Master's Project_MA Fashion and the Environment

AN ANALYSIS OF THE PART THAT

FASHION

AND RELATED ARTISANAL PROJECTS AND SOCIAL ENTERPRISES CAN PLAY IN THE THRIVING OF BRAZILIAN COMMUNITIES

First published in Great Britain 2012 Words by Maibe Maroccolo All photography by Maibe Maroccolo Copyright @ Maibe Maroccolo 2012 All rights reserved

This handbook is dedicated to designers, social entrepreneurs, future artisans and anyone else who has a vested interest in the world of artisanal goods and handcrafts. This is by no means a definitive document and anyone reading it should understand that its application is better understood within the environment from which it was created.

Maibe Maroccolo MAR 10314608 Master of Arts in Fashion and the Environment London College of Fashion November 2012

INTRODUCTION

9

ASSOCIATION ENCANTO DAS ARTES

15

ASSOCIATION CIA DO LACRE

19

ASSOCIATION AMARRADINHO EM VOCÊ

23

MARIA DO BARRO INSTITUTE

27

ASSOCIATION COOPERUNIÃO

31

ARTISAN PROFILE ANALYSIS

34

CONCLUSION

38

DESIGN INTERVENTION

42

CULTURAL IDENTITY

46

FINAL CONSIDERATIONS

49

//INTRODUCTION

has played a leading role in generating

Due to poverty in Brazil, a large por-

ploy local labor usually using natural

tion of its society has learnt to live with reduced resources, paradoxically surrounded by an abundance of resources.

In such an environment entrepreneurship, flexibility with cultural diversity and easiness to deal with uncertainty is required

income in Brazil. The handicrafts emor local resources in a ecologically and correct way.

Thus, stimulating the development of

handicrafts, also means creating possibilities for mitigation of social inequali-

ties and also promoting the ​​preserva-

from people on a daily basis in order to

tion

aligned with an increase on the education

handicrafts use natural or local material,

guarantee survival. Such an environment level, political awareness and information access, has induced a widespread of locally-based social initiatives that in many

cases represent truly innovative social

changes towards sustainable consump-

of popular local culture values.

With relatively low financial investment, promoting social inclusion in productive

and profitable activities. Encouraging the practise of collaboration and sets the artisan at the source.

tion and production.

However the artisanal is gaining more

Brazil has always developed sustainable

This might be a reaction or desire to re-

ideas in order to survive under pressure of narrow circumstances when living in a

developing country. This is a characteristic required on a daily basis from the poor

population in this region in order to guarantee their survival. The artisanal sector

value in todays consumable climate.

turn to our origins following an explosion of industrially manufactured products. With this assumption in mind, it is

possible to measure the importance of

handcrafted goods as a potential appreciation of the work, creativity and

9

recognition of human nature’s limits.

products in BrazilL and investigate the

formal production can help supply local

handcrafted goods are produced only on

In developing countries like Brazil, inconsumption, as well as promoting the

wonder and awareness of culture. The handcrafted item therefore, can simply

translate into a socioeconomic and educational solution. Thus, stimulating the development of handicrafts, also means to create possibilities for mitigation of

already existing practices.

Currently,

a small scale by associations, cooperatives and enterprises. This is mainly due

to local cultural values and unique techniques as well as the raw materials used.

The study has investigated if there is po-

tential for handcrafted processes and products to be improved upon on a more

social inequalities and also promote the​​ commercial and beneficial scale. The pri-

preservation the popular local culture values.

“Artisanal objects appear as a counterpoint and contradiction. In a virtual world

they offer a real experience. Instead of uniformity and standardization of industrial objects, they are unique, never identical.

They have the beauty of imperfection.“

(Borges, 2011:204)

The study aimed to provide a clear and comprehensive outline of the current

processes involved in creating artisan 10

mary research took place in Brazil, more

specifically in the capital, Brasília. This will follow investigations and analysis of

the marketplace and research carried out in the UK.

The artisanal production in Brasilia is

made ​​by Brazilians from various regions of the country, but with a strong predominance of people who came from poverty

regions, such as north and northeast. So many traditions predominantly rural co-

exist and mingle, giving rise to new settings of culture and, therefore, new types of craftsmanship.

In order to explore and produce concise insights into current artisanal practices five

artisanal associations and cooperatives were investigated. Each artisanal group was

specifically selected, because they provided insights into current artisanal processes and products. The groups were analysed and compared with one another in order to

explore the parameters of social innovation, to analyse the drive for demand of the associated products and to identify the best practices in the current artisanal sector investigating their parameters around viability and feasibility.

Figure 1: Map of Brasilia and the surrounding areas

11

//ASSOCIATION ENCANTO DAS ARTES (EA) Encanto das Artes (founded in 2007) is

is what keeps the association going, as

ates artisanal womenswear, kidswear and

as well as financial help to assist with

pre-consumer, post-consumer and new

provement when and wherever possi-

around the aim of “ Creating a quality life

a store/outlet in the city center, and/or

privileged community “. Some of the arti-

all over the world. Amongst the bigger

ers work full time on their skills.

lack of overall consumer and retail sup-

EA doesn’t follow trends or have a struc-

ing cheapened and underrated by so-

artisans produce goods according to their

the products in order to maintain their

inspirations and tastes. They have meet-

However, all the members claim to be

to bring their children, but they actual-

tor and would not change their activities.

houses. The help from NGO’s, friends

work and this source of income, result-

a Brazilian-based co-operative that cre-

they rely heavily on material donations

also home-wear from a combination of

the costs. The group seeks constant im-

materials. The co-operative was formed

ble, and their biggest dream is to have

and generating income for their under-

an online shop with the ability to export

sans work in their spare time, while oth-

issues the founder has to deal with, is a

port, which results in the artisanal be-

ture in order to develop collections. The

ciety, concluding in a reduced price for

respective skills and their own personal

minimal profit.

ings once a week, where they are allowed

very happy working in the artisanal sec-

ly produce the goods in their respective

Their biggest fear is having to stop their

and some other supportive organizations

ing in seeking employment elsewhere.

15

//ASSOCIATION CIA DO LACRE (CL)

Cia do Lacre (founded in 2001) is a Bra-

mostly housewives who hadn’t had an

artisanal products made from recycled

their creative potential. However, they

cans) using traditional hand crochet-

powered with a strong will and belief.

through resourceful means, which in turn,

the opportunity of a more dignified

zilian-based co-operative that creates

opportunity to study or to demonstrate

aluminum tabs (ring-pulls from soft drink

are all very skilled, sensitive and em-

ing techniques. This idea creates jobs

CL Provide them and their family with

provides a sustainable change.

and better life. Each artisan produces

The co-op was formed around the mission

and they also have the opportunity to

consumer and local materials to generate

style of bags. The president is very

women while improving their creative po-

mance and the group can now rely on

Their flagship product is a sleek, artisa-

couple of successful contracted clients

from home, at least 60 bags a month

of “create innovative products from post-

play as designers and create their own

an alternative income for underprivileged

happy with the co-operative perfor-

tential and promoting social inclusion”.

this activity alone as they have had a

nal line of women’s bags, but they also

in the United States of America.

created accessories, womenswear and homewear.

Currently CL has 32 female artisans, 19

//ASSOCIATION AMARRADINHO EM VOCĂŠ (AV)

Amarradinho em vocĂŞ (founded in 2005)

They also produce bags, cushions, ac-

with 18 other female artisans. Their pri-

are consistently promoting recycling

is managed by Francisca de Souza along mary goal is to help their local under-

privileged female community; generating income in order to improve their self esteem, dignity and achieve a better stand-

cessories amongst others items. They and upcycling using pre-consumer waste and local materials in the district of ParanoĂĄ.

ard of living.

The president of the association holds a

diploma in community therapy. She is able

to talk to them as a therapist and advise them on their personal problems; that way she can help the women, thus making the group stronger, more productive

and more wholesome. The main item pro-

duced, are rugs, using a technique that can consequently reduce corporate textile

waste, by using strips of leftover fabrics donated as primary raw materials.

23

24

25

//MARIA DO BARRO INSTITUTE (MR)

Maria do Barro (founded in 2000) is an

The project one day helped her to deal

cal community that aims to minimise the

she says that she must keep the project

Institution and NGO, created for the lo-

poverty and raise the quality of life for underprivileged womens through the art

of weaving. They offer weaving training and mainly produce carpets, table cloths and accessories, amongst other items.

Most of the women are illiterate housewives, living below the poverty line and suffer from depression and

other per-

sonal difficulties. All the loom equipment was donated, but most of the raw material such as wool, lines, fabric are bought by

the President, that unfortunately does not

have any sort of financial support to run the social project. The region is extremely

poor, so for security reasons the presi-

with her personal difficulties, so now going, as she wishes this well being to

continue on to help others. In terms of sustainability, they also make the most use of their local available material.

The artisans use dried banana leaves in the weaving lines, which produce a firm and concise texture, thereby cre-

ating a beautiful and uniquely finished piece. They have more than 30 artisans

working in the project and each and every one of them is very grateful for been given the opportunity to occupy

their minds while weaving and creating beautiful products.

dent and her family sleep in the Institution for fear of robbery.

27

//ASSOCIATION COOPERUNIÃO (CP)

Cooperunião (founded in 2000) creates

The group strives to improve the tech-

out of reused concrete sacks. The origi-

agement, seeking for business and

recycled stationery and accessories made

nal inspiration for the co-op founder Ma-

ria de Freitas was to “create something beautiful and new from something old

and disposable”. The artisans rely heavily

on construction company’s donations to produce their work. Sourcing the neces-

nique and also to improve the manmarketing courses to be able to expand their production. The artisanal is their principal activity and they depend on the success of their own sales for financial gain.

sary concrete sacks any other way is near impossible.

The city administrator loans Cooperunião a local barn, where the artisans produce

and construct their work and products.

They offer artisanal courses to the local community and exhibit their work in local markets and street fairs.

31

32

33

//ARTISAN PROFILE ANALYSIS

adults being the most active in terms of

The analysis is intended to provide a

Out of all the statistics, this produced

framework and approximate illustration of some aspects of the artisanal sector

of Brasilia. Present here is a summary of data collected through questionnaires that were presented to probably the most

important and influential sector of the industry, the artisans themselves.

Among 50 artisans interviewed, about

90% were women. One of the reasons this is so heavily accented towards women is the fact that much of the skills needed

and the work that is carried out, is, traditionally considered feminine, such as embroidery, crochet, sewing, etc. With regards to the age of the respondents,

work/producing goods.

the most alarming figures in terms of

the future. More than half the respondents (62%) have been artisans for over

20 years. However, the concern is the

lack of fresh, new artisans coming into this area of employment. If the graph was reversed and the majority of ar-

tisans had been involved for less than two years, a brighter future may look more secure.

Third of the respondents do not share their lives with a partner and therefore one could assume these artisans rely

heavily upon this work for income as the sole earner.

70% of the interviewed were between 40

This statistic is clear cut and emphasis-

39, and the remaining 14% of them were

depend on other forms of income for

and 49 years. 16% Were between 25 and over 50 years old. The average age of an artisan is 45 years. This clearly indicates

that most artisanal work is an adult ac-

tivity. There is no coincidence in this and 34

es that the majority of artisanal workers their primary financial remuneration and

security which could be their own state

benefit or their husbands state pension, or both. While it is clear from the above

that many respondents were not princi-

tions were clear. The main participants

majority were in fact not housewifes, but

artisan, about 90% consist of women

pally occupied as artisans (only 26%), the directly artisans and retire.

were women aged 45 that between the and the average age is 45 years.

The majority of artisans used trade as

One peculiar characteristic of BrasĂ­lia

with local shops a close second (54%) and

collectives put upon the materials they

their principal provider of materials (62%)

also having Brasilia was the first and pref-

ered choice of cities to provide the materials for production.

When it comes to marketing products, an

important aspect is the use of packaging.

Most artisans, 88%, uses packages when selling. In addition to this issue, most of

them, 84%, uses industrial packages. Only 12% produce or uses artisanal packages.

//ANALYSIS OUTCOMES This chapter illustrates the consolidation

of the results obtained in the analysis and general principles that may eventually

help and guide future start-ups within the artisanal sector in BrasĂ­lia. In the ar-

tisanal profile analysis, the main observa-

artisanal projects is the focus that the use. Most of the artisans work in their own home and they do not have any sort of financial support for the production process, unless the activity is

being backed or sponsored by an institution. In general, the artisanal activity

requires a significant financial investment. When marketing the products,

another important piece of data is the financial viability of keeping or storing

stock for production, with 90% admitting they carry no stock at all regard-

ing the viability for keep a stock of the production, 90% of respondents said

they have no stock. This not only ham-

pers the production process, but obviously has a detrimental effect on large or mass scale targets.

35

//CONCLUSIONS

This study was an investigation into the

zilian artisanal sector, and analyzing

order to explore parameters of social

becomes very clear that this area needs

current artisanal practices in Brasília in innovation (objective 1). Through primary findings, the study aimed to describe the methods and strategies used in the artisanal sector and selected

enterprises to identify best practices in the current general artisanal sector

within 4 districts of Brasilia and investigate their viability, both financially and socially (objective 3).

The methodology and findings allowed opportunities, challenges, analysis and knowledge led recommendations for the development of potential busi-

nesses based in artisanal communities in relation to human and ecological prosperity (objective 5).

After taking a close look into the Bra38

challenges and opportunities within, it

attention and improvement. The current system is unmaintainable and potentially

unsustainable. Enterprises are producing very similar products to all their competi-

tors, trying to use their underprivileged condition, ie the “slum (favela)” factor for

a competitive and sympathetic advantage. They use the internet as a tool to source “new” products, then they re-produce them, without conveying the idea of

uniqueness and originality. Consequently this loses them the opportunity to build

their own cultural characteristics and

identity; these artisans need to be stimulated within their community and exercise their singularity and uniqueness.

The conclusions from the study have highlighted two main areas that need to be explored and addressed,

in order to improve the artisans current processes and products. They are (1) Design Intervention and (2) Cultural Identity Research.

39

//DESIGN INTERVENTION

The social, economic and cultural is-

of new products, tests and trials, train-

development initiatives. These ini-

promotion, publicity and commercializa-

sues are reason enough for artisanal tiatives are interventions that aim to

tion of production.

that are producing artisanal products,

The collaboration between the design-

community and local culture. These in-

meeting the old. The designers have to

bring a better life to the communities which indirectly adds value to the local

terventions can be made using various

tools and methods: design, marketing, communication, technology, commer-

cialization, to name a few. Interventions in the artisanal sector must have,

as their primary objective, the collaboration of developing and improving the competitiveness of the original artisa-

nal product in a sustainable way. With-

er and the artisans is delicate. The new respect, understand and be sympathetic to the artisans work and needs, but at the same time, bring to the enterprises,

thought through ideas and a new approach, without being dismissive of what has gone before. Age old skills and tech-

niques should be kept, while some additional new fine tuning should be applied.

out this, the future would be ques-

Using new tools would facilitate their work

environmentally. These interventions

some of the techniques only their trained

tionable on many levels, least of all can be made through the: diagnostics,

researches, design and development 42

ing and development of human resources,

enormously, while not moving away from hands can perform. This human skill, creates imperfection that therefore creates

perfect handmade items, each unique, and each one varied and consequently

valid. This ability has to remain. It is one of

as well as satisfying the consumers desires and needs.

the major assets of all the collectives and

The level of intervention by the de-

are replicated or exactly the same and in a

crucial and critical issue. The position

the goods they produce. No two products

world of monotony and duplication, their skill should thrive and flourish.

The validity of the artisanal product in a

new market, demands the participation of a designer. Their multidisciplinary ability

and skill, will create the formation of items,

while being able to mediate between the craft and the potential new markets, by

way of marketing the products. It is up to the designer to study and research ma-

terials, raw materials, techniques and

signer in the artisanal itself is a second

requires honesty, clarity of intent and

transparency, without spoiling or destroying the traditional values ​​and their origins. If the starting point is the artisans knowledge, along with their desire

to share their traditions and in so doing

creating new experiences, the Innovation is therefore an integral part of the design process which would systematically become a determining factor for economic success.

manufacturing processes that are more environmentally and financially viable,

taking into account the items functionality, aesthetics, comfort and sustainability.

This will make the final product attractive

43

44

45

//CULTURAL IDENTITY RESEARCH “The equilibrium of a society is in its

Music.

dernity, past with future�.

tain local culture relates to the use of raw

ability to reconcile tradition with mo-

B a r r o s o

(2007)

Cultural identity is characterized by

customs, rites, myths and colors that

draw on the local environment. Images, fauna and flora, and singular customs,

all contribute to distinguish a particular social community from others.

Cultural References Research Tools: Environment: Fauna, Flora and Landscapes.

Artifacts: Utensils, Paraphernalia and various objects.

Folklore: Dances, Legends, Traditional cooking.

Architecture: Monuments.

Art: Literature, Cinema, Theatre and 46

The other aspect that characterizes a cermaterials available within that area. Pro-

duction techniques, passed down from generation to generation continue to cre-

ate a separate identity within each region.

The different cultural identities of artisa-

nal goods has to be the primary driving force in helping to revitalize the current sector.

The artisanal sector that was analysed,

finds itself misrepresented. The artisans should also attempt to find inspiration

from their immediate local area. Their everyday lives take in many different aspects and from this day to day normal life,

there are many objects, events and happenings that can inspire. To find or see these situations, the artisan needs to get

out and explore and observe and look at

what is going on within their region.

It should be about being there and seeing and communicating. Asking, enquiring and curiosity. It is necessary to re-

search the natural and man-made landscapes and the habits of those who live there.

To sum up, the products shown by the enterprises, which were analysed in this study, lack identity and also show how

little innovation has occurred in the process. The artisanal

groups who were observed, try to use their current underprivileged position and living conditions as an advantage

or as their main USP (unique selling point). They also work within a charitable business mind set. At the top of the list of

recommendations, the cultural references and local identity

should be used as a competitive advantage instead. This will

create a concise and unique foundation, while also changing the artisans way of thinking.

47

//ARTISANAL MANAGEMENT-PRODUCTION MODEL

Figure 2: Artisanal Management-Production Model

As a result, a new model has been developed, which could group together all the ar-

eas analysed and described previously in this study. In this model the action begins

with the intervention of the designer, whereby the artisans can receive professional

support while developing and improving the enterprises products aligned to their artisanal techniques. The second stage would be the redemption of cultural identity, which, based on the collected data, would then be possible to tie in with their

strength and develop singular products. The concept analysis stage will avoid future 48

problems when it comes to defining their

nal practice also provided beneficial

Adjustment will create the opportunity

suffered from depression, trauma and

ideas and understanding them. Market

to experience products within the market

while making possible alterations and adjustments before coming to the last and

emotional support for workers who loneliness. Promoting social inclusion and positive transformations.

final stage; Commercialisation.

//FINAL CONSIDERATIONS

In addition, the proposed model has also

This study shows that the artisanal

vironmental well being aspects.

cal development and commerce. The

been driven by individual, social and enIt was

possible to observe through the artisans testimonies and interviews, the apparent

transformation and improvement of an individual, both at work and in their per-

sonal life generally. It appears to increase their self esteem, self belief and self con-

fidence. The artisanal work is predominantly a female activity, and the increased

income that they earn, tends to enhance the position of the women in the family, partly by becoming more independent and less reliant on the typical male earning and non earning female tradition.

Artisans groups reported that the artisa-

sector is an alternative to boosting lo-

valorization of the artisanal activity

provides an increase in sales and will accordingly generate more income

for the artisans. The sector has great potential and it can be seen as an al-

ternative for improving the quality of life of many Brazilian artisans, who are

currently living below the poverty line.

Although, the study has raised some

important questions ie “ Is there a future for the artisanal sector?�, the de-

velopment of the project somehow intrigued artisans when they were being interviewed. They had clearly never

49

been asked about their artisanal activ-

artisanal groups, describing the difficul-

that someone was showing such inter-

der to recommend future research; an ex-

ities or techniques and were surprised

est. It was also clear that their children had not demonstrated any interest in learning or discovering their skills and

expertise. Does that lack of willingness

perimentation and testing of the artisanal

management-production model designed as the project outcome.

or desire from the next generation of

Unlike electronic gadgets which are in-

dervalued an activity artisanal work is?

artisanal products offer real experiences.

potential artisans, indicate how unBrazilian artisanal items are becoming less relevant or associated with local

identities and actually are becoming

increasingly similar to cheaper more disposable asian market products.

What is the identity of modern craft?

Are the Brazilian artisans open minded enough for change?

This project serves a dual purpose.

The author will share the collected

data and results within the analysed 50

ties encountered and advice given, in or-

creasingly ever present in our daily lives,

Instead of uniformity and standardiza-

tion of industrial objects, they are unique and never identical; transmitting culture,

memory, a sense of belonging and emotional attachment. This will leave us, the consumers and designers to hopefully rethink our current choice and from that, we

can decide which experience we will prefer to live with in the near future.

51

MASTER OF ARTS IN FASHION AND THE ENVIRONMENT MAIBE MAROCCOLO LIMA LONDON COLLEGE OF FASHION UNIVERSITY OF ARTS LONDON NOVEMBER 2012