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Visions of the Future of Craft Education

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Title: Visions of the Future of Craft Education
Language: English
Authors: Sanna Mommo, Anna Kouhia, Marja-Leena Rönkkö (ORCID 0000-0001-8141-7366)
Source: International Journal of Art & Design Education. 2025 44(1):149-161.
Availability: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
Peer Reviewed: Y
Page Count: 13
Publication Date: 2025
Document Type: Journal Articles
Reports - Evaluative
Education Level: Higher Education
Postsecondary Education
Descriptors: Universities, Handicrafts, Educational History, Futures (of Society), Social Change, Time Perspective, Student Teacher Attitudes, Well Being, Technology Integration, Collective Settlements, Educational Development, Sustainability, Foreign Countries
Geographic Terms: Finland
DOI: 10.1111/jade.12548
ISSN: 1476-8062
1476-8070
Abstract: This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods, and the results are presented as visions of the priorities and content of future craft education. While craft teaching today emphasises technology, well-being and communal living, the growth of digitality, sustainable education and materiality is likely to continue in the future. We envision that future craft education will focus on pedagogical content rooted in craft traditions, with a strong emphasis on skills education.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1460439
Database: ERIC
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  Value: <anid>AN0183991130;q0t01feb.25;2025Mar26.07:08;v2.2.500</anid> <title id="AN0183991130-1">Visions of the Future of Craft Education </title> <p>This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods, and the results are presented as visions of the priorities and content of future craft education. While craft teaching today emphasises technology, well‐being and communal living, the growth of digitality, sustainable education and materiality is likely to continue in the future. We envision that future craft education will focus on pedagogical content rooted in craft traditions, with a strong emphasis on skills education.</p> <p>Keywords: crafts; multi‐materiality; narrative research; student teachers</p> <hd id="AN0183991130-2">Introduction</hd> <p>In recent years, the world has experienced many social, political, institutional and welfare crises that have left people living in the midst of everyday complexity and change. During the pandemic, a crucial responsibility of society was to ensure the continuity and adaptability of learning (Daniel [<reflink idref="bib2" id="ref1">2</reflink>]). Indeed, curriculum reforms have been instrumental in periodically reshaping education, aligning the envisioned future with the learnings of the past. Curriculum reforms are informed by research, visions of the future and various forums dedicated to exploring future prospects and predicting the knowledge and skills that will be vital in the years to come (Kokko <emph>et al</emph>. [<reflink idref="bib14" id="ref2">14</reflink>]; Ramírez‐Montoya <emph>et al</emph>. [<reflink idref="bib26" id="ref3">26</reflink>]; Grassini [<reflink idref="bib5" id="ref4">5</reflink>]).</p> <p>This study examines Finnish craft education, particularly in the context of societal and temporal changes, and hopes to shed light on its future. Over the years, craft education has undergone many changes and transformations, primarily due to industrialisation, economical changes and the modernisation of society (Kouhia [<reflink idref="bib27" id="ref5">27</reflink>]; Pöllänen <emph>et al</emph>. [<reflink idref="bib16" id="ref6">16</reflink>]; Marjanen & Metsärinne [<reflink idref="bib19" id="ref7">19</reflink>]). In the 1970s, the craft curriculum reflected social values, such as equality and democracy, and the change from an agricultural society to an industrial and service society. At that time, the crafts courses that were formerly segregated into boys' crafts and girls' crafts were left behind, being renamed <emph>textile work</emph> and <emph>technical work</emph> as a manifestation of gender equity. New educational goals, aimed at including school crafts in everyday life and promoting students' social and work skills, were introduced onto the crafts curriculum in 1985. Although a gender‐neutral vision of crafts without predefined materials was first presented on craft curricula decades ago, these goals were made more explicit in the recent curriculum reform initiated in 2014 and enacted in 2016, with multi‐material crafts (Marjanen & Metsärinne [<reflink idref="bib19" id="ref8">19</reflink>]) established as a subject that combined technical and textile work methods (Pöllänen <emph>et al</emph>. [<reflink idref="bib27" id="ref9">27</reflink>]; Kokko & Räisänen [<reflink idref="bib13" id="ref10">13</reflink>]). As a concept, multi‐materiality incorporates comprehensive craft processes and knowledge production into intentional design, manufacturing and problem‐solving activities.</p> <p>Besides the change in materials used, changes were also implemented in teaching methods and educational priorities in the recent curriculum reforms. Educational changes also occurred unexpectedly as a result of the COVID‐19 pandemic that forced teaching worldwide to go digital. Since the pandemic digital resources have remained a large part of teaching, with various teaching materials and technological applications (Korte <emph>et al</emph>. [<reflink idref="bib15" id="ref11">15</reflink>]) being employed. Overall, craft education today integrates various goals, including working life skills, entrepreneurship, and information and communication technology competence (Rönkkö <emph>et al</emph>. [<reflink idref="bib30" id="ref12">30</reflink>]).</p> <p>The aim of this study is to explore how future educators (i.e. today's student craft teachers) view the role of crafts when it comes to educating citizens to face the challenges of future society. The study builds its visions based on narratives written by student teachers exploring their views and visions for craft as a school subject.</p> <hd id="AN0183991130-3">Predicting the future—a prevailing issue?</hd> <p>People have always tried to predict the movements of the world. As time passes, predictions may come true, some partially, or they might be found to have been inaccurate or erroneous. For instance, the publications of Jules Verne and H.G. Wells described the technologies of the future (Evans [<reflink idref="bib3" id="ref13">3</reflink>]), such as submarines. The future was also predicted by Orwell in his book <emph>1984</emph>, a report on the dangers of government control and the importance of individual freedom, which has since gained a cult following, and Orwell is considered one of the most influential writers in the world (Ingle [<reflink idref="bib12" id="ref14">12</reflink>]).</p> <p>A little more than a decade ago, craft education was predicted to develop more in the direction of material understanding, with a focus on manual and design skills. For example, a career as a designer or a private entrepreneur was seen as a promising future profession (Soini‐Salomaa & Seitamaa‐Hakkarainen [<reflink idref="bib32" id="ref15">32</reflink>]).</p> <p>Sitra ([<reflink idref="bib29" id="ref16">29</reflink>]) published the Megatrend Review just before the outbreak of the COVID‐19 pandemic: this review highlighted the urgency of ecological reconstruction, and key sections addressed the growth of network‐like power, the ageing and diversity of the population, the integration of technology into everything and the search for economic direction. Sitra's megatrend list was based on visions, future reports and panel discussions, and utilised international and national statistics, academic research, news articles and expert opinions, as well as the work of the national forecasting network. The pandemic later forced the author to update the Megatrends (Sitra [<reflink idref="bib31" id="ref17">31</reflink>]). The key sections of the former review remained, but new emphases and critical questions regarding nature, people, power, technology and the economy were included (Table 1).</p> <p>1 Table Sitra's Megatrends (2020) and updates (2023)</p> <p> <ephtml> <table><thead valign="bottom"><tr><th align="left">Megatrends at the beginning of 2020</th><th align="left">Change</th><th align="left">2023 Updates</th></tr></thead><tbody valign="top"><tr><td align="left">Focus: Ecological reconstruction is a matter of urgency</td><td align="left">‐ From warnings about climate change and decreasing biodiversity to an alert that the capacity of nature is being exceeded</td><td align="left">Updated focus: Nature's carrying capacity eroding</td></tr><tr><td align="left">Ageing and diversification of the population</td><td align="left">‐ From problems associated with an ageing population to increasing health problems among young people</td><td align="left">Growing well‐being challenges</td></tr><tr><td align="left">Strengthening of relational power</td><td align="left">‐ The fight for democracy intensifies‐ Societies put to the test as crises pile up</td><td align="left">The battle for democracy intensifies</td></tr><tr><td align="left">Technology is embedded in everything</td><td align="left">‐ Increased automation, decentralisation and fragmentation of production and operations, remote or virtual interaction‐ AI applications‐ Challenges for the transparency and accountability of knowledge</td><td align="left">Competition for digital power gears up</td></tr><tr><td align="left">Redefinition of the economy</td><td align="left">‐ Consumption shift to renewable energy sources. Use of solar and wind energy is expanding and battery technology is advancing fast‐ As global inequality grows the need to reform the economy grows</td><td align="left">Economic foundations are cracking</td></tr></tbody></table> </ephtml> </p> <hd id="AN0183991130-4">Craft as a subject and its implementation</hd> <p>While the focus and purpose of craft education has evolved throughout history, it is crucial to consider its value to future society as a subject taught in basic education. As students need to prepare for rapid societal changes driven by technology advancements, expanding knowledge and unexpected events like the COVID‐19 pandemic, craft education can provide valuable skills such as adaptability, problem‐solving, creativity and resilience (Kokko <emph>et al</emph>. [<reflink idref="bib14" id="ref18">14</reflink>]; Kouhia & Kokko [<reflink idref="bib15" id="ref19">15</reflink>]). By engaging in hands‐on learning experiences, students can develop a broad skill set that empowers them to navigate and contribute to a rapidly changing world (Pöllänen & Urdziņa‐Deruma [<reflink idref="bib24" id="ref20">24</reflink>]).</p> <p>The current craft curriculum for basic education in Finland was proposed in [<reflink idref="bib33" id="ref21">33</reflink>] and enacted in 2016, and it has been controversial since its enactment (Kokko <emph>et al</emph>. 2020). The craft curriculum is based upon the holistic craft process, a concept used to describe a process in which all phases of the making are carried out by the same person (Rönkkö <emph>et al</emph>. 2016). The holistic craft process encompasses ideation, aesthetic and technical design, the making of the product and evaluation of the process (Pöllänen <emph>et al</emph>. [<reflink idref="bib27" id="ref22">27</reflink>]). By returning to different phases of the process, it is possible to develop a deeper understanding of oneself as a creator and maker (Hilmola & Lindfors [<reflink idref="bib9" id="ref23">9</reflink>]). The current craft curriculum introduced the concept of multi‐materiality as a new realm of implementation for the holistic craft process. Although multi‐materiality is not defined by the means of design or the manufacturing process and can be carried out without limitations regarding the materials or technologies used (Pöllänen [<reflink idref="bib22" id="ref24">22</reflink>], [<reflink idref="bib23" id="ref25">23</reflink>]), multi‐material craft teaching can be challenging due to time constraints and co‐ teaching (Mommo <emph>et al</emph>. [<reflink idref="bib20" id="ref26">20</reflink>]). However, a study by Pöllänen <emph>et al</emph>. ([<reflink idref="bib27" id="ref27">27</reflink>]) suggests that appropriate pedagogical approaches can overcome these challenges.</p> <p>Craft education not only develops fine motor skills and knowledge but also promotes sustainable practices and entrepreneurship (Väänänen [<reflink idref="bib34" id="ref28">34</reflink>]). By understanding the production stages and environmental effects of crafting, students become informed consumers who can extend the useful life of products (Väänänen [<reflink idref="bib34" id="ref29">34</reflink>]). Crafting also incorporates technology, such as 3D printers and programming skills, which are increasingly important in today's world (Pöllänen [<reflink idref="bib23" id="ref30">23</reflink>]). Overall, interpretation of the craft curriculum and methods of implementation can vary in practice (Lepistö & Lindfors [<reflink idref="bib18" id="ref31">18</reflink>]), for instance in relation to co‐teaching in different schools.</p> <hd id="AN0183991130-5">Method</hd> <p></p> <hd id="AN0183991130-6">Study design</hd> <p>The data were obtained during craft courses, which were part of the teacher education programmes at two Finnish universities. The two courses in question were basic craft courses, one for students studying to be classroom teachers (<emph>n</emph> = 79) (general elementary school teachers, teaching grades 1–6) and one for students training to be craft teachers (<emph>n</emph> = 19) (teaching a particular subject to pupils in grades 3–9).</p> <p>Part of the course assessment consisted of an essay, which was used as data in this study. Students were asked for permission at the beginning of the exam and given the scientific research data protection notice to read. They also had to familiarise themselves with the official research ethics guidelines before giving permission, which could be refused. The students were informed that refusing permission would not affect evaluation of the course nor would there be any negative consequences.</p> <p>For the pilot study in 2022, we created the following essay prompt for students based on Sitra's Megatrends from 2020: <emph>Read the bulletin from Sitra's publication Megatrends. Analyse and discuss the future prospects of the crafts industry with reference to the corona megatrends</emph> (Sitra [<reflink idref="bib29" id="ref32">29</reflink>]). <emph>In your response, think about how agency and entrepreneurship could be ecologically reconstructed through crafts. Illustrate your answer with examples</emph>. Based on the (<emph>n</emph> = 13) responses, it was considered that the essay prompt covered the key factors necessary to build visions of the future of crafts. Thus, the initial data collection was followed up using a similar essay prompt referencing the updated [<reflink idref="bib31" id="ref33">31</reflink>] Megatrends. In the second round of data collection, the focus was changed from agency and entrepreneurship in the crafts industry to education, sustainable development, digitality and materiality in teaching.</p> <hd id="AN0183991130-7">Data and data analysis</hd> <p>The initial data were collected at two Finnish universities, with both datasets collected during spring 2023. Data consisted of a total of 78 essays, 60 written by student elementary school teachers and 18 written by student craft teachers.</p> <p>First, the data were anonymised and attributed alphabetical pseudonyms. Next, the datasets were transferred to NVivo for qualitative narrative analysis. The narrative method was chosen as the method of analysis as it is based on the idea that narratives and stories can serve as a way for people to structure their lives, experiences and selves, and at the same time, also serve as a way of knowing (Hatch & Wisniewski [<reflink idref="bib8" id="ref34">8</reflink>]). Narrative can also be used to refer to the nature of the research material, the method of analysis of the material or the narratives of practical meaning (Polkinghorne [<reflink idref="bib21" id="ref35">21</reflink>]). In the literature dealing with narrative, the concepts <emph>narrative analysis</emph> and <emph>analysis of narratives</emph> (e.g. Polkinghorne [<reflink idref="bib21" id="ref36">21</reflink>]) can be found. In this study, we used narrative analysis in consideration of the view that a narrative does not necessarily contain the facts of an experience, but is rather a representation of an experience or a vision of the future (Gilbert [<reflink idref="bib4" id="ref37">4</reflink>]). However, as the data consisted of essay narratives, analysing them may be viewed as analysis of narratives (e.g. Polkinghorne [<reflink idref="bib21" id="ref38">21</reflink>]) or analysis of stories (Pradl [<reflink idref="bib25" id="ref39">25</reflink>]). In narrative analysis, a new narrative is created based on the narratives in the material by highlighting themes that are relevant to the material. Narrative analysis therefore does not classify the material but strives for synthesis through narrative knowledge instead of classification (Polkinghorne [<reflink idref="bib21" id="ref40">21</reflink>]). One can talk about reconfiguring the material into a coherent whole (Polkinghorne [<reflink idref="bib21" id="ref41">21</reflink>]).</p> <p>In the first stage of our narrative analysis, the material was read through several times and expressions that referred to sustainable development, digitality or materiality were labelled and colour coded.</p> <p>As narrative research depends on the material being retrievable as a progressive narrative (Hänninen [<reflink idref="bib7" id="ref42">7</reflink>]), for the composition of the narratives we utilised the Future Triangle published by Sitra ([<reflink idref="bib31" id="ref43">31</reflink>]), initially developed by futurist Inayatullah ([<reflink idref="bib11" id="ref44">11</reflink>]) as a triangle representing the relationship between the past, the present and the future. The triangle is composed of the <emph>Push of the present</emph>, <emph>the Weight of the past</emph> and <emph>the Pull of the future</emph> (Figure 1), and all three sides participate in the generation of plausible futures. These three aspects are reflected further in the narratives.</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01feb25/jade12548-fig-0001.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12548-fig-0001.jpg" title="1 ccstripThe Futures Triangle Helps Outline Possible Futures (Adapted from Inayatullah [11])." /> </p> <p></p> <p>In the final stage of our analysis, we created narrative types to represent these three sides of the future triangle. We used the narratives to compose a fabricated storyline combining the voices of the students, with emphases on the past, the present and the future.</p> <hd id="AN0183991130-9">Results/Findings</hd> <p>Based on the essays of the future educators, we generated three different narratives concerning perspectives of the past, present and future of crafts, which may be visualised as shown in Figure 2.</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01feb25/jade12548-fig-0002.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12548-fig-0002.jpg" title="2 ccstripThe Futures Triangle Depicts Craft Skills And Traditions As The Past, Communal Living, Technology and Well‐Being as the Present and Digitality, Sustainable Development and Materiality as the Future." /> </p> <p></p> <hd id="AN0183991130-11">Skilled making and craft tradition as the weight of the past</hd> <p>The past narrative emphasises formal, historicised skills education and the ideals of utility and diligence in the production of household items.</p> <p>Martti finishes by sanding the sauna stool he made from wood. He glances at his companion, whose stool is almost ready. To make sure he gets a good grade, he takes a look at the model drawings the teacher has put on the board—he hasn't made a mistake in the measurements, has he? In the next class, Pirkko has finished her apron, every seam has been carefully sewn with a sewing machine according to the instructions. 'It will make mom happy to be able to wear it while cooking', Pirkko thinks. For her next job, Pirkko plans to knit mittens; she has been waiting to start them. Pirkko already knows how to knit well with five needles, grandma taught her that before she went to school. The gloves will be single‐coloured, and the wrist will be stitched following the loop structure, with either decorative stripes or multi‐coloured meandering patterns. They are traditional and are called Lovikka‐mittens.</p> <p>As students develop manual working skills, not only do they create skilfully made products, they also develop their fine motor skills at the same time. In addition, doing things with one's hands has been shown through brain imaging to be an effective way to develop important areas of the brain, and fine motor skills are important professional skills. Doing things with your hands also helps you learn other skills, such as writing. In the future, working with your hands and the hand‐brain connection must not be allowed to disappear; skills need to be practiced to maintain the connection.</p> <p>In order to locate ourselves in the present, we must be aware of our past, history and traditions. We bind ourselves to the world around us through cultural traditions and the history of our family.</p> <hd id="AN0183991130-12">The growing role of technology as part of a society of well‐being and communal living as the...</hd> <p>The second narrative is based on the concepts of technology, well‐being and communal living.</p> <p>Together with her partner, Emma plans her work on the computer. While the laser‐cutter works on the reed‐weave, they design the pattern of the ribbon to be woven with the reed generator computer program. After the board is finished, they create a warp together and start weaving a ribbon, each working from their own end of the ribbon. As they weave, they talk about their plans for the evening, and before they know it, hours have passed and they have to put their work in a box to wait for next time. 'I wish we did crafts every day,' says Emma, and she hurries to recess with a smile.</p> <p>That <emph>technology</emph> will play a key role in craft education in the future is undeniable. Already today, various technological applications and devices are part of the everyday life of teachers in various forms. The use of technology in teaching also involves guiding students to understand, evaluate and develop various technological applications and use craft knowledge and skills in everyday life. With the help of technology, traditional craft skills can be combined with technological applications, for example, tools can be made with the help of technology and students learn a skill as they use them. This does not mean that students will primarily learn to knit with a smart device, but that digitality can be used in a meaningful and indicative way in teaching and learning crafts. Information and communication technology has provided us with a huge variety of platforms and models for work planning and ideation, for example. Technology can prevent dangerous situations and alert the right person to help when a dangerous situation occurs.</p> <p> <emph>Well‐being</emph> can be viewed as involving two different categories: pleasure and self‐sufficiency. The opportunity to influence one's own work, independence, using one's own skills and the meaningfulness of work increase the feeling of control and well‐being. Craft gives students an idea of how their choices can make an impact and how they can make their voices heard. Through their participation and influence in the teaching of handcrafts, students grow into self‐respecting workers who have the opportunity to express themselves through crafts and the desire to maintain and develop craft culture and contribute to the building of a better future. Craft teaching is not performance‐oriented, instead aiming to encourage students to find something in craft that they can enjoy and experience as an asset. Some students find new strengths and hobbies through their school's craft education. These are important moments in an individual's life, and school should involve more of them.</p> <p> <emph>Communal living</emph> refers to teamwork, inclusion and democracy. Although democracy as a concept is taught in social studies and history, it can also be part of craft education. Democracy can be implemented in craft classes, for example, by students making decisions among themselves as a group by voting on what work they will do or which materials they will use. Craft teaching also aims to develop inclusiveness and community spirit, and help students understand that they can influence the future by making responsible choices. Crafts are a natural way to get people together and increase the sense of community through opportunities to participate and influence, and to experience competence through making.</p> <hd id="AN0183991130-13">Digitality, sustainable development and materiality as the pull of the future</hd> <p>The themes of the future narrative include digitality, sustainable development and materiality.</p> <p>Julius and Olivia look for information on the internet about the origin of their clothes. At the same time, they plan their next job and think about what material they should use for it. There are many options, from recycled fibres to ecologically produced ones. They must consider the purpose of the product as well as its maintenance and recycling possibilities. They plan their work with the help of artificial intelligence and are satisfied with their choices. Recycled fabric is added, with a pattern made using an embroidery machine. They still need to show the plan to the teacher, who nods approvingly—"the natural fibre is breathable and feels good against the skin, really good work".</p> <p>The direction the world is heading means <emph>digitalisation</emph> will inevitably play an even greater role in the future. As such, there will be a demand for people with digital skills, because technology has merged with everything. Technology has already merged with craft teaching in several areas, such as the increase in distance education and digital learning materials. It is crucial that students learn how to use digital technology better and can create it themselves. Digitality can be linked to crafting in new ways, for example by students incorporating digital technology into their work, and the use of digital learning materials and educational videos. The combined effect of this will be that the quality of craft teaching will improve with digitalisation and students will get to ideate, create, produce and innovate digital devices and solutions. It is widely believed that coding will be essential learning content in future years. Utilising digital devices will offer solutions for replacing disposable materials, which will promote sustainable consumption. With the help of digitalisation, students will be provided with opportunities to collaborate with other students around the globe and compare their handmade products, for example, and explain them and discuss how they were made. There are already numerous easy‐to‐use digital applications that can be used to build virtual craft exhibitions, making it easy to display works and products. However, the emphasis on digital is seen ecologically as a double‐edged sword. If information and communication technology equipment is emphasised in crafts, this will increase the burden on nature caused by the manufacture of the equipment. Our natural resources are already running low and the pressure caused by overconsumption is visible both in nature and in the economy. From the point of view of digitalisation, the focus in the future could be on what we really hope to achieve by adding technology to crafts, and critically examining the disadvantages and benefits of digitalisation.</p> <p>Students argue that it is worthwhile to examine the need for digitality critically in light of the global energy crisis. The push of the present, in this case the energy crisis, forces everyone to think about their own energy consumption. It is important to consider whether it is necessary to use digital devices in craft teaching, or whether the same goals can be achieved through traditional means.</p> <p>From the point of view of ecological reconstruction, craft is seen as an excellent subject for teaching the circular economy. The circular economy refers to a production and consumption model where existing products and materials are used for as long as possible, for example by reusing, repairing, refurbishing, recycling, borrowing and renting. There is also an emphasis on considering factors related to sustainable development, as well as the importance of crafts and products in terms of the environment and society. Craft is seen to play a hugely important role in building a more ecologically sustainable future; with the help of crafts future generations can be raised who will invent better ways to recycle and reprocess textiles. Incorporating a sustainable point of view means placing a lot of emphasis on material choices in crafts and looking more critically at the production, use and reusability of materials. In the future, options and possibilities related to materials are envisioned to be discussed in craft classes in an even more conscious way. Students also consider that it would be useful to connect growing the circular economy with entrepreneurship education, which will assist them in imagining new futures and making innovations. Teaching is expected to include more detailed information about materials as well as discussion on responsible and ethical materials and covert influence. Considerations related to the manufacture of products are seen as important study lines to discuss with pupils. For example, students see the dangers of fast and ultra‐fast fashion for the planet, workers and consumers' wallets as a controversy that needs to be highlighted in future craft education.</p> <p>When we make things with our hands, we come into contact with <emph>materials</emph>, which is why it is natural to teach material awareness in craft classes. The goal is for students to become familiar with traditional as well as the latest innovative materials so that they develop a sense of sustainability and an understanding of nature's carrying capacity. In addition, involving pupils in the process of choosing materials increases awareness of where the materials come from. Whether it is really necessary to use certain materials is seen as a crucial issue in craft education. In the future, materials may be limited or resources may be tight. Pupils could also be involved in the procurement of materials, for example, by brainstorming where recycled materials could be found. As a subject, craft plays a significant role in showing students alternatives by teaching them about substitute materials and how they can be used in goods and things used in everyday life. The essence of craft as a subject includes inventing and experimenting with activities, as well as ideation. Ideation is also envisioned as the method by which alternative solutions can be found to replace today's critical materials, solutions which take into account sustainable development. In the same way, the knowledge of the surrounding material world learned through craft can form the basis for a sustainable lifestyle and development.</p> <hd id="AN0183991130-14">Discussion—plausible futures for crafts?</hd> <p>We asked future educators about their views and visions for the future of craft education. Based on their responses, we created three narratives focused on the past, the present and the future. We titled the narratives <emph>Skilled making and craft tradition as the Weight of the past, The growing role of technology as part of a society of well‐being and communal living as the Push of the present</emph> and <emph>Digitality, sustainable development and materiality as the Pull of the future</emph>.</p> <p>Students envision that in the future <emph>digitality</emph> and technology will continue to develop, for example with the harnessing of artificial intelligence, and therefore it is important for pupils to start using technology and especially digital technology from primary school. Students could work in groups and in pairs, thereby learning to act democratically and inclusively. Decisions would be made together, respecting everyone's wishes.</p> <p>Utilisation of one's own skills, making independent decisions, and finding meaningfulness in work increase the sense of control and well‐being. The craft education of the future will give students an idea of how important their own choices are and teach them how to make their voices heard. The role of crafts in building a more ecologically sustainable world will grow in the future. With the help of crafts, society can raise citizens for whom recycling and reuse of textiles is part of everyday life. In the future, options and possibilities related to materials will be presented in craft classes more consciously, and it will be made clear from the beginning of the lesson why attention is paid to them. Teaching will focus in more detail on materials, including discussion on responsible and ethical use of materials.</p> <p>In Finland, craft has a long history as a subject in basic education. With the curriculum reforms, it has been renewed and remains at the forefront of society's development. There are many levels of craft classes, from work education to a multi‐material class in which the students decide the starting points and where multi‐materiality enables the utilisation of a range of different materials, tools and techniques as part of inventive and exploratory learning. Given the multiple materials used in craft teaching and the need to guide the holistic craft process, co‐teaching has emerged as a significant opportunity in teaching, which combines the skills and strengths of two teachers (Lepistö & Lindfors [<reflink idref="bib18" id="ref45">18</reflink>]). The current curriculum has been in place since 2014, and a new one will be designed in the near future. Craft traditions and artisanship are still needed in many professions despite the development of technology. Crafts improve fine motor skills while also developing different parts of the brain. The development of technologies such as laser cutters, 3D printers and vinyl cutters has opened new doors in crafting. Time will tell how the subject will take shape in the future, but it is certain that the value of craft to society will remain high and the subject will be a trend setter and a pioneer that always adapts to the conditions of society.</p> <hd id="AN0183991130-15">Conclusion</hd> <p>To summarise the results of this study, it can be stated that technology and digitalisation will play a crucial role in the future of craft education. At the same time, materiality and an understanding of materials give students the keys to creating a sustainable lifestyle and preserving the earth's diversity. In the craft classes of the future, students' well‐being and self‐sufficiency will be emphasised. Based on the results of our study, it can be concluded that skills education is also likely to be a fundamental part of this subject in the future. Society will continue to rely on the expertise of individuals with manual skills and dexterity, with professions such as surgeon, barber and maker in the process industry and production requiring a unique human touch that cannot be replaced by robotics and automation.</p> <p>Looking at the data, differences can be discerned in the students' responses related to education. The answers of those studying to become craft teachers show a deeper understanding of the background of the subject, a more reflective approach to the answers and a stronger emphasis on materiality. In contrast, the essays of classroom teachers focused more on the use of technology and sustainability in education.</p> <p>When evaluating the implementation of this study, it should be noted that the essays form part of the students' course grades. This may have engendered criticality and possibly prompted deeper analysis. However, upon critical examination, it may be the case that framing the essay prompts in terms of Sitra's Megatrends caused students to leave out other views and visions for the future of crafts. This is noticeable as students mentioned increasing their well‐being and self‐esteem by making crafts, but nothing was said about the joy of making crafts. Several studies (Reynolds [<reflink idref="bib28" id="ref46">28</reflink>]; Griffiths [<reflink idref="bib6" id="ref47">6</reflink>]; Collier [<reflink idref="bib1" id="ref48">1</reflink>]; Huotilainen <emph>et al</emph>. [<reflink idref="bib10" id="ref49">10</reflink>]) have highlighted the pleasure, increase in stress tolerance and self‐empowerment created by crafts.</p> <p>At the dawn of a new curriculum, we should listen to the educators of the future, learn from the past, and critically examine the present. As one student noted:</p> <p>You shouldn't be in so much of a hurry to develop that you don't have time to stop, right? 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  Data: <searchLink fieldCode="AR" term="%22Sanna+Mommo%22">Sanna Mommo</searchLink><br /><searchLink fieldCode="AR" term="%22Anna+Kouhia%22">Anna Kouhia</searchLink><br /><searchLink fieldCode="AR" term="%22Marja-Leena+Rönkkö%22">Marja-Leena Rönkkö</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-8141-7366">0000-0001-8141-7366</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22International+Journal+of+Art+%26+Design+Education%22"><i>International Journal of Art & Design Education</i></searchLink>. 2025 44(1):149-161.
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  Data: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
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  Data: <searchLink fieldCode="DE" term="%22Universities%22">Universities</searchLink><br /><searchLink fieldCode="DE" term="%22Handicrafts%22">Handicrafts</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+History%22">Educational History</searchLink><br /><searchLink fieldCode="DE" term="%22Futures+%28of+Society%29%22">Futures (of Society)</searchLink><br /><searchLink fieldCode="DE" term="%22Social+Change%22">Social Change</searchLink><br /><searchLink fieldCode="DE" term="%22Time+Perspective%22">Time Perspective</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Teacher+Attitudes%22">Student Teacher Attitudes</searchLink><br /><searchLink fieldCode="DE" term="%22Well+Being%22">Well Being</searchLink><br /><searchLink fieldCode="DE" term="%22Technology+Integration%22">Technology Integration</searchLink><br /><searchLink fieldCode="DE" term="%22Collective+Settlements%22">Collective Settlements</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Development%22">Educational Development</searchLink><br /><searchLink fieldCode="DE" term="%22Sustainability%22">Sustainability</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink>
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  Data: 10.1111/jade.12548
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  Data: 1476-8062<br />1476-8070
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  Data: This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods, and the results are presented as visions of the priorities and content of future craft education. While craft teaching today emphasises technology, well-being and communal living, the growth of digitality, sustainable education and materiality is likely to continue in the future. We envision that future craft education will focus on pedagogical content rooted in craft traditions, with a strong emphasis on skills education.
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