In this publication “Ensuring economic growth of the UK’s creative industries” by NESTA, outlines several key issues that is addressed through out: Growth, New Business Models, access to capital and public policy. The key point that is being addressed is how NESTA can help keep UK businesses on their toes.
Although NESTA is biased and trying to give publicity to the company, there is many valid points that businesses would find very useful and uses first hand resources from NESTA it’s self and other authorities. A question which is raised is “What can be done… so the UK can continue to host one of the world’s most dynamic and inspiring sectors?” In response, an example of Warner Bros is used along with several different areas of the market including: film, gaming, design, software and television, to emphasis - when trying to achieve a goal you need to take risks. Push the boundaries even if you don’t know what the outcome will be, then something greater can come out of it “combination of creative vision and business innovation, ultimately the key to huge commercial success”.
Access to capital explains how creative businesses are seen to be the ones which fail, because they are usually managed by those with creative passion but not with those with skills in managing the company (NESTA 2009). This is based on research as shown in the figures, “Bank lending to businesses fell by £8.4 billion and Venture Capital is down 70% in 2008”. Although previously stated the best way to create something unique is to try a different formula from previous attempts and take a step into the unknown (NESTA 2009), this current climate new businesses don’t have the money to do but this is where “early-stage risk finance is available for the UK's most promising creative businesses” (NESTA 2009) giving a helping hand to create a dream.
Public Policy needs to be as flexible and update with the rapid changes on the industry (NESTA 2009). Due to the continuous fall in the previous figure, “bank lending has fallen…” if creative businesses don’t contintue to rise or stay at a stable figure, other business sector’s will be affected because, “creative businesses stimulate and support innovation in the wider economy through their B2B relationships with other sectors” showing creativity has an impact on different areas proving design can cross-discipline into non discipline roles.
There is already a conclusion stated by NESTA - “The creative industries have the potential to grow the UK out of recession. But the rules of the game are changing fast. What made the UK's creative businesses successful in the past will not keep them at the top in the future” in my opinion to conclude yes I think we need to take risks where possible but I think designs need to continue to create new and intriguing inventions/designs to keep a business at the top.
NESTA, 2009. Ensuring economic growth of the UK’s creative industries [online] London: NESTA. Available at: < http://www.nesta.org.uk/publications/guest_articles/assets/features/ensuring_economic_growth_of_the_uks_creative_industries> [accessed 26 Nov 2010]
Monday, 6 December 2010
Summary 1
The book, “Consuming Craft the contemporary craft market in a changing economy” by Morris Hargreaves McIntyre looks into the increase of craft consumption in England through the use of figures by compiling research from an online population survey, compared to figures in 2004. This book gives an overview of how to increase the number of consumers buying craft products during the current ‘changing economy’, emphasising how to target current and potential buyers for forthcoming years.
Hargreaves aims to inform a wide range of craft sectors how to change opinions of those who are interested in craft but haven’t yet purchased anything and keep the interest of active buyers (Hargreaves, 2010). Giving organisations and makers’ different ways in which to approach buyer’s interests, will help to create new inspiration and techniques to approach the market to have a successful craft career. Creating specific work to the target audience, with a personal interest will encourage consumers and engage them in your work, resulting in them being intriguing to find out more. “Connecting craft to specific lifestyle interests and market niches, such as vintage fashion or sustainability, could enable potential and lapsed buyers to meet their existing needs” (Hargreaves, 2010).
The definition of craft: “By original, handmade craft, we mean any object that has been made by hand by a craft maker” (Hargreaves, 2010). Craft has a unique aesthetic that is created by hand appealing to consumers although the collated research indicates these properties don’t attract all personalities. One advantage of craft is the elimination of ethical labour. Craft provides “luxury and desirable goods”, without worrying about human rights and fair trade (Hargreaves, 2010). Promoting awareness of the sustainability of a product can increase product sales because it’s designed to last.
The author gives clear facts and figures for active, potential and those not on in the market to give a well rounded argument. A high majority of active buyers take part in craft themselves therefore they appreciate the skills involved to create craft (Hargreaves, 2010). Active buyers already know what they are buying into because they know the processes and time that goes into each product. To convert the 9% of potential buyers that don’t take part in any craft exercise they need to learn about craft in order to appreciate the skills. In order to do this encourage making craft for themselves and attend activities like workshops and craft fairs at least six times within one year.
To conclude this book has been structured in a way to give clear precise information to present her research. Hargreaves doesn’t try to make any assumptions therefore the information is easy to follow. The key concept here is to find ways to continue to see active buyers love for craft through purchase and start to involve potential buyers through strategies to make them interested.
McIntyre, M,. 2010. Consuming Craft: the contemporary craft market in a changing economy. Crafts Council [online] Available at: [accessed 19 Nov 2010]
Hargreaves aims to inform a wide range of craft sectors how to change opinions of those who are interested in craft but haven’t yet purchased anything and keep the interest of active buyers (Hargreaves, 2010). Giving organisations and makers’ different ways in which to approach buyer’s interests, will help to create new inspiration and techniques to approach the market to have a successful craft career. Creating specific work to the target audience, with a personal interest will encourage consumers and engage them in your work, resulting in them being intriguing to find out more. “Connecting craft to specific lifestyle interests and market niches, such as vintage fashion or sustainability, could enable potential and lapsed buyers to meet their existing needs” (Hargreaves, 2010).
The definition of craft: “By original, handmade craft, we mean any object that has been made by hand by a craft maker” (Hargreaves, 2010). Craft has a unique aesthetic that is created by hand appealing to consumers although the collated research indicates these properties don’t attract all personalities. One advantage of craft is the elimination of ethical labour. Craft provides “luxury and desirable goods”, without worrying about human rights and fair trade (Hargreaves, 2010). Promoting awareness of the sustainability of a product can increase product sales because it’s designed to last.
The author gives clear facts and figures for active, potential and those not on in the market to give a well rounded argument. A high majority of active buyers take part in craft themselves therefore they appreciate the skills involved to create craft (Hargreaves, 2010). Active buyers already know what they are buying into because they know the processes and time that goes into each product. To convert the 9% of potential buyers that don’t take part in any craft exercise they need to learn about craft in order to appreciate the skills. In order to do this encourage making craft for themselves and attend activities like workshops and craft fairs at least six times within one year.
To conclude this book has been structured in a way to give clear precise information to present her research. Hargreaves doesn’t try to make any assumptions therefore the information is easy to follow. The key concept here is to find ways to continue to see active buyers love for craft through purchase and start to involve potential buyers through strategies to make them interested.
McIntyre, M,. 2010. Consuming Craft: the contemporary craft market in a changing economy. Crafts Council [online] Available at:
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