Margot Bustamente | Hephaestus Fieldwork in Bornholm
Objective: To develop new sustainable business models for the craft sector
During my three-week summer stay in Bornholm, I gained a better understanding of the island’s craft ecosystem. Dorthe (Maker’s Island) and David (BOFA) were excellent guides, sharing their extensive knowledge about both the challenges and success stories within the craft network. I visited the Royal Danish Academy of Glass & Ceramics, along with numerous studios, ateliers, galleries, and shops, which allowed me to connect with several craft makers. Also, I was present at the CraftWeek 2024 and the European Ceramic Context, serving as explorational events gathering stakeholders who are interested in ethical approaches, sustainability and imaginative ideas around the future of craftmanship. Many of these interactions I encountered during these times were spontaneous and led to meaningful conversations. I would like to extend a special thank you to Heidi Hentze, Nynne Rosenkrantz, In Kyong, and Anna Maria, who generously shared insights about their creative processes and personal journeys within craft.
Halfway through my stay, I met Christina Schou in her studio one Friday morning for the first time. Something in the way she spoke reflected her talents both in business and craft. A few years ago, Christina purchased a crushing machine and began experimenting with crushing waste to incorporate it into her work; this machine would enable her to reuse waste material for her glazes that she uses in connection with ceramics. During our meeting, we identified that I could support her in designing a new brand and creating a website to promote her Experimental Glazes. A few days later, I met Christina and Kasper, a trusted designer who has developed many craft websites, including those of Anne Mette Hjorts and Matter. He understands the importance of showcasing the work of craft makers in Bornholm.
Next year, I will continue assisting Christina in developing her website, focusing on compiling and structuring textual and visual content. The glazes which she has already formulated may require further refinement to ensure their readiness for launch. Additionally, Kasper helps us with the design and website development, with the goal of launching the shop as soon as it is ready, and Christina is prepared. Christina is aware that she will face new logistical challenges, including sourcing appropriate containers for her glazes, designing shipping labels, and establishing a streamlined operational structure for consistent production.
In recent months, I also reflected on Christina’s business capabilities, which have empowered her to expand her business model (Calvacante et al., 2011). She is evolving from her current activities—teaching, sculpting, and participating in local projects and craft events—to launching her online shop for glazes that incorporate waste and local materials from the island. Using models like the dynamic capabilities’ framework (Achtengaen et al., 2013), I identified several factors contributing to Christina’s success as a recognized craft maker on the island, known for “making sustainability sexy” (In Kyong).
My findings have demonstrated that Christina has excelled at identifying and experimenting with new business opportunities and is committed to balancing the use of her resources. Although she currently employs only one studio assistant, she also shows her leadership skills externally; in building strong
connections with suppliers, students and other peers in the craft ecosystem. She displays a confident drive for growth and boldly pursues ideas that align with her values as a sustainably-minded craft maker.
One question remains on my mind: How can Christina optimally divide her time among different activities, balancing those that provide both financial stability and personal fulfillment?
