126
A. Ospina and A. López
• Awana Taller is a platform of work and responsible dissemination of ancestral
knowledge, meanings, and community representations of peoples.
• Bachué, a concept of handcrafted jewelry developed through knowledge and values shared with the Zenú and Wayúu community, adapting their pieces in the
creation of jewelry keeping inscribed their original legacy.
Luxury brands nowadays spend more money on marketing and selling that in
designing and developing the product. These communication expenses, of course,
are a response to an interconnected world that makes it necessary to hire influencers,
magazines, social media ads, and much more. Today, the name of a brand can be
even more important than the quality of its products [25, 26].
Knowing that this is how the system works, it cannot be possible that brands do
not use that massive reach to educate on the stories behind the pieces [44]. They will
certainly require to know first the meaning behind it, and for that, they need to work
with the communities, take the time to understand and let them instruct the right
ways to use.
Both uniqueness and durability are essential characteristics of luxury. They are
also intrinsic values of craftsmanship. Enabling communities to offer their crafts as
elements of luxe, supporting their production processes, and enhancing their business
capacities is, without doubt, a way to also promote sustainability in the fashion
industry.
However, it is essential to understand that for artisan communities, crafts mean
much more than a label of a luxury item. It means stories told differently. It means
craftsmanship qualities that have been passed on from generations from the elders
who passed on their wisdom through music, art, and rituals.
Finally, understanding craftsmanship from a slow, sustainable, ethical, exclusive,
and high-quality approach, it would be possible to think:
Is craftsmanship an intrinsic part of luxury, or indeed, is luxury a characteristic
immersed in craftsmanship?
References
1. Acosta E (1991) Artesanías. Nueva revista colombiana de folclor 3(11):81–88
2. Aguilar M (ed) (2010) Las artesanías en el contexto global. Artesanías de América, Centro
Interamericano de Artesanías y Artes Populares 70(2):67–90
3. Angelotti G (2004) Artesanía prohibida: de cómo lo tradicional se convierte en clandestino.
Colegio de Michoacán, México
4. Appaddurai A (2001) La modernidad desbordada: dimensiones culturales de la globalización.
Fondo de Cultura Económica, Buenos Aires
5. Armando M (2016) Lujo sustentable. In: Essentia consulting. http://www.essentiaconsulting.
net/lujo-sustentable/. Accessed 8 June 2019
6. ARTESANÍAS DE COLOMBIA. www.artesaniasdecolombia.com. Accessed 15 June 2019
7. Asociación de artesanos y artesanas (2005) Pintando nuestra cultura Zenú. San Andrés de
Sotavento
A. Ospina and A. López
• Awana Taller is a platform of work and responsible dissemination of ancestral
knowledge, meanings, and community representations of peoples.
• Bachué, a concept of handcrafted jewelry developed through knowledge and values shared with the Zenú and Wayúu community, adapting their pieces in the
creation of jewelry keeping inscribed their original legacy.
Luxury brands nowadays spend more money on marketing and selling that in
designing and developing the product. These communication expenses, of course,
are a response to an interconnected world that makes it necessary to hire influencers,
magazines, social media ads, and much more. Today, the name of a brand can be
even more important than the quality of its products [25, 26].
Knowing that this is how the system works, it cannot be possible that brands do
not use that massive reach to educate on the stories behind the pieces [44]. They will
certainly require to know first the meaning behind it, and for that, they need to work
with the communities, take the time to understand and let them instruct the right
ways to use.
Both uniqueness and durability are essential characteristics of luxury. They are
also intrinsic values of craftsmanship. Enabling communities to offer their crafts as
elements of luxe, supporting their production processes, and enhancing their business
capacities is, without doubt, a way to also promote sustainability in the fashion
industry.
However, it is essential to understand that for artisan communities, crafts mean
much more than a label of a luxury item. It means stories told differently. It means
craftsmanship qualities that have been passed on from generations from the elders
who passed on their wisdom through music, art, and rituals.
Finally, understanding craftsmanship from a slow, sustainable, ethical, exclusive,
and high-quality approach, it would be possible to think:
Is craftsmanship an intrinsic part of luxury, or indeed, is luxury a characteristic
immersed in craftsmanship?
References
1. Acosta E (1991) Artesanías. Nueva revista colombiana de folclor 3(11):81–88
2. Aguilar M (ed) (2010) Las artesanías en el contexto global. Artesanías de América, Centro
Interamericano de Artesanías y Artes Populares 70(2):67–90
3. Angelotti G (2004) Artesanía prohibida: de cómo lo tradicional se convierte en clandestino.
Colegio de Michoacán, México
4. Appaddurai A (2001) La modernidad desbordada: dimensiones culturales de la globalización.
Fondo de Cultura Económica, Buenos Aires
5. Armando M (2016) Lujo sustentable. In: Essentia consulting. http://www.essentiaconsulting.
net/lujo-sustentable/. Accessed 8 June 2019
6. ARTESANÍAS DE COLOMBIA. www.artesaniasdecolombia.com. Accessed 15 June 2019
7. Asociación de artesanos y artesanas (2005) Pintando nuestra cultura Zenú. San Andrés de
Sotavento