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This time, Craeft brings highlights from the Hephaestus Symposium held on the Danish island of Bornholm — a true crafts hub. From fresh and often unexpected perspectives on the world of crafts, experiences with local artisans, and the first public presentation of the CRAFTOUR policy recommendations’ main objectives, the event was an inspiring exchange of ideas and visions.
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Provoking What We Think We Know About Crafts
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The PhD and Post-doc students presented their research papers exploring various aspects of crafts. Their presentations provoked thought and explored topics we do not commonly address.
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The intriguing study by Manfredi de Bernard and Maria Lusiani focused on Nove, a town in Italy, questioning the relationship between crafts, factory work, and memories. Unlike the often negative perceptions of factory work, the ceramic factory in Nove holds positive memories for many workers, viewed almost as a familial legacy. The students questioned whether these positive memories come from emotional ties to production and/or the artistic, crafty nature of the work.
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Another provoking presentation by Manfredi de Bernard and Fabrizio Panozzo discussed crafts within the context of "Neo-craft," considering its place in contemporary movements like hipster culture. They challenged whether Neo-craft represent the sole contemporary manifestation of crafts.
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Finally, the third unusual perspective brought up by Margherita De Luca, Giovanni Favero, Camilla Ferri and Fabrizio Panozzo is how we talk about crafts and what we mean by it — the rhetoric of crafts. This is often our shared idea of what crafts are: something made with love and passion, by hand, with a unique quality that reflects local traditions. We tend to see crafts as something romantic, even sacred. At the same time, crafts are often described as being at risk — like an endangered species. There is a sense of urgency to protect and preserve them. This raises an important question: does focusing so much on saving crafts distract us from the present? Does it keep us from truly engaging with the world as it is now?
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Bornholm & Crafts
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If you ever wondered why Bornholm is known as the island of crafts, the Royal Danish Academy’s Glass and Ceramics School plays a major role in that story. Since its founding in 1997, the school has not only attracted young creative talents to the island but also helped many of them stay. Remarkably, around one-third of each graduating class remains on Bornholm, establishing their own studios and shops, and contributing to the island’s vibrant craft ecosystem.
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We had the opportunity to visit the school and experience the craft ecosystem. The students welcomed us into their space and shared their creative journeys. The diversity of their approaches was striking - from those specialising in glazing techniques to others experimenting with traditional wood-fired kilns.
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© Royal Danish Academy.
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Bornholm is recognised as a World Craft Region, a title celebrating the island’s strong and living craft tradition. Crafts are more than culture here — they are a key part of the local economy. Tourism and craft are closely linked, with many artisans relying on studio visits and direct sales. Studies show that craft and gourmet production are among Bornholm’s top income sources, creating jobs across sectors.
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Timmi Kromann Studio.
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CRAFTOUR - First Public Presentation of the Policy Recommendations’ Main Objectives
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For the first time, the CRAFTOUR Initiative publicly presented the main objectives of its forthcoming policy recommendation. This marked an important step forward as the CRAFTOUR partners prepares for the official Policy Recommendations Roundtable with the European Commission in November 2025.
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The presentation of the five policy pillars was divided among partner projects:
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Pillar 1 & 5: Understanding & Valorisation, Documentation & Archiving – presented by the Craeft Project
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Pillar 2: Authenticity & Safeguard – presented by the Hephaestus Project (in the absence of Colour4Crafts)
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Pillar 3: Transmission, Training & Certification – presented by Tracks4Crafts
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Pillar 4: Economics & Innovative Business Models – presented by Hephaestus
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The session sparked valuable feedback from crafts professionals, researchers, and experts, raising key insights:
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“Reskilling” is crucial — supporting career changes later in life and helping youth see pathways beyond university.
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A common language is needed between craftspeople and academia as the mutual understanding remains a challenge.
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Facilitating in-person meetings and exchanges is essential to bridging the gap between researchers and craft professionals.
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Postcard from Bornholm.
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Join the discussion on the Craeft COMMUNITY!
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The Craeft online COMMUNITY was launched to bring together diverse stakeholders who are interested, passionate and/or professionally engaged in the understanding, safeguarding, development, and transmission of crafts. Whether you're a practitioner, researcher, student or enthusiast... we invite you to join the conversation on crafts.
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Here are some insights to spark your interest:
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Danae raised an important question: In today’s discourse, the line between art and craft is often debated. What truly distinguishes them or are they the same?
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In response to Danae's question, Madina emphasizes the William Morris's approach. Morris named his movement Arts and Crafts to reflect his belief in the deep integration of art—design and beauty—with craftsmanship—manual skill and high-quality materials. For Morris, art should not be separated from everyday life. Even ordinary items such as furniture, wallpaper, textiles, and books deserved to be created with both aesthetic and ethical care.
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Danae further added: Gombrich, in the The Story of Art (1995) reminds us that it was during the Renaissance that the distinction between artisan and artist emerged. At that time, objects began to be appreciated more for their aesthetic qualities than for their practical function. Later, the tradition of craftsmanship declined in face of the emerging industrial revolution.
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The CRAEFT Consortium
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