In a world where almost anything can be made, there’s something increasingly compelling about the things that take time, skill and the human hand. Craftsmanship has long been part of the language of great design, but what role does it play in contemporary interiors? And how can traditional techniques remain relevant without losing what makes them special?

For the latest instalment of Speaking Of…, Anthology’s conversation series, we gathered at Christopher Farr Cloth during New York Design Center’s What’s New, What’s Next. Martin Brudnizki and Nicholas Jeanes of And Objects joined Michal Silver of Christopher Farr Cloth to explore the enduring influence of traditional making, the creative possibilities of collaboration and the distinct craft traditions shaping design on both sides of the Atlantic.

From the beauty of imperfection to the unexpected role of technology, the conversation revealed that craft is as much about innovation as it is about preservation.

Here’s what stayed with us.

1. Craft Is About the Hand

In an age of increasingly sophisticated mass production, the evidence of the human hand has become all the more worth celebrating. The subtle irregularities and imperfections that distinguish a crafted object from a manufactured one are not flaws to be corrected, but qualities that give it character. They speak to the time, skill and creative judgement invested in its making.

As Martin Brudnizki observed, part of a designer’s skill lies in knowing where to find exceptional craftsmanship and recognising the difference between something made with genuine care and something that merely looks the part. The panel also explored the tension between craft and mass production, particularly in the American market, where a preference for consistency and uniformity can leave less room for the unexpected.

Ultimately, craftsmanship is about more than the process of making. It is about the individuality that process brings to an object, and the discerning eye required to recognise its value.

2. Craft Is a Route to Instant Character

We often associate character with age: the patina of an antique, the imperfections of an object shaped by time. But can something brand new possess that same sense of character? The panel suggested that craftsmanship holds part of the answer. When the marks of making remain visible, an object takes on an individuality that mass production rarely replicates.

Martin Brudnizki and Nicholas Jeanes reflected on the creative process behind their collaboration with Christopher Farr Cloth, from developing textures and weaves to exploring how materials come together. The result is something with a distinct identity from the outset, shaped by the decisions and skills behind its creation. It doesn’t need decades of history to have a story worth telling.

3. Craft Has a Sense of Place

Craft traditions are shaped by the places they emerge from: the materials at hand, the skills passed down through generations and the cultural influences that inform them. And while design has become increasingly international, these regional distinctions remain a rich source of inspiration.

Nicholas Jeanes spoke about discovering Swedish Grace, the elegant, restrained design movement of the 1920s, which Martin Brudnizki first introduced him to. Rooted in Scandinavian craftsmanship yet informed by classical European design, it offered a reminder of how distinct creative traditions can give rise to very different expressions of beauty.

The conversation also explored the depth of America’s own craft heritage, from traditional woodworking to the contemporary makers keeping these skills alive. In the first issue of Anthology, for instance, we featured Ohio-based Ernest Hershberger, whose furniture brings Amish woodworking traditions to a wider audience. In an increasingly globalized design landscape, these local skills and traditions deserve greater visibility. Their distinctiveness is precisely what makes them worth preserving.

4. Tradition Is a Starting Point, Not a Constraint

Craftsmanship is often seen as a way of preserving the past. Yet some of the most compelling work in contemporary design comes from makers who choose to push traditional techniques in new directions, rather than simply reproduce what has come before.

The collaboration between And Objects and Christopher Farr Cloth offers a case in point. Through the exploration of new weaves, textures and colours, established skills are reimagined through a contemporary design lens, resulting in something that feels fresh while remaining rooted in tradition. Brudnizki also spoke of his enthusiasm for glassblowing, particularly the ways contemporary makers are expanding the possibilities of this centuries-old craft. For designers, part of the excitement lies in discovering these makers and understanding what their expertise can bring to a project.

Craftsmanship is neither a fixed aesthetic nor a set of rules, but a living body of knowledge, continually adapted and reinterpreted. Sometimes, the most interesting way forward begins by looking back.

5. Technology and Craftsmanship Aren’t Necessarily at Odds

Artificial intelligence might seem an unlikely ally to traditional craftsmanship. One celebrates the human hand, individual judgement and the time invested in making; the other promises speed, efficiency and automation. Yet the panel offered a more nuanced view of how the two might coexist.

Martin Brudnizki, with Michal Silver, suggested that technology has a valuable role to play behind the scenes, streamlining processes and reducing the administrative tasks that can draw time away from creative work. The distinction lies in using technology to support makers, rather than allowing it to replace the creative decisions and practical skills that give an object its character and value.

It’s an important distinction. The future of craftsmanship needn’t depend on rejecting new technology, but on understanding where human involvement matters most. If technology can give designers and makers more time to experiment, develop ideas and refine their work, it may ultimately help sustain the very skills it seems to threaten.