the aid to artisans magazine fall 2009

Frederic Alcantara: A View
on Working with Artisans
Hats off to Artisans and Designers
Local Cotton and Design Link
to Market Success
Hernan Zajar: Colombian Fashion
Designer & Artisan Advocate
Bridging Cultures Through Design
Combining Craft Values
and Design
the aid to artisans magazine
fall 2009
to
Artisans +
Design(ers)
= access
to global
markets
I
looking out
n this issue of Maker to Market we hone in on artisans’ products and the people who help
them innovate.
One of the biggest drivers of innovation is diversity – people who think differently.
Having international and local designers work with artisans around the world creates an
exchange of experiences and visions, leading to a new way of thinking and designing. This
Bridging Cultures
process gives birth to new products that find their way to a broader global market, bringing
increased and sustainable income to artisans—ATA’s ultimate goal. It’s what makes our work
so powerful for the artisans we reach, and yet, we don’t often enough explore how this intricate
process unfolds.
through design
In this issue, we bring you various perspectives on craft design trends and design
collaborations. An interview with Linda O’Keeffe, Creative Director at Metropolitan Home,
talks about the CRAFTDesign conference in Atlanta where the values of handcraft and
Vamos a Guatemala!
modern technology are merging into hybrid products. Mimi Robinson, founder of Bridging
Cultures Through Design, writes about her project in Guatemala that is the epitome of design
B
ridging Cultures through Design returns to Guatemala, this time in collaboration with California College of the Arts (CCA), with
collaboration. Within our project work in Haiti, Colombia, India and El Salvador we talk
a collective of students representing Industrial Design, Textiles, Painting/Drawing, Community Arts, and MBA in Design Strategy.
about the design process—international designers, local designers, and retailers—all working
Through a design-focused process led by Mimi Robinson, in this three week studio immersion into the culture and traditions of artisan
together toward a common goal of improving the lives of artisans and bringing their beautiful
communities in and around Lake Atitlan, students will explore craft and the artistic techniques of Guatemala within the context and
products to the consumer.
challenges inherent in international collaborations.
ATA’s focus is, and will always be, the artisan. But to ensure their business success, we involve
Bridging Cultures Through Design, established by Mimi in 2006, is an initiative that promotes and engages in creative exchanges with
ourselves with all the players – and supporting figures – in the distribution channel. Designers
designers and artisan communities around the world. A primary objective is to create an entry point for student designers to engage in every
are an integral and inextricable part of this equation. Without designers, many artisans’
step of the product development process. Through creativity, collaboration and participation in a craft development project, students gain first
products would not leave the local market, being viewed as too primitive, tribal or ethnic.
hand knowledge about how their talents can connect in a meaningful and practical way.
It would be a shame for the artisans and for all who appreciate their craft if we never saw
it because a retailer didn’t think it was marketable.
With a keen sensitivity to the culture and traditions of the Guatemalan artisans, as well as environmental impact and market considerations,
this upcoming CCA studio intensive will merge the investigation of materials, processes and craft traditions to create a collection of products
As the world grows increasingly complicated and we move ever farther away from any link
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for the contemporary market. Additional emphasis will include using sustainable materials and studying and preserving cultural identity.
to our traditional ways, it makes sense perhaps that we are drawn to the qualities in timeless
The mobile studio will be based initially in Antigua, within Indigo Textiles, to be immersed in hands-on workshops from a variety of master
craft: simplicity, natural elegance, symbolism, functionality and craftsmanship. Getting these
artisans and prominent local designers. Back-strap weaving, creating natural dyes from local plant material and learning the art of ikat will all
products into the market stream requires imagination and resourcefulness, clever design
fall 2009
add to the understanding of traditional techniques and also root us to place.
solutions, and inventive ways of reinterpreting the traditional into modern times.
contents
The students will then follow up with fieldwork around Lake Atitlan where artisans are celebrated for their vibrant textiles. Alongside
Guatemalan designers, the students will create a variety of products for the local, regional and international markets. An important challenge
for the group will be to develop new and innovative collections of products for these markets and to reinterpret materials in unique ways that
reflect and are inspired by the Mayan traditions, the makers and the environment. Practical training on markets, economics and product
development inform the creation of new product design concepts.
Students will be using their talents to be of service, while our partners, Agexport, which supports artisan development, and exporters La Casa
p3
p5
p7
p9
p11
and La Casa de los Gigantes, will bring the product development process full circle by providing expertise and market links. Through the
p13
exporters’ investments and the collective design effort, it is the intention that the collections marketed by exporters will bring sustainable
looking out
looking in
ridging Cultures
p2 B
p3 L ocal Cotton and Design
Through Design
Mimi Robinson takes us on a journey to Guatemala
with design students from California College
of the Arts.
p5 H
ernán Zajar: Colombian
Fashion Designer & Artisan
Advocate
Notable Colombian fashion designer
is interviewed about his work with local,
indigenous artisans and communities.
Link to Market Success
The artisans in ATA’s West Africa program
work with a French designer on their local
cotton products.
ats off to Artisans
p9 H
and Designers
El Salvadoran artisan, Arcadio Hernandez,
innovates his wicker hats with the help of local
designers to reach new markets.
p11 Frederic Alcantara:
A View on Working with Artisans
Frederic gives his perspective on successful
design collaborations and his work specifically
in ATA’s Haiti program.
p13 A
rtisans from India
connect to west elm
T he design process for a new silk collection.
looking forward
p7 C ombining Craft Values
and Design
Linda O’Keeffe, Creative Director at Metropolitan
Home talks about the trend of blending craft
principles with modern times.
Photos: Aid to Artisans, Lauren Barkume
income back to the communities.
The guiding principles are to constantly review the studio’s progress in terms of equity, environment and ethics, all within the context
of sustainability. From this approach evolves a genuine respect and connection to the community artisans. Working in context allows one
to gain a true understanding of the realities of the place to inform the work. Weaving together local and international designers with diverse
backgrounds and all of those involved in the complexity of this form of enterprise creates a rich diversity of voices. Collaboration such as this
is at its best when ideas are easily exchanged and creativity is nurtured, ultimately guiding the design process.
Based in San Francisco, Mimi Robinson is an international design consultant, principal of Mimi Robinson Design and founder
of Bridging Cultures through Design. mimir1@mindspring.com
Text and Photos: Mimi Robinson
p2
looking in
Local Cotton and
Design Link to
market success
A
TA’s West African Cotton Improvement Program (WACIP), a USAID-funded project through the International
Fertilizer Development Center (IFDS), focuses on increasing the incomes of cotton-farming households in Benin,
Burkina Faso, Chad and Mali. Artisans involved in the project use local cotton resources for production, which helps
contribute to the sustainability of their rural economies through their craft.
Sophie Sauzéat, an ATA consultant and 30-year design veteran with experience in fashion and home décor, is currently
working with artisan groups in WACIP.
Her design process began last year when she helped three artisan groups in Benin enhance their weaving, dyeing, and
appliqué skills by making small changes to their design methodologies. Her process is always highly collaborative.
When she is designing with artisans, Sophie not only relies on her own analysis of popular color choices in the market,
but the artisans’ feelings about their sales at recent craft fairs.
In her most recent design work with ATA, Sophie had the chance to work the appliqué group of François Yemadje
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“Les Arts Matemba”, a historical family known for its ancient kingdom’s clothes and styles. To add a marketable touch
to their current crafts, Sophie helped design a line of large nature-themed curtain panels. She also incorporated new
colors in last year’s collection of cushions and bags. With the dyeing group of Clotilde Tomety, “Floride Fait Main au
Bénin”, Sophie created a tie-dyed tableware line with matching block printed sheets, and indigo blue and two-toned tote
bags. Sophie also worked with the weaving group of Constant Adonon, AVPTTA, adding table top items and designs
for outdoor home products. She helped them create a new color variant for their highly successful striped cushion line
made last year. This hand woven striped line, which is made from 100% local cotton, was picked up by Sundance Catalog.
Text: Joanna Smiley Photos: Sopie Sauzéat, Sundance Catalog
(shown in photo opposite page)
Sophie believes that four key things are needed for a successful product: a concept or “a reason for being”,
meticulousness, long lasting finishing, and nice packaging with good marketing. The collections she developed
in West Africa have a special charm and high quality that fits these criteria. Additionally, they use natural, raw materials
indigenous to the region, which reduces energy and is far less expensive than importing supplies. This “reason for
being” is particularly important to eco-conscious consumers as well as USAID.
New to ATA’s project in Western Africa are special USAID environmental guidelines, which offer basic information
on the important adverse environmental impacts of wet textile operations as well as associated health and safety
impacts. Cleaner production is a preventive business strategy designed to conserve resources, mitigate risks
to humans and the environment, and promote greater overall efficiency through improved production
techniques and technologies.
Consumers, artisans, designers and ATA’s key funder in West Africa are working together to ensure that their craft
production is not only beautiful and marketable, but protects the environment.
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looking out
Hernán Zajar:
Colombian
Fashion
Designer &
Artisan
Advocate
Honoree
A
id to Artisans awarded Hernán Zajar, notable Colombian fashion designer, with the 2009 Artisan Advocate Award.
Since 2006, Hernán Zajar has worked with ATA supporting the craft sector in Colombia. Hernán has collaborated
with dozens of artisans in Colombia, helping them to craft fashion accessories for his collections. Hernán’s designs have
landed on the most important runways in Colombia, Italy, and Spain bringing income and improved livelihoods to artisans.
His long-term commitment to Colombian artisans remains strong as he embarks on expanding his business using artisanal
products. In the interview below he describes his philosophy, vision, and love of Colombian handmade products.
When you opened your first store in Bogota in the early 1990s, what was going through your mind? Did you have
any idea it would lead you to where you are today? Since I was young, I decided to bet on the fashion world. I always
knew my thing was being creative. Opening my first store was a dream that came true, but the fame that came with it was
never the engine that drove me. What really moved me was the passion for designing and the opportunity to change
5
the way Colombian women dressed. Putting my heart to accomplish everything was what really brought me success
Handmade work
overflows with
creativity and
imagination. Today,
there is a lot of
material to evolve
the traditional. We
must be reinventing
constantly. It is
possible to adjust
these handmade
techniques
to modern trends.
Tell us about your fashion collection—your philosophy, vision and what inspires you. Each collection is a story that
passes on emotions and generates reactions. All of my designs express my essence and are a clear reflection of my life.
For one of my recent collections, I took as an inspiration all of those women that are sometimes invisible, but inhabit and
beautify all of South America: for example the peasants from my country, bringing back with them traditional and ethnic
elements and placing them in an urban setting with a Hernán Zajar touch.
Can you talk about what you are working on now with artisans? At this moment, I’m working on developing
accessories from hammock fabric with traditional Colombian embroidery in cotton thread. Also, I’m continuing to evolve
my jewelry line in filigree, a technique that is traditional in my hometown of Mompox on the north coast of Colombia.
In addition to my fashion collections, I’m venturing into interior design by applying all this ethnic experience to create
modern settings with Zajar’s touch.
Do you think artisan work and handmade designs are a trend or something that will be around forever? Of course
I think that artisans’ work and handmade designs will be around forever. Handmade work overflows with creativity and
imagination. Today, there is a lot of material to evolve the traditional. We must be reinventing constantly. It is possible
to adjust these handmade techniques to modern trends.
If you could offer words of advice to designers who want to work with artisans, what would they be? First of all,
to respect the techniques, their culture and essence—they are considered past trades of entire families for decades—to bring back
and preserve the wealth of the products and the artisans, allowing for the human factor and the stories behind the designs.
To read more about ATA’s project in Colombia and read artisan Lorena Guzman’s story in her own words, please visit our
website, ATA News section, for the story: Displaced by Civil War Colombians Find Hope and Work in Craft
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Interview: Joanna Smiley, Hernán Zajar Photos: Hernán Zajar, Aid to Artisans
and recognition.
looking forward
Combining
Craft
Values and
design
O
n May 14, 2009, Linda O’Keeffe, Creative Director at Metropolitan
Home, moderated a “CRAFTdesign” talk. CRAFTdesign was
an informative and entertaining discussion about the rising interest
techniques or philosophical approaches to product making.
Craft brings a narrative, a human touch, an emotion, a celebration
of materials to technology that one could define as an industrialized,
potentially slick method of production. Craft gives meaning to mass
so the result is a product that is wholly new. Not derivative or
nostalgic. Familiar, because it references the past but brand new
because it is technologically innovative.
Why do you feel a designer such as Hella Jongerius has achieved
such success in her work? I think her work potent because her
thinking is both forward and backward which is I consider holistic.
Case in point is the recent project she undertook for UNICEF and
IKEA where a small scale craft project met large scale industrial
production. Jongerius spent time in India where she held workshops
for a group of women. She taught them skills and gave them
authorship of the textiles they designed and quilted. The process
was as important, if not more important, than the goal of stocking
the shelves of IKEA stores and an intentional part of that process
was to empower the women.
and contemporary design’s acceptance of the detail-oriented, intellectual and oftentimes emotional appeal achieved by combining craft
values and design. The result is the creation of desirable “hybrid”
new antiques and expressive objects that borrow from craft traditions
while ever mindful of the fact that we live in modern times.
Do you feel consumers lead designers into new realms
of creativity or vice versa? I believe that good design starts with
function. It examines how something is to be used so it clearly
prioritizes the consumer. On the panel, Dan Formosa of Smart Design
talked about SmartGauge, an instrument cluster he designed for
Interview: Joanna Smiley, Linda O’Keeffe Photo: Mikkel Vang/Metropolitan Home Magazine
Linda O’Keeffe shares her thoughts about this trend and the
7
panel discussion.
In the “CRAFTdesign” talk you moderated, we read there
“is a rising interest in combining craft values and design.”
Why do you believe this is happening? The Ecological movement
a hybrid Ford car that focuses on the performance of the driver rather
than the performance of the car. One of my favorite quotes is from
Natao Fukasawa, about design dissolving into behavior. In other
words, an object that is well thought through anticipates the user
and almost disappears into the activity it was designed for. It’s the
opposite of bells and whistles.
has brought us all back to basics in the best possible ways and we’ve
injected new meaning in to the word ‘artisanal’. Along with the slow
food movement, we have things like Baacodes that let us locate the
actual sheep who donated the wool that was used to make the piece
of clothing we just bought. But, we are also living in the 21st century
and there’s no point in denying or stifling that. It’s thrilling for
designers to take advantage of technologies like CAD and Rapid
Manufacturing that enable them to innovate in ways that were not
previously humanly possible.
How do you see these trends reflected in Metropolitan Home
magazine? One of our missions is to report on design movements
and arguably, the most provocative work in recent years has come
from the mind and hands of people like Li Edelkoort and Renny
Ramakers at Droog who we first covered more than a decade ago.
A huge champion of their work is also one of our Contributing
Editors, Murray Moss, who owns the eponymous NYC shop/salon
that provocatively blurs the distinction between production and craft,
industry and art and the industrial and the decorative.
What do the words “design hybrid” mean to you and how does
craft fit into this creation? In this context, a Design Hybrid
is a combination of two differing, maybe seemingly opposite
In the May 14th panel, Dan Formosa, a founding member
of Smart Design, Manfred Junker, Chief Designer, Poggenpohl,
Claudia Winegarden, PhD, professor GA Tech College of
Architecture, gathered to talk about “design’s inner soul,”
among other things. What did you learn from this panel?
Dan Formosa talked about large companies approaching him with
stacks of research and information about target audiences and his
response was to politely say that he would prefer to talk about
designing for a handful of real people. That kind of savvy gives
me hope for the future of design.
If you had to predict the trend forward movement of design,
what would it be and why are we headed in that direction?
Climate change and the world economic slump have deeply impacted
design and we are all more thoughtful about consuming than we ever
were. I think the usage of consumer keywords like “bigger” and
“better” has changed. “Smaller footprint” and “sustainable” are now
in favor. Familiar phrases like “I want more” have evolved into “I have
more than I need” and I think that will continue. But, we also live
in a consumer society that would implode if we stopped consuming.
So it’s about thoughtful consumption.
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Craft gives meaning
to mass so the result is
a product that is wholly new.
Not derivative or nostalgic.
Familiar, because it
references the past but
brand new because it is
technologically innovative.
looking in
looking in
9
I
magine a small village in the mountains of El Salvador, a place called
Arcadio later worked with another local designer, Maria Teresa Rivera
Nahuizalco, where artisans have crafted wicker hats, baskets, and accents
Escalante, who continued to use nature as inspiration, but added vibrant, bold
for decades. The hats are wonderful, but limited to a local niche market.
colors to create large, circular baskets. These baskets have gained the attention
To gain access to new markets, the artisans have to design new products. Most
of buyers in the home décor accessory and interior design markets. With the
people would look at the hats and appreciate them at face value, but designers
help of ATA and various designers, Arcadio’s new collections have reached
look at them with different eyes. They see the potential that the materials have
larger markets and caught the eyes of several key players in the industry.
to be manipulated into something completely new and different that will sell
in the global marketplace, thus bringing the artisans much needed income.
Currently, Arcadio works closely with Asociacion Alternativa, a local non-profit
organization started by USAID and ATA to support local craft talent, with
So how does a cowboy hat used by local farmers become a lamp or a folding
design, marketing, and sales in El Salvador. Alternativa’s designers, Saeda
screen with recycled leather inserts? The answer is with creativity, design, and
Portillo and Lourdes Mena, work with artisans to generate new product
innovation.
collections.
Aid to Artisans incorporates design in all of its projects, working with both
Alternativa’s Executive Director, Eduardo Duron, commented, “Design
local and international designers. Designers find inspiration in different things
becomes unique when you can innovate and combine materials. It’s not easy
and work in different ways, but the final goal is the same: to create a fresh
to incorporate this in all designs, but a good design has to be hard to copy,
product that is new to the marketplace and will generate increased sales and
it has to be different. An artisan adds value to his or her product when new
income for the artisan. Take the example of the wicker products pictured here.
design elements are integrated into the work that he or she already knows
how to do. That is exactly how we ended up with the collection of wicker
Arcadio Hernandez is an artisan from Nahuizalco who has worked with ATA
products here in El Salvador.”
in design development for his wicker products. Arcadio began weaving wicker
hats at the age of 13 as a way to earn money for his family. After working for
The local and international designers who have worked with Arcadio through
10 years as an apprentice in several craft shops, he decided to venture out
ATA and Alternativa were able to see the potential hidden in his wicker
on his own. At one point, his shop grew to 25 employees.
cowboy hats. By turning to nature for inspiration and changing colors to fit
with current market trends, they worked with Arcadio to innovate a whole new
One of the first ATA designers to work with Arcadio was local designer, Roxana
line of products.
Giron. Inspired by his motivation and the potential she saw in his skill working
with natural fibers, Roxana helped Arcadio expand his product lines by adding
When asked what he thought of the whole design process, Arcadio remarked
new natural materials, such as grasses, plantain fibers, tule reeds and coconut,
happily, “It’s been great! I’ve worked with designers for quite a while now, and
among others, and introducing new colors by adding natural dyes.
I’ve seen that the new products we are designing are really doing well in the
market. I really like the newest line that Alternativa is developing [the lamps];
Taking Arcadio’s product collection to the next level to add value, Roxana
they look quite nice.”
suggested incorporating raw materials from other artisans, specifically iron
frameworks and recycled leather inserts. The result was a wicker, leather, and
Thanks to ATA’s designers, Arcadio, and artisans like him around the world,
iron 3-part screen. Not leaving behind the nature theme, Roxana fashioned the
are finding ways to incorporate new inspirations and design elements in their
recycled leather into large leaves and tall stems, mimicking vines. By working
product development, making their craft products relevant to today’s market
with natural tones – greens and light blues – with bright orange accents, they
and consumer demands. While you can still find wicker cowboy hats
created a piece that was natural, contemporary, and architectural.
in Arcadio’s shop, he now proudly exhibits the many other products he has
been able to make with the help of local and international designers.
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Text: Connie Gonzalez Photos: Aid to Artisans
An artisan adds value
to his or her product when
new design elements are
integrated into the work
that he or she already
knows how to do.
Hats off
to Artisans
and
designers
looking in
F
rederic Alcantara understands the mind of an artisan
on training trainers. Trainers are being trained
perhaps better than most.
themselves in skills needed for building long term local
Frederic
Alcantara:
A View on
Working
with
Artisans
capacity and creating linkages between local producers,
The talented and humble 47-year old self-taught designer
as well as regional and international buyers. As a result,
has devoted many years of his life to working side by side
they are streamlining production processes, securing
with craftspeople around the world.
raw materials aimed at improved eco-effectiveness, and,
improving costing and pricing. They are also finding fair
When Frederic was 20, he decided to pursue his dream
and competent intermediaries for export to the global
of traveling to Africa. He packed up and left for a journey
marketplace.
which led him almost immediately to artisans developing textiles. His decision proved to be life changing. He
An additional, significant contribution to the tourism
started developing African fabric for renowned French
segment of the MarChE program is ATA’s strategic link
fashion designer agnès b. and eventually started his own
with the Caribbean tourism sector, particularly the link
design company drawing on his artisanal inspiration.
with over 1,000 members of the Caribbean Hotel
Association, currently funded under the OAS/SOURCE
“I’ve learned many things from artisans, how to
project and supported by grants from American Express
understand raw materials for one. You get to know people
Philanthropy. Targeted product development is already
first and then start creating with them. They train me
in full swing for gift shop merchandise, furnishings,
in how to use their tools and then I can train them on new
branded resort lifestyle collections, and room and spa
designs,” he says.
amenities. This is where Frederic comes into play.
Frederic also notes how important it is to talk to artisans
In February and April, Frederic traveled to Haiti
on a human to human level.
to develop samples and product ideas, as well as to help
artisans better understand this new target market.
“I don’t put designers on a high shelf of seniority, we all
11
His goals included creating designs that bring fresh
have different ideas. If an artisan can’t do something,
concepts to familiar product lines, while keeping
most of the time there’s a reason. In many cultures, it’s not
function in mind.
common to say no. It’s our job to understand them, to talk
and figure it out,” he says, noting that in addition to
Frederic worked with the artisans from the workshop
artisans, he seeks design inspiration from museums,
Caribbean Craft. The artisans are interested
books and even shopping excursions while in the country.
in designing new lines of chic samples for their papier
mache and metal paint factory. Frederic also worked with
For over 10 years, Frederic has been working with ATA
the stone carvers from Leogane developing contem-
as one of its leading design consultants. He started his
porary stone vessels that retain the roughness of their
work in Ghana and has traveled to numerous countries
natural material, but have elegantly turned interiors.
including Tanzania, Mozambique, Bolivia, El Salvador,
He also met with two participants from ATA’s Market
and Macedonia. He currently is working with ATA’s
Readiness Program™, Regine and Cassandre, who have
project in Haiti, the poorest country in the Western
teamed up to develop a concept of a chandelier and
hemisphere where there is a desperate need for economic
lighting out of recycled plastic bottles.
development, environmental rehabilitation, business
Text: Joanna Smiley Photos: Aid to Artisans
training, and job creation. The situation is particularly
“In Haiti, people are amazingly creative. You give
challenging in Haiti’s remote rural areas and the notori-
a Haitian a tool and a piece of wood, and they’ll make
ous city slums. ATA’s USAID/CNFA funded MarChE
something. I’ve learned from artisans that nothing
(Market Chain Enhancemment) project offers a new
is impossible.” Frederic says, pausing for a moment.
approach to the deep-seated problems in the region.
“My advice for any designer working with artisans
The Haiti MarChE project is designed to build
is to start from what they know how to do. Go to the field,
on the synergies between the tourism, craft, and
see them, and absorb the influence of the traditions and
agriculture sectors. The project aims to create a thriving
the country. Don’t spend hours at your desk. And most
service sector by providing technical, marketing, and
importantly, understand the business aspect of product
training assistance.
development. There is no room for people who just want
to design and be creative without an understanding
This project also marks a new direction in the ATA/
of the market. The product needs to be marketable and
USAID handcraft sector strategy with its emphasis
bring income to the artisans.”
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In Haiti, people are
amazingly creative.
You give a Haitian
a tool and a piece
of wood, and they’ll
make something.
I’ve learned from
artisans that nothing
is impossible.
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to the trade
Artisans from
India connect
If you are interested in getting more information, please contact Colleen Pendleton, Senior Director of Program
Mission
Services at Colleen_Pendleton@aidtoartisans.org.
We create opportunities for low income
I
f you are a retailer or wholesaler who would like to directly import from artisans— using either their existing
products or collaborating with them on new designs, ATA can link you with the right group. Below is a small sample
to west elm
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of products and skills available from our current programs.
About
ata
artisans around the world to build profitable
businesses inspired by handmade traditions.
We offer access to new markets, business
training, eco-effective processes and design
asuta Yarn Producers Co. Ltd is a very unique organization—it’s majority owned by artisan cooperatives working
innovation through a network of partners to
with 1,732 full and part time craftspeople.
promote sustainable growth and community
well-being.
Masuta was started by PRADAN, an NGO promoting sustainable livelihoods for the rural poor in India. PRADAN fosters the
formation of groups by providing leadership training to help the poor carve out a presence in the marketplace. Often, this vision
Programs
happens through developing agricultural businesses, such as rearing silk worms. This is how Masuta began.
Currently, Aid to Artisans has programs
in the Caribbean, Colombia, El Salvador,
PRADAN worked with tribal peoples to organize the rearing of wild silk worms in a more efficient way, including teaching
Haiti, Mexico, India, Jordan, Benin, Burkina
appropriate methods for tree planting, disease control, and egg harvesting. From this agricultural project, PRADAN helped
Faso, Chad, Lesotho, Mali, Senegal and
other small groups of women from remote villages in yarn finishing—spinning and reeling the silk into yarn.
In 2005-2006, seeing the sustainable operations of its yarn marketing division in Dehli and Bhagalpur, PRADAN spun off Masuta
13
Benin
Haiti
Indigo Batik Tote Bags
Papier-mache Rooster
South Africa.
Results & Impact
so it could be the yarn marketing arm for the artisan cooperatives. In addition to buying and selling the yarn, Masuta designs
Artisan craft businesses play a vital role in
and produces finished textiles using the cooperatives’ yarn and the under-employed dyers and weavers around Bhagalpur.
the local economy of developing countries,
constituting the largest sector of rural em-
Aid to Artisans consultants Jacqui Starkey and Kim Hryniewicz worked with Masuta artisans in 2007 to design new fashion
ployment after agriculture. ATA has spent
accessory product collections targeted for export.
32 years improving the lives of over 100,000
artisans in more than 110 countries where
Jacqui Starkey is the founder of EAD, Inc. (Everybody’s A Designer) which aims to de-mystify the design and marketing
livelihoods, communities and craft traditions
processes. Jacqui has designed for craft and small industry development projects for many years, as well as for large-scale
are at risk.
manufacturing in India. Kim Hryniewicz has designed with Jacqui for the past 7 years.
Over the past 10 years, ATA’s efforts
leveraged nearly $230 million in retail sales.
Jacqui and Kim worked together with the technical designers, production, and marketing staff in Bhagalpur to assess the vast
Text: Joanna Smiley Photos: Eco Tasar and Masuta, west elm
range of Masuta’s current products to form a new export collection. These collections used both natural and chemical dyes
Funding
to achieve a range of colors, from earthy to bright. The resulting product lines were designed to create a dramatic presence in
a busy trade show context by coordinating on-trend colors and strong textures. The designs used patterns, colors and weaving
techniques that controlled but also enhanced the beauty of the variations inherent to wild silk. The way eyebrows on a face give
each person a unique expression, these variations give each product a unique look. The products focused on showcasing Masuta’s
El Salvador
Mozambique
Painted Wood Angel
Turned Wood Containers
Our work is made possible by the support
from governmental institutions, multilateral
organizations, foundations and corporations
such as American Express Foundation, Ford
capabilities, so that customers could easily see the possibilities and how Masuta can adapt to fit a customer’s specific needs.
Foundation, International Finance
The joy and strength of artisanal production lies in its flexibility and ease of customization. When done well, it neutralizes
Corporation, W.K. Kellogg Foundation and the
the competition with machine-made product and sets these items in a class of their own. The flexibility of handlooms allows
U.S. Agency for International Development.
a group the possibility of servicing small buyers as well as large ones.
ATA programs are also supported
by the generous donations of individuals and
the active participation of designers,
How does this connect to west elm?
importers and retailers.
ATA took Masuta’s new collections to the New York International Gift Fair in 2007 where they caught the eye of the Williams
Sonoma retailer, west elm. In 2008, with assistance from ATA and in collaboration with Craftmark, west elm worked with Eco
Tasar and Masuta to create a simple collection of hand loomed pillows and throws in the Khadi tradition of Indian hand weavers.
Eco Tasar and Masuta expanded an entire section of their business to cut and sew the pillows west elm requested. Production
of these handcrafted products contributes to generating rural, sustainable employment for thousands of women. Today, west elm
carries a beautiful array of Masuta pillows and throws in its catalog and looks forward to developing their next collection.
MtM
Mali
Burkina Faso
Flower Pillows
Batik Animal Pillows
Aid to Artisans
w w w. a i d t o a r t i s a n s . o r g
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Photo: Michele Wipplinger
Eventually everything connects - people, ideas,
objects. The quality of the connections is the key
to quality per se.
The details are details. They make the product.
The connections, the connections, the connections.
It will in the end be these details that give the
product its life.
- Charles Eames
Rolland Hitech30 contains 30% post-industrial recycled fibre, is certified Environmental Choice and manufactured using biogas energy.