Op-Ed | Bolster Craft with Better Labelling and Young Blood

LONDON, United Kingdom — For the past six months, I have been researching the state of high-end manufacturing in the UK as part of an investigation sponsored by, amongst other parties, the British Fashion Council. The experience transformed how I think about craftsmanship. Now, I truly care about protecting, promoting and developing the skills of the people keeping British high-end manufacturing alive.

In perhaps the most memorable moment of the investigation, I watched the intricate processes of making an exquisite silk necktie, from beginning to end. After I left the factory where it was made, it struck me how little thought (or appreciation) I give the skills and talents of the craftspeople who make the products that I enjoy and cherish. After spending six months meeting and learning from craftspeople, I felt quite ashamed about this.

Clearly, the craft-manufacturing sector has undergone a radical transformation and, worldwide, faces significant challenges:

1. Difficulty attracting new talent
2. Significant price challenges from cheaper competitors
3. Lack of a verified "Made In" labelling systems to protect and support firms that manufacture in certain regions
4. Lack of visibility amongst prospective customers, especially international designers, brands and retailers
5. Over-reliance upon small, domestic customer bases
6. Insufficient government support and investment in technology, equipment and training
7. Lack of understanding of craft-manufacturing skills and production processes amongst fashion designers, brands and retailers

There is no quick or easy answer to these challenges, but there are three initiatives that could begin to make a positive difference.

The first would be to establish a database of audited high-end manufacturers. More than just a repository of information about the existence of these manufacturers, this could serve as a powerful means of locating, promoting and supporting local craft talent to a global customer base. And in doing so, it would shine the spotlight on truly credible craft-manufacturing locations.

The second would be to establish a clear, verified “Made in” labelling system. This would serve as an important promotional device and would also offer recognition — and some level of brand protection — to companies that manufacture within a certain region.

But such initiatives are futile if we do not manage to encourage people, particularly younger people, to enter a career in craft. Therefore, the final, critical initiative is the launch of high-end manufacturing apprenticeship schemes. Such schemes must communicate to young people the distinctive and attractive features of this industry. It may seem sentimental and flowery to say it, but the truth is: this is an industry about making beautiful things.

Thinking more broadly, we as consumers also have a responsibility to support and appreciate craft in this country and beyond. When you put on a best-quality necktie, spare a thought for the skill and dexterity of the expert who made it.

Professor Christopher M Moore is the director of the British School of Fashion and assistant vice principal at Glasgow Caledonian University.

The views expressed in Op-Ed pieces are those of the author and do not necessarily reflect the views of The Business of Fashion.

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