5 THE CONCEPT OF SUSTAINABLE CRAFT
5.6 Future research
The research task was to conceptualise sustainable craft, understand what it means, and how it is understood among makers. However, much has been left outside the scope of this study, for example, analysing sustainable craft artefacts, social media and marketing and different cultural backgrounds. This complex phenomenon was studied from a Finnish perspective, a Western welfare country. It would be interesting
to study the phenomena from a different cultural perspective, how it is conceptualised in developing countries, how environmental issues are perceived elsewhere, and the roles that values play in a global context. How do these elements affect global responsibilities on a local level? How are we able to make the change happen, if not for the present generation, at least for future generations? In an educational context, it would be important to study, the kind of results that planned craft intervention would have on pupils or students.
This study grounds a path for statistically investigating the relationships between variables in larger group of craft makers. The variables from this study could be transformed into statements of attitudes and values regarding sustainable craft that could be measured and analysed and further theory could be developed and tested. This type of study could bring insights into sustainable patterns of practice, for example, from craft hobbyists, online craft communities or consumers, even practicing teachers of craft. Once combined with theories of well-being, values and motivation, we could discover new and unexplored areas of craft that could reinforce the importance of sustainable craft.
Another interesting research topic would be animal rights in the context of sustainable craft. Traditionally, craft has used animal fur, skins/leather and hair as materials. Is this justified? In the framework of ethical sustainability, there are no satisfactory ground. The two main arguments are 1) animals are sentient beings and should be intrinsically valued (Singer 1993; Nussbaum 2011; Aaltola 2017), 2) cultural traditions in hunter-gatherer communities valued and respected the animals that they killed. We have no reason to use animal fur or skin because of our traditions as we now have access to other materials that can be used as substitutes. Is craft still authentic if the materials are substituted? Yes – craft methods are considered a part of crafts and no – if viewed from a material perspective. Having said this, the rights and means of living of indigenous people, for example could be sorted with plural set of laws (cf.
Bunikowski & Dillon 2017). In this regard, the methods are more important than the materials that comply the principle of less harm and animal rights.
Also, as long as we consume animal products in our diets, animal skins, a by-product, will always be available. In a vegan world, this would not be an option, but in the ethical debate, is it better to waste the material or make something useful out of it?
Pre-historical crafters would use it to protect themselves from the weather, but post-material crafters often search for alternatives (cf. Salonen 2010). For example, wool as a traditional craft material has many essential properties in offering protection from the weather in cold conditions (Taylor 1989; Branson & Sweeney 1991). However, it is sheep-shearing methods and the use of pesticides that have gained a lot of activist attention, research and, ultimately codes of conduct for the fibre industry (e.g. Fletcher 2008; Sormunen 2018). Empathy for such animals could work as an emotional barrier to purchasing yarn, yet the substitute for yarn has poor properties. Thus, research should focus on producing environmentally-friendly and animal welfare-friendly substitutes with adequate properties.
Material studies have shown that on an experimental level we are able to 3D print cellulose (Tenhunen et al. 2018), fabricate materials from fungi and bacteria (Camene & Karana 2018) or use mycelium composites for acoustic panels, for example (Appels et al. 2019). The current DIY culture extends to experiments including new DIY materials or new DIY identities for conventional materials (Rognoli, Bianchini, Maffei & Karana 2015), possibly due to the democratisation of personal fabrication technologies and personalised products. Fox (2014) calls this the Third Wave DIY,
driving for innovation, entrepreneurship and pro-sumption. The cultivating bacteria as materials for textile production presents a moral and biological concern about the right to interfere with living organisms (Kääriäinen 2018).
From a product durability and life cycle perspective products that last longer, are maintained, valued and looked after, are made from natural, biodegradable (even animal) materials and with properties of their own are a sustainable solution.
This is because such products reduce the need (utilitarian or emotional) to buy a replacement product, thereby reducing consumption (see Raghavan 2010). In small-scale production, this means looking after animals, giving them proper care, food and the ability to pursue their own goals. Thus, it is more relevant to find a balance between things. After all this weighing discussion, a stable conclusion can be drawn:
the future is in our hands.
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