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CRAFT NI

Contemporary Craft Sector Research Study 2016

Final Report

November 2016

Craft NI: Contemporary Craft Sector Research Study 2016

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Contents 1 Executive summary ........................................................................................................... 3 2 Introduction ........................................................................................................................ 5 3 Methodology ....................................................................................................................... 6

3.1 Desk research and data review .................................................................................. 6 3.2 Consultation ................................................................................................................. 6 3.3 Survey development, testing and ratifications ......................................................... 7 3.4 Dissemination, communications and analysis ......................................................... 7 3.5 Response rate .............................................................................................................. 8

4 Survey results .................................................................................................................... 9 4.1 SECTION ONE: About your business - profile of craft businesses ........................ 9

4.1.1 Business location ..................................................................................................... 9 4.1.2 Council area ........................................................................................................... 10 4.1.3 Business type ......................................................................................................... 12 4.1.4 Where products are made ..................................................................................... 13 4.1.5 Length of time in operation .................................................................................... 14 4.1.6 Number of employees ............................................................................................ 15 4.1.7 Full or part time business ....................................................................................... 16 4.1.8 Hours spent on the business each week ............................................................... 16 4.1.9 Number of makers ................................................................................................. 17

4.2 SECTION TWO: About your practice ....................................................................... 18 4.2.1 How makers describe themselves professionally .................................................. 18 4.2.2 Primary discipline ................................................................................................... 20

4.3 SECTION THREE: Sales and turnover ..................................................................... 22 4.3.1 Annual turnover ...................................................................................................... 22 4.3.2 Percentage profit of turnover ................................................................................. 28 4.3.3 Export sales ........................................................................................................... 29 4.3.4 Main export markets .............................................................................................. 30 4.3.5 Income generated from other craft related activities. ............................................. 30 4.3.6 Total estimated turnover and average income per maker ..................................... 31 4.3.7 Use of digital platforms for marketing and sales .................................................... 32

4.4 SECTION FOUR: Business development and growth ............................................ 34 4.4.1 Stage of development of craft business ................................................................. 34 4.4.2 Main area for business growth in the next three years .......................................... 35 4.4.3 Other priority areas for growth (comments) ........................................................... 37

4.5 SECTION FIVE: Craft NI support and services ....................................................... 39 4.5.1 Awareness and usage of Craft NI services ............................................................ 39 4.5.2 Usefulness of Craft NI services .............................................................................. 41 4.5.3 Additional support required .................................................................................... 41 4.5.4 Involvement in August Craft Month ........................................................................ 42

4.6 SECTION SIX: About the maker ............................................................................... 45 4.6.1 Age profile .............................................................................................................. 45 4.6.2 Gender ................................................................................................................... 46 4.6.3 Ethnicity ................................................................................................................. 46

5 Recommended next steps .............................................................................................. 47 Appendix 1: Bibliography .................................................................................................. 48 Appendix 2: Survey template ............................................................................................ 49


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1 Executive summary In 2016 Craft NI commissioned a research study of the craft sector in Northern Ireland, in order to develop a full and comprehensive picture of the sector. The objective was to provide Craft NI with data on the composition and needs of the sector, in order to help them to continue to support and develop makers. Following the review of previous surveys and reports to establish baselines and facilitate benchmarking, a focus group was held with Craft NI which included identified influencers in the sector to review and approve a questionnaire. Type AB developed, tested and distributed this questionnaire as an online survey to capture comprehensive data on the creative sector in Northern Ireland.

Results of the survey have been analysed and key findings are detailed below. Key findings Profile of craft businesses • A higher percentage of makers are located in rural settings. • There is a great disparity of responses and/or makers across council areas. • The majority of makers are sole traders. • The majority of makers produce their crafts at home. • The majority of makers have been in business for less than five years. • 94% of makers have no employees. • The estimated total number of makers in Northern Ireland is 7001. Profile of makers • The highest percentage of makers are craft careerists. • The primary discipline of makers is ceramics at 23.8%. This is in line with the UK but has

reduced since 2012. • The age profile of makers in Northern Ireland is getting younger. • Females make up 70% of the craft sector. • 94% of the sector in Northern Ireland indicate their ethnicity as white. Sales and turnover • The highest volume of activity and turnover is generated by commissions. • The volume of activity and turnover is generated through third party online sales. • The main export markets are Republic of Ireland and GB. • The lead activity for generating other-craft related income is workshops and master

classes. • The primary digital platform used for sales and marketing is Facebook. • The annual total income for the sector is £14,560,000. • This equates to an annual turnover of £20,800 per maker. Business development and growth • The highest grouping of makers define their business as surviving and covering

overheads.

1 Note that Craft NI recognises that there will be makers in Northern Ireland with which it has never had contact.


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• 24% of businesses are start ups and are dominated by craft careerists which is in line with the UK.

• The main growth priority for respondents in the next three years is sales followed by digital sales and digital marketing.

Craft NI support and services • The service used by the highest volume of makers was events including August Craft

Month. The next most used was the online directory. • The service least used overall was the craft resource and exhibition space. • The service least respondents were aware of was funding advice. • Satisfaction among service users was largely positive. • Additional support was requested most in sales and marketing.

Conclusion A number of recommendations have been made in the full report, which incorporate findings from the survey, their relevance and potential impact to the sector. Recommendations should be incorporated into future plans of the organisation which is currently designing the 2017 – 2020 strategy. An action plan will then be developed to clearly identify actions and targets to deliver on the recommendations and the full three year plan.


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2 Introduction Craft NI supports and promotes the craft industry and works with a range of partners and organisations across Northern Ireland. Their core areas of work to develop the sector are:

• Advocacy and profiling • Raising quality awareness • Developing partnerships and regional infrastructure

Quality underpins all practice supported by Craft NI and all activity and products are subject to quality criteria as below:

• Demonstrates high standards of technical skill and design • Does not reproduce or restore but is innovative in its use of materials, aesthetic vision

and/or processes • Reflects the signature of the individual maker.

In order to develop a full and comprehensive picture of the sector, to enable Craft NI to continue to support effectively and develop the region’s craft expertise including the export potential, Craft NI recognised that was essential that detailed and accurate data should be captured. As such, Craft NI commissioned an updated research study, building on a number of previous studies, namely:

• A Future in the Making: socio-economic study (Craft NI, 2006) • Craft in an Age of Change (Crafts Council NI with input from Craft NI, 2012) • Measuring the Craft Economy (Crafts Council UK with input from Craft NI, 2014)

As the UK studies were across the entire region, the sample sizes were comparatively small, hence it was important that a bespoke research study was conducted that focused on Northern Ireland to provide more detailed, accurate specific data. The research had the following objectives:

• Profiling the sector, including an identification of the craft businesses operating in Northern Ireland who fall within the Craft NI remit as defined above. This should be classified by Council area. The various databases maintained by, or available to, Craft NI provided a starting point for this. These included the Directory of Makers, the E-bulletin subscription list, a recent report into Craft Collectives in NI, details of makers who have applied for Craft NI projects, and the Design & Craft Council of Ireland Makers Directory. These databases provided summary information on each business along with all relevant contact information.

• Compiling benchmark economic indicator data for the sector, based on a representative sample of a cross section of these businesses. This will include data on levels of sales, exports, other income streams, qualifications, and employment levels.

• Identifying the degree to which craft businesses are aware of Craft NI and identifying key areas of support craft businesses require from Craft NI going forward.

Craft NI commissioned Type AB to carry out this study, a consultancy with extensive experience in marketing, tourism and culture.


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3 Methodology

3.1 Desk research and data review Following an initial project meeting, Type AB assimilated all the information and research material available from Craft NI including surveys and reports that have been carried out by other bodies. These documents included (but were not be limited to): • A Future in the Making: socio-economic study (Craft NI, 2006) • Craft in an Age of Change (Crafts Council NI with input from Craft NI, 2012) • Measuring the Craft Economy (Crafts Council UK with input from Craft NI, 2014).

A review of Craft NI’s strategic objectives was carried out to identify how this survey would fit with the delivery of these objectives. The main emphasis at this stage was to develop a full understanding of relevant strategies and published research, to compare and align this project’s objectives to the policy agenda – at local, regional and national level. The information and data available on the craft businesses currently operating in Northern Ireland was reviewed including how these businesses are structured, noting the requirement to ensure that data is presented by Council area. It was recognised that this data is in summary format so there was a need to ensure that comprehensive data was captured via survey responses. It was interesting to note the acknowledgement in Craft in An Age of Change (Crafts Council NI with input from Craft NI, 2012) of how difficult it has historically been to measure the craft sector. “The Department for Culture, Media and Sport (DCMS) produces a range of economic estimates every year for the industries that fall into its remit, but is unable to supply figures for the craft sector for many of its indicators. This is due to the small size of most craft businesses and the difficulty of identifying makers through the standard industrial and occupational classifications – it is hard, for instance, to separate out ‘studio’ ceramics from more industrial processes. Makers also often choose to define themselves by a variety of terms, such as designer-maker or applied artist – indeed, they may use different terms depending on the client they are dealing with.”2 This all contributed to a detailed understanding of the present day fabric of the craft sector and facilitated the development of solutions to maximise on the potential for the survey to contribute to the development of the sector and Craft NI’s remit.

3.2 Consultation A focus group was held involving representatives of Craft NI, makers and sector representatives including council and third level education representatives. This helped to establish an evidence base on the current position and data held on the sector as well as validate the survey outline that had previously been formulated.

2 Schwarz, M. and Yair, K, (2010) Making Value: craft and the economic and social contribution of makers, Crafts Council, London


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Focus group discussion centred on:

• Review of current information held on the sector. • Discussion on previous surveys and the validity of the data they gathered. • How to ensure that data captured was comprehensive and contributed to a true

and accurate overview of the sector in Northern Ireland. • Challenges in collecting data e.g. information that the sector may have been

sensitive about providing. • Discussion on an outline survey framework and identification of gaps and

opportunities. • Discussion on the potential to gather additional information that would help to

develop the sector e.g. marketing skills, resources and business development expertise.

• Review of the research timelines and the reality of these including barriers to receiving responses and views on the best way to engage the sector to garner the highest response level possible.

3.3 Survey development, testing and ratifications Type AB developed and distributed an online survey to capture comprehensive data on the creative sector in Northern Ireland.

Previous surveys and reports were reviewed to establish a baseline and facilitate benchmarking and trend analysis, to build on as well as add to previous information, where agreed with Craft NI. This ensured that data captured was valid and comprehensive for Northern Ireland to fully capture a picture of the scale and contribution of the sector to the region.

The proposed questionnaire was agreed with Craft NI and the focus group and was subject to testing before being rolled out across the sector.

3.4 Dissemination, communications and analysis The survey was circulated via Survey Monkey and Mailchimp, using Craft NI’s database, and also via the Craft NI website and social media channels. Stakeholders were sent a link to the survey with guide communications they could use when circulating via their own databases and newsletter. To encourage responses, a monetary prize was offered.

The survey was shared with and circulated by the following organisations through various platforms including newsletters, direct email and social media:

• Craft NI • Type AB Consultancy • Community Arts Partnership • Arts Council of Northern Ireland • Craft Council of Ireland • Previous respondents to the Collective Insight report carried out by a Queen’s

University Researcher • Belfast Enterprise Academy • Belfast City Council • Belfast Design Week.


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Note that as the initial survey communications were distributed during Craft Month, there was a lot of other social media ‘noise’ so it is likely that communications were at times somewhat lost in the other messages. Reminders were also circulated to an agreed schedule that did result in an up weight in responses. Upon the survey closing, responses were collated and analysed, allowing time in the schedule for contacting respondents if required for clarification on the data they submitted.

3.5 Response rate 133 completed responses were received 3. Given the number of makers in Northern Ireland and the recognised challenges with getting participants to complete surveys, and during a busy period for many makers, including those involved in August Craft Month, we feel that this does provide for a sufficient sample for analysis and a sufficiently robust view of the sector.

3 One response was received from GB therefore was discounted from the survey results.


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4 Survey results The following is a summary of the survey results. Comparisons and trends are identified with previous reports where applicable particularly A Future in the Making: socio-economic study (Craft NI, 2006) and Craft in an Age of Change (Crafts Council NI with input from Craft NI, 2012).

4.1 SECTION ONE: About your business - profile of craft businesses

Respondents were asked a number of questions to capture a profile of their business and examine the nature of the sample. Data collected included: business location (i.e. urban or rural), council area, business type, where they make their products, length of time in operation, number of employees, if they work full or part time and how many hours they spend on the business. Key findings • A higher percentage of makers are located in rural settings • There is a great disparity of responses and/or makers across council areas • The majority of makers are sole traders • The majority of makers produce their crafts at home • The majority of makers have been in business for less than five years. • 94% of makers have no employees. • Estimated total number of makers in Northern Ireland is 7004.

4.1.1 Business location Almost 47% identified their location as urban with a higher figure of 53% in a rural location.

Figure 1: Business location (n=129)

4 Note that Craft NI recognises that there will be makers in Northern Ireland with which it has never had contact.

46.9%

53.1%

Urban (settlements with more than 10,000 resident population)

Rural (settlements with population less than 1,000)


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In 2006, it was reported that two thirds of craft practitioners live and work in rural locations. The latest figures would indicate that there has been a move towards more urban locations over the last ten year as currently closer to 50% are now based in an urban setting. It will be interesting to benchmark this statistic in future as the younger profile of makers coming through may result in a shift between the designations, with more makers possibly moving to cities that may have potentially more access to shared studio spaces for collaborative working. It could be assumed that the primary driver for the move to an urban environment particularly for the younger make is access to education. However it should be considered in future that as makers get older, they may return to rural locations and therefore have a different set of needs.

4.1.2 Council area

Figure 2: Council area in which business is located (n=129)

The majority of respondents were based in the Ards and North Down Borough Council area (28.7%). Responses from Newry, Mourne and Down were second highest (12.4%), followed by Belfast (11.6%), Causeway Coast and Glens (10.1%), Derry City and Strabane (9.3%), Armagh City, Banbridge and Craigavon Borough Council (8.5%). Antrim and Newtownabbey and Mid and East Antrim both recorded a respondent score of 5.4%. The least responses were received from Fermanagh and Omagh District Council with only 2.3%, followed by Lisburn and Castlereagh and Mid Ulster with 3.1% each. The responses can be an indication of a more proactive approach by stakeholders in a particular region to circulate the survey rather than suggest that this is where most makers are

5.4%

28.7%

8.5%

11.6%

10.1%

9.3% 2.3%

3.1%

5.4%

3.1% 12.4%

Antrim and Newtownabbey Borough Council

Ards and North Down Borough Council

Armagh City, Banbridge and Craigavon Borough Council

Belfast City Council

Causeway Coast and Glens Borough Council

Derry City and Strabane District Council

Fermanagh and Omagh District Council

Lisburn and Castlereagh City Council

Mid and East Antrim Borough Council

Mid Ulster District Council - Dungannon

Newry, Mourne and Down District Council


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located. However this geographical spread is similar to the data presented in the Craft In An Age of Change 2012 report which recorded that the greatest number of respondents to the phone survey were based in Belfast and County Down, with fewer based in the west of the region. This also aligns with Craft NI’s directory breakdown which is translated into the demarcation presented on their Craft Map below.

Figure 3: Craft NI Craft Map

Key D = featured design-makers S = craft studios O = craft outlets

It would be interesting to further explore if this is a true reflection of the representation of makers across Northern Ireland or if those in more rural parts of the region have less of a propensity to engage with Craft NI, perceiving it a Belfast-centric organisation. Investigation would likely have to be carried out on a bespoke basis, holding discussions with craft representatives and collectives in specific regions.


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4.1.3 Business type When asked to define their business type, an overwhelming majority classified themselves as sole traders (85.5%).

Figure 4: Business type NI Craft Sector Research Study 2016 (n=131)

Second to those who classified themselves as sole traders were those who fall into the Partnership category; however this is significantly lower than the sole trader category (85.5%), at only 6.9% (9 respondents). One maker classified as a Limited Liability Partnership, two as a Private Company Limited by Share, two as co-operative/collective members and another five as ‘other’. The other category included: amateur artisan, a sole proprietor who is also a member of a collective, a social enterprise, a community interest company, and someone who works full time but crafts as a sole trader. This would strongly suggest a move towards collaboration via partnerships and collectives in recent years although the numbers are still relatively small. This could be a reflection of economic necessity and that partnership working and collaboration has been actively encouraged by funders in recent years. Note that there was one social enterprise who responded to the survey. This is an organisation with a notably high income and a high quality of product. Social enterprises have historically not been significantly engaged with Craft NI; however as standards increase, this is a potential area for consideration by Craft NI. Analysing trends over the past ten years, there has been a downward trend of sole traders in Northern Ireland which is then counteracted by a slight increase in partnership and co-operative models. Based on the UK figures for 2012 and assuming that they have remained constant, Northern Ireland’s makers are now more inclined than the UK wide-makers to form partnerships or join collectives.

85.6%

6.8%0.8% 1.5% 0.0% 1.5% 3.8%

Sol

e Tr

ader

Par

tner

ship

Lim

ited

Liab

ility

Par

tner

ship

Priv

ate

Com

pany

Lim

ited

by S

hare

Priv

ate

Com

pany

Lim

ited

by G

uara

ntee

Co-

oper

ativ

e/C

olle

ctiv

e M

embe

r

Oth

er (p

leas

e sp

ecify

)


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NI Craft Sector Study 2016

Craft In An Age of Change 2012: UK

wide

Craft In An Age of Change 2012: NI

Sole Trader 85.6% 87.7% 88.1% Partnership 6.8% 5.8% 4.4% Co-operative/Collective Member 1.5% 0.4% 0.0% Table 1: Business type - UK and NI comparisons

4.1.4 Where products are made Makers were asked to specify where they primarily make their products.

Figure 5: Where products are made (n=128)

The majority of makers produce at home (54.3%) with the next most popular location their own studio (31.5%). Combining those who use a studio (7.1%) whether their own within a collector or a shared studio (2.4%), the combined figure of 9.5% continues to reflect an appetite or need for collaborative working spaces. This could suggest that there are more studio spaces available, and also demonstrate an increased commitment and business maturity among makers who are more willing to commit to a lease agreement. Another positive impact of this trend toward shared workspaces is likely to be the exposure of makers to peer knowledge including business experience and skills. The propensity for makers to work from home seems to have decreased over the last few years. In 2012, 62.5% of makers in Northern Ireland worked from home (against the UK’s 65.9%) and this has reduced to 54.7% in 2016. This could align with the increase in partnership working where a shared space is more affordable and fit for purpose. Interestingly, 2.4% of makers produce their product in a retail environment. This could be representative of different kind of collaborative working and would be useful to explore further as another possible opportunity to support makers e.g. through introductions to retail outlets. Craft In An Age Of Change 2012 states that Northern Ireland makers were more inclined to work away from home than the UK average figure. Some makers responded with a small selection of other premises options including a print workshop, artist in residence space, temporary studio and a family member’s workspace.

54.7%

2.3%

31.3%

7.0%

2.3%

1.6%

0.8%

0.0%

0.0% 10.0% 20.0% 30.0% 40.0% 50.0% 60.0%

Home

Business Park

Own studio

Own studio within a shared/collective studio or other space e.g. college

Shared studio

Permanent shop

Temporary shop (e.g. pop up shop or market stall)

Third party retail shop


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4.1.5 Length of time in operation Makers were asked how long they had been in operation. This was clarified as the length of time they had been selling their work.

Figure 6: Length of time in operation (n=131)

Answer Options NI Craft Sector Study 2016 –

percent

NI Craft Sector Study 2016 – makers count

Less than five years combined

Less than one year 16.7% 22 58.4% More than one year but less than three years

32.6% 43

More than three years but less than five years

9.1% 12

More than five years but less than ten years

14.4% 19 14.4%

More than 10 years 27.3% 36 27.3% Northern Ireland continues to have a young craft sector in terms of business longevity. 58.4% of NI craft businesses have been trading for less than five years, against a reported figure of 20.5% in the UK in 2012 and approximately 38% for NI in 2012. This would also align to the younger maker generation compared to the UK which will explored further in this report. However over one quarter of makers (27.3%) have been in business for more than ten years which does demonstrate a maturity and sustainability within the sector. In November 2016 a report issued by data research company Duedil and small business network Enterprise Nation compared pre-recession company formation rates in 2016 with those in 2013. The statistics showed a marked increase over the years and was directly attributed to the recession. The Northern Ireland data would tend to support this. The quality of education and training in the craft sector is also likely to be a reason for the region’s increase in young craft businesses. In recent years Ulster University has established itself as a Centre of Excellence for ceramics; not only are students graduating with a high quality of craft skills, but this is complimented by a sound business acumen. This translates into a higher propensity for ceramic graduates to start their own business. This points to an opportunity for Ulster University to roll out similar standards and business skills across other craft disciplines.

16.7%

32.6%

9.1%

14.4%

27.3%

Less than one year

More than one year but less than three years More than three years but less than five years More than five years but less than ten years More than 10 years


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It is widely recognised that young people are less to enter or want a job for life like previous generations. Instead they want to pursue a career based around their skill, passion or hobby. They are also less likely to be risk averse.

4.1.6 Number of employees Makers were asked if they had employees (not including themselves) and if so, how many. No of employees

0 1 2 3 4 5 6 7 8 9 10 More than 10

Full time 94.05% 4.76% 0 0 0 0 1.19% 0 0 0 0 0

Part time 90.24% 7.32% 2.44% 0 0 0 0 0 0 0 0 0

Apprentice 100.0% 0 0 0 0 0 0 0 0 0 0 0

Volunteers 82.93% 12.20% 3.66% 0 0 0 0 0 0 0 0 1.22%

Figure 7: Number of employees (n=94)

Excluding the business owner, 94.1% of craft businesses had no full time employees, 90.2% had no part time, 100% had no apprentices and 82.9% had no volunteers. One organisation was the exception to this trend, with six full time employees, and up to 40 volunterers in any one day. Therefore lone working is the predominant practice among Northern Ireland makers. An impact of this could be the trend towards shared workspaces when a maker may not wish to have staff but want the benefit of social engagement. In 2012, 98% of NI craft businesses did not employ any full time staff; the UK overall figure was 96.1%. In 2016 this has reduced to 94.1% as just under 6% employ one or more full time staff. The majority of staff are part time or voluntary noting that most businesses are still sole traders working alone. Craft in an age of Change 2012 reported that percentage of UK makers employing other people was 16.4% with 83.6% not having any employees. The breakdown of full time employees was that 96.1% of makers had no employees (against an NI figure of 94.1%); 2.0% employed one to two people; and 1.2% employed between three and five full time employees. While Northern Ireland figures are not hugely dissimilar, it does indicate that the region supports more jobs in the craft sector than the UK average.


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4.1.7 Full or part time business We asked makers if they operated their business on a full or part time basis.

Figure 8: Full or part time business (n=131)

Commentary: Comparable figures are not available with the UK as the Craft In An Age of Change report considers part time less than 30 hours which is unusual and a higher figure than we would tend to use in Northern Ireland; we used 16 hrs as our threshold. However it is interesting to note that in 2012 in the UK, 43% of makers considered themselves part time working less than 30 hours per week; in Northern Ireland in this survey, the same figure of 43% stated that they work part time of up to 16 hours suggesting that makers work less hours per week in Northern Ireland than in the UK. A number of comments of note were received. It was clear that Northern Ireland makers do not limit their working hours to 9 to 5; evening and weekend work is common. Makers frequently have a craft business alongside another full time role.

4.1.8 Hours spent on the business each week

Figure 9: Hours spent on business each week (n=131)

56.8%

43.2% Full time (17 hours and over)

Part time (up to 16 hours)

6.1%8.4%

11.5% 12.2%8.4%

11.5%

38.2%

3.8%

0.0%

5.0%

10.0%

15.0%

20.0%

25.0%

30.0%

35.0%

40.0%

45.0%

0-5 hours 6-10 hours 11-15 hours 16-20 hours 21-25 hours 26-30 hours 31 and over Other (please

specify with explanation)


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The highest percentage of makers (38.4%) spend 31 or more hours per week on their craft practice. 12.31% spend between 16 and 20 hours per week with 11.54% spending either 11-15 hours or 26-30 hours on their business. A very notable figure is that approximately 14% spend 10 hours or less per week on their craft business. While these may be makers with another full- time role, it is worthwhile considering the limitations this may place on their business development, sustainability and income. In the UK in 2012, makers typically spent just over 33 hours per week making and selling their work, with a further 5.6 hours on other craft related activities. This implies that the average time per week spent in the UK is 39.

4.1.9 Number of makers As previously stated, data capture in relation to the craft sector is challenging, due to the small size of many of the businesses, the difficulties in classifying makers, and that by their very nature will garner a limited number of responses. For this reason, any other research reports recognise that assumptions need to be made and the exact size of the contemporary craft-making sector is not known. However, based on data received in this recent survey and following assumptions and calculations in other reports such as the Craft Council 2014 report Measuring the Craft Economy: defining and measuring craft: report 3 and Craft In Age of Change 2012 an estimate is presented below on the overall craft sector size for Northern Ireland. An estimate of the number of makers has been calculated by considering the total number of makers listed on the Craft NI database (335) and identifying within the data any collectives and their member numbers (247) allowing for a 10% duplication within the database, plus adding a 20% assumption to reflect those who may not be captured on any databases and remain unknown to Craft NI, the total number of individual makers has been estimated at 7005. It is important to note that Craft NI recognises that there are number of makers with whom it will have had no contact, therefore the true figure may be higher.

5 Rounded up from 698.


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4.2 SECTION TWO: About your practice In this section, we explored the nature of makers’ practice asking about professional description and primary discipline.

Key findings • The highest percentage of makers are craft careerists. • The primary discipline of makers is ceramics at 23.8%. This is in line with the UK but

has reduced since 2012.

4.2.1 How makers describe themselves professionally Makers were asked how they would define themselves professionally. For the UK Craft In An Age of Change Report in 2012, four profiles of makers were constructed, based on their level of craft education and whether craft is their first career or not. For the purposes of benchmarking with previous data, for this report the data for qualified career changers has been combined with career changers.

Figure 10: How makers describe themselves professionally (N=119)

Options NI Craft Sector

Study 2016 Craft In An Age of Change 2012: UK wide


Craft careerist 39.5% 38.4% 38.1% Artisan 13.4% 11.7% 14.4% Career changer 34.5% 27.5% 29.4% Qualified career changer (combined with

Career Changer above)

Returner 12.6% 22.4% 18.1% Table 2: How makers describe themselves professionally (n=119)

A number of clarification comments were received:

• Currently studying my craft degree. • Wanted to do something I loved on the side of studying. • I was a teacher of Art and Craft before I began my present career.

40.0%

13.3%

34.2%

12.5% Craft careerist

Artisan

Career changer

Qualified career changer

Returner


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• Student. • I'm in my last year at university so very transitional. • Served apprenticeship and got degree 30 years later. • Occupational Therapist with interest in craftwork. • As we have 30 crafters in our shop this year we could tick all these boxes. • Have a different arts sector degree but do craft unqualified other than nightschool. • Working full time in non craft industry, and craft in spare time. • Degree in design, worked as designer, now work in craft. • Graduated with a Fine-Art Degree not directly involving craft. • Degree in Design rather than Craft. • Qualified interior designer, worked as such then changed to craft due to circumstances.

Note that for comparison purposes with previous UK and NI data, we have combined data sets for both types of career changers: unqualified and qualified. Classifications used were:

• Craft careerist (you started your business shortly after finishing your first or second degree in a craft related subject).

• Artisan (you do not have an academic degree in your subject but craft is your first career)

• Career changer (you began your professional life in another career before taking up your craft but you DO NOT have an academic qualification in your subject).

• Qualified career changer (you began your professional life in another career before taking up your craft after having achieved an academic qualification or training in your subject).

• Returner (you trained in art, craft or design but followed another career before returning to craft later).

These findings were particularly noteworthy specifically in comparison with UK data in 2012. Figures for craft careerists and artisan makers are fairly typical of the UK data although both are slighter higher. Craft careerists recorded 39.5% against the UK’s 38.4% and also showed an increase since previous NI figures in 2012 of 38.1%. Artisan producers, while remaining higher than the UK, have reduced in the past few years for Northern Ireland from 14.4% in 2012 to 13.4% in 2016. In NI the percentage of career changers has always been higher than the UK and continues to show an increase, with 29.4% in NI in 2012 increasing to 34.2% in 2016. The UK figure in 2012 was 27.5%. Note however that the NI figure of 34.5% includes 10.1% who defined themselves as Qualified Career Changers ie they started their professional life in another career before achieving a qualification and taking up their craft-related profession. The data for returners is significantly lower than the UK, at 12.6% in 2016 against 22.4% in the UK in 2012 (NI recorded 18.1%). This continued reduction could suggest a worrying trend in trained makers leaving the sector for another career and not returning. This also aligns with the current age profile of makers in NI which is noticeably lower than in the UK, explaining the younger maker sector and lack of older makers and skills. It would be interesting to investigate further at what age people change career as the implication of this data would be that career changers are younger in age while returners are older.


20

4.2.2 Primary discipline Makers were asked to identify their primary discipline. If they worked across multiple disciplines, they were asked to identify their main discipline.

Figure 11: Primary discipline of maker (n=130)

Answer Options Response Percent Furniture 0.0% Stone 0.0% Basketry 0.8% Blacksmith 0.8% Leather 2.3% Wood (including furniture) 4.6% Glass 6.2% Mixed media 6.2% Other (please specify) 7.7% Jewellery (excluding silversmith) 9.2% Silversmith 9.2% Printing (textile, paper and 3D) 10.0% Textiles (inc knitting, embroidery and weaving) 19.2% Ceramics 23.8% Table 3: Primary discipline of maker

The highest percentage of makers in Northern Ireland are in the ceramics discipline with 24.0%, followed closely by textiles (including knitting, embroidery and weaving) at 19.4%. Printing recorded 10% of makers’ disciplines with jewellery (excluding silversmith) and silversmith following with 9.2% each. Furniture making and stonework were not identified by any makers as their primary discipline.

0.0%

5.0%

10.0%

15.0%

20.0%

25.0%


21

Results were compared with previous results from the UK survey in 2012: Answer Options NI Craft Sector

Study 2016 Craft In An Age of Change 2012: UK wide


Furniture (including wood) 0.0% 5.9% 4.4% Stone 0.0% 2.7% 4.4% Blacksmith 0.8% 0.0% 11.9% Leather 2.3% 2.0% 0.0% Wood (excluding furniture) 4.6% 10.7% 16.3% Glass 6.2% 10.3% 9.4% Mixed media 6.2% 5.9% 6.9% Other (please specify) 7.7% 0.0% 13.8% Jewellery (excluding silversmith) 9.2% 20.0% 15.6% Silversmith 9.2% 7.1% 5.6% Printing (textile, paper and 3D) 10.0% 0.0% 0.0% Textiles (inc knitting, embroidery and weaving)

20.0% 24.8% 26.9%

Ceramics 23.8% 25.7% 27.5% Table 4: Primary disciplines compared with previous UK and NI data (2012)

Commentary Ceramics and textiles are broadly similar to the UK figures although it is notable that both disciplines have dropped in Northern Ireland since 2012. In 2012 the ceramics figure in the UK was 25.7% and in Northern Ireland 27.5% but in 2016 this had reduced to 23.8% for NI. For textiles, the UK average in 2012 was 22.9% with Northern Ireland recording 23.8%; however this has fallen in 2016 to 20.0% for NI. Both disciplines appear to have reduced significantly. This could be indicative of the survey respondent spread and would be worthy of further investigation. However ceramics is still the predominant discipline across makers in NI, followed closely by textiles. This would reflect Ulster University’s investment in these disciplines. Printing (including textile, paper and 3D) was next in the terms of scale, with 10.0%. Note that no figures for this discipline specifically was included in the UK report. However, the 2012 report did include a figure for ‘paper (excluding graphic craft: including calligraphy, signwriting and bookbinding) of 4.0%. It can only be assumed that this is what has been referred to in the current report as ‘printing’. It should be noted that a large proportion of respondents are likely to have come from one large print workshop, which may have impacted on the results. Basketry data of 0.8% is included above in weaving to facilitate benchmarking with previous UK and NI data. Mixed media also includes synthetics. No respondents to the current survey listed their primary discipline as furniture. This could be for a number of reasons including the effect of the recession on the market for high end furniture and also possibly the lower age of most respondents. Similiarly, there has been a marked decline in jewellery makers in 2016. This is likely to be the effect of the rising price of materials including gold, the more disposable nature of costume jewellery, and competition from cheaper imports. In addition the impact of high street chains such as Pandora and Argento cannot be underestimated. They have better buying power of raw materials, produce a quality product and have large marketing budgets to promote to their target markets. Given these findings, it would be advantageous to further explore how academic courses prepare their students for this competitive business environment i.e. a balancing of creative conceptual learning against preparation for retail markets.


22

4.3 SECTION THREE: Sales and turnover One of the primary aims of this survey was to develop a picture of the economic contribution of the craft sector to the local economy. Makers were asked about: annual turnover; percentage profit; export sales; main export markets; income generated from other craft related products; and use of digital platforms for marketing and sales.

Key findings • The highest volume of activity and turnover is generated by commissions. • The volume of activity and turnover is generated through third party online sales. • The main export markets are Republic of Ireland and GB. • The lead activity for generating other-craft related income is workshops and

masterclasses. • The primary digital platform used for sales and marketing is Facebook. • The annual total income for the sector is £14,560,000. • This equates to an annual turnover of £20,800 per maker.

4.3.1 Annual turnover Makers were asked to provide data on the annual turnover (not profit) that their business generated in the last calendar year, selecting from a variety of value bands and mapping this to the sales platform used. Using bands when asking about turnover or income usually proves to be most effective as people tend to have a reticence about providing exact amounts, which can be overcome by asking them to choose from within a band. The comprehensive data captured has been analysed to show the number of businesses who use each platform, the percentage using various platforms and the overall value of turnover generated by each platform. Number of platforms used These charts show the number of makers who responded to the survey, the platforms they use and turnover generated from each platform against predetermined bands as per the key.

Figure 12: Number of businesses generating turnover within each platform and each value band (n=117)

0

20

40

60

80

100

120

Commissions Direct sales (e.g. your own retail

outlet not including online)

Direct online sales (e.g. own

website, Facebook etc)

Exhibitions Third party sales ( e.g. a third

party retail outlet/shop not

including online)

Third party online sales (e.g. Etsy, Not On The High Street etc)

Under £1,000£1,000 - £4,999£5,000 - £9,999£10,000 - £14,999 £15,000 - £19,999£20,000 - £29,999£30,000 - £49,000£50,000 and over


23

A breakdown of numbers per platform is shown in the table below. Answer Options Under

£1,000 £1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,999

£50,000 and over

Commissions 60 26 7 4 0 4 4 0 Direct sales (e.g. your own retail outlet not including online)

52 24 8 2 3 3 0 0

Direct online sales (e.g. own website, Facebook etc)

73 16 4 0 0 0 0 0

Exhibitions 53 16 5 2 0 2 0 0 Third party sales (e.g. a third party retail outlet/shop not including online)

48 25 7 2 4 1 0 1

Third party online sales (e.g. Etsy, Not On The High Street etc)

63 4 2 1 0 0 0 0

Table 5: Annual turnover

The data shows the huge volume of sales activity being generated by makers but demonstrates that this is mainly in the lower turnover bands. The balance of activity far outweighs the income generated. Below we have broken down each sales platforms and further analysed the volume of activity and its economic benefit. The volume of activity is significantly lower in the higher turnover bands; however this generates considerable turnover as further explored in the sections below. Total value generated per platform This chart summarises the total value of turnover generated by each sales platform. The value of turnover has been calculated using a median of value within each band e.g. for the band £5,000-£9,999, an average value of £7,499 was used per sale.

Figure 13: Total value generated by platform (n=117)

£468,459

£310,460

£114,480

£186,975

£321,461

£70,993

£- £50,000

£100,000 £150,000 £200,000 £250,000 £300,000 £350,000 £400,000 £450,000 £500,000

Commissions Direct sales (e.g. your own retail outlet not including online)

Direct online sales (e.g.

own website, Facebook

etc)

Exhibitions Third party sales ( e.g. a

third party retail outlet/

shop not including online)

Third party online sales (e.g. Etsy,

Not On The High Street

etc)


24

The highest volume of sales and the highest value was generated through commissions. Third party sales proved second most lucrative, with a high quantity of makers generating significant turnover through this platform. Direct sales (excluding online) came a close third, generating a higher volume of sales but slightly less income than third party sales (excluding online). Exhibitions also proved valuable in terms of generating income, which is interesting as there is an anecdotal perception that exhibition space is limited. 31.8% of all turnover (£468,459) was generated through commissions. Given that third party sales (excluding online) follows at 21.8% (£321,468) with direct sales close behind at 21.1% (£310,460), it is interesting to note that these platforms require more direct engagement with the customer. Turnover falls as engagement decreases. The 2012 Craft In An Age Of Change report stated that Northern Ireland makers were more likely to sell through commissions. However they were less likely to sell through galleries, exhibitions and online. This 2016 report confirms the findings with regards to selling through all these platforms, demonstrating that the trend towards sales platforms has not changed. Turnover per sales platform Turnover per sales platform is represented below aligned to the appropriate value bands. Commissions

Commissions is the highest sales platform in terms of total turnover generated. While the highest majority of sales activity was under £1,000 in value, a small number of high value commissions generated the most turnover. Over half of all turnover generated through commissions was for sales between £20,000 and £49, 999. Of the four makers who generate between £30,000 and £49,999 through commissions, all have traded for more than five years. Three have over 70% turnover attributed to export sales although none have higher than £1,000 generated through direct online sales. This would suggest that they have built a far-reaching positive reputation and are harnessing the skills and marketing activity of others to boost their turnover.

£30,000

£77,974

£52,493 £49,996

£0

£99,996

£158,000

£0 £-

£20,000

£40,000

£60,000

£80,000

£100,000

£120,000

£140,000

£160,000

£180,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,999

£50,000 and over


25

Direct sales excluding online

Within this, the volume bracket which yielded the biggest turnover was £20,000-£29,999 followed closely by the £1,000-£4,999 bracket. No-one generated £30,000 or over through direct sales. Direct online sales

78% of makers generated under £1,000 turnover through direct online sales. 17% of makers who used direct online sales generated £47,984 in turnover. No one made more than £10,000 through direct online sales.

£26,000

£71,976

£59,992

£24,998

£52,497

£74,997

£0 £0 £-

£10,000

£20,000

£30,000

£40,000

£50,000

£60,000

£70,000

£80,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,999

£50,000 and over

£36,500

£47,984

£29,996

£0 £0 £0 £0 £0 £-

£10,000

£20,000

£30,000

£40,000

£50,000

£60,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,000

£50,000 and over


26

This would suggest that while there is a large number of makers generating income online, the value is relatively small in relation to other sales platforms. Exhibitions

12.7% of all turnover was generated through exhibitions. There is an interesting spread of turnover between zero and £14,999. Note that only two makers generated a combined turnover of £49,998. Of the nine makers who earned more than £5,000 from exhibitions, six had been in business for more than ten years and a further two had been in business for more than five years. Only one had been in business for less than three years. This would support the thinking that those who have been in business for longer would have more experience at developing exhibition opportunities and more familiarity with the market; therefore there is a distinct opportunity to educate the sector in the opportunities of exhibiting possibly using these specific nine makers to share their experience with other makers.

£26,500

£47,984

£37,495

£24,998

£0

£49,998

£0 £0 £-

£10,000

£20,000

£30,000

£40,000

£50,000

£60,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,000

£50,000 and over


27

Third party sales excluding online

This sales platform invited responses from more value bands than other platforms. This platform was also second in overall turnover. This would support the theory that the quality of craft in NI is of a high enough standard to be attractive to third parties to sell but also to consumers. This would demonstrate that third party platforms are a valuable source of income to makers so the sector could benefit from engaging further directly, from Craft NI facilitating engagement or acting as the intermediary. This could also be as a direct result of participation in the Meet The Maker and Making It Programme. The maker who generates turnover of over £50,000 has been in business for over ten years and this is their most successful sales platform. Interestingly this maker makes limited turnover via online sales. Third party online sales

£24,000

£74,975

£52,493

£24,998

£69,996

£24,999

£0

£50,000

£-

£10,000

£20,000

£30,000

£40,000

£50,000

£60,000

£70,000

£80,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,000

£50,000 and over

£31,500

£11,996

£14,998

£12,499

£0 £0 £0 £0 £-

£5,000

£10,000

£15,000

£20,000

£25,000

£30,000

£35,000

Under £1,000

£1,000 - £4,999

£5,000 - £9,999

£10,000 - £14,999

£15,000 - £19,999

£20,000 - £29,999

£30,000 - £49,000

£50,000 and over


28

A significantly higher percentage of makers generated low turnover volume through third party online sales. It is noteworthy that no-one generated more than £15,000 through this sales platform. The suggestion is that a larger number of makers use this platform but it is proving less lucrative than other platforms which points to an opportunity for skills growth. This could also suggest that the third party online platform is not as suitable as other platforms, is not the most effective online platform, takes a high percentage commission, and is a highly crowded market.

4.3.2 Percentage profit of turnover Makers were asked to report on what percentage of their total annual turnover was profit, choosing the appropriate pre-determined percentage bands.

Figure 14: Percentage profit of turnover (n=114)

This shows that within the sector there is a very low percentage profit with over one third of makers making less than 10% profit. This could be indicative of the respondents to this survey work in crafts in which materials are of high value. Of the 34.2% of makers (39) who earn less than 10% profit, 59% (23 makers) have been in business for less than three years. A further 13% (5 makers) have been in business for less than five years. Out of the 11 makers who make less than 10% profit and have been in business for more then five years, six are full time and five are part time, with a spread across a wide age bracket and a number of disciplines: glass, ceramics, printing, silversmith, jewelry and leather. Note that captured in this response are two non-profit making collectives. Working on the an average median percent for each band i.e. assuming that the profit is midway, indicative calculations show that of £1,472,828 turnover generated, £395,012 or 27% is profit. While this could be interpreted as a healthy profit, the spread is not even across makers.

34.2%

11.4% 12.3%

15.8%

7.0%

12.3%

1.8%

5.3%

0.0%

5.0%

10.0%

15.0%

20.0%

25.0%

30.0%

35.0%

40.0%

Under 10%

10-19% 20-29% 30-39% 40-49% 50-59% 60-69% 70% and over


29

4.3.3 Export sales Makers were asked if they exported their goods, approximately what percentage of their annual turnover was generated through export sales.

Figure 15: Export sales (n=101)

There is a very high percentage of makers who are not exporting or exporting less than 10% of their product (62 makers or 61% of those who responded). Given that it has been established that there is a high turnover to be generated in the export market particularly from commissions and exhibitions, this is an area of opportunity that should be explored further. Of those who do not export, 64% have been in business for less than three years. This would suggest that there is a lack of knowledge and confidence in how to develop an export market among younger businesses. This could be addressed through specific skills development programmes. Of the 20 makers who generate 50% of their annual turnover from export sales, there was a spread across eight disciplines: ceramics, glass, jewellery (excluding silversmith), leather, mixed media, printing, silversmith and textiles. Ten makers generate over 70% of their turnover from export sales in the disciplines previously mentioned with the exception of mixed media and ceramics. It is interesting to note that in the 2012 report Craft In An Age of Change, the proportion of makers exporting from Northern Ireland was higher than in England and Wales. In 2006, over two-thirds of makers from Northern Ireland were said to be exporting beyond the UK, compared with just 18% of those in England and Wales. Strikingly, most (almost two-thirds) of these Northern Irish businesses were reported to be commencing export activity within one year of start-up. The significant perceived drop in exports could be explained by the opportunities offered by the Euro exchange rate or simply that a number may not recognise the Republic of Ireland as an export market, even though they sell there. There was also quite a low response rate to this question which could also support the theory that makers do not think that they export if it is only within the island of Ireland.

25

10

5

13

6410

37

Under 10%

10-19%

20-29%

30-39%

40-49%

50-59%

60-69%

70% and over

N/A - do not export


30

4.3.4 Main export markets Makers were asked if they exported product, to rank their main export market in order of sales income generated.

Figure 16: Main export markets (n=61)

Overwhelmingly, the Republic of Ireland (ROI) is the main export market, closely followed by GB. Interestingly of the respondents, none identified Europe outside of GB and ROI as a number one export priority; North America ranked third as a first preference market. Priority 2 market across the maker responses is GB, followed by ROI, North America then other Europe. Priority 3 highest ranked market is Other Europe, followed by GB, North America and Canada equally. Additional data revealed a relatively untapped Asian and Australian market. Looking at the data it is interesting to note that export sales to North America and Canada are prioritised6 by 22 respondents; however, if distance is a consideration, this should mean that Asia should be of as high a priority. This may indicate that language or culture may be barriers to the development of these markets among the NI craft sector. Equally, this offers a real opportunity for further exploration and development.

4.3.5 Income generated from other craft related activities. Recognising that many makers have other sources of income, makers were asked if, in the past year, they had generated any additional taxable income from other craft-related activities. Note they were not to detail the amount of income generated, and could choose more than one option. For the purposes of this report, we were more interested in the number of makers supplementing their income with additional activity, and with benchmarking against previous figures.

6 Priorities 1, 2 or 3

0

5

10

15

20

25

30

Priority 1

Priority 2

Priority 3

Priority 4

Priority 5


31

Figure 17: Other sources of income (n=58)

Only 58 respondents (43.6%) answered this question. Of those 58, 82.8% delivered workshops and masterclasses, 72.4% taught and 24.1% were in receipt of public funding. 56.4% of respondents did not answer this question. There could be a number of reasons for this: that they are uncomfortable declaring additional income; that they do not need to supplement income generated directly from their craft; or that their additional income is non-craft related. In the 2012 Craft In An Age Of Change report, data showed that 43% of UK crafters had some source of non craft-related income.

4.3.6 Total estimated turnover and average income per maker The total turnover for the sector and average income per maker has been calculated using findings from this research survey including the estimated number of makers, alongside figures presented in the Craft Council 2014 report Measuring the Craft Economy: defining and measuring craft: report 3, developed in a response to a DCMS consultation on the UK creative industries including craft. The Craft Council report stated that the average income of a maker in Northern Ireland was £400 per week in 2013. The Craft Council report used robust data from the annual population survey and the annual business survey. The 2016 survey requested that makers identify their income band rather than specific income detail which the majority of respondents to any survey are reticent to supply. Therefore using the figure of £400 as a baseline, and multiplying it by the 700 crafters we believe make up the sector, the annual total income figure for the sector is £14,560,000. This equates to an annual turnover of £20,800 per maker. Respondents to this 2016 survey make up 19% of the total NI craft sector and the data provides for an estimate that these makers generate £1,473,362 in pure sales turnover. 19% of the sector earning £20,800 per year equates to £2,766,400. £1,473,362 is 53% of the total annual sector income for this 19% which means that it would have to be assumed that the remaining 47% is made up of other craft-related and non-craft related income.

72.4%82.8%

5.2%0.0% 1.7%

24.1%


32

4.3.7 Use of digital platforms for marketing and sales Makers were asked about their use of digital platforms for marketing and sales.

Figure 18: Use of digital platforms (n=113)

Facebook was overwhelmingly the most used platform. This was followed by makers’ own websites and Instagram, all very visually-led platforms. Twitter is used but is not as high a priority for makers. Other online retail platforms are prioritised slightly above Pinterest which is interesting given that Pinterest is free and content is likely to have been generated for Instagram by a lot of makers. Nine makers said that they don’t use any online platforms. Of these, ages and business longevity range across the spectrum, with little trends showing. Ezines are the least used platforms; this is likely because they are more labour-intensive to generate, rely on good cleansed databases, interesting content and rely on software user knowledge. In terms of age profile, almost 70% of makers who identified Facebook as their priority platform were aged between 35 and 64 (69.6%) 7. While there is a perception that Facebook is currently most popular among the older age group, official social media data shows that the highest usage age bracket in the first quarter of 2016 within the UK was the 25-34 year old age group.8 Predictions for 2017 are that this will increase. 45-54 year old users are also predicted to increase. This would suggest that the makers who use Facebook as their main marketing platform should not just target their own age group but should consider the growth in the 25-34 age bracket and predicted growth in the older brackets including the 65+ bracket who may have more disposable income. They need to consider a breadth of product, marketing collateral and message to target differing groups as one size will not fit all.

7 35-44 23.9%; 45-54 23.9%; 55-64 21.7% 8 The Statistics Portal, Dec 2016

0

10

20

30

40

50

60

Your own website

Facebook Twitter Instagram Pinterest Linkedin Ezines Other online retail

Other Don't use any

Priority 1

Priority 2

Priority 3

Priority 4

Priority 5


33

Of the 24 makers who identified Facebook and their own website as their first and second preference of marketing and sales platforms, no makers said that these platforms generated their largest turnover. Six makers said that the turnover generated from these digital platforms equaled that generated from other platforms. It is evident that a large number of makers use Facebook and their own website as sales and marketing platforms, but this is not generating significant income. This would suggest that there a significant opportunity for upskilling among makers or using these platforms in a different way or focusing instead on third party platforms. Of the 17 makers who ranked third party online retail as a first or second priority, four said it was their highest source of turnover although none generated more than £4,999. Six said it didn’t generate their highest turnover, and six said that it was equal to at least one other platform. This would imply that makers are not making significant use of platforms such as Etsy and Not On The High Street. Barriers could include high commission rates and joining fees, or a perception of high fees, or confusion about charges. 9 It is worth noting that headline research indicates that third party direct sales fees eg in galleries or shops are usually significantly higher than online fees, with a top end commission of 40 or 50% being charged. This identifies a further opportunity for training among makers to allay fears and to overcome confusion to help them to make an informed choice about their preferred sales platform.

9 Not On The High Street: joining fee £199 plus 25% commission (plus VAT). Etsy: no joining fee, listing fee £0.16 per item, 3.5% transaction fee (commission), 4% plus £0.20 payment processing fee. Example: if an item is retailing at £49.99, combined indicative Etsy fees plus postage is estimated at 18% of the retail price.


34

4.4 SECTION FOUR: Business development and growth It is important to review the maturity of the craft sector in Northern Ireland and to identify where makers’s ambition. Makers were asked to state what stage of development their business is at and where they hope to see business growth in the next three years.

Key findings • The highest grouping of makers define their business as surviving and covering

overheads. • 24% of businesses are start ups and are dominated by craft careerists which is in line

with the UK. • The main growth priority for respondents in the next three years is sales followed by

digital sales and digital marketing.

4.4.1 Stage of development of craft business Makers were asked what stage of development their business was at, having previously been asked how long they had been in operation.

Figure 19: Stage of development of craft business (n=115)

The highest grouping of makers (40.0%) said they were surviving and covering overheads. Encouragingly, a further 26.1% stated that they are in profit. 24.3% defined themselves as in start up mode which represents positive growth for the sector and aligns with the data previously presented that 16.7% of makers had been in business for less than one year, with a further 32.6% in business for more than one but less than three years. A very small percentage of makers stated that they were at take off stage with rapid growth, which suggests that most start ups are developing at a more measured pace. Only six respondents stated that they were mature with no plans to grow; this would be indicative of a ambitious sector with most businesses planning to develop. No businesses were ceasing to trade; however it should be noted that such businesses may not be inclined to engage with a sector survey.

24.3%

40.0%

26.1%

2.6%5.2%

1.7%

Start up (newly formed)

Surviving (covering overheads)Success (in profit)

Take off (successful with rapid growth)Mature (fully resourced, no plans to grow)


35

Two makers stated that their business was in decline; however one was diversifying into new lines of work rather than leaving the sector altogether. The 2012 Craft In An Age Of Change report stated that the sector was dominated by small, well established businesses which is supported by the findings in this 2016 report. In keeping with the sector profile, where craft careerists dominate, this is also the case for start ups where 52% are craft careerists. This also continues to demonstrates that a healthy percentage of new craft graduates are willing and suitably equipped to start their own business.

4.4.2 Main area for business growth in the next three years Makers were asked where they hoped to see business growth in the next three years and to rank these in priority order.

Figure 20: Main area or business growth (n=116)

Overwhelmingly, sales was the predominant priority for growth in the next three years, with the development of digital sales platforms and digital marketing platforms following behind. The priority areas are broken down below to show clearly what makers identified as important to them. For each priority apart from priority four, there was a clear majority leaning towards one area of growth, so this very clearly helps to identify areas in which makers need further support if they are to achieve their potential.

0

20

40

60

80

100

120

Sales Employees Expansion of business premises

Digital sales platforms

Digital marketing platforms

Priority 1

Priority 2

Priority 3

Priority 4

Priority 5


36

87.3%

1.8% 5.5% 5.5%

Priority 1

Sales

Employees

Expansion of business premises



7.1%

1.2%

20.0%

56.5%

15.3%

Priority 2

4.8%

33.3%

33.3%

4.8%

23.8%

Priority 4

4.2%

7.0%

9.9%

26.8%

52.1%

Priority 3

9.7%

45.2%19.4%

12.9%

12.9%

Priority 5


37

In order of priority, the clear majority requirements are: Priority 1 Increasing sales Priority 2 Developing digital sales platforms Priority 3 Developing digital marketing platforms Priority 4 Employees and expansion of business premises Priority 5 Employees A very positive message from this data is that makers are rightly focusing on developing sales, including the associated sales and marketing platforms, before they commit to more operational improvements such as employees and expansion of premises. Particularly given the high volume of new business start ups, it is important to help businesses to maintain momentum by supporting the opportunities for growth that the require.

4.4.3 Other priority areas for growth (comments) Makers included comments on other priority areas for growth; note that many areas have an implied request for skills development and support. Craft skills development • Glass skills education. • Move from craft to art.

Business skills development • Moving into mainly high end gallery representation rather than direct through me. • I need help developing a website. • Forming a collective with fellow artists and crafts people. • Selling direct online through my own website. • Stockists, develop new skills within my brand, printmaking etc. Product • Building professional portfolio and new work. • Exhibition work is extremely important to me especially as I continue to send work

overseas. • Diversification of product, working with other materials as precious metals have gone up

by 30% since Brexit, we expect a reduction in sales of precious metal jewellery. Other craft-related services • More teaching of my skills. • Developing workshops/masterclasses. • Exhibition work, training, teaching, writing and commission work. • To focus on exhibiting work. • Party classes for making hats. • Diversifying. • International exhibitions.

Operational and sales • I would like to see growth in my production capacity, enabled through the purchase of

new equipment and possibly outsourcing the finishing (washing) of my textiles.


38

• Exporting if safe transport can be arranged. • Export. • Wholesale. • No longer working so business now full time occupation. • More sales. • Equipment.

Other • Would like to promote our members more throughout the year.


39

4.5 SECTION FIVE: Craft NI support and services This section focused on the sector’s awareness, usage and need for existing and additional services from Craft NI. Key findings • The service used by the highest volume of makers was events including August Craft

Month. The next most used was the online directory. • The service least used overall was the craft resource and exhibition space. • The service least respondents were aware of was funding advice. • Satisfaction among service users was largely positive. • Additional support was requested most in sales and marketing.

4.5.1 Awareness and usage of Craft NI services Overall volume of usage

Figure 21: Overall volume of usage of Craft NI services (n=110)

Events including craft month is the service used by highest volume of makers who responded that they used the service. However 45.9% only engage with Craft NI through events on an annual basis. A further 20.3% engage at least monthly with another 16.2% 2 – 3 times per year. This could mean either attendance at an event or participation as a maker. The next most used service is Craft NI’s online directory. Usage is evenly spread across the year with the highest percentage being annual users. The latter can be presumed to align with August Craft Month.

0

10

20

30

40

50

60

70

80


40

Industry seminars are the next most utilised service. There is a slight majority of makers who use this service annually, almost matched by those who used it several years ago. The least used services are tourism opportunities, arts and cultural development, craft resource space and funding advice. Lack of awareness and usage

Figure 22: Awareness and usage (n=110)

Never used services Of the nine services listed in the survey, five had never been used by more than 40% of respondents. The service least used overall is the craft resource/exhibition space. 49.5% of people who responded to this question have never used this space. Next least used service is Business Development with 47.7% of respondents claiming to have never used these services. Lack of awareness The service that most respondents (39.8%) are least aware of is funding advice. This is followed by arts and cultural development (35.6%) and tourism opportunities (34.9%). The service that respondents are most aware of is the online Craft NI Directory, followed by events, education, skills and training and Business Development. It is helpful to investigate the lack of usage alongside awareness to identify any pattern. It would be fair to assume that those who have never used particular services have done so through lack of awareness and therefore there is a need to communicate further about the services on offer. The newsletter would be a useful communication tool to raise awareness tool as would Facebook given the high usage among makers.

0

10

20

30

40

50

60

Never

Not aware


41

For those who are aware of services but still do not use them, it can only be assumed that this could be for several reasons: they don’t value the service; they do not feel that the service is relevant to their need; or they believe they already possess a high level of knowledge in the services offered. Other barriers to use may be cost, location and maker time required.

4.5.2 Usefulness of Craft NI services Makers were asked to rate the usefulness of Craft NI services. Note they were asked again about levels of awareness and usage, in order to reinforce findings from the previous survey question. Answer Options Of limited use Fairly useful Very useful

Funding advice 30.3% 30.3% 39.4% Business Development (e.g. Making It Programme and Innovation Boost)

25.6% 30.8% 43.6%

Industry seminars 34.0% 38.0% 28.0% Online presence (Craft NI Directory)

35.4% 33.8% 30.8%

Events (e.g. Craft Month) 15.1% 43.8% 41.1% Arts and cultural development (e.g. development of artistic quality)

25.0% 53.6% 21.4%

Education, skills and training 18.4% 44.7% 36.8% Tourism opportunities (e.g. how to appeal to the tourist market)

30.8% 30.8% 38.5%

Craft resource space (including exhibition area)

41.9% 29.0% 29.0%

Among makers who used them, satisfactions levels with services were largely positive with business development, arts and cultural development and education, skills and training receiving over 70% combined positive feedback. The service with the lowest satisfaction rating was the craft resource space, with the caveat that not many makers used this service (31 respondents). Close inspection of the data shows that there is an opportunity to convert fairly useful responses to very useful particularly in industry seminars, arts and cultural development, and education and skills training. This could warrant further research into the content that people need and want and apply this to development of the courses and training programmes offered. Comments were invited for this question. Makers responded that they struggled to attend seminars due to the distance, timing, duration and staffing. Some new makers are only becoming familiar with the Craft NI offering and are intending to engage with the services in the near future.

4.5.3 Additional support required Makers were supplied with a sample list of additional support opportunities that they may require and asked to rank these in priority order.


42

Figure 23: Total additional support required (n=104)

The chart shows the total number of respondents per support service. Additional analysis of the top three services prioritised by respondents showed that 62.5% of those who responded ranked sales and marketing as their first, second or third priority. While less people responded, 38.5% chose digital and social media as their second priority. Exhibitions followed closely with 37.5%. Makers provided additional comments including: a desire for peer-to-peer learning particularly from experienced practitioners; more group exhibitions; assistance with admin and funding; travel assistance; an up to date craft trail map; opportunities for and review of perception of different skills levels.

4.5.4 Involvement in August Craft Month Makers were asked if they were involved in August Craft Month 2016.

34.5% were involved while 65.5% were not. Comments were invited from all.

81 79

6864

60 5953

5046

34

0

10

20

30

40

50

60

70

80

90

34.5%

65.5%

Yes

No


43

Key comments from those who were involved

• Filmakers exhibition was a great experience • Increased confidence as a professional maker • Very useful for marketing and sign posting my business. • Classes and workshops were very useful. • Was a successful day through sales and generated more visitors to my stand at St

George's craft market. • Selling and raising my profile. • Took a ceramics class and a sewing class to improve practice • Exhibition, good coverage from Craft NI and August Craft Month. • Exhibition - great opportunity. • Great for promoting my business and great for sales. • Attended a very useful seminar that helped me move forward in a positive and fruitful

direction. • Open workshop, fair sales and good contacts. • Very useful being under the banner of another group for workshops. • Very useful promotion through the brochure. • Went to talk by design trust found it amazing. But have been asking for notes that

was told would be available after and am still waiting. Key reasons makers did not get involved

• Studio unsuitable for visitors. • I did not know about it. • I was out of the country. • Wasn't aware of the event or how to become involved (numerous responses) • Didn't have enough work ready. • Didn't plan in advance. • I only do work to commission either repair or new build. • Terrible public knowledge, contacted craft Ni directly to set up a meeting - never

happened. • Other commitments at the time. • Taking time off over August to develop new work but participated and attended

events rather than as a craft professional • Not in NI. • It's costly, both in time and money, it's also difficult to justify in terms of return and

new markets. • Too much effort for very little return. Craft NI do little but collate the info in my opinion.

Fail to see how they can claim it as their activity! • Limited time to organise. • I find craft NI to be non inclusive, cliquish and unhelpful. I have made contact on

numerous occasions over the last few years for a variety of reasons and have been been uninspired by the attitude, culture and lack of openness with which a public funded organisation conducts itself in supposedly promoting and supporting talent in Northern Ireland.

• Wasn't sure what I could offer as the variety of options was enormous, but hopefully next year I will be able to participate.

• I was unfortunately not in the country. Would love if it happened more often. • Did not get any visits when we were involved. • We normally do partake, unfortunately this year the directors of our collective who

organise our participation in this event had other commitments. • There didn't seem to be anything near my location.


44

• Because Craft NI look down their noses at artists like me. • I find Derry City is difficult to get people involved in my craft. • Preparing for exhibition. • I thought that my business is too small. • Not established at that point • As a career change crafter feel taken "less seriously" than other maker/designers. Not

all opportunities available if our crafts/designs not considered sufficiently high-skilled. • I didn’t apply or wasn’t invited to anything. • Unfortunately I was not in the country at that time and my business was not

developed enough at that stage. Note that where similar comments were made more than once, the response is only included once above e.g. quite a few makers said they were too busy to get involved so this has been summarised into one response.


45

4.6 SECTION SIX: About the maker

Key findings • The age profile of makers in Northern Ireland is getting younger. • Females make up 70% of the craft sector. • 94% of the sector in Northern Ireland indicate their ethnicity as white.

4.6.1 Age profile

Figure 24: Age profile of makers (n=107)

It would seem that the age profile of makers in Northern Ireland is getting younger. In 2012 the NI figure for 16-24 year old makers was 1.3%; in 2016 this is now 13.1%. While other findings in this report support the fact that makers are getting younger, this may be a slightly disproportionate result reflecting the demographic of the respondents rather than the sector as a whole. However the 25-34 age bracket is also on the increase, by 4.0% while those ranging in age fro 35-64 have reduced. While there may be a slight anomaly with the under 25 data, the findings do reflect other evidence and research of a growth in young people starting businesses. In 2016, data research company Duedil and small business network Enterprise Nation reported that the under 35 age bracket saw the steepest increase in company formation activity. In 2006 there were 145k companies founded by young people. By 2013 it had jumped to 247k. According to Unlimited, a foundation for social entrepreneurship, more than 55% of younger people added 16 to 25 now want to set up their own firm. This is further supported by a report from Santander who estimated that 80k UK university students run a business with a quarter planning to turn it into a career they graduate.

0

5

10

15

20

25

30

16-24 25-34 35-44 45-54 55-64 65 and above

Response Count

NI Craft Sector Study 2016

Craft In An Age of Change 2012: UK



46

4.6.2 Gender

Figure 25: Gender (n=108)

78.7% of respondents were female and 21.3% were male. In comparison with national data in 2012, there appears to be a widening between genders represented in the sector. In 2012 in NI, 66.9% of makers were female and 33.1% were male; therefore the trend of more females entering the sector is increasing. This would also tally with data captured during August Craft Month which reported that 80% of their survey respondents were female.

4.6.3 Ethnicity Of 107 makers who responded, 94.4% indicated their ethnicity as white. 5.6% chose not to answer. The ethnicity of makers remains fairly static as the 2012 figure for NI for white/white British/white other was 94.7%. As the demographic make up of Northern Ireland changes, it is critical that the sector engages with and embraces this changing community. There is opportunity for new skills to be integrated into the Northern Ireland craft sector.

Female,78.7%

Male,21.3%


47

5 Recommended next steps The survey findings have resulted in a number of interesting findings, some of which challenge current perceptions and delivery, others which support current activity. In light of the findings, it would be advantageous to identify next steps and action plan these with clear deliverables and timeframes. These may include but may not be limited to:

• Review the draft strategic plan in light of findings from the survey particularly in terms of the support required from the sector.

• Review and redevelop the business support programme. • Consider how to further support and encourage business skills development within

craft education in third level education establishments. • Review the content and communications of August Craft Month to ensure as wide

engagement and awareness among makers as possible. • Identify and schedule continued future monitoring and trend analysis to ensure a

proactive approach to evolving role of Craft NI. This should include the capture of turnover and profit data, ensuring that makers know how to capture and report this information.

• Further explore the opportunities to develop, raise awareness of or facilitate partnerships and collaborations among makers.

• Consider other mechanisms for engaging with and surveying makers across Northern Ireland to ensure that this is a true representation of makers. This may include bespoke discussions with individuals and collectives in specific regions.


48

Appendix 1: Bibliography The following documents were reviewed in the course of conducting this study, with some directly referenced where appropriate in the report.

Title of publication Author Published by Date published

Source

1. A Future in the Making: Why Crafts Matter - an advocacy document for the craft sector in Northern Ireland

Craft NI Craft NI 2007 Craft NI

2. Craft in an Age of Change BOP Consulting Crafts Council Creative Scotland Arts Council of Wales Craft Northern Ireland

2012 Craft NI

3. Craft in an Age of Change – Northern Ireland Summary

BOP Consulting Crafts Council, Creative Scotland, Arts Council of Wales, Craft Northern Ireland

2012 Craft NI

4. Defining and measuring craft: a review for the Crafts Council Report one: definitions 1998 - 2012

TBR Crafts Council 2012 Craft NI

5. Crafting Capital: New Technologies, New Economies

Crafts Council supported by Arts Council England

Crafts Council 2012 (tbc)

Craft NI

6. Craft Northern Ireland Strategic Plan 2014-2017

Craft NI Craft NI 2014 Craft NI

7. Measuring the Craft Economy: defining and measuring craft Report 3

Crafts Council UK – input from Craft NI

Crafts Council UK – input from Craft NI

2014 Craft NI

8. Collective Insight: An Environmental Audit of Craft Collectives/Networks – Northern Ireland

Kirsty Brown Queen’s University Belfast (placement with Craft NI)

2014 Craft NI

9. Collective Insight: An Environmental Audit of Craft Collectives/Networks – Northern Ireland: Executive Summary Report

Kirsty Brown Queen’s University Belfast (placement with Craft NI)

2015 Craft NI

10. Craft NI Invest NI Programme Targets 2014-17

Invest NI Not for publication 2014 Craft NI

11. Creative Clusters – Economic Analysis of the Current Status and Future Clustering Potential for the Crafts Industry in Ireland

Indecon Design and Crafts Council of Ireland

2013 DCCOI


49

Appendix 2: Survey template

Craft Northern Ireland is the sector-lead body for the promotion and development of the design-led

contemporary craft industry in Northern Ireland.

Craft NI supports and promotes the craft industry as an integral, entrepreneurial and vibrant part of

the region's economic and cultural infrastructure. Its key partners include regional government and

agencies, local government, cultural organisations, universities and colleges of further and higher

education, private business and industry.

Craft NI recently commissioned research, of which this survey forms an integral part, in order to

build a current profile of the contemporary craft sector and measure its contribution to the

Northern Ireland economy. This research will also help shape Craft NI's future strategy and

programme of activities.

We would appreciate no more than 10-15 minutes of your time to complete the survey below and

help inform the sector profile and future needs. This will help to ensure that Craft NI can provide

an effective service to you and develop these services aligned to need. It will also help them to

secure funding to support the continued delivery of their services. All completed responses will

also be entered into a random draw to win £100 courtesy of Craft NI!

Please note: Individual responses will not be shared with Craft NI or any partners or stakeholders.

The consultants carrying out this study will collate and present summary information only, and will

not attribute responses directly to any individual. This survey is for research purposes only to

understand the overall profile of the craft sector. All data captured will be anonymous.

INTRODUCTION

Contemporary Craft Sector Northern Ireland - Research Study 2016

SECTION ONE: ABOUT YOUR BUSINESS


1. Name of your business

House or building name or

number

Street name

Town/city

County

Postcode

2. Business address

Other (please specify)

3. How would you describe your business location?

Urban (settlements with more than 10,000 resident population)

Rural (settlements with population less than 5,000 and greater than 1,000)


4. Council area: please tick the council area in which your business is registered/located.

Antrim and Newtownabbey Borough Council

Ards and North Down Borough Council

Armagh City, Banbridge and Craigavon Borough Council

Belfast City Council

Causeway Coast and Glens Borough Council

Derry City and Strabane District Council

Fermanagh and Omagh District Council

Lisburn and Castlereagh City Council

Mid and East Antrim Borough Council

Mid Ulster District Council - Dungannon

Newry, Mourne and Down District Council

5. What is your business type?

Sole Trader

Partnership

Limited Liability Partnership

Private Company Limited by Share

Private Company Limited by Guarantee

Co-operative/Collective Member



6. Where do you primarily make your product(s)?

Home

Business Park

Own studio

Own studio within a shared/collective studio or other space e.g. college

Shared studio

Permanent shop

Temporary shop (e.g. pop up shop or market stall)

Third party retail shop

7. How long have you been in operation? (Note that this is the length of time you have been selling your

work)

Less than one year

More than one year but less than three years

More than three years but less than five years

More than five years but less than ten years

More than 10 years

Number of employees

Full time

Part time

Apprentice

Volunteers

If more than 10, please insert number.

8. Do you have employees and if so, how many? (excluding you)

Comment (if necessary):

9. Do you operate your business on a full time or part time basis?

Full time (17 hours and over)

Part time (up to 16 hours)

10. As the business owner, how many hours do you spend on your business each week?

0-5 hours

6-10 hours

11-15 hours

16-20 hours

21-25 hours

26-30 hours

31 and over

Other (please specify with explanation):

SECTION TWO: ABOUT YOUR PRACTICE



11. How would you describe yourself professionally?

Craft careerist (you started your business shortly after finishing your first or second degree in a craft related subject)

Artisan (you do not have an academic degree in your subject but craft is your first career)

Career changer (you began your professional life in another career before taking up your craft but you DO NOT have an academic

qualification in your subject)

Qualified career changer (you began your professional life in another career before taking up your craft after having achieved an

academic qualification or training in your subject)

Returner (you trained in art, craft or design but followed another career before returning to craft later)

12. What is your primary discipline? (While you may work in more than one discipline, please choose your

primary discipline only)

Basketry

Blacksmith

Ceramics

Furniture

Glass

Jewellery (excluding silversmith)

Leather

Mixed media

Printing (textile, paper and 3D)

Silversmith

Stone

Textiles (inc knitting, embroidery and weaving)

Wood (including furniture)


SECTION THREE: SALES AND TURNOVER


Under

£1,000

£1,000 -

£4,999

£5,000 -

£9,999

£10,000 -

£14,999

£15,000 -

£19,999

£20,000 -

£29,999

£30,000 -

£49,000

£50,000

and over

Commissions

Direct sales (e.g. your

own retail outlet not

including online)

Direct online sales (e.g.

own website, Facebook

etc)

Exhibitions

Third party sales ( e.g. a

third party retail

outlet/shop not including

online)

Third party online sales

(e.g. Etsy, Not On The

High Street etc)

Other (if required)

13. What annual turnover (not profit) did your business generate in the last calendar year through the

following sales platforms? If you do not have this information easily to hand, please provide your best

estimate.

Comment (if required):

14. What percentage of your total annual turnover is profit (i.e. turnover minus overheads)?

Under 10%

10-19%

20-29%

30-39%

40-49%

50-59%

60-69%

70% and over

Under 10% 10-19% 20-29% 30-39% 40-49% 50-59% 60-69% 70% and over

N/A - do not

export

Comments (if necessary)

15. If you export i.e. generate sales outside of Northern Ireland, approximately what percentage of your

annual turnover is generated from these sales?

16. If you export your product, please rank your main export market(s) in order of sales income generated.

Republic of Ireland

GB

Other Europe

North America

Canada

Asia

Australia

Other


17. In the past year, did you generate any additional taxable income from other craft related activities?

Teaching

Workshops/masterclasses

Writing

Royalties

Private funding (e.g. business investor)

Public funding (e.g. Arts Council of Northern Ireland grant)

18. Do you use digital platforms for marketing and sales and if so, please rank which platforms you use

most often i.e. 1 = use most often. (If you don't use a particular platform, just leave that line blank)

Your own website

Facebook

Twitter

Instagram

Pinterest

Linkedin

Ezines

Other online retail platforms (e.g. eBay, Etsy, Not On The High Street etc)

Other

Don't use any of the above platforms

SECTION FOUR: BUSINESS DEVELOPMENT AND GROWTH



19. Having told us how long your business has been in operation, what stage of development is it at?

Start up (newly formed)

Surviving (covering overheads)

Success (in profit)

Take off (successful with rapid growth)

Mature (fully resourced, no plans to grow)

In decline (reduction in employees, sales or shop premises)

Ceasing to trade

20. Where do you hope to see business growth in the next three years? (Please rank in priority order and

ignore any areas that are not applicable to you and your business)

Sales

Employees

Expansion of business premises



21. Please let us know if you have any other priority areas for growth in the next three years or any other

comments on this subject. (Optional)

SECTION FIVE: CRAFT NI SUPPORT AND SERVICES


Not aware

Use at least

weekly

Use at least

monthly

Use 4-6

times per

year

Use 2-3

times per

year

Use

annually

Used

several

years ago Never

Funding advice

Business Development

(e.g. Making It

Programme and

Innovation Boost)

Industry Seminars

Online presence (Craft

NI Directory)

Events (e.g. Craft

Month)

Arts and cultural

development (e.g.

development of artistic

quality)

Education, skills and

training

Tourism opportunities

(e.g. how to appeal to

the tourist market)

Craft resource space

(including exhibition

area)


22. Are you aware of the following services currently offered by Craft NI and if so, how often do you use

the services?

Not aware of Not used Of limited use Fairly useful Very useful

Funding advice

Business Development

(e.g. Making It

Programme and

Innovation Boost)

Industry seminars

Online presence (Craft

NI Directory)

Events (e.g. Craft

Month)

Arts and cultural

development (e.g.

development of artistic

quality)

Education, skills and

training

Tourism opportunities

(e.g. how to appeal to

the tourist market)

Craft resource space

(including exhibition

area)

Comment (if required)

23. How useful did you find these services?

24. In which of the following areas would you like additional support? (Please rank in priority order)

Sales and marketing

Business planning

Financial management

Digital and social media

Export sales

Political lobbying

Private funding

Public funding

Exhibitions

Sector networking

25. Please let us know if there is any other support or service that you would like Craft NI to provide where

possible.

26. Were you involved in August Craft Month 2016?

Yes

No

27. If your answer to Q26 was YES, in what capacity were you involved and how useful did you find it?

28. If your answer to question Q26 was NO, please let us know any particular reasons you were not

involved.

SECTION SIX: ABOUT YOU


29. First name

30. Family name

31. Age

16-24

25-34

35-44

45-54

55-64

65-74

75-84

85+

32. Gender

Female

Male

Transgender/non binary

Prefer not to answer

33. Contact telephone number

(This will be used for communication purposes only regarding this survey and will not be used for

marketing purposes or passed to any third party)

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