Showing posts with label artisans. Show all posts
Showing posts with label artisans. Show all posts

Friday, September 13, 2013

Beyond cutesy jewelry and Social Enterprise: Building off of Etsy’s creative economy


Many social enterprises aim to sell “marketable” items using labor from economically disadvantaged demographics. However, the crux of many of these business is that the so-called  “bottom of the pyramid” worker is depending on the Western consumer to accept services and goods from them so that they can have a livelihood.

The truth of the marketplace is that no one needs to buy 48 dollar baskets just because it’s going to help poor women. It is a noble idea indeed but I myself began to question this social enterprise practice of “buy for pity”. Tal Dehtiar of Oliberte Footwear became very hyper-sensitive to this trend when he first headed up a footwear line sourced and produced in Africa:

When we first started, I didn’t want to do the Africa angle,” he says, a seemingly strange statement about a company that markets the continent in its tagline. “Our first ad was very stereotypical Africa. It was a picture of an African face—a Maasi warrior. I hated it.” He stopped using the ad the following year. “We’ve gone from portraying a very stereotypical image of Africa to now selling pride instead of pity. But it’s a challenge, because some stores want the stereotypical Africa branding.
The balance,” says Dehtiar, “is how do I do the Africa angle without doing the part I hate: ‘Buy because you feel bad about Africa.

Dehtiar admits that he is still developing his business model but what may set him apart from the seemingly do-gooder social entrepreneur is that because he is not relying on simple marketing tropes he has the incentive to innovate. “When it comes to footwear,” Dehtiar says, “we don’t want people to think of Africa as the next China. We want them to think of it as the next Italy—think quality.” Perhaps Dehtiar is making the first step in acknowledging what really appeals to the “Western consumer”.

Patrick Hanlon writes in Forbes article Consumerism: From Mass To Micro-Consumer: “Just as China leaps forward to develop their 1.3 billion population into the largest mass consumer market in the world, paradoxically the USA lurches toward its next evolution of capitalist chic: micro-consumerism.”

Is the key to unlocking this rising micro-consumerism in the form of buzzwords such as  “mass customization” and “customer co-creation”? Stateside enterprises such as Etsy have already succeeded in developing these kinds of models for consumer value creation. Thousands of merchants are able to design, develop and sell their products to the specifications of their customers in bundles or in a single product. In order for social enterprises to be treated as more than another "do good invention" with niche marketing strategies, we must surrender to the fact that brands such as Oliberte are emerging market/developing country brands and they must fight for respect in the marketplace. This can be done also through innovative value creation.

Jack Hughes of Harvard Business Review writes about “What Value Creation Will Look Like in the Future”:

“Value creation in the future will be based on economies of creativity: mass customization and the high value of bringing a new product or service improvement to market; the ability to find a solution to a vexing customer problem; or, the way a new product or service is sold and delivered.”

We can provide jobs for economically disadvantaged women in Kenya or Ecuador. That’s great! But are we finding innovative ways to source materials? Why are you only selling/marketing your bracelets to people OUTSIDE of the country you are doing business in? Are there not potential business partners in the cities of Nairobi and Quito who would be willing to buy some aspect of your product and have you as a supplier?

“Social enterprise” is still a emerging field and only time will tell which directions it will go in but I believe we must err on the side of caution to prevent from it becoming another form of charity.

Monday, August 6, 2012

HODGE PODGE AUGUST: A collection of ideas and sources

Yes... I am quite ashamed of myself for not keeping up with this darling but schoolwork (a.k.a my life) caught up with me quite drastically. But that hasn't stopped my brain from raking up with ideas and personal projects. I'm going to try to put together a culmination post  including all of  the inspirational obsessions that I have come across these past two months including my own take on certain issues as well. Well let's get started:



In my previous post, I expressed the need for viable artist/artisan collections centres in Africa. This is a need that has been addressed on many levels throughout the region. Of course, textiles are also apart of this. I remember one evening I was watching a CNBC documentary on J. Crew and its' turnaround as a company. There was a particular scene, where CEO Mickey Drexler goes to Italy to pick out fabrics at one of Milan's textile warehouses.  There were fabrics/textiles swatches dating back to as far as the 1700s held in a large collections of books. This to me signifies in part the reason why European/American fashion is so penetrating in our everyday lives. There is a sustained heritage. It's not so much about Gucci as it is about Italian leather. It's not so much about Chanel as it is about French silk. Not so much about Levi's as it about American denim or the white cotton tee. 

Africa in terms of economics, has always been able to produce its' own goods and in terms of fashion it can offer something other than a trend. SUNO, founded by Max Osterweis  is a micro-scale example of what can happen when African fashion focuses on developing and collecting local textiles/techniques to produce unique luxury brands through the use of vintage Kenyan kangas. Most importantly, developing African-made textiles is necessary to establishing African design as an innovative force to reckoned with. Online consultancies such as AfricanFashionGuide and Source4Style are at the forefront of this growing industry. Picture sources (from left to right): 1,2,3






Sources (L to R): 1,2,3
Two months ago, I read an article in WIRED UK, on the rising influence of pop star Lady Gaga's manager Troy Carter. After years of working the music business, Carter along with the help of several key Silicon Valley developers formulated a social media model called Backplane based on online fanbase communities. The first Backplane-powered site was that of Littlemonsters.com (for Lady Gaga). The site requires a login similar to GILT GROUPE and is set to provide Miss Gaga with a platform to pass on important information. I began thinking immediately of how a Backplane-powered site could be used to connect farmers/collectives in "FAIRTRADE" countries to suppliers everywhere. There are times when I think that FAIRTRADE has become a marketing route for selling products to the "hipsters and tree-huggers" (as the conservative base would call them) of the developed nations. Who says that consumers in emerging markets don't want to buy fairtrade--or organic--too? Or that a small-scale farmer in Ecuador can't competitively bargain with a grocery owner in Botswana and vice versa? Perhaps a social media outlet such as a Backplane-powered site can help to expand the power of fairtrade among small commerce. While trading sites such as the Chinese Alibaba already provide hubs for business-to-business transactions, whether or not subscribers are certified FAIRTRADE isn't immediately verifiable. Not to mention, an online community could provide farmers with a to trade equipment and tips as well as enhance the usage of mobile banking.





Being that developing a social-value based high end brand is one of those things I have sketched in my composition book of dreams, I found this list to be quite informative. Here are some bits and pieces that I found interesting:















There were definitely other innovative things that caught my eye these past two months, that I can't quite think of at the moment but I will be sure to cover those in subsequent posts (hopefully without such a long period of absence this time!)

By the way be sure to follow me: TUMBLR | TWITTER

Tuesday, June 5, 2012

The mobile synergy of the African creative industries

The African entertainment and arts scene could quite possibly be one of the only industries on the continent that has seen steady upward growth across Africa for decades. Currently for example, Nigerian's film industry is reportedly valued at around N522 billion (1.75 billion US dollars). For the past decade, there has been an intense use of online media such as YouTube and Tumblr to promote culture of Africa and its' diaspora (see: idamawatu channel which has garnered almost 300 million views). This has greatly enhanced collaboration among artists and finally given platform for contemporary creatives/artisans. However, there is dire lack of organized structure for collecting the works done my various artists. There is a high-valued market for African art and establishing channels on YouTube and Tumblr as a source is just the first step. As described in a brief piece on aoAfrica, many mobile networks in Africa are in a varying state of simultaneously transitioning between "e-commerce" (online storefronts and mobile money) and "social media". African creative industries can take the first step in using technology to take these current stages a step further and develop rich media content (think: Apps, Spotify, Pandora, online magazines).

However, if organizations such as the African Union put emphasis on structuring creative industries around central physical "collectives" that can translate works of artists/artisans to rich online media content, these communities can act as curators as well as business mediators between artists and more commercial entities. Artists can receive royalty payments easier As described in a workshop paper sponsored by The World Bank on the African music industry, almost no African music market has a piracy level less than 25%. This uncertain business environment drives musicians to great lengths in order to stretch profit.
...because artists have no expectation of receiving any royalties from record sales –because of piracy and the inadequate collections of royalties -- they expect a bigger single up-front payment. This one-off payment system creates problems for international companies. They have the expectation of a lower initial advance, and then, of course, the expectation to pay the royalties. Thus, they expect the artist to work together with them to sell the album. However, for an artist who is just getting a one-off payment, the only way to make money is by recording the absolute maximum number of albums and doing as many of these deals as possible.  
The authors conclude that there is indeed a need for collection hubs for artists/artisans. These physical collectives could be based on region as shown below:
Building structure and collaboration through art.
Original map: ECOworld

  • West African Collective (ORANGE)
  • Central African Collective *incl. South Sudan (BLUE)
  • South (PURPLE)
  • East (GOLD)
  • North (GREEN)
They could also be based on language---main centers being Francophone, Anglophone, Lusophone--- however, these long established borders of lingua franca have long caused division within various African entertainment scenes.

Once strong communities of artists and artisans and can be established, this can then make it more effective for mobile-based tech applications. For instance, you take a fairly new media app such as Spinlet, which is designed to enhance legal music downloads for African artists, it can easily expand it's markets through the facilitation of collectives. I'm also under the impression that high-quality streaming services similar to Pandora and Spotify would sit well with many African consumers. African Film Library is another extraordinary service that could benefit from the on-the-ground stimulation of local/regional artist collection societies.

I think what is most beneficial regarding African collectives in the arts is the green lighting of more efficient and respectable collaboration. Collaboration transcends language, ethnic group and political views. Artists/artisans create intersectional dialogue in a way that other fields cannot. Imagine: stimulating local economies to create sustainable, cultural African fabrics that is not just subject to the seasonal "pattern" trend. Real textile? Advertised throughout online galleries and sold for commercial export?

One can dream no?

PS: To learn more about Spinlet check out this interview with Chairman Eric Idiah on Ventures Africa.