Restoring the Restoration Industry
29 September 2020
Rebuilding the Restoration Industry: Its Role in the Creation of a Circular Economy
Roddy Clarke shares his thoughts on the need for a restoration revival and why this much-loved craft is pivotal for a circular furniture industry
Growing up as the child of a restorer, I became habituated to the mindset of repair and reuse. However, as I became more aware of the consumer-led society we lived in, I realised this mindful approach was becoming an unpopular lifestyle choice. The fast-paced trends which infiltrated the high street through the 1990s had overtaken the desire for timeless style, and consumers were being lured in by cheap prices which temporarily masked the poor quality, unethical production and short lifespan of these pieces.
With the antiques trade declining rapidly through the 1990’s and into the early 2000’s, many dealers, restorers and artisans went out of business. Now, two decades later, the industry is beginning to rebuild itself. While COVID-19 has put up a stumbling block in the sector’s attempt to gain traction, the desire for craft and one-off pieces which can last for generations, and hold the quality to be restored, is increasing. According to a recent study by the Crafts Council, highlighted in its Market for Craft report, the number of crafts buyers has risen by 73% since 2006 to 31.6 million people. Alongside this we have also seen the rise of online platforms such as Vinterior, 1st Dibs and The Kairos Collective, all offering a vast array of vintage designs and antiques. This has attracted a whole new audience to the antiques world. First time buyers, rental tenants and design-loving millennials are all looking for that piece with a unique narrative to add meaning and depth to their home.
Steinway’s London restoration studio has decreased from over 20 restorers to now 4 across the last 30 years. Restoration is a core part of their service offering to clients.
As this desire for antiques and crafts continues to rise, the requirement for furniture restoration is also increasing. But with the number of furniture restorers declining each year, mainly due to a lack of pathways in the education system promoting it as a viable career option, an industry vital to the workings of a circular economy could soon become extinct. So, if the desire is increasing and the number of restorers are decreasing, how do we solve this issue?
It starts with education. The need to uphold the quality of restoration is imperative, to ensure pieces are conserved with integrity and the right methods and practices are maintained. West Dean College and Chippendale School are two of the few remaining centres still offering restoration and conservation as a valid part of their curriculum. However, because of a lack of interest from upcoming generations, coupled with a lack of career connections in the restoration world itself, the passing down of these skills has become an extremely difficult challenge.
Restoration is vital to Dorian Caffot de Fawes, an antiques dealer based on the Lillie Road specialising in 20th Century furniture and decorative accessories.
Furthermore, brands play a fundamental role in this. Offering restoration as a valid part of a business model, especially for furniture manufacturers, should become the norm, with take-back schemes and incentives in place to ensure items are saved from landfill and kept within the cycle. Opening up career paths for restoration in the design world will automatically encourage developmental education to increase, which could be just the catalyst needed to reignite interest from upcoming graduates and creatives.
While restoration itself is a craft of dedication and superb attention to detail, the need for it is vital as we seek to transition to a circular economy. Encouraging mindsets of buying less, but of better quality, not only challenges every purchase we make, it also questions the second life of the product we are investing in. Can it be reused, repurposed or restored? Embracing these inherent shifts sets a precedent on which we, as consumers, can create spaces consciously, fully aware of our impact, while taking responsibility for it.
Jamb, based on Pimlico Road, work with restorers to conserve antique furniture and mantelpieces.
Although my personal passion for restoration is obvious, I do believe the wider industry can come together in reviving this wonderful craft. The popularity of shows such as The Repair Shop are evidence enough to highlight the love for the craft has not disappeared but has been simply overshadowed. Opting for restoration over replacement is one simple way we can make a conscious effort to change our linear mindsets and, in doing so, create homes filled with stories, memories and narratives which can be handed down for generations to come.
I am also in the process of building a new restoration platform @the.restoration.collective and have recently launched a fundraising campaign to save the last remaining furniture restoration apprenticeship schemes in the UK. Please support if you can: https://www.gofundme.com/f/raise-funds-for-furniture-restorer-apprenticeship.
www.roddyclarke.com
@roddyclarkedesign
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