Why we changed career: 4 makers on the joys of becoming craftspeople

24 September 2021

Deciding to retrain can be a daunting prospect, but we speak to people who are reaping the rewards

24 September 2021

Yusuf Osman of leather brand Yussico. Photo by Dominic Marley

Thinking of switching to a career in craft? Taking the plunge can be scary but being able to fuse past learnings with new skills through a degree or short course can be reinvigorating. Here, makers tell us about their own experiences.

Yusuf Osman

Yusuf Osman, founder of leather goods brand Yussico, discovered that a slow, gradual approach suited his situation best. After studying law then training as a solicitor, he decided to change tack: ‘I knew I didn’t want to work in an office and wear a suit – corporate life didn’t appeal.’ He worked in a university’s IT department, which allowed him to explore other options. ‘I did many short courses – woodworking, jewellery-making, machine-knitting, sewing.’

I knew I didn’t want to work in an office and wear a suit – corporate life didn’t appeal
Yusuf Osman

A weekend course in leatherworking proved pivotal. From then on, he focused on gaining as many skills as possible through workshops and short courses while continuing his part-time job. ‘I used Instagram to find people doing great work and trained with them.’ Were there downsides to this approach? ‘Not knowing anyone in the creative world meant I felt in the dark initially. And being from a minority background, I hadn’t seen anybody like me represented in craft. It would have been easier to have studied a longer course, or learned through working for a company, rather than doing it all from scratch myself.’

Bangle by Naomi Mcintosh, walnut and silver. Photo: Juno Snowden / Ruup & Form
Cocoon Vessel 3 by Naomi McIntosh, lasercut beech wood, 2020. Photo by Juno Snowdon / Ruup & Form

Naomi McIntosh

It was while studying architecture that the jewellery designer-maker Naomi McIntosh felt that something wasn’t right. ‘Making models, drawing and communicating ideas visually was amazing, but I realised even then that I preferred working on a smaller scale,’ she says. After graduating, she worked as an architectural assistant for several years, before returning to university – this time for an MA in Design from Central Saint Martins (CSM) in London. ‘I knew I wanted to work independently as a maker rather than as part of a larger organisation. I wanted to focus on the body and materials.’

She chose CSM thanks to the breadth of the course. ‘Its leader was open to the fact I didn’t have jewellery training – he saw my background of working in CAD drawing and using Rhino software to understand ideas in three dimensions as really helpful.’ Does she regret her first career? ‘No. It’s hard when you’re at school to know all the different types of design work there are. I didn’t realise that I could have a career in craft, but when I discovered contemporary jewellery galleries, I saw the possibilities.’

Bruce Marks. Photo by Angus Mackay
Bird Pair 2 by Bruce Marks, etched free-blown glass, 2021. Photo by Alick Cotterill

Bruce Marks

South Africa-born glass artist Bruce Marks’ 16-year career in restaurant management had left him burnt out. ‘I was disillusioned by the long hours. When I found glass, I thought: “That’s my way out”.’ By studying how-to guides and with help from a local glassmaker, Marks learned how to lampwork. On moving to the UK, he discovered London Glassblowing, where he now creates his sculptural blown-glass vessels. ‘I asked [founder] Peter Layton for a job – quite cheeky, as I had no experience. I told him: “I’m prepared to do anything, sweep floors, make tea”.’ He started working as a part-time assistant to gain experience, and six months later he became full-time staff.

My past experience, and the fact I was more mature than most students, helped my work ethic
Bruce Marks

Several years on, with practical skills under his belt, Marks applied for an MA at the University for the Creative Arts Farnham. Not having done a BA, he relied on his portfolio – and was accepted. ‘My past experience, and the fact I was more mature than most students, helped my work ethic. I learned how to look at glass in a different way, and analyse what I wanted to make and why. I absolutely loved it.’

Liana Pattihis

Jewellery artist Liana Pattihis found her creative calling when her 20-year career as a freelance interior designer began to drag. ‘I was tired of doing up interiors quickly to sell properties. When my son began applying for places to study, I decided to make a change too.’

She took a year out to prepare a portfolio, during which she studied life drawing at Barnard College and learned jewellerymaking techniques in evening classes at Central Saint Martins. This helped set her off on the right path: she was accepted onto a jewellery design course at Middlesex University. ‘It took three interviews, because they couldn’t believe a 41-year-old housewife would want to do a full-time, four-year course.’ Yet life experience soon proved to be a valuable asset. ‘There were benefits to having had my other career: my grounding in design, for instance. As a mature student, I enjoyed the course all the more.’

Pattihis graduated with a first class degree. Having time to experiment in the university’s studios paid off. ‘I found a way of applying enamel onto chains, which is something that no one did. So unbeknownst to me, I invented a technique. As soon as I graduated, this attracted great interest.’

Needs some advice about the right craft career path for you? Read the resources in the Crafts Council's Craft Careers section

This article first appeared in the Mind & Body issue of Crafts

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