Who Cares About Trends Anyway? Five craft industry experts discuss balancing consumer trends, artistic vision and the craft market by Bernadette Finnerty

The Roundtable Participants

Toni Sikes is president of The Guild, the resource guide for artists and fine craftspeople, founded in 1985. In 1998, she launched Guild.com, which offers fine art and crafts for purchase on the Internet.

Jeffrey Larris is executive director of the American Craft Council (ACC), which produces retail shows around the country and a wholesale market in Baltimore.

Wendy Rosen is president of The Rosen Group, which produces the Buyers Market of American Craft in Philadelphia. Rosen is also publisher of AmericanStyle magazine, a publication for collectors of craft, and Niche magazine, a publication for craft retailers.

Jack Larimore is a woodworker and studio furniture artist based in Philadelphia.

Tracy Beckman is president of Industry Productions of America, Inc., which produces the Beckman's Handcrafted Gift Shows in Washington, D.C., Los Angeles and Chicago.

TRENDS ARE A TRICKY CONCEPT WHEN IT COMES TO ART AND FINE CRAFT. CRAFTSPEOPLE DEAL WITH TRENDS IN MANY DIFFERENT WAYS -- FROM IGNORING THEM TO OFFERING THEIR UNIQUE INTERPRETATIONS TO FOLLOWING THEM TO THE LETTER. THE EXTENT TO WHICH TRENDS PLAY A PART IN THE CREATION OF ARTISTS' WORK SEEMS TO DEPEND ON THE VENUES THROUGH WHICH THEY CHOOSE TO SELL IT. THIS IS A DECISION THAT EACH CRAFTSPERSON MUST DECIDE FOR HIMSELF. WE ASKED FIVE CRAFT INDUSTRY LEADERS TO OFFER THEIR PERSPECTIVES ON HOW TRENDS FIT INTO THE BUSINESS OF MAKING AND SELLING FINE CRAFTS.

TCR: ON ONE HAND, CRAFTSPEOPLE PRIDE THEMSELVES ON CREATING TRENDS WITH THE CUTTING-EDGE WORK THEY DO. ON THE OTHER HAND, WE ALL NEED TO MAKE A LIVING. IS THERE A HAPPY MEDIUM?

Toni Sikes: I've always thought of artists as the most sensitive group of people I know, which means they are bound to be affected by big, general trends -- even if they aren't conscious of it. Our field has had to rely on our "gut" to understand the trends, because we aren't in a wealthy industry that does ongoing consumer research.

Jeffrey Larris: Historically, most art has been market driven. Like all of us, artists need to earn a living, and they will adapt their creativity to those who are willing to pay for it. That is as relevant today with collectors as it was in medieval times with the church (then the sole under-writers of art) or during the Renaissance with wealthy art patrons.

The happy medium is that each artist will make the choices that work for him/her. Some will chose to limit their creativity to what is immediately marketable; some will continue to produce as inspired, and trust the market to appreciate their work; and others will create a highly marketable line that will subsidize those pieces with limited appeal but challenge the artist in his/her work.

Jack Larimore: The cloth that most craftspeople are cut from bears no resemblance to that from which a good market analyst is cut. What we, as craftspeople, have to offer is an intuitive truth. We offer work that is ... based on sincerity and talent -- two highly valued qualities not always associated with market-based goods. These qualities however, are becoming more present in arket-based goods largely due to the persistence and popularity of the works of craftspeople. So ... a happy medium? No, but there will always be a medium ground because we are inherently practical. Medium is medium, it's not where our strength resides.

Tracy Beckman: I feel there is room in our world for all different kinds of craftspeople! There are those who are wholly dedicated to their artistic endeavors and march to the beat of their own drums, and there are those who are in tune with and interested in divining and producing what the consumer is interested in purchasing. Then there are plenty of people who are somewhere in between, leaning toward one end of the spectrum or another.

Wendy Rosen: We must always remember that the craft marketplace is not the mainstream marketplace. ... Our products are attractive to a very small percentage of the population (less than two percent). Staying out of the way of Kmart is our best strategy for survival!

We're living in an incredible age ... where artists can sell items from $10-$10,000. There are specific paths for each type of work, whether production, limited edition or one of a kind. Also, the expansion of marketing as a science has brought us closer to being able to make the work we want to make ... then go out and find the right customer for that work.

[As for adapting to appeal to more of the right customers], small sculpture pieces should physically fit proportionally on residential tables (not gallery pedestals). To increase marketability, larger sculptures should be planned for outdoor use or use in unstable temperature/humidity areas such as atriums, foyers, porches, Zen gardens, etc.

TCR: HOW DO YOU FIND BALANCE BETWEEN SOMETHING THAT SHOCKS AND SURPRISES, AND SOMETHING THAT WILL SELL? ARE THE TWO MUTUALLY EXCLUSIVE?

Sikes: Within the 6,000 original works of art featured at Guild.com is a spectrum that shocks some, surprises others, evokes various emotions, and sells. We leave it up to the visitor to act upon their tastes.

Larris: Some artists have a more independent, perhaps insular, sense of their vision than others and will go ­ can go ­ only where that takes them. Others are open to interpreting their vision in the context of trends and marketability. And we must remember that art is about shock and surprise and individuality. Those who are not comfortable with this are producing for or shopping at Pottery Barn.

Larimore: Revolution is an integral part of evolution. Imagine thinking that the Beatles were shocking. Work that is honestly different and that alters our way of thinking and seeing is more likely to find an enduring audience than work that is shocking for the sake of being shocking.

Beckman: Sometimes our exhibitors will create a large, expensive, eye-catching piece that may truly capture where their heart lies, but they can't sell it to a gift buyer. So they'll use that piece to draw the buyer into the booth oohing and aahing, but usually the buyer will select more mainstream, less expensive items.

Rosen: It's a good idea to create work that you think will sell, yet is still unique and different. Look for small or very specific market segments where you can "corner the market." For example, instead of making pet products ... make items for just one breed of animal. A small, devoted segment of people will appreciate and seek out your work. Look for market segments that attract affluent and well-educated consumers, like scuba divers, ecological organizations, etc.

"The Internet is the trend that is changing how artists, galleries and consumers relate to each other. Online tools will never replace the personal relationship between an artist and a gallery, however, technology can help to bring an object to life to someone viewing it from across the globe." -- Toni Sikes

TCR: WHY SHOULD CRAFTSPEOPLE PAY ATTENTION TO TRENDS?

Sikes: If the crafts field is to grow and become even more relevant in people's lives, we must pay attention to consumer trends. After all, trends are caused by what is happening in our world, such as an aging population, reactions to the pressures of technology, etc. All of these trends only support our cause for the importance of one-of-a-kind, beautiful work in our lives.

Larris: There is only one answer: survival. Craft is a visual art, and art shouldn't have to be subject to consumer trends. As artists, craftspeople are different in this way. But then again, we all have to eat.

Larimore: Craftspeople should pay attention to consumer trends so that they will be seen as well-dressed! Really, I believe that the "trendsetters" are watching us, so watching trends would be evidence of self-doubt, maybe even vanity.

Beckman: In order to survive in a handcrafted wholesale gift show like ours, an exhibitor can't afford to ignore trends. Some exhibitors peruse mail order catalogs and interior design magazines to see what trends are out there, and tailor their new color schemes or themes around what they've seen. They don't feel the need to
apologize for it, they just need to create what people are looking for.

Clearly, craftspeople, particularly those who are in production, must pay attention to trends if they want to sell in a hightly competitive gift marketplace. Pursuing a lonely artistic vision quickly loses its importance if you've got the significant financial outlay of doing a show to make up, and a family to feed at home.

Rosen: Artists who are keenly aware of current trends in the marketplace and also have a good foundation in art history can combine styles and ideas to create really wonderful work. Trends such as the size and proportion of items like earrings ... are more important than following design styles.

I remember when small earrings became the hot item -- artists who still made big dangles wondered why their work wouldn't sell anymore.

TCR: WHO IS YOUR END BUYER? HOW MUCH DO TRENDS AFFECT THAT BUYER?

Sikes: Our general buyers are (1) consumers and (2) design professionals. Both are very much affected by trends, as we all are.

Larris: The end market is both the public and the wholesale buyer. Regardless, the end buyers are ultimately the individual collectors, each having varying degrees of confidence in their own taste. Some will only feel comfortable knowing their tastes are shared by many; others really couldn't care less what anyone thinks.

Larimore: The audience for craft does pay attention to fashion and other trends. Everyone, on some level, likes trends. They're fun. But I don't think that's what they look to us for.

Beckman: In our wholesale shows, which are geared more toward the production craftsperson, you'll find many people who are keenly interested in trends. Their customer bases, largely comprised of smaller gift stores, must purchase for their end customers, who are very likely interested in trends.

Rosen: This year we surveyed thousands of AmericanStyle magazine readers to find out who they were. ... We discovered that today's collector is a woman, age 35-54, with an income of $100,000, a home worth over $270,000, and she spends weekends gallery hopping and traveling to museums, art fairs and exhibitions.

Today's collectors are baby boomers ... and they were flower children of the '60s. Many are college-educated adults. In college they studied different cultures, history, art and design and even architecture. They are the first generation to demand good design.

Now entering their 40s, they are approaching the peak of their careers and income potential. The role of art in their lives is expanding ... from paper and canvas to household items, clothing, television, and CD-ROMs.

TCR: DOES THE DEMOGRAPHIC PROFILE OF THIS BUYER CHANGE AS WE ENTER THE NEW MILLENNIUM?

Sikes: I believe that the demographic profile of our consumer gets younger over time, as more young people move into professional positions earning a better-than-average living.

Larris: The millennium is not a threshold, just another milestone on the continuum of time. Buyers will reflect an aging population. This could mean more disposable income as the "kid" expenses and major purchases like homes are no longer an issue; or because they will be facing mortality -- buyers begin to look beyond the tangible toward the spiritual.

A demographic concern for the American Craft Council (ACC) is whether younger buyers are being educated to appreciate the value of craft, hence ensuring the future of the field. We are looking to make this concern a focus for future programming.

Larimore: The demographics of the audience I'm familiar with is so widely varied that it defies characterization, so it's hard to see it as changing dramatically.

Beckman: The demographic profile of the buyer is changing. Consumers are getting older. I suspect as people become older they will become more conservative and stick with things they know and love. Another trend is that home is becoming more
important.

Rosen: The last generation settled for function over design. Not today. Quality and design are no longer frills. More and more, well-educated customers recognize and demand the best. Today's collectors have more confidence in their own tastes and
judgments.

WHAT DO YOU EXPECT TO BE THE "BIG SELLER" IN THIS YEAR'S MARKETS AND SHOWS?

Sikes: That's the $64,000 question. As I stated earlier, our field has had to rely on our "gut" to understand the trends.

Larris: The Council's concern is promoting craftspeople working in all media. We have little interest in identifying "what's hot vs. what's not."

Larimore: If I knew, why would I tell anyone? Seriously, I don't think consumers consume because they actually need things, so I stand by my previous scripture, the big sellers will be work that is real, sincere and truthful. Craftwork doesn't typically fulfill practical needs, rather, our audience seeks to fulfill their spiritual needs through the purchase and use of our work.

Rosen: I'm afraid that glass might have a ceiling in the next decade. I keep hearing glass collectors talk about how expensive glass is ... and how affordable ceramic sculpture is today. The clay field must begin to work together to increase the value of work, even production objects. We must continue to search for the perfect gifts for guys; that was the highest demand from retailers we surveyed.

"Artists who are keenly aware of the current trends of the marketplace and also have a good foundation in art history can combine styles and ideas to create really wonderful work. Trends such as the size and proportion of items like earrings are more important than following design styles." -- Wendy Rosen

WHAT KINDS OF GENERAL TRENDS DO YOU SEE HAPPENING IN THIS INDUSTRY?

Sikes: The Internet is the trend that is changing how artists, galleries and consumers relate to each other. And we need ... to weave this new distribution channel into our efforts to create and market beautiful objects.

Larris: The craft artist population is aging, and younger artists are not being brought into the field in the numbers necessary to sustain the current level of activity. Markets need to be developed that promote the work of young artists as well as meet the needs of the emerging "collector." The long-term future of the industry is dependent on this.

Larimore: I think it's becoming easier for young craftspeople to establish a foothold in the field. They embody confidence in a way that makes a buyer want to interact with them. An intelligent, confident audience seems less reliant on the reputation of the maker and more compelled by the quality of the work.

Rosen: The work of craftspeople has always been different from the products of the industrial and technological age. Artists make objects for specialty market segments. This is the only way we will survive and grow. We can't compete with Third World labor (which seems to be making everything from art jewelry to art glass). We need to forge a different path than the gift industry and its manufacturers.

Crafts appeal to a narrow specialized market of well-educated people. Today the number of college-educated consumers is growing at an incredible rate. In addition, cable television networks and the Internet are providing us with continuing education throughout our lives.

The explosion [in the number] of college-educated adults is fueling the marketplace for crafts. Each year the audience for contemporary crafts grows.

WHAT EFFECT WILL TECHNOLOGY HAVE ON THE CRAFTS FIELD AS WE ENTER THE NEW MILLENNIUM?

Sikes: Guild.com would not exist without two critical ingredients: 1) the artist and 2) the Internet. The artist will always remain the creative spark and appeal of the site. However, new technology will let online shoppers view a sculpture in 3-D, "walk" around, over and under the object, and download streaming videos and other information. This will never replace the personal relationship between an artist and a gallery, however, technology can help to bring an object to life to someone viewing it from across the globe.

Larris: More irony. I guess every hundred years or so it happens. The industrial revolution brought significant changes in the way functional objects were created. Artisans were replaced by factory workers. Then came the craft movement with its search for purity and purpose where, for many, only hand tools were appropriate -- no machinery. Mechanical tools were slowly adopted as values were reassessed, and such fabrication aides were no longer thought of as a threat to core beliefs.

Now, once again, technology has sparked a similar change. Already, many artists are using computer programs to design and explore the potential of materials. The execution is by hand. Technology is a merely a tool to further creativity. If we take this a step further however, computer-aided design followed by computer-coordinated fabrication, then we have redefined craft itself.

Everyone is talking about the Web and its effect on marketing. No doubt, the Internet is a powerful tool and has unlimited potential for information and promotion. And, it's ideal for the transaction of commerce related to universally available and generic products.

For me that doesn't work for most art/craft. Each piece is handmade and unique. I need to personally connect with a piece before acquiring it, which is very difficult (for me) to accomplish through a computer screen. Toni and her underwriters at GUILD.com are confident that most collectors will feel otherwise. Perhaps so, but to paraphrase an accomplished craft artist, "People are buying the artist, not just the art." The collecting experience -- the connection -- cannot be replaced by a click of a mouse.

Larimore: I sense less romanticism about making things the old traditional way. We are able to convey values that are important to us without playing the "good-ole-days" card. If my 18th century predecessors were given a router and the electricity to power it, I think most of them would have used it and used it well. The values are valued even when they're expressed through contemporary materials and techniques. Technology is a great catalyst because it forces us to consider what qualities we really value. I hope I can figure out how to best use it before the next millennium.

Beckman: I continue to believe that as our world becomes more high tech, the item that has been actually made by somebody will continue to increase in importance . I think the world will continue to divide into people who can afford higher quality, well-made items and people who are looking for less-expensive items. The middle market seems to be shrinking.

Rosen: There was a time when right-brained artists were seen by the rest of the world as "poor business people" or "flakes." Those days are finally over. With software programs like Access, FileMaker Pro and Quick Books -- right-brained people can easily complete even the most difficult left-brained tasks with ease. Too bad that left-brained people can't find software to help them find creative answers to their problems!

Bernadette Finnerty is editor of The Crafts Report.

JANUARY 2000: TABLE OF CONTENTS