CRAFT IS PART OF
4.5.2 Challenges and opportunities for design
There are various areas in which design could potentially contribute to the viable future of
handicraft production in northern Thailand, especially in relation to the retention o f craft
traditions and the cultural heritage of Thailand.
■ Retention and developm ent of craft skills i.e. in craft masters and the younger
generation
Handicraft enterprises face a shortage o f skilled labour (Howkins, 2010; SACICT,
2010; OSMEP, 2010), e.g. basket-makers in Maehongson and Chiang Mai (Cohen,
2000) and weavers in northern Thailand (Humphreys, 1999; Cohen, 2000). Young
women are tending to leave local weaving and textile production for a variety of
reasons, including limited and unreliable markets, impatience with complex, tim e-
consuming and repetitive procedures of production and a desire for freedom and
Areas in need of skills developm ent include woodworking and painting in order to
meet international standards (TCDC, 2011, p .18). Areas in need of the retention o f
skill at an exceptionally high level include welding, jewellery-m aking and dressmaking
(Thai artisans have won many awards for best practice in international competitions)
(TCDC, 2011, p18). Capacity building will inevitably be required for artisans to
compete in globalised markets involving free trade and the use of technology
(Laisatruklai in TCDC, 2011, p.5).
■ Collaboration between craft and design
There is a need for collaboration between master artisans (i.e. in traditional art and
the folk crafts) and the younger generation of designers to achieve “the fusion of Thai
cultural heritage with the current global trends” (SACICT, 2011). A combination of
production and distribution activities is very important if craft enterprises are to
become com m ercially successful in the market (UNIDO, 2007, p. 17). Designers could
help to connect local producers with wider groups of customers, e.g. through product
design and developm ent based on traditional crafts and marketing (UNIDO, 2007,
p.35). However, a challenge is that, in general, designers and makers usually work in
separate places and with different practices (Shiner, ed. by Alfoldy, 2007, p.34).
■ Knowledge and information about potential markets and customers
Craft enterprises face a lack of knowledge and information about markets and buyers
(Howkins, 2010; OSMEP, 2010; Anonymous, ca.2010). Few companies know how to
satisfy distributors’ or buyers’ demands, particularly in tourist and export markets
(Howkins, 2010, p.29). A classification into two distinct markets, “internal and
external” [dom estic and export], is insufficient; sub-categories have to be identified,
e.g. dom estic markets involving Thai and foreign tourists and export markets for
customers abroad (Cohen, 2000, p.20).
■ Product design and developm ent for target custom ers
Handicrafts produced without a design direction usually results in customers form ing
poor im pressions o f handicrafts (Suriya et al., 2007), as being e.g. old-fashioned in
appearance, ubiquitous imitations without creativity and unique identity, of poor
quality at a low price points and being impractical (Anonymous, ca.2010; OSMEP,
2010). To improve the opportunities for enterprises to achieve upper-market value
and increase their market share, they have been advised to compete on quality, not
just on price, through product design and developm ent (UNIDO, 2007, p.33; OSMEP,
2010; Howkins, 2010, p.40).
■ Developm ents in small-scale production in relation to product design and
developm ent and brand creation
Small-scale production gives designers and craft-producers greater flexibility to
experim ent in product innovation and materials (Bassett, 2010). Advanced technology
m ay be introduced in production processes to enhance quality and expand the choice
of materials (Ryalie, 2009; Bassett, 2010). There are opportunities for local producers
to shift away from being “Original Equipment M anufacturers”21 (OEMs) to “Original
Design M anufacturers” (ODMs) by employing design in production processes for
production development, product design and development, which would offer the
products o f their-own designed and branding (Ryalie, 2009, p.20).
■ Handicrafts with market potential
Generally, furniture, home decoration, gifts, toys, garments and jew ellery have high
market share, i.e. export (UNIDO, 2007; Ministry of Culture, 2009; OSMEP, 2010).
Jewellery and toys are frequently traded, with high volumes of exported goods
(UNCTAD, 2009, cited by Howkins, 2010, p.20). Carpets, celebration items, yarn
products and wickerwork are considered to have great opportunities to enter global
markets (UNCTAD, 2008, p. 116). Products advertised as being environmentally
friendly and fairly traded can also have an advantage (UNIDO, 2007, p.33).
Textiles and wooden furniture also have potential, but require special attention in
term s of m arket and business developm ent (UNIDO, 2007; Ministry of Culture, 2009;
OSMEP, 2010; Howkins, 2010).
For local textile production, Humphreys suggests that craft-based organizations:
a) Run more marketing and design training programmes in order to develop new
products using existing skills;
b) Find appropriate markets with lucrative incomes for the younger workers
(Humphreys, 1999, p.62).
4 .6 Ch a p t e r s u m m a r y_____________________________________________________
This chapter has presented crafts in Thailand, and covers the meaning of “craft” and
“handicraft” in the Thai context, the development of handicraft production from the 19th century
to the present, research problems and a rationale for northern Thailand as the region for
in-depth study. These are followed by an investigation into handicrafts in the region, focusing
on the classification o f crafts and the challenges and opportunities for design. Finally, the key
findings are summarised in Tables 4.6-4.8 regarding:
(i) The relationship between sustainability, design and craft;
(ii) The identification o f gaps in sustainability, design and craft;
(iii) Potential areas of design for sustainability.
Table 4.6 Sum m ary of the relationship between sustainability, design and craft
Finding No. D e s c rip tio n R eferences Section
S u s ta in a b ility and d esign • N/A
S u s ta in a b ility and c ra ft
F4.1 • Handicraft production offers benefits Bowie, 1992; Peleggi, 4.1.2 for local people, especially in rural 1996; Cohen, 2000; 4.2.1 areas, in many ways which are Wherry, 2008; UNCTAD,
4.2.2 congruent with m ajor elements of 2008; Ministry of Culture,
sustainability, including: 2009; OSMEP, 2010; 4.2.3
o Econom ic development via em ploym ent and income generation (as primary or secondary jobs, or sometimes both);
o Human and social developm ents, e.g. skills training, strengthening the relationship within and between communities. Beyond its contribution to socio econom ic areas, handicraft production also contributes to the cultural heritage and identity of Thailand.
Howkins, 2010; Pratruangkrai, 2012
4.4
F4.2 • Over time, handicraft production in Warren, 1983; Cohen, 4.2.2 Thailand has become unstable, and 2000; Wherry, 2008; World 4.2.3 has recently started to decline.
• Demand for m ajor crafts has
Crafts Council: Asia Pacific Region, 2009; Anonymous, 4.3.1
4.3.2 contracted. Traditional crafts have
been in sharp decline. The value of handicrafts is undermined.
• These developm ents result from various factors, i.e. the penetration of mass-produced goods,
globalization and trade. Handicraft production is in need of sustainable development.
D esign and c ra ft
ca.2010; OSMEP, 2010; NESDB, 2011
F4.3 • Designers and craftspeople can be connected via developments in production, product design and developm ent for value creation and distribution o f handicrafts in markets.
Table 4.7 Sum m ary of the gaps identified in sustainability, design and craft
Finding No. D e scrip tio n R eferences Section
F4.4 There are gaps in h a n d ic ra ft
e n te rp ris e s , especially those based on traditional production, including:
o Shortage of skilled labour, i.e. Humphreys, 1999; 4.3.1 among the younger generation; Cohen, 2000;
Howkins, 2010; Anonymous, ca.2010; OSMEP, 2010; Graham, 2013
4.5.2
o A need for collaboration between Cohen, 2000; Suriya et 4.3.2
craft and design; al., 2007; UNIDO, 4.5.2
o A lack of knowledge and 2007; Ryalie, 2009; information about potential Bassett, 2010;
markets and customers; Howkins, 2010;
o A need for product design and developm ent relevant to target customers;
o A need for development in small-
Anonymous, ca.2010; OSMEP, 2010; SACICT, 2011; Graham, 2013
scale production in relation to design.
F4.5 * C o n flic tin g p e rs p e c tiv e s towards d e v e lo p m e n t d ire c tio n s for handicraft production are obvious and seem to obstruct the handicrafts sector from pursuing sustainable development.
(i) Conservative groups give priority to handicrafts for the preservation o f cultural traditions.
(ii) Commercial groups focus on the adaptation of traditional crafts for commercial purposes and econom ic viability.
Cohen, 2000; Wherry, 2008; Chudasri, W alker and Evans, 2013
4.3.4
F4.6 • There is insufficient s y s te m a tic re s e a rc h into the production and comm ercialization of handicrafts which takes of more recent developments.
Cohen, 2000 4.3.3
Table 4.8 Summary of potential areas of design for sustainability
Finding No. Description References Section
Handicraft producers and enterprises, i.e. small-scale are in need of sustainable developm ent to which design can contribute in many areas as follows:
Anonymous, ca.2010; OSMEP, 2010; NESDB, 2011
4.3.2
F4.7 • Materials exploration and development; Humphreys, 1999; 4.1.1
• Skills development and retention; UNIDO, 2007; Ryalie, 4.1.2
• Production developm ent (process, technology, product quality);
• Product developm ent for value creation;
• Branding and marketing;
• Distribution channels.
These can be done via developm ent projects involving collaboration among various groups, i.e. m aster artisans, young designers, young craft-practitioners and customers. 2009; OSMEP, 2010; Howkins, 2010; Bassett, 2010; SACICT, 2011, 2012; TCDC, 2011 4.5.2
F4.8 Design can engage with product categories with strong market potential as follows:
• Furniture, wickerwork;
• Home decoration, carpets;
• Gifts, toys, celebration items;
• Garments, textiles, yarn products;
• Jewellery. UNIDO, 2007; UNCTAD, 2008; Ministry of Culture, 2009; OSMEP, 2010; Howkins, 2010 4.5.2
Chapter 5 will consider the key findings from Chapters 2 -4 as a whole in order to formulate