What could World Craft City mean for Stoke?

Stoke-on-Trent has been recognised as a World Craft City, we must use this to shape policy and kickstart social and economic regeneration.

The literary hero Arnold Bennett claimed the Potteries is the Potteries because in this particular area of north Staffordshire there were deposits of clay and quick-breaking coal close to the surface. 

This article by Paul Williams was originally shared in the Personally Speaking section of The Sentinel newspaper.

This invitation on the part of nature to make objects of function and beauty sowed the seeds for the development of the industrial heart of the British ceramics industry. As one of the crucibles of the industrial revolution, the Potteries owed its success to a mix of geographical and geological good fortune, home-grown entrepreneurial nous and a spirit for experimentation.   

These catalysing ingredients are why nowhere but Stoke-on-Trent can tell a story of making that links the earth we walk upon to the process of creation, and from there to the social and economic development of a city and its reputation for craft, artistry, innovation and industry.

Traditionally, makers worked with clay. Although ceramics remains central to our identity, the practice of making now extends across other arts and crafts providing a point of engagement that can introduce people to much more complex journeys through creativity and culture. It is also a means of opening up new experiences, ideas and ways of thinking.

From a place marketing perspective, the city often promotes itself as the self-proclaimed World Capital of Ceramics. While the curious practice of turning over a piece of ceramic ware to check the provenance of its backstamp is a proud form of heritage in its own right, external validation of Stoke-on-Trent’s ceramics heritage and craftmaking credentials by a panel of international experts can catapult the city onto the global stage.  

World Craft City Judges Touring Stoke-on-Trent

As Tristram Hunt, Director of the Victorian and Albert Museum, remarked, ‘the attribution of World Craft City would be a proper acknowledgement of Stoke-on-Trent’s global significance, and also a welcome signal of support for a design and craft-based programme of economic and social regeneration.’   

The World Crafts Council’s (WCC) visiting panel praised the curated itinerary which provided them with ‘a profound insight into the heritage and vibrant craft community that defines Stoke-on-Trent’.

Acknowledging a commitment to preserving and promoting craft heritage which will ‘continue to inspire artisans and enthusiasts globally’, the jurors’ considered evaluation concluded: ‘Stoke-on-Trent exemplifies a craft city that successfully merges heritage and modernity, and our comprehensive cultural ecosystem and forward-thinking approach to modern manufacturing and future ceramics applications have set a benchmark for craft cities worldwide.’

World Craft City must not be regarded merely as a badge of honour if we are to capitalise on its potential to ‘open so many doors for our city’ on the back of the new government’s mission-led agenda. It’s imperative this prestigious affirmation underpins and shapes citywide policy developments.

This ‘wonderful, historic, and unique’ accolade coincided with the ‘Stoke 100’ centenary celebrations launch at Gladstone Pottery Museum. When King George V conferred city status in 1925, records show he referenced his visits to ‘this place that has such a great artistic and industrial mix of talent and fortitude.’

Which is why I hope to see a programme of activities and events linked to the World Craft City recognition with a strong creative vibe across all seven of the centenary’s thematic areas: civic pride, culture, heritage, environment, communities, children and young people, and legacy for the future. 

Stoke Creates, the city council and strategic partners must seize this moment to advocate for the value our revered craftsmanship, creativity and culture can offer. Particularly as this would strengthen funding applications to external bodies such as Arts Council England. 

It will also bolster the city council’s ambitious plans for the development of the Potteries Museum and Art Gallery. An international ceramics centre with the museum’s world-class collections at its heart can then rightly be seen as ‘an organic and living storyboard charting the development of the city and its contribution to social change.’

Furthermore, the chair of the Arts Council’s timely ‘cultural reboot’ clarion call is a chance to align the city’s newfound confidence, centenary celebrations and the WCC’s designation around his five-point plan of early years arts intervention; a creative entitlement for every young person; revitalised communities with culture and creativity at their heart; global exchange; and a free and fearless sector.

Taken together, these could unlock much-needed investment to inspire the next generation of artisans and creatives looking to make their emblematic mark in the great ceramic city of Stoke-on-Trent.  

Paul Williams
Culture, Tourism, Heritage, Board Member at Stoke Creates