As purveyors of ideas, artefacts, art and heritage, museums and galleries often trigger debate about social justice and inequality, so there is an expectation for them to sell ethically sourced items in their shops.
An increasing number of cultural institutions are stocking ethical products not only as part of a wider agenda of corporate social responsibility, but also to ensure their gift shops reflect the integrity of their collections.
It is only fitting that Royal Museums Greenwich uses fairtrade items in its product range for the National Maritime Museum’s permanent Traders gallery, which charts the rise
of the East India Company and explores the history of Britain’s trade with Asia.
Most of the institution’s fairtrade sales come from the Traders range, says Alexandra Colton, the buying and merchandising manager at Royal Museums Greenwich. “We source those products from fairtrade suppliers because it is so relevant to the gallery.”
Just causes
Some museums and galleries will commission a social enterprise or collective whose cause closely reflects the themes explored in an exhibition.
For example, in 2013, the Herbert Art Gallery and Museum in Coventry approached the Shelanu Women’s Craft Collective to help refugee and migrant women design jewellery that explored themes of place, belonging and identity.
Their work formed a range of items for Caught in the Crossfire, an exhibition exploring how artists respond to the subjects of peace, conflict and reconciliation.
More recently, the collective exhibited its Migrating Birds range for A Sense of Jewellery, an exhibition that celebrated British trinkets made over the past 40 years at The Goldsmith Centre in Clerkenwell, London.
However, sourcing the right supplier isn’t always easy and museums need to be clear on the criteria they use to make selections.
To this end, Royal Museums Greenwich, which works with a number of ethical suppliers, including Just Trade, Ian Snow and Paper High, established a formal commitment to ethical sourcing. Staff have been given training on how to treat traders fairly and identify ethical suppliers.
Royal Museums Greenwich also asks its suppliers to conform to the Ethical Trading Initiative Base Code, based on International Labour Organisation conventions that set out standards relating to the employment of workers, working conditions and wages.
An ethical approach is also likely to mean that many museums will be working with artists who may have never sold work in large retail outlets before.“We can teach them how to work in a commercial way,” says Colton.
Viable business
One of the benefits of nurturing small suppliers is that it brings exclusivity and originality to a museum’s merchandise range. But to shift pricier items, they have to ensure they make compelling links between what they sell and what they exhibit.
Compton Verney in Warwickshire found that highlighting the work and history of local firm Hart Gold Silversmiths, in business since 1888, in its summer exhibition of arts and crafts resulted in a range of expensive items produced by the firm selling well in the gift shop.
“Our audience really liked the integrity of showing contemporary craftsmanship in the exhibition and shop,” says Rachel Davies, the deputy director of Compton Verney.
She adds that the gallery’s approach to ethical sourcing hinges on using small local suppliers, such as caterers, artists, musicians, craftspeople and breweries.
“The intention is to stimulate the local economy, benefit from their networks and to have as little a carbon footprint as possible,” she says.
While it is not commercially viable for museums to source all their stock ethically, those that make creative choices will reinforce the integrity of their collections, support independent makers in their local areas and meet visitors’ demands for unique items that they can’t get anywhere else.
Striking a commercial balance
Rachel Davies, the deputy director of Compton Verney, says it’s important for museums to strike a balance between ethical sourcing and commercial viability.
“Museums and galleries have a responsibility to serve the public. They should not be faced with the choice between employing staff or sourcing products with integrity.
“There is no point sourcing something with integrity if no one buys it. Commercial activities need to make a profit. But if an organisation can trade viably in a sustainable manner, visitors will appreciate it and be more likely to spend.”
An increasing number of cultural institutions are stocking ethical products not only as part of a wider agenda of corporate social responsibility, but also to ensure their gift shops reflect the integrity of their collections.
It is only fitting that Royal Museums Greenwich uses fairtrade items in its product range for the National Maritime Museum’s permanent Traders gallery, which charts the rise
of the East India Company and explores the history of Britain’s trade with Asia.
Most of the institution’s fairtrade sales come from the Traders range, says Alexandra Colton, the buying and merchandising manager at Royal Museums Greenwich. “We source those products from fairtrade suppliers because it is so relevant to the gallery.”
Just causes
Some museums and galleries will commission a social enterprise or collective whose cause closely reflects the themes explored in an exhibition.
For example, in 2013, the Herbert Art Gallery and Museum in Coventry approached the Shelanu Women’s Craft Collective to help refugee and migrant women design jewellery that explored themes of place, belonging and identity.
Their work formed a range of items for Caught in the Crossfire, an exhibition exploring how artists respond to the subjects of peace, conflict and reconciliation.
More recently, the collective exhibited its Migrating Birds range for A Sense of Jewellery, an exhibition that celebrated British trinkets made over the past 40 years at The Goldsmith Centre in Clerkenwell, London.
However, sourcing the right supplier isn’t always easy and museums need to be clear on the criteria they use to make selections.
To this end, Royal Museums Greenwich, which works with a number of ethical suppliers, including Just Trade, Ian Snow and Paper High, established a formal commitment to ethical sourcing. Staff have been given training on how to treat traders fairly and identify ethical suppliers.
Royal Museums Greenwich also asks its suppliers to conform to the Ethical Trading Initiative Base Code, based on International Labour Organisation conventions that set out standards relating to the employment of workers, working conditions and wages.
An ethical approach is also likely to mean that many museums will be working with artists who may have never sold work in large retail outlets before.“We can teach them how to work in a commercial way,” says Colton.
Viable business
One of the benefits of nurturing small suppliers is that it brings exclusivity and originality to a museum’s merchandise range. But to shift pricier items, they have to ensure they make compelling links between what they sell and what they exhibit.
Compton Verney in Warwickshire found that highlighting the work and history of local firm Hart Gold Silversmiths, in business since 1888, in its summer exhibition of arts and crafts resulted in a range of expensive items produced by the firm selling well in the gift shop.
“Our audience really liked the integrity of showing contemporary craftsmanship in the exhibition and shop,” says Rachel Davies, the deputy director of Compton Verney.
She adds that the gallery’s approach to ethical sourcing hinges on using small local suppliers, such as caterers, artists, musicians, craftspeople and breweries.
“The intention is to stimulate the local economy, benefit from their networks and to have as little a carbon footprint as possible,” she says.
While it is not commercially viable for museums to source all their stock ethically, those that make creative choices will reinforce the integrity of their collections, support independent makers in their local areas and meet visitors’ demands for unique items that they can’t get anywhere else.
Striking a commercial balance
Rachel Davies, the deputy director of Compton Verney, says it’s important for museums to strike a balance between ethical sourcing and commercial viability.
“Museums and galleries have a responsibility to serve the public. They should not be faced with the choice between employing staff or sourcing products with integrity.
“There is no point sourcing something with integrity if no one buys it. Commercial activities need to make a profit. But if an organisation can trade viably in a sustainable manner, visitors will appreciate it and be more likely to spend.”
