Figure 12. System of sustainable craft (in Study I).
In Study II, the concept of sustainable craft was firstly confirmed as a system of practice, product and immaterial craft. The conceptions became more detailed in this analysis process. Once viewed quantitatively, the practice was a key category that linked the product’s properties with the immaterial aspect of sustainable craft. There were also a number of links between immaterial and product categories, similarly to Popper’s Worlds 1 and 3 (cf. Popper 1972; Niiniluoto 1996). The relationships between these categories were also revealed: the practice is key to sustainable craft, for example, skills that connect to design and technique, knowledge to aesthetics. Further, aesthetics connect to the psychological and philosophical aspects of immaterial craft.
Secondly, we noted that not all students had the same conceptions, and the structure of their descriptions of sustainable craft varied from technical product descriptions to deeper and more holistic views of sustainable craft. Thus, it was concluded that students approach sustainability in a craft context differently, through product, practice, immaterial and holistic approaches, depending on the craft practice.
It was concluded that students who were more engaged in their craft had a holistic view, as opposed to beginners and students who approached it from a product or practice perspective. This was apparent in the structure and depth of the description of practices.
Thirdly, it was concluded that in light of the SD literature, there are four approaches to sustainability: 1) material/environmental, 2) individual, 3) socio-cultural and 4) holistic. The first two approaches are concrete material approaches to understanding sustainability; the remaining two require more abstract thinking and are the goals of
craft practice in a sustainable context (see Figure 13). The main conclusion is that craft is a powerful tool for understanding sustainability and developing it into a holistic view.
Figure 13. Approaches to sustainability through craft (in Study II).
In Study III, the core concept was identified together with relationships of the related concepts, antecedents and consequences of sustainable craft. The concept of sustainable craft was manifold, as mentioned in the Materials and Life cycle, Markets and Economy and Policies and Practices categories. It was concluded that the Materials and Life cycle category had the most impact on the environment. However, in craft, materials have always been recycled, and the consumption footprint of materials is by far smaller than in industrial processes. Although materials are currently cultivated and produced industrially, their life cycle should be transparent to the craft makers with regards to ecological and ethical principles.
The Markets and Economy category was the economic aspect of the craft industry and entrepreneurship, the business models and the marketing strategies. Craft practice was connected to artisanal production and design. Design intervention and branding as a business strategy was seen to elevate craft and artisanal production.
Mentoring and collaboration was used for developing entrepreneurial and business skills. Marketing was used for sharing and communicating craft values.
The Policies and Practices category describes sustainable craft on personal, societal and cultural levels. The personal level combines skills, knowledge and consciousness, the societal level highlights the importance of craft education through
the developmental aspect, and the cultural level concerns fading skills and knowledge and is aimed at reviving traditions.
Sustainable craft relates to sustainable design and elevates conventional craft to another level through conscious reflection on the impact of crafting and consuming, the ideology. Attitudes and values are ecological and ethical by their nature, they are a concern that calls for actions. The antecedents and consequences of craft were derived from the general discussion of SD and offered an alternative method of production and consumption.
In Study III, sustainable craft was defined by the first author as follows:
[S]ustainable craft is directed by the imperative of sustainability and a concern for fading traditions. It is multi-faceted and concerns physical, social, cultural and psychological sustainability. Sustainable craft practice occurs on personal, societal and cultural levels and aims to revitalize craft, add value to products, elevate artisanal production, safeguard and balance culture and the environment. At the centre of sustainable craft is the craft practice guided by the maker’s values and attitudes. The practice is a conscious activity aimed at creating a sustainable lifestyle and increasing well-being. Sustainable craft is the purposeful use of materials and methods in local environments. As a field of industry, sustainable craft offers business practices that rely on collaboration, social capital and shared values.
All together, these findings form a practical, theoretical and conceptual understanding of the phenomena. On a practical level, attention should be paid to the products and their effects on the environment. Also, on a personal level, the values that reflect sustainability through self-made products came after the interaction with the materials and methods. Thus, it can be concluded that practice makes perfect. The aspirations of the global market transitioned into slow production and consumption, with the craft and artisanal industry requiring actions on a cultural, societal and personal level. The creative craft industry would benefit from value demonstration, collaboration and branding in the business.
On a theoretical level, craft formed a system and a holistic picture of sustainable craft. The theory was derived from practice and is therefore applicable to practitioners.
On a conceptual level, the findings suggest that it is a powerful tool for understanding history and the present and future of humankind in the ecosystem.