known as Gramin Haat.

• Demanding a separate Ministry of Crafts to look at the craft sector in its totality.

1- Govt support should be there in terms of training of skills and equipment rather than subsidies, so that they develop more and enhance the craft

- Govt should work in stages for the artisans, slowly noticing the results of the policies and not implement everything at once

2- As consumers have stopped valuing the crafts sector, the producer turns only towards the govt.

3- Policies are to be made by inclusion of public representatives and implementation is there upon the govt. (Authors, architects, doctors, scientists etc.)

4- Targeted policies needed for upliftment of different crafts in India- to promote, report and document local crafts

- To preserve local crafts, local technologies should also be contained and preserved

- Official documentation of every local craft is very important for preservation and upliftment of crafts

- Craft has always been an outcome of local technologies

5- Organizations like KVIC (Khadi and Village Industries Commission) are working towards this sector.

- Suggests the crafts artisans to make cooperative societies and then purchase good from them, to sell them forward from govt. outlets.

- Sets up fairs and melas for artisans

- Sometimes Govt. encourages artisans to sell at affordable prices and it pays some amount of the product, directly to the artisans. This is to encourage consumers to buy more

-Involvement of powerful and influential people like politicians,

-Celebrities etc in the upliftment of artisans.

• Need complete ministry for crafts

• We have to make it much more organised and profit seeking

• It needs a better census

• Study of current situation

• Which looks after the needs of the people

• Indistinct craft based collection

• Distinct crafts-based collection

High-end fashion houses that have imbedded traditional crafts in their collections. Designers such as Ritu Kumar, Tarun Tahiliani and Manish Malhotra have worked closely with master craftsmen to create product offerings for high-end domestic and international markets. However, none of these efforts have placed crafts distinctly at the center of their enterprises but rather integrated crafts into their work. Their impact on promoting crafts has therefore been largely indirect.

Other fashion designers such as Anita Dongre have created a distinct crafts-based collection, e.g., Grassroots, that aims at marketing clothing that promotes the skills and knowledge of traditional artisans, and has been made using organic materials and eco-friendly processes

There have been a few successful examples of crafts-based businesses, which have not only contributed to improving numerous artisans' livelihoods but have also provided unique blueprints for future market-based endeavors.

Fashion designers such as Anita Dongre have created a distinct crafts-based collection, e.g., Grassroots, that aims at marketing clothing that promotes the skills and knowledge of traditional artisans, and has been made using organic materials and eco-friendly processes.

These are a more recent wave of businesses that have originated out of non profits or hybrid models that combine social and commercial goals.

Traders and exporters who aggregated production, provided market linkages and offered financing mechanisms to artisans.

Although not always the case, these relationships have often been exploitative to the artisan, who realized little of the value of his products.

• Belief in progress

• Creativity

• Awareness

• Values

• Ethical Codes

• Goals

• Knowledge

• Skills

• Resources

• Tools

• Techniques

• Resources

• Ergonomics

• Professional Activity

• Industrial activity

• Economy

• Consumer

• Production

• Trade Union

- Offer new creative opportunities and technical possibilities

- Possibility of mass-customization

- Helps to challenge and rethink integrity in relation to the new process/technology

- Curiosity to seek Digital and industrial tool.

- It facilitates as well as helps to facilitate

- Tool of the craftsperson, tool for a craftsperson.

- Rawness of handmade products lost

- Similar looking work

- Questions about authenticity and integrity

Unaware of the different kinds of digital and industrial tools available for their advantage