Feeling good1

Robert Pulley, West Dean College, the Edward James

Foundation

Abstract

Social and economic development is more likely to succeed if

specific cultural conditions are carefully nurtured through

higher education and enterprise. When we reflect on the

unifying potential of craft it may help us to improve

prosperity. From this perspective, craft connects artists,

writers, designers, musicians, conservators, farmers,

gardeners, engineers, masons, scientists, chefs, surgeons

and manufacturers. It may also provide a blueprint for a

national innovation system, for a life that involves a drive

to create something and a desire to consistently evaluate

how craft, science and technology may be used to the benefit

of society, education and the economy.

Keywords

enterprise

education

making

prosperity

Go out to where the real world is, go work as a bouncer in a night-club, a warden

in a lunatic asylum or in a slaughterhouse. Real life, this is what’s vital. Work on

your feet, learn languages, learn a craft or trade that has nothing to do with

cinema. Werner Herzog (2002: 12)

You know how I feel

A professed libertarian suggested that I was attempting to

take the moral high ground during a discussion at a recent

social event. What sparked this rebuke was a declared

distrust of those who, in my opinion, caused the damaging

fracture dividing ordinary people. My fellow guest felt that

anyone who had stretched themselves beyond their means

should be made accountable for their actions. He did not

believe that the market had been callously manipulated, and

he did not believe that bankers had acted more greedily than

you or I (or he) would have done in a similar position. They

had, in his opinion, simply acted recklessly.

Similar ideological differences are, no doubt, surfacing

across dinner and negotiating tables around the world, and

there is likely to be further unrest in our cities that will

be costly and divisive. So a question worth considering at

this time is what could we do in order to create a more sustainable

economy and promote a fairer society? This paper reflects upon small

steps that may be taken, through making, enterprise and

education, to help address the pressing question of our

time.

Fish in the sea

Will Hutton (2010: 12) believes that British society is more

polarized today than ten years ago. He explains that the

economic bubble has created both a new super-rich and a

disenfranchised underclass. Hutton proposes a return to our core

moral values to find a new way of making a living based upon fairness. He

reminds us that, in September 2007, Damien Hirst’s

extraordinary platinum skull encrusted with 8601 flawless

pavé diamonds – titled For the Love of God? – was sold to an

investment consortium for $100 million, and that this

defined the top of the boom and the character of an age of

conspicuous consumption. In the broader social context, such

excess has led many of my children’s generation to reflect

on whether vocational career choices – in craft, farming,

music, teaching or science – make any sense when society

rewards them so modestly. Hutton’s (2010) idea that fairness

is the indispensable value that underpins good economy and

society, and provides a foundation stone of any sustainable

new order, resonates with many people who feel that we need

to build a more equitable and prosperous socio-economic

system.

But we have been here before. In the late 1970s and early

1980s, the hot topic of discussion within my peer group

concerned the move from an economy based upon making and

manufacturing to one based upon service industries. Many

contemporaries, who graduated from the Royal College of Art

(RCA) around this time, railed at a political construct that

put all its eggs in a predominantly service-based economy in

order to create jobs with little potential for the

development of meaningful transferable skills. We were

committed to the view that Britain needed a national innovation

system that would demand investment in research, in new

technologies, in generating great young companies, and in

revolutionising its approach and attitude to education.

James Dyson was one such RCA entrepreneur from this period.

Sun in the sky

The Culture Secretary, Jeremy Hunt, recently announced a

debilitating cut to the Arts Council England (ACE) budget as

part of the Government Spending Review. Its grant will fall

from £495 million to £350 million by 2015, a reduction of

almost 30 per cent (Singh 2010). This radical reduction of

£150 million per annum is, coincidentally, the same amount

allocated by Business Innovation and Skills (BIS) to create

50,000 new apprenticeships in 2010–2011.

A major British cultural organisation, along with the arts

organisations that depend upon ACE, will therefore suffer as

a result of what is superficially perceived to be more

vocationally focused public investment. Is there any

compelling research suggesting that the BIS policy will

create more sustainable, worthwhile and inspiring jobs?

Professor Mike Press offers the following insight into the

potential of higher education and making:

My own vision for the craft graduate of the next century

[sic] is of a proactive practitioner. A creative and

critical thinker, who researches and reflects using hand and

brain in tandem. He/she is skilled in communicating in

words, forms, textures and patterns – with meaning, in

making things happen, taking initiative, creating visions

and putting them into practice – seeing ‘making’ in its

bigger sense. Driven by personal enquiry and direction,

their labours are also directed towards the needs of their

communities and their environment. ([1997] 2010: 104)

Hutton (2007) acknowledged, in a government commissioned

report, Staying Ahead: the Economic Performance of the UK’s Creative

Industries, that the UK creative economy is a great unsung

success story, employing 1.8 million people and generating

more cultural goods for export than any other nation in the

world. He believes that we should celebrate the stuff that

creates new insights, that stirs our senses and enriches our

lives. This, he reminds us, is propelling a larger slice of

our economic output. The report goes on to suggest that

without careful policy-making, targeted public investment

and a supportive institutional architecture, the flow of

ideas worth commercialising may begin to slow.

Fitch is part of WPP, the world’s largest advertising group.

International brand developer Paul Brennan (2011) explains:

I come from a background in product design and a

fundamental part of my education was to learn how to

draw and make things. The outcome is that I have a deep

respect for what our clients have achieved through

manufacturing and production.

There is a sense of magic in the process of

communicating a creative idea through drawing and I go

to every meeting with a sketchbook and pen ready to

visualise and share my thoughts. At Fitch, I am

surrounded by different kinds of creative people –

makers and thinkers with similar skills.

One of Britain’s leading industrial designers, Adrian

Stokes, has achieved impressive, award-winning, professional

success based upon a similar set of values. His work

provides convincing examples of how artists, designers and

craftspeople share common skills (Figure 1). Stokes (2010),

who has helped numerous international companies to succeed

in increasingly competitive markets, believes:

The artist is likely to work to her own brief but not

always, the artisan may sometimes work to her own brief

but rarely and the industrial designer is most likely

to have a brief set, but not always…and all end up at

the same point where craft and creativity combine to

achieve an end result that is as perfect as they can

make it. We are all craftsmen and without the craft

process good design would remain an objective, not a

reality.

[Figure 1]

In a speech to the Royal Society of Arts on 26 October 2010,

the Minister of State for further education, skills and

lifelong learning, John Hayes, declared that for decades

practical learning for children has been seen by the educational establishment as

a poor second best to academic study (Hayes 2011: 38). By academic

study, as far as I can tell, he means reading, writing and

thinking – all instrumentally important when applied to the

process of practical learning. In his speech he also claimed

that too many things that are fundamentally practical have been given an

academic veneer. Not because it’s needed to produce a better craftsman, but

because it seems to legitimise craft amongst those who are insecure about

practical learning (Hayes 2011: 38).

Nobody I know, who is serious and dedicated to innovation

through making, is knocked out of kilter by those who are

insecure about practical learning. Hayes appears to confuse

a need to improve the quality of applied research, teaching

and studentship with a mistaken view that it is necessary to

separate practical and theoretical learning. Higher

education nurtures empathy, ambition and new insights and

that is what helps to produce better craftspeople. University

education brings people together who would not normally have

a chance to share ideas and encourages debate and tolerance.

Those of us whose lives have been transformed through art

and design education must question such divisive rhetoric

from the Minister of State.

President of Harvard University Dr Drew Gilpin Faust (2010)

believes that as other institutions falter in dispiriting

succession universities solve challenges that cross borders

and build cultural and political understanding. She explains

1 Newley and Bricusse (1965).

why higher education is increasingly relevant in her

opinion:

How can we create minds capable of innovation if they

are unable to imagine a world different form the one in

which we live now? History teaches contingency; it

demonstrates that the world has been different and

could and will be different again […]. Look to science

and poetry. Combine innovation and interpretation. We

need the best of both. And it is universities that best

provide them.

Blossom on the tree

Craft has a deeply civilizing influence upon society. One of

the joys of working on a building site as a student in the

late 1970s was to rub shoulders with skilled tradesmen from

Italy and Spain who got together at lunchtime to share food

that, when laid out on a square of pristine linen, took on

the appearance of an exotic delicatessen. Such pleasure was

in stark contrast to the ubiquitous Mars and Coke culture.

This simple intervention had a lasting impression upon my

perception of what it means to lead a worthwhile life.

The majority of students at West Dean College, where I have

been principal for the past ten years, are over 25 and

arrive with undergraduate or postgraduate degrees plus

several years of professional experience. We receive no

public funding and our fees are set at around £11,000 per

academic year. Effective teaching of practical subjects is

relatively expensive but the living to be made by the

majority of craftspeople is modest.

In order to help make sure deserving candidates, of any

nationality, benefit from our provision we award more than

£400,000 in grants and bursaries each year. Our students

are, in the majority of cases, remarkable people who have

sacrificed a great deal to learn how to make such wonderful

things as books, musical instruments, clocks and automata,

drawings and prints, paintings, sculptures, tapestries,

furniture and poetry (Figures 2 and 3). They learn about

material science and how to analyse objects. They study

material culture to better understand the social

significance and provenance of objects, and a relatively

high percentage of our graduates go directly into employment

or set up small businesses. Many contribute to the local

community in ways that demonstrate how we may help to

transform lives, at a local level, through craft practice.

[Figures 2 and 3]

West Dean Primary School recently developed a series of

making workshops in collaboration with Xilitla Primary

School in Mexico (Figure 4). Xilitla is the place where

Edward James, Founder of West Dean College (Figure 5), built

an extraordinary surreal garden with the help of local

artisans. A studio in the Jungle has recently been set aside

for students from West Dean College who act as facilitators

during the Escuela de Arte project. The two schools, supported

by talented teachers and postgraduate students, shared ideas

using information technology that helped everyone involved

to understand what life is like on another continent. In

January, through a public vote at London Olympia, our small,

rural school won the Guardian Classroom Innovation Award

2011.

[Figures 4 and 5]

Your freedom is mine

Worthwhile art, design and craft demands the ability to

reflect and, we are reminded by Sennett (2008), a serious

amount of time spent mastering skills. The Legatum Institute

Prosperity Index (Legatum Institute 2010) suggests that

countries such as Norway and Denmark score well when it

comes to global well-being. Criteria applied to the analysis

of prosperity by this London-based think tank include

education, entrepreneurship, health, personal freedom,

community spirit, safety and security, governance and the

economy. Norway promotes equality of opportunity and is a

culture built upon trust in human nature – factors that, the

Institute believes, promote a forward-looking democracy.

Sustainability is at the heart of much craft practice and

inspiration can be found through the work of designers and

architects such as Buckminster Fuller (1969: 7) who explored

and advocated a principle of doing more with less. This chimes

with those prominent in sustainable development of all kinds

including Professor Shirley Ali Khan (1996) who suggests

that education for sustainable development is about the

learning needed to maintain and improve our quality of life

and the quality of life for generations to come. It is about

preparing for the world in which we live in the next

century, and making sure we are not found wanting.

Crawford (2010) focuses our attention on the reality that

hard economic times promote frugality. He maintains that

this requires some measure of self-reliance but also points

out that the renewed interest in taking care of your own

stuff arose before the spectre of hard times. He proposes

that frugality is a thin economic rationalisation for a movement that really

answers to a deeper need (Crawford 2010: 8). What skills and

attitudes do we wish our children to inherit and pass on to

our grandchildren? Perhaps we should clearly explain that

when people are expected to provide more of the energy for

making things they have the potential of treading lightly

upon a world their forebears have abused.

Howard Gardner’s (1999: 94) Intelligence Reframed proposes that

individuals perceive the world in at least eight different

and equally important ways; linguistic, logical-

mathematical, musical, spatial, bodily kinesthetic,

naturalist, interpersonal and intrapersonal. Educational

programmes, he suggests, should foster the development of

all these forms of thinking. Children considered lost to the

mainstream are really only outside a narrowly constructed

educational system that tends to reward abstract, text-based

learning. Whilst these skills are critically important, they

are no more than instrumental in enabling us to live a

fulfilling life and are rarely an end in themselves.

It is very difficult to reclaim scarce skills with fewer

teachers and lower investment. Many of us have an un-

reconstructed view of the world, driven by policies that

have been developed in response to what can be counted.

Qualitative assessment is considered more slippery than

quantitative so we will need a greater number of visionary

people like Edward James (1939) who wrote in a letter to

Aldous Huxley:

[…] what is more likely is that certain arts will be

completely lost, and artists will need protection. I

feel that the West Dean community should therefore

concentrate […] on helping young artists and young

craftsmen; and in teaching others to be artists and

craftsmen.

It’s a new day

How much does it matter that the number of makers is in

decline? Will the value of those remaining increase and will

they be better rewarded and respected? Certainly not if the

cost of what they make exceeds the price people are willing

to pay, market nous is critical.

In February 2010, leading London advertising agency Ogilvy

offered its services free of charge. Over three days, Idea

Shop functioned as an advertising and marketing clinic in

Brixton for local businesses, community projects, charities,

arts groups and other organizations and individuals in the

area. Copywriter Ruth Jamieson, who came up with the scheme,

believes that local businesses are the lifeblood of their

communities and play a vital role in the UK economy.

Jamieson also understands the essential role marketing plays

in the successes of any enterprise. Makers who are

enterprising deserve our encouragement and support. Their

creative knack must be carefully nurtured by our most able

advisers and ambassadors. It may be possible to re-build

communities of makers in order to provide a pool of

creativity that can be orchestrated by the most able members

of the group. Many successful entrepreneurs I have spoken to

agree with the Crafts Council’s report Making it in the 21st

Century:

Combining employment satisfaction and vocational

stability with artistic enquiry and business risk,

makers provide an illustrative model of the new

creative entrepreneurs of the 21st Century […]. (2004:

2)

Parts of the derelict East End of London were regenerated by

the charity ACME, formed in 1972, which supported artists by

providing them with affordable studio and living space with

the result that, today, the East End is an area of major

international interest and influence in the arts. ‘Hoxditch’

has become one of the most vibrant artistic quarters in the

world – a place where the imaginative and the commercial

converge. What if such a scheme was focused upon

enterprising designers, architects and craftspeople?

Makers invariably take a portfolio approach to living and

when the management guru, Charles Handy (1990: 183), first

suggested this way of life to a wider audience, what was

considered to be an alternative lifestyle gradually became a

more widely accepted part of the mainstream. Should we

provide low cost housing and greater tax concessions for

creative micro-businesses? Should we encourage our local

councils to sell or let, at a peppercorn rent, run-down but

perfectly good properties to potential creative

entrepreneurs who show commitment and promise?

Professor Sir Christopher Frayling, referring to the great

Misha Black’s faint smoke signals speech, published in The Black

Papers on Design (1983), posed the question:

What if the fire took the form of a robust and

sophisticated national network of galleries and museums

– across regions, across borders, across the stale

art/craft and craft/design divides, across

heritage/contemporary, across art spaces/public spaces

– supported by the quality of critical debate that was

around in Black’s time, with the added bonus of post

80s business nous? (Frayling 2007: 7)

Birds flying high

In his seminal book Aesthetics and Architecture, Edward Winters

suggests that the practice of visual art, at least as

traditionally conceived, is to provide works that engage our

sensibilities by means of securing experiences in which we

are able to see and value aspects of our condition. He makes

the point that theory aims at truth, whereas visual art aims

at value embedded in aesthetic experience. Winters goes on

to give an example of value embedded in aesthetic

experience:

[…] the house designed by Jeremy Till and Sarah

Wigglesworth (Figure 6). It is an energy-efficient,

sustainable building. But what is remarkable about the

building is that its sustainability and its energy

efficiency are not merely the kind of additional

features that are unsightly functional clutter. The

house, built of bails of straw and sandbags, among

other things, takes the political and moral stand of

energy conservation and makes a work of architecture in

which we find aesthetic pleasure […]. And so we can see

how it is that practical reason and aesthetic judgement

can interweave with each other to the benefit of all.

(Winters 2007:161)

[Figure 6]

Our imagination is stretched by Barnaby Barford’s (2002)

exquisite Willow Pattern that engages our sensibilities and

enables us to see and value aspects of our condition,

through the tragic story of two young lovers, by connecting

white porcelain plates with a digitally projected animation.

We are left with a sense of wonder at the creative potential

of the maker and a hope that, one day, we may arrive at such

an insight to share with others. Much of Barford’s work

refers to a narrative borne out of a shared history, placed

within the Zeitgeist of today (Figure 7).

[Figures 7 and 8]

Shanga, a craft enterprise in Tanzania, employs profoundly

deaf adults. Patrick Collinson (2010) explains how Saskia

Rechsteiner, who has a passion for jewellery, began her

business by making Masai-style necklaces from found objects.

She employed her first assistant four years ago. Niwaeli

Petro is deaf and mute and virtually no one who is deaf

receives an education in Tanzania.

Rechsteiner began to realize how much her enterprise could

transform people’s lives. She opened a small restaurant and

convinced tour companies taking visitors to the Serengeti

and climbers to Kilimanjaro to stop for lunch. She has been

determined to run Shanga on commercial lines, employing as

many people as possible by building a business rather than

relying upon charitable support (Figure 8).

Petro is now head of the Shanga necklace department;

processing exports and looking after quality control. She

lives in a wonderful house with her partner, Basley Geitano,

who is Tanzania’s first glass blower. They are completely

independent of their families now and are highly respected

in and outside of the business. This extraordinary

enterprise, based upon sound business thinking and the needs

of a local community, provides optimism and hope for all.

Some micro-businesses flourish and become global brands.

Paul Smith explained that when a friend decided to open a

fashion boutique in Nottingham, he found the premises,

decorated them and ran the shop as its manager. Soon after,

and encouraged by his wife, Pauline Denyer, an RCA graduate,

he felt ready to do it alone by ploughing his savings into

Paul Smith Vêtement Pour Homme. In the evenings, he signed up

for a fashion design course and, in 1976, founded his London

shop in rundown Covent Garden. In his book, You Can Find

Inspiration in Everything, Smith shares with us some thoughts on

developing a successful creative enterprise:

The reason I’ve been successful is because I’ve just

got on and packed boxes and I know that VAT means Value

Added Tax not vodka and tonic […]. I’ve sold on the

shop floor, I’ve typed invoices. At some point I’ve

done everything, and I’ve always kept my head above

water financially. Nevertheless, I’m extremely nervous

about becoming a businessman and not a designer. (Smith

2003: 270)

Smith is a big fan of what he describes as established British

craftsmanship, which is something he emulates in his work.

Attention to detail and stringent standards have helped to

build a business with world sales at wholesale value of £326

million (Figure 9).

[Figure 9]

It’s a new dawn

Vic Reeves, playing Eric Morecombe’s dad George in the

recent BBC drama Eric and Ernie (1 January 2011, ‘BBC2’) says

to Daniel Rigby, who plays his son, You’re not cut out for a dead-

end job – nobody is really.

Ken Robinson (2010) advises us to be more mindful of the

range of our children’s talents and Howard Gardner (2006)

asks us to understand and to respect different intelligences

as equally important and useful. Matthew Crawford (2010)

reminds us that it was always misguided but is now outdated

to separate thinking and making.

Robinson suggests that we need to find our Element so that we

may dedicate our lives to the mastery of useful and

worthwhile work. Charles Handy (1990) and Christopher

Frayling (2007) suggest we need to become more enterprising

and mindful in a world that demands a flexible portfolio

approach. According to Mike Press ([1997] 2010), the future

requires a broad range of transferable skills to be nurtured

– the sort many people are switched onto and learn from

studying design and craft degrees at university. An

intractable problem continues to be how, with common

purpose, do we transform imagination and invention into

innovation and enterprise?

Highly educated and imaginative people will need to take

reasonable risks. The converse side of this approach is to

develop a more effective safety net for those people who

encounter difficulties in the early years and accept that

such an outcome is often a measure of courage and an

inherent part of a successful enterprise culture where

people learn through doing and become more efficient as a

result of experience. Craft education is based upon the

premise that doing is the best way of learning and, as many

successful creative people such as James Dyson, Adrian

Stokes, Paul Brennan, Saskia Rechsteiner, Barnaby Barford,

Sarah Wigglesworth and Paul Smith will testify, so is

enterprise. Small businesses will need more targeted support

from the banks and from Government.

More emphasis could be placed upon integration and

collaboration across the broad range of creative practices –

the activities that grab our children’s attention. We must

make sure we are not found wanting when passing the baton on

to the next generation who have grown up in a virtual world

of social networking. Their energy and commitment will be

needed to rekindle the faint smoke signals of a more sustainable

and desirable society.

Britain’s attitude to craft and its craftspeople is not only

a measure of our thoughtfulness, our consideration for

others and our conscientiousness, but may also help to

nurture a more prosperous society.

References

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TOYNE REPORT, commissioned by Welsh Office, Department of

the Environment, Department for Education and Employment,

London: HMSO.

Black, M. (1983), The Black Papers on Design, Oxford, Pergamon

Press.

Brennan, P (2011), ‘The importance of craft in design’,

interviewed by Pulley, R., West Dean College, West Sussex, 1

January.

Collinson, P. (2010), ‘A Christmas Star’, Money Saturday,

Guardian, 13 November.

Crawford, M. (2010), The Case for Working with Your Hands, London,

Viking.

Cronin, P. and Herzog, W. (2002), Herzog on Herzog, London,

Faber and Faber.

Frayling, C. (2007), ‘Guest Speaker’, Crafts,

205:March/April, p. 7.

Fuller, R. Buckminster (1969), Operating Manual for Spaceship

Earth, Carbodale, Southern Illinois University Press.

Gardner, H. (1999), Intelligence Reframed, New York, Basic Books.

Gilpin Faust, D. (2010), ‘No borders, only frontiers’,

http://www.timeshighereducation.co.uk/world-university-

rankings/2010-2011/analysis-harvard.html. Accessed 3 March

2011.

Handy, C. (1990), The Age of Unreason, Boston, Harvard Business

School Press.

Hayes, J. (2011), ‘The Age of the Craftsman’, Crafts,

January/February, p. 38.

Hutton, W. (2007), Staying Ahead: The Economic Performance of the UK’s

Creative Industries, London, The Work Foundation.

Hutton, W. (2010), Them and Us, London, Little Brown Books.

James, E. (1939), Letter to Aldous Huxley, 25 December, West Dean,

The Edward James Archive.

Legatum Institute (2010), ‘The 2010 Legatum Institute

Prosperity Index’, www.prosperity.com. Accessed 27 January

2011.

Newley, A. and Bricusse, L. (1965), Feeling Good from the musical

‘The Roar of the Greasepaint’ – The smell of the crowd, recordings by RCA

Victor.

Press, M. ([1997] 2010), ‘What has Craft Given Us?’, Crafts,

November/December, p. 104.

Read, H. (1958), Education through Art, London, Faber and Faber.

Robinson, K. (2010), The Element: How Finding Your Passion Changes

Everything, London, Penguin.

Sennett, R. (2008), The Craftsman, London, Allen Lane.

Singh, A. (2010), ‘Spending Review: culture cuts could mean

final curtain for regional arts’,

http://www.telegraph.co.uk/news/newstopics/spending-review/8

077615/Spending-Review-culture-cuts-could-mean-final-

curtain-for-regional-arts.html. Accessed 3 March 2011.

Smith, P. (2003), You Can Find Inspiration in Everything – (And If You

Can’t, Look Again), London, Thames and Hudson.

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interviewed by Pulley, R., West Dean College, West Sussex,

10 December.

Winters, E. (2007), Aesthetics and Architecture, London, Continuum.

Contributor details:

Robert Pulley is Principal of West Dean College, an

international postgraduate centre of the arts and a partner

college of the University of Sussex. He was formerly Dean of

Art and Design at Falmouth College of Arts and, prior to

that, Subject Leader for Three-Dimensional Design at

Ravensbourne College of Design and Communication. After

graduating from the Royal College of Art he ran his own

design studio and manufacturing company. Pulley is a member

of the Craft Research Journal advisory board and of the design

think tank Salon.

Contact:

West Dean College, West Sussex, PO18 0QZ, England.

e-mail: robert.pulley@westdean.org.uk

List of Figures

Figure 1: Adrian Stokes (2006), Solo for Arcam. Photograph and

copyright: Adrian Stokes.

Figure 2: Kaoru Tsunoda (2004), Chaotic Circus in the Old Library at

West Dean. Photograph and copyright: Kaoru Tsunoda and The

Edward James Foundation.

Figure 3: West Dean Tapestry Studio (2011), The Black Cat by

Tracey Emin. Photograph and copyright: Steve Speller and

Tracey Emin.

Figure 4: Juliana Gastelum and Maya Sabrina in Las Pozas

(2010), Escuela de Arte, Xilitla, Mexico. Photograph and copyright:

Emma Dexter and The Edward James Foundation.

Figure 5: Edward James (circa 1941–1942), Edward with marble

bust by Isamu Noguchi. Copyright: The Edward James Foundation.

Figure 6: Sarah Wiigglesworth Architects (2001), 9/10 Stock

Orchard Street. Photograph and copyright: Paul Smoothy.

Figure 7: Barnaby Barford (2010), Who’s the Daddy? Photograph

and copyright: Barnaby Barford.

Figure 8: Saskia Rechsteiner (2010), Shanga, a craft enterprise in

Tanzania. Photograph and copyright: Adam Woodhams.

Figure 9: Kacchi (2003), Mannequins for Paul Smith shop in Tokyo.

Photograph and copyright: Kacchi.

Notes