Craft Consumers Research Articles

Pengaruh Price, Place, Dan Direct Marketing Terhadap Purchase Decision Produk Serabut Kelapa Pada Rahma Craft Kabupaten Kediri

This research aims to explain and prove the hypothesis regarding whether there is an influence of price, place, and direct marketing on purchase decisions for coconut fiber products at Rahma Craft, Gurah District, Kediri Regency. This research uses descriptive research with quantitative methods with a sampling technique, namely non-probability sampling with an accidental sampling method with a population of 110 Rahma Craft consumers and a sample of 86 consumers.
 The analysis techniques used are validity test, reliability test, classical assumption test, multiple linear regression test, t test (partial), F test (simultaneous), and determinant coefficient (R2) which were processed using the SPSS version 26 program. The results of this research were obtained The conclusion is that price has a partial positive and significant effect on purchase decisions, with a significant t value of 0.001 < 0.05. Place has a positive and significant effect on purchase decisions, with a significant t value of 0.005 < 0.05. Direct marketing has a positive and significant effect on purchase decisions, with a significant t value of 0.001 < 0.05. Price, place, and direct marketing simultaneously have a positive and significant effect on purchase decisions for coconut fiber products at Rahma Craft, Gurah District, Kediri Regency, looking at the significant F value of 0.000 < 0.05.

Handmade OK please: key criteria for purchasing craft items by Indian consumers

PurposeThe purpose of this study is to identify the key criteria from the perspective of handmade, authenticity and sustainability for purchasing craft items by Indian consumers.Design/methodology/approachAn exploratory qualitative research was conducted on the buying behaviour of Assamese muga mekhela chador (MMC). Data were collected using purposive sampling and video-recorded focus group discussions (FGDs). Output transcripts were content-analysed using the R package RQDI.FindingsIndian consumers largely define crafts as handmade. Results indicate the crucial role of craft design and price. Craft authenticity, craft knowledge and social identity evolved as the key criteria for buying crafts. State intervention in craft certification is demanded. Indian craft consumers lack awareness about sustainable consumption.Originality/valueIndia is home to millions of craftspeople and craft buyers. Most of the earlier craft studies focused on the problems of craft production in India. This study contributes to the consumption literature, from the standpoints of authenticity and sustainability, which are often limited to Western consumers. Understanding its own domestic craft market will help Indian policymakers and organisations to reduce export dependency and to tap potential local craft demand.

Video gaming as craft consumption

This article repurposes Campbell’s (2005) concept of ‘the craft consumer’ to generate a new theory of video game consumption, which proposes that we identify the material practices typically associated with craft labour within acts of digital play. We draw on case studies from popular and community-driven video game titles including Dark Souls and Super Mario Maker to make our argument, suggesting that a grasp of the controls initiates material practices, like repetition, which provide the groundwork for craft skill. It is from this position that we argue that consumers initiate a craft-like ‘dialogue’ (Sennett R (2008) The Craftsman. London: Yale University Press.) with the game’s design that reveals the experimental and creative nature of video game consumption. Importantly, these case studies provide evidence to meet with Campbell’s definition of ‘craft consumption’ as an (1) ‘ensemble activity’ and (2) as a ‘collection’ of handmade things. The result is a better understanding of the consumer as someone who initiates experiences of skilled labour and creative self-expression through the craft of playing a video game. This article presents a new understanding of the (gaming) consumer whilst also challenging the idea that the experience of ‘craft consumption’ is typically reserved for the middle or professional classes, as Campbell maintains.

Craft consumption and participatory consumerism

How are crafters, in this case hand knitters active on social media, involved in participatory consumerism and prosumption? This is the main question asked in this article, that explores the creative relations between craft consumers and the commodities they are searching for in order to be able to craft and to create. By using affect theory, and focusing on aspects as raw materials, tools, instructions and craft processes, the study is an exploration of how crafters engage in material conditions by using them to realize ideas and fantasies in craft.

Craft beer mon amour: an exploration of Italian craft consumers

PurposeThe purpose of this paper is to contribute understanding tendencies of the Italian demand for craft beer. More in details, it seeks at exploring consumers’ awareness about craft beer, their attitudes, habits and behaviors. It also aims at assessing the impact of each and all these features on consumers’ choice. At last, the paper frames different consumers’ profiles.Design/methodology/approachThe analysis is based on an online survey associated with a choice experiment designed for assessing willingness to buy (WTB) and willingness to pay (WTP) for craft vs industrial beer. Factors influencing consumers’ expenditure for craft beer are explored via an OLS estimation of a simple regression model. Afterwards, different consumers’ profiles are depicted via cluster analysis.FindingsThe survey shows that, overall, Italian consumers appreciate craft beers and are interested in this market. Socio-demographic characteristics impact this inclination but have no significant influence on the results of the choice experiment. Market knowledge, preferences and consumption habits influence consumer spending. Five different consumer profiles emerge.Originality/valueThe research proposes a combined original methodology for assessing beer consumers’ features and their impacts on beer WTB and WTP. The complementary perspectives adopted provide new insights on craft beer demand. Results are of interest for craft brewery managers and for the design of policies aimed at promoting and expanding the sector. Enlarging the sample and improving its representativeness would allow for more general results.

Use Value as a Cultural Strategy against Over-Commodification: A Durkheimian Analysis of Craft Consumption within Virtual Communities

Craft consumption is a precarious practice since consuming mass commodities can inadvertently reinforce the overly commodified world craft consumers are seeking to balance and address. Conceptualizing guitar players as craft consumers, this article illustrates the struggle for balance within musical virtual communities. Virtual communities’ commodity discussions can fuel commodity desire and foster a type of consumptive anomie that members call ‘GAS’ (Gear Acquisition Syndrome). This anomie is countered by images, norms, and evaluative standards that critically invoke ‘use value’ to regulate member’s consumption. Using Durkheim’s concepts of ‘social facts’ and ‘discipline’, the article examines how online actors ‘use use value’ to curb their anomic consumption, differentiate craft from mass consumption, and critique problematic consumptive acts. Durkheim’s work, however, illuminates how Campbell’s individualistic and psychological account of consumptive desire limits his own analysis of craft consumption, for such an individualistic understanding cannot account for the collective phenomenon witnessed throughout this article.

Blurring production-consumption boundaries: Making my own luxury bag

Leather crafting of leather wallets or bags exhibiting similar designs as prestige brands is an emerging hobby among fashion-forward Korean consumers. This study examines the motivations of this emerging craft consumer. Data collected using in-depth interviews and participant observations support the following observation. A conspicuous or materialistic orientation and traditional values of crafting drive consumer participation in leather crafting. The study's findings identify this group of people, labeled neo-craft consumers, as exhibiting Homo Faber (Bergson, 1983) and Homo Ludens (Huizinga, 1950) characteristics. Neo-craft consumers create a new type of consumer culture which blurs production and consumption boundaries.

Craft beer representation amongst men in two different cultures

Consumption of craft beer has been changing worldwide; it passed from a rarely known to a common product amongst consumers. In the past years craft beer sales have been growing faster than the dominant lager-style in countries with different beer tradition like Mexico and France. A change in consumption habits is a sign that the representation of the product is changing. It is, therefore, valuable to understand the elements and structure of this new representation. The present study was conducted to understand the impact of culture and consumption habits on beer representation. Three-hundred male consumers (craft and industrial beer users) were interviewed in Mexico and France. Participants were asked to perform: (1) free word association task using “craft beer” as inductor word, (2) ranking task of the evoked words based on their importance, and (3) valence rating task of each evoked word. Each word was characterized by a mean importance value and a frequency of elicitation to identify their role as central or peripheral elements in the representation. Results showed that consumers from same culture share similar social representations of craft beer, even when they have different consumption habits (craft–industrial). Mexican consumers share alcohol, and flavour as central elements in their representations but share only one peripheral element “tradition”. French consumers share two central elements taste and party. When comparing consumers across cultures, French and Mexican craft participants share no central elements in their representations towards beer; whereas industrial beer consumers share one element “alcohol”. Craft consumers seem to have a more structured social representation, sustained or nourished on consumption habits, whilst the representation of industrial beer consumers seems less resistant, or capable of changing over time.

Fashion Thinking Practice: On Crafting Confessions and the Creative Consumer

Practices of creative self-expression are related to specific considerations and confessions in the context of positioning within a contemporary fashion consumer society. If the craft consumer is someone who exercises personal control over all the processes involved, how then will these practices be transformed into learning objectives? Where are the manuals and how can we understand the practice of the creative and confessing consumer? Taking its starting point in the production of second-hand value, this article focuses on crafting confessions and creativity as a fashion thinking imperative in a Swedish context. The art of confession is a practice that can be understood as a self-regulating mechanism. By thematizing a number of cultural programs of confessional everyday practice, it is the intention of this article to illuminate how these have become an important part of how alternative consumption trends act as self-regulating practices on the Swedish fashion market.

Craft vs. industrial: Habits, attitudes and motivations towards beer consumption in Mexico

Food choices tend to be stable over time; they do not change fast, since consumers tend to act like creatures of habits. However, food habits can evolve, like currently the craft beer category. A change of habits involves a change of perception towards a product. Therefore, what is changing in the perception of beer? Two studies were conducted to address this question. First study was preliminary and aimed at exploring beer consumption habits in Mexico and a better understanding of craft beer representation among beer users. A questionnaire was administrated to 207 consumers in Mexico City during a beer festival. Results showed that respondents could be classified in: industrial beer (41.1%), occasional industrial (24.1%), and craft beer (34.8%) consumers. Craft cluster included mostly 25–35 years old men with high-income level. Among the craft beers cited by respondents from this cluster some are industrial, suggesting that the concept of craft beer might not be well defined, or defined in ideological terms. The second and main study was conducted using consumer ethnographies to understand the motivations and benefits of craft beer consumption. Opposite to industrial, craft beer emerges as an experience-based and symbolic product rather than a utilitarian one. The main motivation for drinking craft beer seems to be the quest of authenticity. Respondents’ motivations to drink craft beer are generated by three important factors: desire for more knowledge, new taste experiences, and move away from the mainstream beer consumption. Craft consumers do not drink the product for its functional attributes, they consume it for what it means and as a consequence they build an identity, perceived as more authentic and unique, in comparison to the mainstream industrial beer consumption in Mexico.

Craft consumption and consumer transformation in a transmodern era

This study investigates how craft consumption illuminates consumer self-transformation. Craft consumption refers to activities in which consumers personalize their products by designing and making what they consume themselves (Campbell, 2005). Our work is positioned at the nexus of transmodernity. Transmodern is defined as “a way of thinking that combines intuition and spirituality with rational brainwork” (Luyckx, 1999, p. 971). This study contributes to extant research by highlighting the interplay of rational and spiritual dimensions of craft consumption that leads to consumer transformation. The investigation uses a grounded theory method for conducting qualitative research. This empirical research was conducted through observations and phenomenological interviews with 10 craft consumers belonging to the Pilsen Mexican community in Chicago, USA. The study has implications for contemporary consumer research on consumer co-production.

Opportunities for craft consumption: analysis of the quality perceived by consumers

The processes of innovation and internationalisation open new channels of development for sectors with few modernisation margins because of their traditional contexts and which are worried about quality improvement, as the craft sector. Therefore, a strategy based on quality may be essential in order to improve craft consumption. The goal of this paper is to determine, from a consumer perspective, the dimensions that define craft products quality and the indicators that better explain the consumer behaviour when purchasing and consuming. Thus, an empiric application has been carried out by means of 331 personal surveys of craft consumers during the celebration of a fair. The results obtained allow us to state that the presentation of products as well as sellers’ personal skills are two of the key elements to gain a positive perception of craft quality.

‘N-gauging’ geographies: craft consumption, indoor leisure and model railways

Hobbies and crafts have been neglected by geographers concerned with leisure activities. Drawing upon a study of model railway layouts, we use Campbell's concept of the craft consumer to re-focus attention on the geographies of indoor leisure (Campbell 2005 The craft consumer: culture, craft and consumption in a postmodern society Journal of Consumer Culture 5 23–42). We argue that spatialities of hobby activities contribute to identity formation, consumption practices and lifestyles. The idea of the craft consumer is assessed and further directions signposted for the study of hobbies by geographers.

The Craft Consumer

This article proposes that social scientists should explicitly recognize the existence of consumers who engage in ‘craft consumption’ and, hence, of an additional image of the consumer to set alongside those of ‘the dupe’,‘the rational hero’ and the ‘postmodern identity-seeker’. The term ‘craft’ is used to refer to consumption activity in which the ‘product’ concerned is essentially both ‘made and designed by the same person’ and to which the consumer typically brings skill, knowledge, judgement and passion while being motivated by a desire for self-expression. Such genuine craft consumption is then distinguished from such closely associated practices as ‘personalization’ and ‘customization’ and identified as typically encountered in such fields as interior decorating, gardening, cooking and the selection of clothing ‘outfits’. Finally, after noting that craft consumers are more likely to be people with both wealth and cultural capital, Kopytoff’s suggestion that progressive commodification might prompt a ‘decommodifying reaction’ is taken as a starting point for some speculations concerning the reasons for the recent rise of craft consumption.

Consumers of Ethnic Apparel from Alternative Trading Organizations: A Multifaceted Market

Consumers from the mailing list of Pueblo to People, an alternative trading organization specializing in ethnic apparel and crafts from Latin America, were segmented by their desirability ratings for a variety of clothing evaluative criteria. Two market segments emerged that were considered meaningful for targeted product development. Creative Ethnic consumers preferred a unique and dramatic look that they believe can be achieved through ethnic and traditional styling. The traditional and bright colors of Latin America were desirable to this group, who also rated high quality as important. Plain and Simple consumers also preferred high quality garments, but not elaborate patterns and surface designs characteristic of traditional ethnic fabrics. Rather, Plain and Simple consumers preferred dark colors in blue hues or neutral colors such as black, white, or gray. Findings are discussed in relation to literature on textile craft consumers. Additionally, suggestions are made for product development that would target both groups.

Consumers of Hmong Textiles

Profiles of midwestern consumers of Hmong textiles were developed and recommendations were made for improved product design and marketing of Hmong textiles. Participants were 20 consumers of Hmong textiles. In-depth interviews were followed by participants' completing a questionnaire. Central to the interviews were the participants' 1) ranking a set of 10 Hmong textiles according to preference and 2) discussing their reasons for placement of textiles at the top and bottom ranks. Data were analyzed using a content analysis system and hierarchical cluster analysis. Six consumer profiles were developed for Fine Workmanship Consumers, Supporters of the Hmong People, Pragmatic Consumers, Patrons of Hmong Folk Art, Function-Oriented Consumers, and Color-Centered Consumers. The results contributed to a proposition that the majority of textile craft consumers fit a common set of profiles regardless of the textile craft purchased or the consumer's home locale.