In 1998, David Throsby suggested that the creative industries are a set of concentric circles with individual artists whose intention is to produce ‘art for arts sake’ at the core – as the circles radiate, the creative individuals and creative content becomes more commercially focused.
Creative Clusters Ltd. in the UK suggests that ‘the old view, that science, industry and culture are essentially distinct, is obsolete and is a barrier to progress in business, social regeneration and to the development of the arts’ (2002).
To circumvent these barriers, the conventional economic silos need to be broken down, and the view that the creative sector is solely the domain of the mainstream arts disciplines, cultural events etc. needs to be challenged. Examples of successful cross-sector collaboration and its positive influence need to be fostered and promoted if this outmoded concept of the creative industries is to change.
In 2003, following the release of Throsby’s report, Don’t give up your day Job: An economic study of professional artists in Australia, David Gonsky AO, Chair of the Australia Council, stated “Government and industry need to do more to improve the income of artists – artists are forced to work two or three jobs to make a living, in many cases non-arts related jobs…we have a huge capacity to have a much larger arts and cultural scene and we just aren’t using it.’
Craftsouth’s Applied Ideas program in South Australia addresses Gonsky’s concerns, and assists designer/makers and artists to develop viable creative practices. It fosters market opportunities and skills development, and facilitates collaborative product development processes.
Translating creative capital into economic benefit
Craftsouth understood that new strategic responses were required to assist designer/maker’s access niche markets and the manufacturing sector. Thus began the development and piloting of the Applied Ideas program.
Craftspeople are now referring to themselves as designer/makers – reflecting materials-based practices and not the traditional image of craftspeople producing their designs in limited edition by hand.
The new breed encompasses a variety of markets e.g. works for exhibition and limited run production, pieces for private and public commissions in the built environment, objects for sale through the ‘high end’ homewares market etc. They are seeking to collaborate with the manufacturing sector to access new materials and manufacturing techniques and generate volumes that studio-based production processes are unable to achieve.
The outcomes of a recent product development project facilitated by Applied Ideas included:
§ Assisted product brief development with SA based furniture retailer.
§ Brokered collaborative relationships & licensing agreements between designers and manufacturers.
§ 3 ranges prototyped and accepted – 50-60 pieces of new furniture delivered into stores in May.
§ A manufacturer now looking to ship interstate, trebling the manufacturer’s output.
§ Streamlined production process – patentable chair jointing system developed.
§ Income to each designer from this case study is around $26,000 p.a. (Throsby’s report identified the average income of craftspeople and artists was $7,000 p.a.)
§ Mentoring knowledge.
§ Income from royalties – significant long-term impact on the viability of the designers’ practices.
§ Successful integration of design into the manufacturer’s tiered product offering.
§ Better-designed production jigs and jointing technique for chairs.
Jane Andrew is Executive Director of Craftsouth Centre for Contemporary Craft and Design Inc, representing over 300 designer/makers and artists in SA.
Contact: Gregory Woods, Applied Ideas Manager on (08) 8212 8211 or gregory.woods@appliedideas.com.au or http://www.appliedideas.com.au