Having our Studio based in Quito - Ecuador makes our team question
how our work influences the context and vice versa.
– Studio Founder
Imagining a new way of making products in Ecuador.
I am a true believer of a culture of Design behind the origins of Ecuadorian crafts. Craft is what shapes and sculpts our identity.
The archaeological sites are a proof of how crafts have formed the history of our culture, its evolution and rebirth. Imagining that a Culture of Design existed long time before the echo of this term reached our ears is possible, each object is a search towards human principles.
That is why in Ecuadorian history Craft and Design are not two different branches, we design handicrafts. Its beauty is born through each makers hands, its functionality, often linked to survival, other times to its spirituality is involved in each decision. Transforming materials, shapes, textures and colors.
Making Handicrafts is a resistance to the disappearance of our multicultural identity. It is to continue transmitting an infinite wisdom through the new generations.
Our team is focus on achieving excellence, quality, fair price and social development.
A philosophy of making.
Somos Crafts is an Spanish word the comes from the verb to be and refers when a group of people is part of something greater. Our Studio partners with a group of local and international experts in design, food, sustainability, business, and communities working together to battle one of the biggest problems of social inequality in Ecuador. Our main focus is in Food & Crafts. We aim to redesign an unfair system.
As these examples of the current popularity of the handmade suggest, the marginalised authenticity on which ‘modern craft’ rhetoric is based is highly compromised. I’m by no means the first to state this. Since 2014 Adamson has been saying ‘goodbye to craft’ or, rather, ‘goodbye to craft as a cause, or mission’. Craft’s popularity means it no longer needs saving; it needs ‘no special pleading ... [it] is a pervasive consideration within modern life, not private property to defend’. For Adamson this means the individuals and institutions who champion it need to figure out new ways of talking about craft that match its complex centrality in contemporary culture.
Selling craft by Catharine Rossi in: As making goes mainstream, the search for authenticity accelerates.