Cockpit Arts

Cockpit Arts


Words & Illustrations Sophie Pelissier


“When you study your art or your craft you aren’t taught how to run a business…”

There is an air of quiet industriousness down the wooden hallways of Cockpit Arts. You could be forgiven for thinking the ghosts of the original 1920s furniture workshop were still working behind the studio doors were it not for glimpses of colourful textiles, bold typography, or polished ceramics. True to its legacy of craft manufacturing, this discreet white-brick warehouse in Holborn is home to 90 ‘makers’ of various craft professions: tailors, jewellers, potters and more. With the squeeze on central London studio spaces, the resident designer-makers have been handed a golden ticket by Cockpit Arts, an award-winning social enterprise and the UK’s only creative business incubator.

“What I’ve noticed is that people find their way here at different stages or with different intentions for their products, and this place allows you to get it together.” Ian Scott-Kettle, 49, sits on his work table with his hands in his lap, contemplating the role of Cockpit Arts in his varied trajectory through the fashion world. He was granted a studio space at Holborn five years ago in partnership with a textile artist, but they found that their initial product idea was floundering. “Cockpit very graciously gave us the space to try and figure it out. So, we both re-grouped and we’re both still here but doing very different businesses. Still very good friends.” And after three years on his own it would appear that Ian has indeed figured it out, having developed a scale-able business making and marketing bespoke men’s accessories made using traditional pattern cutting techniques. Now he sees a steadily growing stream of clients making their way to his studio. So how exactly does Cockpit Arts work to help designer-makers launch their businesses so successfully?

There have been ‘starter’ craft studios on the premises of Cockpit Yard since 1986, but it wasn’t until 1993 that Cockpit Arts was formally created as a social enterprise. It offers talented makers the means of growing their businesses, providing them with an affordable studio space at one of two sites in either Holborn or Deptford. Cockpit’s current CEO Vanessa Swann explains how having a hub of creatives under one roof delivers the first “informal layer” of support, “a cross-fertilization of skills and contacts”, which is then combined with a “formal layer” of business development advice. This is tailored to makers’ needs, no matter what stage they are at in their careers, and delivered via one-on-one mentoring from a small, full-time business incubation team. The Cockpit package provides further support from Associates, a network of external professionals in sales and marketing, accounting and intellectual property. Getting help with their business strategy is all the more invaluable since, as leatherworker Candice Lau says, “When you study your art or your craft you aren’t taught how to run a business”. It’s a sentiment I hear echoed in the experience of other makers I meet. Candice arrived at Cockpit in 2015 having won the Leatherseller’s award, one of many such schemes that sponsor studio spaces for around 20 applicants each year, providing them with access to equipment and industry contacts. “I wouldn’t be where I am without Cockpit. It’s helped me to become very professional, and there are other people around me who are designing and making products. We feed off each other so much creatively.”

This community spirit at Cockpit is enabled in an important way through shared studios, and not necessarily between makers who are cut from the same cloth, so to speak. Onome Otite came to Cockpit in 2016 through the Creative Careers Programme, which works in partnership with The Prince’s Trust to help young people between 18–30 establish a career in craft. Her figurative illustrations using textiles and printed materials started life in her living room, and she admits that pre-Cockpit she would never have considered a shared studio. “But actually… you get so much more out of it. You see more, you share more ideas… You learn a lot, whether that’s a new technical skill or about a show, stockist or supplier.” The transferral of knowledge has come full circle now in the large, airy studio she shares with three other jewellers and milliners from the new 2017 Creative Careers intake; after her first year at Cockpit she can now pass on her own experiences and advice about business strategy.

Shared studio spaces are one of many ways in which Cockpit fosters an open dialogue about running a craft business. Makers are encouraged to be vocal and engage with each other through the social enterprise structure and using digital tools like Google Groups, which functions as a Cockpit instant messenger for makers to find out about shows and possible commissions, or even just to ask for a lift to a specific event. It all goes towards building a mind-set that encourages them to seek out opportunities for themselves. “You get into the habit of talking,” Onome tells me. “I’m constantly talking about myself and my work as everything is so shared, so you’re forced to. I’m not somebody that was comfortable with sharing my own personal experience… but luckily this is a safe environment.”

Building a business from your passion isn’t easy; but neither is building a business and sustaining it. That is why Vanessa Swann is so keen to insist that Cockpit Arts is also about “acceleration… in case there’s any misunderstanding about incubation and it being solely for makers just starting out. We’ve always been about supporting makers at different stages and ages.” Theo Wang, for instance, has been at Cockpit for nine years but had to re-launch his letterpress business in 2017 in order to adapt to his business partner leaving London. “Being a maker and running your own business is all about evolving and developing, whether it’s your skills, your markets, the way you promote yourself. You need different kinds of support and advice at every stage.”

But every small business needs customers and local supporters, thousands of whom are welcomed to Cockpit Arts during the twice yearly Open Studios. Makers decorate their workspaces to introduce their products to customers and buyers, while the public have the opportunity to dodge the high-street and buy unique, tailor-made creations with their own narrative attached. One of many long-standing local residents and supporters is Anne Beresford, who has spent the last 20 years buying homewares, jewellery and clothes for herself and as gifts at Open Studios. “I was fortunate enough to win the raffle one year, so I put that towards a one-off sample jacket that I’d been coveting. I love the fact that things are made close by, and that I know at least some of the people involved in the making.” In the face of diminishing local businesses in Holborn and Bloomsbury, there is a sense of pride amongst residents to have witnessed and supported Cockpit’s development. Josie Firmin, owner of a china painting business nearby, has employed many freelance artists working at Cockpit Arts over the years. Jane King is another resident in John’s Mews and reiterates how much inner-city areas need cultural centres and independent businesses “in order to be a balanced community – I do not want to see my neighbourhood become just an investment and a dormitory for the very rich.”

 

Every maker, employee and resident I speak to comes back to the importance of community – one that encompasses the internal structure, the Associates, Trustees, Sponsors, then of course the enthusiastic buyers of beautifully designed, handmade products at Open Studios. “You get the feeling that everyone is on your side”, is the way Ian Scott-Kettle puts it.

It is a structure that exists not just to help makers create a viable business but also to realise their dreams, as Vanessa passionately affirms: “There is nothing more satisfying than thinking ‘could we help this person realise what it is that deep down they want to do, and have the capability to do, even though it appears to them to be very difficult’.” Under the guardianship of Vanessa and her team and with the support of their fellow makers, the future is bright for anyone honing their craft at Cockpit Arts.

Roger K. Burton

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