FastCompany: How An Online Artisan Marketplace Wants To Upend The World Of Fair Trade

FastCompany Anou Artisans“Anou developed a language-free interface for artisans to add their own products to the site and handle their own business operations. The process works like this: Anou employs “artisan leaders,” who are artisans themselves and are also literate. These artisan leaders act as managers and trainers for Anou.

Artisans can access the site over computers in internet cafes or on their cell phones, as 2G and 3G service is becoming ubiquitous in Morocco. Once they are set up, artisans only need to take pictures of the good they want to sell and then click the appropriate icon to categorize it as a bag, a rug, a pillow, a bracelet, a necklace, and so forth. They can also set the price and list the dimensions and weight. All of this is done in an icons-based interface with no written words, but the end result as a products page that a consumer in the U.S. would expect to read.”

We’re very excited for the write up by FastCompany’s Coexist about Anou’s platform and community led structure. Head over to FastCompany Coexist to read the whole piece!

Anou Featured By NPR’s Marketplace

NPR Marketplace“Etsy is great for the small-time crafts-person to reach new audiences. But there one problem: If you’re among the millions of artisans around the world with limited reading and writing ability, it won’t help much. Anou, a new website launched in Morocco, helps rural artisans cut out middlemen. And you don’t have to read or write to use it. The Anou site addresses the technological hurdle of posting to the web — but that’s just the first step in a much bigger process of becoming actual business owners.”

NPR’s Marketplace ran a great piece that got to the heart of what Anou is all about. Listen to the whole piece at Marketplace!

Anou Nominated for E-Commerce Site of the Year!

Maroc Web Awards We were excited to learn that Anou was nominated as Morocco’s e-commerce site of the year! In order to make it to the finals, Anou must generate enough votes to finish in the top five. From there a committee of heavy weights from Morocco’s start up and business communities will select the winner based on criteria such as innovation, impact and originality.

So in order to get Anou to the finals, all you have to do is vote for us on the Maroc Web Awards site. It’ll take 30 seconds of your time and three clicks of your finger!

Vote below!

http://marocwebawards.com/mwa8/anou/

PCV Rebecca Levy: The Azlag Dagger Cooperative is going to America!

Note: We’re excited to have our first guest post on Anou’s blog by Rebecca Levy. Rebecca is a currently serving Peace Corps Volunteer working in Kala’ Magouna. During her service she has been working extensively with the Azlag Dagger Cooperative and is now fundraising to bring the Azlag Cooperative to America! Learn more about this trip and the work she has been up to below!

A 10 foot dagger commissioned by the local government, made by the cooperative this past year, a welcome sign as you enter the city of Kelaat M'Gouna (the city of Roses and Daggers)!

A 10 foot dagger commissioned by the local government, made by the cooperative this past year, a welcome sign as you enter the city of Kelaat M’Gouna (the city of Roses and Daggers)!

It’s been a busy couple of months for the Azlag Dagger Cooperative, a unique dagger making cooperative in southern Morocco, in the town of Kelaat M’Gouna.  With opportunities to attend two festivals in America this coming year, their efforts to make “English-friendly” advertising and sales has been upped.  The cooperative has attended the Santa Fe International Folk Art Market, in Santa Fe New Mexico in both 2012 and 2013 — with the help of Peace Corps volunteers.  After sales were not as high the second year they attended, the cooperative decided to take a year off of applying to the market and work to diversify their product line as well as improve their international selling skills. In the new year of 2015, we are pleased to announce that the president of the Azlag Dagger Cooperative will be attending a 2-week jewelry and gem show/exposition (JOGS) in Tucson, Arizona from January 29th-February 9th, 2015 and then again the Santa Fe International Folk Art Market in July 2015.   Although, these international fairs are great selling and learning experiences for the cooperative, the cost of travel and lodging is quite a huge investment for the cooperative.  To help cover the costs of these trips, I have launched a crowdfunding campaign to help fund the trips: https://www.indiegogo.com/projects/azlag-dagger-cooperative-artisan-fairs-in-usa/x/5471909 Furthermore, in order to help explain to international buyers the unique nature of the traditional Moroccan dagger, the dagger workers and I worked with an amazing film producer from Ouarzazate eNews to create a short promotional video for the Azlag Cooperative.  Since the Azlag Dagger Cooperative is working hard to expand their presence online, the video was a great way to help international customers see how the daggers are made.  The video shows in detail the handmade nature of the craft, explains the different types of daggers, and tells customers about the uses of a dagger.  The Azlag Dagger Cooperative has a Facebook page, their online store on Anou, and a website. With over 60 customers working at the cooperative it is vital that they expand their market and sell their craft to the larger international market.  The daggers they make are well known throughout Morocco and the cooperative is one of its kind!  In addition to daggers, the men at the cooperative are skilled metal workers, making anything and everything from jewelry to lanterns to mirrors to beautiful tables.  A new cooperative building is hopefully going to be built in the coming year and the executive team has big dreams for the expansion of their trade.  Welcome anytime to Kelaat M’Gouna to visit this amazing cooperative!

Making Anou’s Expenses Publicly Accessible

Recently, a fair-trade business owner visited one of the cooperatives Anou serves looking to purchase several “fair trade” rugs. The artisans told the fair-trade business owner that their prices were the same in their workshop as they are on their Anou online store. The fair-trade owner complained that the prices listed online were too expensive and that they expected that prices would be cheaper at the workshop. However, all prices on Anou are set by the artisans that made the products. The difference between purchasing from an artisan workshop in person or via their store page on TheAnou.com is essentially zero minus the shipping costs.

Undeterred, the owner began to increase the pressure, refusing to buy anything if the prices were not reduced to a level the owner deemed acceptable. Since it was only two days before the biggest holiday of the year in Morocco, and a holiday for which everyone saves their money to buy food and gifts (Eid Kabir), the women of the cooperative panicked and gave the owner a 10% discount on their rugs, amounting to about $5 USD discount per rug.

We contacted the owner directly about sourcing products through Anou in the past, but they said,  “the prices listed on Anou are too expensive and I have business costs to meet.” One month later, the $45 rug was listed on their website for $366. A description of the rug stated, “with the purchase of this rug, you directly support [artisan’s name] so she can better support her family.” This begs the question, was discounting the artisans by $5 really necessary? And does an 813% retail mark-up really follow the fair-trade business owners claim that their fabrics are “fair and honest”?

A Lack of Transparency

The challenge of finding an answer to the question of whether a $5 discount was necessary points to the significant and troubling lack of transparency within the fair-trade industry.

Unfortunately, there is no incentive or even a remote expectation for fair-trade businesses to be completely transparent about their costs. Customers must simply trust that a business is fair and practices what it markets. This holds true for established fair-trade organizations as well. Their slick websites display dazzling statistics about their operations, such as impossibly low overhead costs so artisans can get the “fairest” price. But dig a little deeper and you often find that fair-trade marketing focuses far more on evocative photos than on substance.

To glimpse beneath the surface, track down an organization’s 990 report (you can do that on www.guidestar.org). 990 reports are where tax exempt organizations in the US are legally required to publicly list their expenses and revenue. While 990 forms don’t provide that much clarity on an organization’s budget, they’re clear enough to see some pretty big red flags. For example, the two founders of one artisan focused organization collectively earn over $200,000 in salary annually. These two salaries account for nearly 50% of their entire annual budget and is likely greater than the value of all products purchased and sold in the same year. To cover these “overhead” costs, the organization raises funds through charity. Do their donors understand how much of their donation is going towards initiatives that may or may not benefit artisans or follow “fair trade” principles? Do their donors know how much artisans really make working with this organization? Without full transparency we are left to simply trust the information they market.

This lack of transparency always leaves artisans in Morocco with the short end of the stick. Artisans are regularly coerced into giving much more than $5 discounts because of someone else’s business’ costs, fair-trade or not. The worst part? The end customer never even knows. As long as this continues, artisans will remain disenfranchised and poor, which only provides the fuel for the endless parade of organizations trying to save them.

Opening Up Anou’s Expenses

Anou is breaking this monotonous cycle by empowering the community of artisans in Morocco to drive their own growth and development. Naturally, financial transparency has become the backbone of ensuring this community is capable of establishing equal access to the free market on their terms.

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When Anou’s artisan leaders input their expenses, they’re automatically categorized on our public budget.

This is why, starting today, Anou is making its real time data for expenses publically accessible. Next, we will begin building the tools to publicly display the revenue of our community in real time. This way when purchasing from artisans in the Anou community, customers will know exactly where their money is going. No need to take our word for it or believe that “all money goes to the artisan!”, you can simply see it for yourself. This document is what we use internally to record and track our costs, so you see what we see in realtime.

While this decision uncomfortably challenges the status quo, we believe it is absolutely necessary for us to do. We cannot create the trust needed for the artisan community to coalesce if only a select few can view Anou’s expenses — it is the artisan’s money after all. Nor can we create the expectation for artisans within the community to become more transparent if we do not set the example ourselves. Lastly, if we do not do anything, there is no incentive for anyone else in the fair-trade industry to ever change.

At first glance, full transparency might be perceived as naive, idealistic, and/or unrealistic. But is it really? One business in the US, Bufferapp, recently made all of their salaries and sales data open to the public in real time. The move was heralded as ground breaking, signaling a new era in how businesses are run in the 21st century. This company isn’t a social enterprise, nor does it have a traditional altruistic mission. Bufferapp simply develops a software application that enables people to easily manage multiple social media accounts. If a private for-profit company with no direct purpose in helping marginalized populations can execute transparency better than everyone in the fair-trade industry, it is naive and unrealistic to believe that fair-trade should remain the same.

As we continue our push to full transparency, we ask that you join and support Anou to realize a marketplace that works for both artisans and their customers. You can show this support by spreading the word about Anou’s work, purchasing through Anou, or doing something as simple as asking a question about our budget in the comments below so that we can make our budget more understandable. With your help, artisans will no longer settle for $5 discounts and customers around the world can buy with the knowledge that their money is going where it is meant to go. 

View Anou’s Real-Time Expenses:

English & Arabic 2014/2015/2016

Note: We’ll be exploring our budget more in depth in forthcoming blog posts. In the mean time, ask us any questions you have below!

Sustainable Tourism: Journey Beyond Travel and Anou

One unexpected lesson we’ve learned building Anou’s online store is just how many customers find us before — or after — a trip to Morocco wanting to buy directly from artisans. We used to put any visitor on TheAnou.com in touch with artisans in the community, but we ended that as soon as people started showing up extracting discounts and their guides started taking commissions from artisans.

Instead, we thought the more sensible way to address this demand was to partner with socially conscious tour agencies and operators. We could provide them with all the information required so their clients could visit the artisans in the Anou community in person — something that we can attest there is a huge demand for. In return, partner tour agencies would help us explain the values of the Anou community to their clients during their trip. Most importantly, these tour agencies would not take commissions for any sales their clients made from artisans within the Anou community. We ended up pitching this idea to ten socially focused tour agencies in Morocco.

But this led us to another unexpected lesson: just how difficult it would be to pull off. All but one agency gave us an immediate no. According to several of these agencies, many guides supplement their standard pay with commissions and would never agree to giving them up. This partially explains all those awkward experiences customers had with their guides on their trip to Morocco. Moreover, as per Moroccan law, tour agencies in Morocco hire guides or drivers as contractors, not as full-time employees. So even if the tour agency wanted to agree to our conditions, they wouldn’t have the ability to hold their contractors accountable.

One tour operator, Journey Beyond Travel, agreed to at least meet with us to discuss the challenges in realizing such a partnership. The owners, Thomas and Fazia, had a lot of knowledge to share on the topic because their guides had already rejected their efforts to eliminate the practice of commissions from their business years ago. The owners said their motivation in trying this was because commissions negatively affected the experiences their guests had on their trips. They also felt that the commissions didn’t line up with the ethics of their business. Despite all of this, they were still pretty hesitant to address this topic again with their guides and drivers.

But what makes Thomas and Fazia different from other owners we talked to was that they had an impressive understanding of how things in Morocco work on the ground mixed with an unyielding desire to build a great tour agency that gives back to Morocco and their clients. This might sound like a marketing shtick, but when you consider that Thomas was a former Peace Corps Volunteer in Morocco and Fazia is just about to complete certification in sustainable development, well, it all just kind of fits together. Perhaps then it wasn’t so surprising when they decided to go all in and see if they could find a way to work with Anou.

Over the last several months, Thomas and Fazia took the time to meet with all of Anou’s artisan leaders in person to learn about the needs of the artisan community. Similarly, they explained to the artisan leaders the needs of their guides. Throughout it all, they tried to find a middle ground that could work, which included ideas like increasing pay for their guides (which is already well above normal market pay). These efforts all culminated in a meeting last month where Kenza Oulaghda of Association Tithrite (http://www.theanou.com/store/13) presented Anou and our proposal to the guides of Journey Beyond Travel. The guides were initially skeptical of the agreement but Kenza, with the support of Thomas, Fazia and Aicha (JBT’s cultural coordinator, who previously was a program assistant for Peace Corps for ten years), was able to win the support of all of JBT’s guides and drivers. Their approval of this agreement is truly unprecedented and we believe it will serve as a significant first step in ensuring that artisans can benefit from tourism in Morocco.

Journey Beyond Travel, Anou, Sustainable Tourism, Responsible Tourism

Kenza, bottom left, takes a picture with Thomas, Fazia and Journey Beyond Travel’s guides and drivers after their meeting.

As such, we’re incredibly excited to announce Journey Beyond Travel as the Anou community’s first official tourism partner. From here on out, we’ll be recommending any guests to our site who want to visit artisans within the Anou community to Journey Beyond Travel (Full Disclosure: Anou will receive no commission for anyone we forward to them). We are now working on developing a comprehensive guide that will enable JBTs guests to select which Anou artisans they’d like to visit as part of their tour in Morocco. And of course, 100% of the money from any purchase you make during your trip stays entirely with the artisan.

If you’re interested in learning more about the specifics of this partnership and Journey Beyond Travel, please reach out to us directly at hello@theanou.com or visit JourneyBeyondTravel.com.

Suspending a Cooperative From Anou’s Online Store

This month we decided to suspend the account of one of the most well-known cooperatives in Morocco. While the decision was difficult to make, particularly during the holiday rush, it was necessary because we believe that transparency is a cornerstone of Anou’s community.

As we’ve written about many times before, access to limited resources coupled with illiteracy and low-education levels all contribute to the challenging and opaque environments in which artisans frequently work. As a result, many artisans have little awareness of what happens within their own artisans groups, associations or cooperatives. Even when artisans have the awareness to see something wrong, they’re often too afraid to expose the issue so it can be resolved. This makes it frighteningly easy for artisans to be taken advantage of by anyone, including members of their own cooperative.

Sadly, this  was occurring in the cooperative we suspended. We had long suspected that a small group of women within the cooperative were embezzling money, or depending on your perspective, covering the ‘costs’ of operating the cooperative. However, we never had evidence that proved beyond a reasonable doubt that money was in fact being stolen. 

Increasing Transparency

During the last several months, we have continued to tighten up our transparency efforts. This has included actively reaching out via phone calls to artisans tagged as the maker of specific sold products to confirm how much they had received as a result of their sale. In addition, multiple cooperative members became comfortable enough to reach out to Anou artisan leaders and alert them to problems within their cooperative. All of this enabled us to paint an accurate picture of what was happening within the cooperative.

The first thing we found was the true story behind two slightly incorrect custom orders the cooperative had recently made. The president told us that the incorrect designs were the result of having the items handmade. The customer of the rug graciously accepted them as they were.  However, in reality, the president instead bought similar rugs from a local market and pocketed a 400% markup.

We also learned that the members within the cooperative were unaware that they were only being paid 50% of the price listed on their online store on Anou. The officers claimed that the other 50% went to cover the costs of the cooperative. While it is none of our business how a cooperative distributes their revenue, it becomes a problem if none of the members are aware of this information nor agree to it. In this case, the members never knew about this information nor could they, or the officers, clearly explain what the costs were of the cooperative. As the officers fumbled trying to sort out their finances, it was discouragingly obvious that the 50% was exclusively going to three members of the group.

Anou’s Values

These actions not only violated the values of Anou’s community, but threatened the trust the community has built with the thousands of customers who have purchased from Anou’s online store. Anou’s artisan leaders quickly decided to suspend the group.

In preparing to suspend the cooperative, we investigated the situation further to outline what conditions they would have to meet if they wanted to rejoin the community. During our investigation, we found that the cooperative had not held a general assembly in over two years. Annual general assemblies are a legal requirement for Moroccan cooperatives. It is at these meetings where members agree on how payments are distributed within the cooperative. With no general assembly, there was no clarity on where their sales money was going and no one could be held accountable. This makes it incredibly easy for money to disappear.

We decided that if the cooperative wanted to rejoin the Anou community, they would have to hold a general assembly and establish, in writing, what percentage of their sales from their online store would go to cover the cooperative’s expenses. All the members would be required to sign it, and an Anou artisan leader may be present if requested. After a rather intense meeting, the artisans finally agreed to meet these requirements. Once this occurs, we will reopen their store on TheAnou.com and follow up with every artisan after they make a sale to hold them accountable. At the time of writing, the artisans still have not held their meeting but they have told us it will happen soon.

The Deeper Problem

Perhaps the saddest part of this story is that this cooperative is not the only cooperative where similar problems may be occurring. In fact, it is fairly easy to find these groups. We have learned that cooperatives where members are exploited often sell via fair trade businesses where honesty and equality are never measured and enforced down to the member level.

One of the challenges then is how do we continue to grow  transparency across Anou’s community if the cooperatives that have the most connections with fair-trade businesses will be the ones most likely to leave the community rather than to reform how they work. We’ve reached out to some of these fair-trade businesses to discuss having them source their orders through the Anou artisan community where transparency is enforced. Doing so would enable the business to guarantee that their payments were getting where they are supposed to go.  However, a recent fair trade business declined.  They said that by teaching artisans to sell independently instead of through intermediaries, Anou is teaching artisans how to “work outside the system rather than within it.”

When you Google the name of the cooperative we just suspended, you’ll find several articles written by fair trade businesses that canonize its female members. The articles paint the members that were embezzling money from the cooperative as examples of leadership and the steady hands that are working to preserve their craft and heritage. These statements are not false, but they generalize artisans into simple caricatures who need to be saved. This isn’t surprising because when you combine limited on-the-ground knowledge with the primary motivation of driving sales at incredibly marked up prices, these fair-trade businesses tend to gloss over the fact that artisans are no more or less human than the people who purchase their products.

The artisans that contributed to their cooperative’s suspension are not criminals nor saints. Rather, their actions were simply the result of the opaque, challenging environments they work in. Creating transparency in these environments is complicated, so complicated that the only individuals capable of setting the rules to create transparency is the artisan community leaders themselves. This is why having artisans leading the Anou community is so important. Even today, Anou’s  leaders are still sorting out how to create a truly transparent platform that works for all artisans. While it will take the community time to perfect the Anou platform, we couldn’t dream of a better system to create.

Remembering Fadma of Cooperative Taytmatine

Fadma Cooperative Taytmatine

Note: We were sad learn of the passing of an artisan in the Anou community and the people who knew her best asked if they could write a short note about her. We posted it below in English and in  Arabic. 

مجتمع أنو حزين حزنا عظيما بخبر الوفاة المفاجئة للسيدة فاضمة التويمي من تعاونية تايتماتين بسبب مضاعفات صحية. نتقدم بهده المناسبة الحزينة باحر التعازي لعائلة الفقيدةواصدقاءها و نساء التعاونية و كل من المه فراقها.لقد كانت فاضمة دوما الصدر الحنون و الصديق الصدوق، محبة للغير بشكل كبير، توثر الاخر على نفسها. لقد امضت حياتها مع كل من اخيها ووالدتها في منطقة توامة على سفوح جبال الاطلس.

 كانت  فاضمة، دات الاحتياجات الخاصة مند الولادة، في في صراع دائم مع المرض، فلم تستطع التمدرس او العمل خارج البيت. لم تتدمر يوما مما اصابها بل كانت دوما سعيدة باعمالها التقليدية. و لتساعد في اعالة عائلتها و دفع ثمن ادويتها كانت فاضمة تصنع و تبيع زرابي ودمى و بعض اعمال التطريز اليدوية.وكانت تستفيد من بعض التداريب المتوفرة في اماكن مجاورة إلى أن انضمت الى تعاونية محلية حيث تميزت بافكارها الخلاقة.

كانت حرفتها المفضلة حياكة الزرابي، تحيك وتصبغ الصوف المجزوز من الاغنام المحلية لتنسج اشكالا خاصة بها، وفي وقت فراغها كانت تساعد على تعليم الامهات و النساء الاخريات كيفية صنع الالعاب لمساندة التعليم الاولي في توامة.لطالما حلمت بان تسافر يوما الى الرباط.

 ان لله وان اليه لراجعون

The Anou community is sad to hear the sudden passing of Fadma Etouimi of Cooperative Taytmatine due to health complications. We want to send our condolences to her friends, family and the women of Cooperative Taytmatine. Her community describes her as a person who warmed the hearts of all who knew her and quick to smile and welcome new friendships. She loved people and was known to give what little she had to those she felt had a greater need. She lived with her mother and brother in the small rural village of Touama in the foothills of the High Atlas Mountains her entire life.

Born with a disability, she struggled with her health and was unable to attend school or work outside her home.  Fadma never complained about her life though, and found joy in making traditional crafts.  To help support her family and pay for her medicine, she made and sold carpets, dolls, and crocheted items.  She attended trainings offered nearby and joined a local cooperative where she was known to be full of creative ideas.

Her favorite craft was carpet weaving. She spun and dyed the wool sheered from local sheep and wove unique designs into her carpets.  In her spare time, she helped teach mothers and other women how to make toys to support preschool education in Touama.  She dreamed of one day traveling to Rabat.

Revealing Common Threads: Mustapha Chaouai

Learn more about the rug Anou Leader Mustapha Chaouai’s designed during the British Council’s Common Thread Project below! These rugs can be purchased online at: http://www.theanou.com/commonthread

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“Co-Existence” by Mustapha Chaouai
2.3m x 1.6m
Mustapha’s rug is available for purchase at:

www.theanou.com/commonthread

All proceeds will go to Mustapha’s association (Association Nahda) and cover the costs of future artisan-led trainings to grow the Anou community in Morocco.

201408 BC Common Thread Project 275

“The design I created represents Morocco — a country where all people and religions co-exist despite different languages and cultures.”

— Mustaph Chaouai

201408 BC Common Thread Project 290

About Mustapha:

Mustapha’s works as a metalsmith in the small town of Oued Ifrane where he earns his income repairing metal doors, trucks, axles and pretty much any other metal object villagers bring to his shop. It might seem peculiar to many that an established metalsmith would establish a female weaving cooperative, but that is exactly what Mustapha did by founding Association Nahda.

Mustapha, as one quickly learns after meeting him, is an anomaly in Morocco. When he was younger, he was always near his mother and grandmother while they weaved. Just by observing he became skilled in a craft that is reserved for women. With this rare skill set, he thought that he could help create jobs and opportunity for his wife and the women of Oued Ifrane.

Today, Mustapha serves as the artisan director for the Anou community.

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Mustapha’s rug on display at the Common Thread Exhibition at the London Design Festival.

The Common Thread Exhibition Launch!

On Wednesday evening at Design Junction’s VIP and Press opening, the British Council and Anou’s artisan leaders launched the Common Thread Exhibition! The launch kicks off the third part of the British Council and Anou’s Common Thread project. The British Council flew all the artisan leaders to London just in time for the launch. The artisans knew their rugs would be on display but were kept in the dark as to the final design of the exhibition. Needless to say they were shocked to find their rugs amazingly displayed in the middle of a bustling festival!

Anou's artisan leaders after finding their rugs on display!

Anou’s artisan leaders after finding their rugs on display!

The exhibition, in line with the Common Thread project, places its focus on the artisans leaders and their personal stories that inspired all their designs. The feedback so far has been outstanding. Many VIP and press visitors noted that in a festival of designers talking about the obscure artisans they source from, it was refreshing to learn about and see the artisans who made the products on display. And of course, many of visitors were in disbelief when they found out that the artisans designed the rugs themselves while working with designer Sabrina Kraus Lopez.

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Each of the rugs the artisans designed will be on sale throughout the Design Junction event. To order one, just go to our Common Thread page at www.theanou.com/commonthread. The first person to buy a rug will be receive the rug on display, orders after that will be custom made and shipped from Morocco. All revenue from the sales will go directly into the artisan community!

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The exhibition was the result of many months of hard work by the British Council as well as Moira and Kieren of the Faculty, who designed the exhibition. We can’t thank all the individuals and organizations behind making the Common Thread exhibition a reality!

To see more pictures of the exhibition, take a look at our Facebook album of the launch! 

Come See the Common Thread Exhibition In London!

Common ThreadLast week, all the artisan leaders completed their rugs they designed during part one of the Common Thread project and shipped them to London. The rugs will be the centerpiece of the Common Thread exhibition, which will detail the design process the artisans used creating their rugs during the project.

We got a sneak peak of the exhibition designed by Moira and Kieren of the Faculty and it looks outstanding! More excitingly, all of Anou’s artisan leaders will be making appearances at the exhibition to answer any questions you have about the Common Thread project and the Anou community. If you’re in London, we’d love to see you in person!

Here’s everything that you need to know if you’re in the area! 

  • The Common Thread Exhibition will take place at Design Junction from September 17th-21st. Anou’s artisan leaders will be present at the exhibition on the 17th from 4-6pm. All days are free and open to the general public, the 17th however requires registration in advance (register here)!
  • On the 21st at 12pm , the leaders will be taking part in a panel at the Design Junction. Admission to the panel is free and open to the public!
  • Design Junction is located at 21-31 New Oxford Street and is within a short walk from the British Museum. Here’s a map.
  • Learn more about the London Design Festival and Design Junction.

As always, send us an e-mail at hello@theanou.com if you have any other questions! We’ll look forward to seeing many of you there!

Want a Custom Made Rug or Craft? Learn How With Anou!

Custom orders on TheAnou.com are easy. All you have to do is find any product that you love on the site and look for the “Request Custom Order” on any product page.

Request Custom Order Anou

You’ll be given the option to change the dimension or the quantity of the item. The site will then use the prices the artisan has listed on their store to provide you with an estimate. (NOTE: The estimates for currently listed products are accurate. Previously made products may have updated prices — we’ll let you know if this is the case.)

Tip #1: When changing quantity, the site will automatically calculate bundled shipping savings for you! For example, ordering two items will likely cost less than just one due to savings in shipping. Note: This only applies when purchasing from the same association/cooperative.

Once you perfect your custom order, enter in your e-mail and submit the request.  Anou’s community supporter will follow up with you to confirm your order and answer any questions you have. If all is good, the community supporter will submit your request to the artisan who will then provide their official quote. If the artisan’s quote is different than the estimate we provided, we’ll let you know and you can confirm whether you’d like to proceed with the order or not.

If you’re happy with the artisan’s official quote, we’ll ask that you provide the full payment upfront via a Paypal invoice. TheAnou.com will hold your payment as a deposit until the artisan completes the order.

Tip #2: If you’re in Morocco, you can send the payment directly to our account at any Moroccan Post Office so you don’t have to pay any credit card/Paypal fees!

Once the artisans begin we will provide you with weekly updates on the status of your custom order via e-mail. The artisan will do his or her best to take progress photos as they make your custom order request and we’ll e-mail you when they are submitted.

Tip #3: Artisans add progress photos via the community’s Instagram account. Follow the community’s account if you want to the progress photos as soon as they are posted!

Once the artisan finishes the custom order, they will post the item on their store on TheAnou.com for you to review. If you’re happy with the custom order the artisan will send it directly to you! If there is a problem with the order, we’ll promptly refund you your order!

Custom Orders for Products Not on Anou

If you have an item that you’d love to have but isn’t listed on Anou, we might be able to help. Send us an image or description of what you would like at hello@theanou.com. Anou’s community supporter will see if the the design matches up with any existing cooperatives skill sets, designs and/or materials. If there is a match, we’ll submit it to the artisan and get a quote.

Keep in mind that artisans do not create copies of images submitted from other websites. Depending on the situation, we may forward images to artisans so they can serve as inspiration for a new product, but we will never ask an artisan to recreate an item unless it is something that they designed.

Tip #4: Have a product idea that you’d love to see on TheAnou.com? Add it to the community’s Pinterest research board! All items listed on the community’s board serve as inspiration for future products.

Read more about custom orders on Anou: 

Making Custom Orders Work For You And Artisans

The Perils and Promise of Artisan Custom Orders

Common Thread (Part 2): In Sabrina’s Words

The core experience of the Common Thread project is rooted in collaboration, understanding and the exchange of ideas. After the completion of the design workshop led by Sabrina Kraus Lopez (www.sabrinakrauslopez.com), Sabrina accompanied Rabha Akkaoui back to Tounfite where she stayed for three weeks working and living alongside the women of Cooperative Chorouk (www.theanou.com/store/3). In this album, Sabrina reflects on her experiences through pictures taken throughout the three weeks.

 

 

“It is hard to believe that this small mud hut sandwiched in this incredible landscape will now be my workspace for the next three weeks.”

Cooperative Chorouk, Anou Community, Moroccan Craft, Moroccan Artisans

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans

 

 

“The first few days at the cooperative consisted of me staring at the women weave, trying to take in all their movements in order to understand how their looms worked. Once we set up my loom I was ready and excited to begin weaving my own rug.”

Cooperative Chorouk, Anou Community, Fatima Haddu,  Moroccan Craft, Moroccan Artisans

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Looms, Moroccan Weaving, Moroccan Artisans

 

 

 

“At the moment when the women and I realize that I have been weaving, unaccompanied and successfully for the last 30 minutes, there is a loud applause, as only now have I finally earned my place in this remote village cooperative!”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans , Sabrina Kraus Lopez

 

 

 

“There are two other looms in the Chorouk Cooperative, each carefully shared and cared for by ten women, each of whom can be found preparing, cleaning and spinning wool for weaving, but most importantly, laughing and telling stories.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Designer Sabrina Kraus Lopez

 

 

 

“I was taken by the individual artisans themselves and their situations, sometimes funny, sad and occasionally touching; each of them has a story to tell.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Flatweave, Hanbel

 

 

 

“From collecting and spinning the wool, to picking and hand dying the yarn, it soon became clear to me that for the artisans this is not simply a livelihood but rather an intrinsic part of their culture and everyday life.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Family

 

 

 

“Intensely proud of their heritage and traditions, the Amazigh believe that these carpets have been crucial in keeping their cultures alive. Even today, some tribal women still carry these symbols and motifs tattooed on to their foreheads, chins and arms, in days gone by this would have distinguished them during times of war.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Fatima Haddu

 

 

 

“After two weeks, I begin to feel settled in Tounfite. Every morning I wake up to Rabha’s amazing mint tea and breakfast, all of which is loaded with sugar to get me through each day of weaving.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Design Explore, Moroccan Food, Moroccan Cooking

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Design Explore, Moroccan Food, Moroccan Cooking

 

 

 

“Later, I finally know how to ask for bread, water, phone credit and make it to the closest store on my own. I also know that the Hamam is one of the best things in town and that Sundays at the souq are priceless.”

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Design Explore, Moroccan Food, Moroccan Cooking, Tounfite Souq, Tounfite Market

Cooperative Chorouk, Anou Community, Tounfite,  Moroccan Craft, Moroccan Artisans, Fatima Haddu, Flatweave, Hanbel, Design Explore, Moroccan Food, Moroccan Cooking, Tounfite Market, Tounfite Souq

 

 

 

“At the end of my time in Morocco, I have learnt how to say “Hello”, “thank you” and “I am full”, in Amazigh. I am also now familiar with sleeping on layered carpets, having bucket showers and eating with my hands at almost every meal. However, it is exactly these new experiences, sharing of cultures and most of all friendships that I will miss most and what makes collaborations like this so special.”

Anou, Family, Community

Sabrina Kraus Lopez, Rabha Akkaoui, Common Thread, Design Explore, Design Junction, London Design Festival

 

Are you a retailer? Want to support the artisan community in Morocco?

Through Anou’s online store, you can expand your business all while making a real impact in the lives of artisans across Morocco. Learn more about the exclusive benefits of becoming an Anou retail partner.

Exclusive Benefits of Becoming an Anou Retail Partner

Bundled Shipments Multiple orders from the same association/cooperative can be bundled into one shipment to reduce the listed Anou price anywhere from 9-60%. Anou’s artisan leaders will provide added support for your orders to ensure that you get the cheapest (or fastest) shipping option for you!

 White Labeling Create added value for your products by white labeling all of Anou’s information and pictures for each product on your own marketing collateral.

Invoicing Select the products you want to purchase and pay via a single digital invoice.

Order Support Anou’s artisan team can provide added support throughout the custom order process or larger orders for added peace of mind.

 Meet Artisans In Person If you have plans to travel to Morocco, Anou’s artisan team can help arrange your next visit and provide you with on the ground support.

Exclusive Shipping Rates Anou has been able to negotiate reduced shipping costs via DHL and we pass these savings on to you!

Alternative Payment Options You can pay via multiple payment options, even via Transferwise (www.transferwise.com), which can reduce the listed price substantially.

Why Source Products Through Anou?

 Artisan Verification Nobody knows artisans better than artisans themselves. Artisan leaders in Anou’s community travel to the village or workshop of each artisan on Anou to ensure that they are the ones who make the products they sell. Learn More.

Know Who Made It Every product purchased on Anou is tagged with information about the artisan who made it. You can now confidently tell your customers exactly where a product came from and the story behind it.

Transparency Through Anou’s innovative technology, your payment will go directly to the artisan who made it and not the hands of middlemen or other organizations. Learn More.

Artisan Owned  Anou is a registered cooperative in Morocco whose board is entirely comprised of top performing artisans that use Anou. All decisions regarding Anou are made by the artisan board and all profit (which comes from a ~6% fee from each sale) is reinvested into the artisan community.

Artisan Managed  All the operations of Anou, with the exception of customer service, is handled by the artisans themselves. From trainings, to follow up visits, to troubleshooting, stand out artisans in the Anou community fulfill all the core operations of the site. This provides artisans with the opportunity to gain advance skills and work outside of their cooperative, which they can reinvest back into their local communities. Learn more. 

 

Frequently Asked Questions

Does TheAnou.com offer wholesale pricing? TheAnou.com itself does not offer wholesale pricing because we have no control over the prices artisans set for their products.  However, some artisans have provided discounts to customers buying in bulk. If you see an item that you would like to purchase in bulk, submit a custom order request and select the quantity that you want (or if you have something more specific in mind, e-mail us at Hello@theanou.com). The artisans will submit their price for the order, which may or may not include a discount.  TheAnou.com will calculate the estimated shipping cost for your request and combine it with the artisan’s price. Note that bundled shipping products can make items cheaper than a wholesale discount.

I would like to purchase from artisans I know, but they do not use TheAnou.com. Can the artisans I know join the Anou community? Of course! As a retailer, you should encourage any artisans not within the community to join so they can benefit from being a part of the Anou community and so you can be assured that your money is going to the artisans transparently.

There are three requirements to join the community and sell on Anou’s online store. First, the artisans must make the products they sell. Second, they must be motivated to sell their work independently.  Three, they must agree to use TheAnou.com’s transparency tools. If they meet these requirements, all they have to do is reach out to an Anou artisan leader and let them know they are interested. They will then be added to the artisan leaders’ training list.

How Do I Clean My Moroccan Rug?

When we were first asked how to clean and take care of Moroccan rugs, we simply asked the artisans who made them. “Well,” they said, “every month or so just take the rug outside and shake it, rinse it off in the river, then place it over a small shrub to let it dry.” This works so amazingly well that artisans have been doing this for centuries.

But what do you do if you don’t have a fresh, mountain spring-fed river in your backyard, much less in your apartment in New York? The answer, like many things when it comes to best care practices, is preventative care.

Preventative Care

Preventative care doesn’t mean you have to tackle anyone who wants to walk on your rug or hang it up on a wall so it is never touched. In fact, it’s kind of the opposite. What surprises many customers is that it isn’t exactly heavy foot traffic that ruins a rug, it’s the dirt that accumulates and embeds itself in the rug over time as a result of the foot traffic. On a micro level, dirt shreds the fibers of the rug and causes it to degenerate over time. The longer the dirt is left in the rug, the deeper it becomes embedded, which exponentially increases the damage.

The key then is to regularly clean your rug so dirt doesn’t have time to make your rug its home. The easiest way to do this is to take your rug outside and shake it out at least once a week. As the artisans always suggest, shaking out the rug frequently is their go-to technique and is a large reason why the rugs they keep in their homes last decades. If this is impractical, you can clean the rug on a weekly basis with a canister vacuum side to side (not end-to-end) with the beater bear set high. This can be equally if not more effective than shaking out a rug. Combining these techniques on a routine basis is ideal.

What Else Can You Do?

All this said, a small amount of dirt can sometimes be unavoidable. As such, investing in a rug pad can go a long way in preserving your rug even if some dirt gets through. A rug pad is perfect to add a bit more cushion and can prevent people from slipping, particularly if you are placing it on a hardwood floor. Further, a rug pad reduces friction on the bottom on the rug and the surface it is on preventing wear over time. The often unknown benefit is that with less friction with a rug pad blunts the detrimental effects of dirt if it makes it to the bottom of the rug. Rug pads that we would most recommend are ones that are mix between felt (for softness) and rubber (to prevent slipping) like this rug pad listed on Amazon. If you are not planning on placing the rug on a hard wood floor, a simple felt rug pad may be sufficient.

In a worst case scenario, enough dirt could lead to breaking fibers and the rug could start to shed. This should not to be confused with shedding on a new rug, which is normal and can vary depending on the wool that was used to make your rug. You can read more about this on our blog post about wool. While we dive into wool shedding at length on the aforementioned blog post, we always recommend a rug rake to manage shedding without damaging the rug. Again, read our blog on wool to learn more.

Professional Cleaner?

After several years though, we recommend getting the rug properly washed, particularly if you have pets in your home. Do a quick Google search and you’ll find a lot of advice on DIY rug washing. We simply can’t endorse many of these simply because each rug is unique. With rugs from the Anou community, all new rugs are dyed in house using non toxic dyes. Best part, we use the best quality dyes that can withstand hot soapy water up to 140 degrees without any bleeding. So if you need to blot out a spill, you never have to worry about bleeding. Rugs from unknown sources may bleed on contact with any water, cold or warm. Ultimately,  it’s best to protect the investment you made in your rug  by taking it to a professional cleaner who can dial up the perfect way to wash your rug to make it new again and ensure it lasts.

When we looked for a professional cleaner to recommend, we tried to find someone who was truly passionate about what they do. It didn’t take us long to find Lisa at RugChick, who has an amazing blog about rug care and maintenance. No really, the blog is so good that it landed her in the New York Times. Lisa, who runs trainings for professional rug cleaners, personally knows an extensive network of cleaners and has an extensive list of cleaners she endorses and we are certain you can find one near your home. Take a look at her endorsed rug cleaning directory.

Lastly, for any questions that this entry doesn’t answer e-mail us or take a look at Lisa’s blog. Here are some of our favorite posts of hers:

Buying Rugs: Tips for the Nervous Rug Shopper

Shag Rugs: What You Need to Know

How Do I Vacuum My Rug?

Moths, Bugs and Rugs: What You Need to Know

Pottery Barn: Rugs to Run From

Does the Anou Community Ship To Australia?

Australia, Shipping to Australia, Shipping Costs to Australia

Cooperative Lfarah (http://www.theanou.com/store/55) ships another rug to Australia!

Yes! In fact, artisans that use TheAnou.com to sell their work frequently fulfill orders from Australia. In terms of sales volume, Australia is second only to the United States in orders that the Anou community receives.

Right now, the prices artisans list on TheAnou.com include shipping to the United States and Europe. In the near future, we’ll ensure that if you’re viewing from Australia, you’ll see prices that include shipping to Australia.

In the meantime, all you have to do is send us (hello@theanou.com) the links of the products that you like and we’ll provide you with the price that includes shipping to Australia.

Here are some other things you might want to know about shipping to Australia:

Shipping costs to Australia are about 2.5-3 times more expensive than shipping to the United States or Europe. So expect a bit of a jump in price.

Shipping times vary, but the average fulfillment time is about three weeks. Orders have arrived faster (10 days) and have sometimes taken longer (5 weeks! Agg!).

The international standard tracking numbers the Moroccan Post Office provides artisans do not work in Australia. We’ve contacted the Australian post about this and they’ve confirmed that standard tracking does not work in their system. Tracking numbers for expedited shipping options (EMS, DHL, FedEx) are the only numbers that work.

Even though tracking numbers do not work, 100% of the items artisans have shipped to Australia arrived safely. If there is ever a problem with a lost order, our partners at the Moroccan Post Office have the means to help us trace it for you.

Do you have any other questions about Morocco, artisans, and Australia? Comment below or write to us at Hello@theanou.com!

Introducing Anou’s Artisan Leader Mentors!

The key to the long-term success of the Anou community depends on whether the artisans and artisan leaders can develop the vision for their own community’s future. As we’ve written before, the more artisans are in control of managing Anou, the more experience they’ll gain in overcoming obstacles. This struggle creates the foundation for artisan leaders to evolve the community as their market changes in the years to come.

While all this makes sense on paper, it gets a bit blurry on a practical level. Many of the challenges artisans will face developing the Anou community are likely to be completely new and very complex. For example, how will artisan leaders continue to maintain and build a collaborative culture amongst themselves and their community? How do they better understand and respond to their customer’s needs and concerns? How can they deal with rapidly increasing sales volumes and improve the community’s logistics?

The answers to all of these will come to the artisans leaders with time. But they shouldn’t have to go at all their future obstacles alone. In fact, there are many successful leaders in Morocco that have already overcome many of the challenges the artisans will soon face. So why not put these leaders in touch with artisan leaders to help mentor them as they continue to build Anou’s community? Starting late September, this is exactly what we are going to do.

Over the past two years, I have been fortunate to meet amazing entrepreneurs in Morocco, many of whom have since become my go-to people when I am need of advice or support. Two of them I believe can be an equal resource to artisan leaders and have excitingly volunteered to become mentors for two artisan leaders.

TFatim_Biaz_1he first mentor is Fatim-Zahra Biaz. Fatim-Zahra was a management consultant in Paris and worked for a wide range of multinationals and focused on areas related to customer experience. Today, she is the founder of the New Work Lab in Casablanca, the most successful co-working space in Morocco. Fatim-Zahra has agreed to meet with Rabha Akkaoui once a month to discuss and share their respective challenges and successes within their businesses.

Hmall_largeThe second mentor is Kamal Reggard. Kamal is widely regarded as the most successful tech entrepreneur in Morocco. After studying and working in the US, Kamal returned to Morocco and soon after launched Hmizate.ma (a daily deals site) and then eventually Hmall.ma, the first e-commerce market place in Morocco. Artisan leader Brahim El Mansouri will meet up with Kamal once a month to discuss their respective challenges and successes. Brahim will also be interning for the day at Hmall.ma, helping out where ever needed to learn how the most successful e-commerce marketplace in Morocco operates.

We’re excited to have the immensely talented duo of Fatim-Zahra and Kamal working alongside Anou’s artisan leaders as mentors. By sharing their experience and wisdom, they will ensure that Anou’s artisan leaders can address the most challenging problems that will come their way in the coming years.

A huge thanks to Kamal and Fatim-Zahra for their support of Morocco’s artisan community!

Anou’s Community Led Structure

Summary: Starting on October 1st, Mustapha Chaouai of Association Nahda (http://www.theanou.com/store/9) will become the Anou community’s second director. This is one of the most important steps in ensuring that the Anou community is always led and managed by Moroccan artisans. The post below discusses Anou’s current and future community structure in detail and why it is so important.  

In January 2014 we officially transferred over the operations of Anou’s online store to leaders within the artisan community and wrote the following on our blog:

“While Anou can now sustain itself independently, can it grow, adapt and thrive independently? Can Anou’s artisan team, with some members who lack even an elementary education, develop the vision required for Anou’s long-term success?”

In the months after Anou’s artisan leaders took responsibility for managing the operations of the online store, there was a mix of excitement and worry. We were excited because, well, the site didn’t implode. We had our fair-share of issues (e.g. failing to follow up orders, wrong orders shipped, poor communication between artisans, leaders and even myself, among others), but it was clear the artisan leaders could manage the Anou community as it was. Realizing our long-term vision of making Anou fully artisan run was tangible for the first time. But we quickly sensed something was off.

Growing Pains?

A lot changed as we moved from 2013 and into 2014, namely that the community nearly doubled in size. The issues we were experiencing after the handover in control turned out not to be just growing pains, they were red flags that the Anou community wasn’t structured in a way which could handle any more growth. If we grew any larger, the problems we experienced wouldn’t melt away, they would be exacerbated.

During a meeting with senior members of the Ministry of Handicraft, they said to us that it was great that Anou was fully artisan run but were skeptical of Anou’s impact since it only reached a couple of hundred artisans. They asked us whether Anou could truly remain artisan managed while having an impact on 1.3 million Moroccan artisans. We understood their skepticism. Ultimately, we don’t want to scale for scaling’s sake, but we cannot create equal access to markets for Moroccan artisans if Anou remains as a small niche community.

The easy answer to this is to simply bring in outside help, whether it be more fair-trade middlemen or volunteers, to scale Anou. But anything that isn’t truly artisan led is not sustainable. The solution to this can only be found within the artisan community itself.

How the Anou Community Has Operated

Brahim El Mansouri, the Anou community's first artisan director.

Brahim El Mansouri, the Anou community’s first artisan director.

Since the beginning of 2014, our structure has been pretty straight forward. Brahim El Mansouri, a woodcarver, served as the director of the Anou community and was the point person for almost every action of Anou. Payments, trainings, outreach, were for the most part managed by Brahim. In addition to him, there were trainers Rabha Akkaoui, Mustapha Chaouai, and Kenza Oulaghda who handled trainings and follow up visits. If a new artisan requested to be trained, or an artisan needed some additional in-person help, Brahim would send out one of the trainers or go himself. Lastly, there was myself. I managed quite a large number of roles, but if I had to pick a title, it would be most akin to a community supporter. I principally oversaw how Brahim and the trainers were doing and would step in to advise when something was amiss. I also dealt with the community’s customers and would simply relay comments, requests and complaints of customers back to Brahim, who would then be responsible for addressing them. I was prohibited from calling artisans myself and had to work through Brahim, who would then address any issues that came up himself or delegate it out to the trainers. This was important because it provided Brahim the crucial experience grappling with and solving the common problems the community faced.

Community Structure August 2014

But this is where the cracks emerged. Brahim could really only handle so much in addition to his work as an artisan and apple farmer. My job turned into constantly reminding Brahim of all the things he had to do, and then occasionally jumping in and take over certain problems because they’d might not ever get addressed. The issues weren’t major, but they clearly demonstrated that if changes weren’t made, the artisans weren’t going to be able to scale the community any larger. We needed to rethink how Anou’s community was organized.

The Challenge of a New Leadership Structure
To create a structure where Anou’s community could scale while remaining artisan led, we needed to find a way to enable existing and future trainers to step up and help manage Anou. The current trainers, Rabha, Mustapha and Kenza, were ideal candidates simply because they have clearly demonstrated their commitment to growing the Anou community. However, at our size there isn’t enough work or funds for four director positions, and at this point, it is too difficult to ask a trainer to work part-time because a) they would never get the opportunity to understand all the operations of the site, and b) it would just be another person for Brahim to manage.

Instead, what became clear is that we needed to find a way to get the trainers to have the same experience Brahim has had this year managing Anou. We discovered that the ideal situation would entail a trainer becoming the director for a set period of time; something along the lines of a director-in-training. If all the trainers had the same experience managing the operations of the site, the trainers would be that much better in supporting the director because they will have a fuller understanding of director’s needs. No longer would the director have to micromanage each trainer. This would go a long way in resolving the recurring issues at our current size. Most importantly, as Anou grows, there would always be a fully qualified pool of artisans ready to step up and take on the management tasks whenever more full-time work becomes required.

The challenge then was getting Brahim to temporarily step down from his position to let the other trainers rotate through his position. When I first proposed this at the end of 2013, he said he would rather quit than relinquish his role. His frustration was understandable, if it wasn’t for him, Anou wouldn’t exist. Moreover, he worked incredibly hard the first year of Anou and much of that time was spent trying to get the now trainers to even consider trying Anou’s online store.

The reality of the suggestion, I explained to him, is that it is not a demotion or promotion of any sort, it is simply a part of a longer strategy that will enable the Anou community to always be fully artisan run. If we didn’t do this, Anou’s future as an artisan run community would be in jeopardy. With time, Brahim understood the importance of the decision and warmed up to it. With Brahim’s consent, Anou’s community structure was set to take shape.

Anou’s Community Led Structure
At our last Anou leadership meeting that took place last in the beginning of August, Brahim and the leaders agreed that on October 1st, Mustapha Chaouai will become Anou’s artisan director for a period of approximately two months, or until Mustapha is fully comfortable in the role. Brahim will work with Mustapha to learn the ropes and adjust to the pace of working with the community supporter (what has been myself until now). Brahim will then assume the work as a trainer alongside Rabha and Kenza. When Mustapha has fully adjusted, he will then step down, and Rabha or Kenza will step up to assume the responsibilities as Anou’s director.

 

 

 

Community Structure October 2014a

The strategy to cycle trainers into the the director position is one of the most challenging decisions we have had to make since beginning Anou. You don’t have to look much further than the nine months it took for us to develop the structure and agree on it. Yet the struggle will be worth it as the new structure will prove to be the most defining decision of the Anou community.

Since we launched Anou, we’ve been driven by the belief that solutions to complex problems that afflict vulnerable communities can only be developed from within. While everyone can unanimously agree that artisan communities around the world are at risk of disappearing, there seems little consensus on how to revive them. Sadly, artisans are rarely a part of this discussion. Artisans, many say, are too poor, too uneducated, or simply that they just aren’t capable of taking part in defining their own future. On the surface, those people may be right. One does not need to look any further than the fact that every effort to support Moroccan artisans is always initiated and managed by foreigners. But this the root of the problem. If artisans aren’t given the opportunity to step up and take control in addressing their needs, then nothing will change. They’ll remain poor, voiceless and reliant on the good intentions of outside organizations.

Anou’s community structure changes all of this. Now, all Moroccan artisans who are willing to work hard and are committed to the growth of the artisan community in Morocco now have the chance to gain the experience and skills necessary to meaningfully contribute to Anou’s vision. Eventually, the Moroccan artisan community will have a voice and presence strong enough to independently shape their community. This is what we mean when we say Anou is community led and managed.

We couldn’t be more excited for this phase of the Anou community to begin.

What is the Difference Between a Flatweave, Pile Knot and Beni Ourain Rug?

A customer recently wrote in and asked us what exactly is the difference between a flatweave, pile knot and Beni Ourain rug? We thought there would be no better place than to provide a quick answer to this question than on our blog!
 
To talk about Beni Ourain rugs, we first have to sort out the difference between flatweave and pile knot rugs. Flatweaves and pile-knot refer to the way the rug is woven on the warp. The warp is the foundation for every rug and consists of the strings (often white cotton) that run the length of a rug. One of the first steps of weaving rug is getting the warp set up on the loom, pictured below:
 
Photo Credit: Association Tithrite

Photo Credit: Association Tithrite

With the warp set up, the artisans can begin filling out the rug with what is called the weft, the thread which is woven in and out of the warp. Rugs that are solely woven with the warp and weft are flatweave rugs (local dialect: hanbel). In the following picture, a weaver from Cooperative Tisseuses of Ain Leuh weaves the weft (the color thread) through the warp:

image

Photo Credit: Cooperative Tisseuses

The weft is what gives the flat weave its design. Here is picture of the rug from above in its final form:

seller12_product1366_rank1_time1394717417

Photo Credit: Cooperative Tisseuses

However, not all rugs in Morocco are woven this way, nor is it the most common weaving technique. The most common technique is called the pile knot, which has a little similarity with a flatweave. On a flatweave, and artisan threads the weft back and forth through the warp continuously until the rug is complete. On a pile knot (local dialect: zrbya) however, the weft is separated with rows of knots tied around the warp.  It is up to the artisan how many rows of weft they will weave between the rows of knots. Many rugs are woven with a little weft woven in between the knots, which creates a pretty dense rug. Others, like this one, have a little more weft giving the rows of knots room to breath and provides a bit more texture. This picture below of a member of the Women’s Cooperative of Imelghaus illustrates this pretty well. The woman is threading a weft between the warp before tying in another row of knots:

Photo Credit:  http://photosby.si/

Photo Credit: http://photosby.si/

To get more of a feel of this process (which we’ve drastically simplified above), you can take a look at the following video which shows a weaver from the Imelghaus Cooperative tying knots and pounding them with her taska to lock the knots with the weft:

So where does a Beni Ourain fit within all of this? Technically, it doesn’t. A Beni Ourain is not a weaving technique. In fact, a Beni Ourain is always woven in a pile knot weave as described above. What separates Beni Ourain’s from every other rug is where it was woven, who wove it, and its design.  Authentic Beni Ourain rugs are those woven by the Beni Ourain tribe or those who have lineage to the tribe that resides/resided in mountainous areas south east of Fez. Proving lineage is difficult, obviously.  I am sure every vintage rug seller has an elaborate story about their rugs or will claim personal lineage to the tribe, so take it all in with a grain of salt. As for the design, there are no set rules as to what defines a Beni Ourain design but many would agree that their designs are almost always a pile knot rug with a cream, ivory, (read: natural wool) base with distinct black geometric designs.

If you’re interested in having a custom order Beni Ourain style rug, the Cooperative of Imelghaus is becoming the go-to coop that uses Anou’s online store.

For pile knot rugs from the highest rated artisans in the Anou community, check out:

Association Timdokkals

Association Afous G Afous

For flatweave rugs from the highest rated artisans in the Anou community, check out:

Cooperative Chorouk

Cooperative Tisseuses 

For all the other groups, just do a search on http://www.theanou.com!

Have any question you’d like us to answer? Want us to go more in depth on this topic? Let us know in the comments or e-mail us at hello@theanou.com

Common Thread (Part 1): The Design Workshop

On August 6th, designer Sabrina Kraus Lopez (www.sabrinakrauslopez.com) and photographer Simon Mills (http://photosby.si) arrived in the Ait Bouguemez Valley and launched the first part of the British Council/Anou’s Common Thread project. The launch capped several weeks of preparation by Sabrina to create a workshop that would benefit Anou’s artisan leaders, and by extension, the wider artisan community in Morocco.

Design workshops for artisans are inherently difficult to pull off and almost always have mixed results. Generally, such workshops focus on showing artisans a current trend and then dictate what kind of designs artisans should make. While such workshops had their place when artisans had no access to global markets, this is no longer the case. Unchanged, these workshops may help artisans in the short-term but ultimately ensure that artisans remain dependent on the ideas of others to develop their craft in the long-term. Unfortunately, many workshops forget that artisans are designers, too.

In this context, Sabrina’s took an entirely different approach to designing a workshop for Anou’s artisan leaders. Instead of dictating design, Sabrina developed a truly impressive curriculum that integrated Anou’s online tools the artisan leaders were familiar with and taught them new design techniques aimed at enabling artisans to create new designs that were inspired by the artisan’s own imagination, story and community.  The overall goal was simple: get all the artisans to look at everything in their environment just a little bit different than they normally do. The end result was impressive.

Take a look below at the pictures Simon (http://photosby.si) took of Sabrina’s design workshop. We’ll release the artisan leaders’ final designs later in the month!

Sabrina started off the workshop with an introduction to color theory. She then asked artisans to use Pinterest to identify images they liked and use the colors from within the images to create a color boards.

Sabrina started off the workshop with an introduction to color theory and asked all the artisan leaders to use Pinterest to identify images they liked and use the colors from within the images to create color boards.

The artisans then selected five of their favorite colors from their favorite photo found on Pinterest and used them to create their color board.  Here, Fatima of the Imelghaus Cooperative creates her color board.

The artisans then selected five of their favorite colors from their favorite photo found on Pinterest and used them to create their color board. Here, Fatima of the Imelghaus Cooperative creates her color board.

After selecting the images and their colors, each artisan explains their selection to everyone else. Here, Fatima Ouakhoum of the Cooperative of Imelghaus explains her choices.

After selecting the images and their colors, each artisan explains their selection to everyone else. Here, Fatima Ouakhoum of the Cooperative of Imelghaus explains her choices.

After the artisans created their initial color board, they went outside in search of physical objects to complement their color board.

After the artisans created their initial color board, they went outside in search of physical objects to complement their color board.

Kenza Oulaghada of Association Tithrite used a picture of a tropical beach as the source of her color board and then matched it with a pen cap, used battery, and leaves. A huge benefit of this activity was that it helped artisans match colors from their screen to their actual environment -- a challenge many artisans face while using Anou’s online tools.

Kenza Oulaghada of Association Tithrite used a picture of a tropical beach as the source of her color board and then matched it with a pen cap, used battery, and leaves. A huge benefit of this activity was that it helped artisans match colors from their screen to their actual environment — a challenge many artisans face while using Anou’s online tools.

When all the artisans completed their color boards, they used the colors to create a new design idea.

When all the artisans completed their color boards, they used the colors to create a new design idea.

Kenza of Association Tithrite working on a new design.

Kenza of Association Tithrite puts her new color board to use immediately!

And of course, artisans then snapped photos of their color boards and posted them on the Anou community’s Instagram account.

And of course, artisans then snapped photos of their color boards and posted them on the Anou community’s Instagram account. Rabha Akkaoui’s (pictured) color board got a lot of attention on Instagram!

Later, artisans then helped create a color board for all the designs that will be used for the Common Thread exhibition at the London Design Festival.

Later, artisans then helped create a color board for all the designs that will be used for the Common Thread exhibition at the London Design Festival.

After collecting all the colors, Sabrina and the artisans put the final touches on the color board that will be used for all the designs that artisans will bring to the London Design Festival.

After collecting all the colors, Sabrina and the artisans put the final touches on the color board that will be used for all the designs that the artisans will bring to the London Design Festival.

Later on, Sabrina taught the artisans in new design techniques that involved tracing the outline of objects and environments while not looking at the canvas. Here, Sabrina poses so artisans can trace her using this new technique.

Later on, Sabrina taught the artisans in new design techniques that involved tracing the outline of objects and environments while not looking at the canvas. Here, Sabrina poses so artisans can trace her using this new technique.

Sometimes the artisans’ drawings resembled what they were trying to trace…

Sometimes the artisans’ drawings resembled what they were trying to trace…

...other times, not so much! Yet all attempts lead to new and creative ideas.

…other times, not so much! Yet all attempts lead to new and creative ideas.

Sabrina also encouraged the artisans to use this new technique on landscapes as well.

Sabrina also encouraged the artisans to use this new technique on landscapes as well.

Little by little, Brahim El Mansouri’s (Association Ighrem) landscape comes into focus.

Everyone gets a good laugh when their drawing doesn’t come out nearly as close as they think it will!

Everyone gets a good laugh when their drawing doesn’t come out nearly as close as they think it will! Mustapha (right) of Association Nahda, makes fun of all the other artisans on their landscape pictures!

Another design technique artisans explored was to draw out a name, traditional design, or what ever else they could think of and then cut the drawing up and glue it back together all mixed up. Brahim tries this with a Beni Ourain style rug found commonly in his village.

Another design technique artisans explored was to draw out a name, traditional design, or what ever else they could think of and then cut the drawing up and glue it back together all mixed up. Here, Brahim tries this technique with a Beni Ourain style rug found commonly in his village.

For the last technique, Sabrina and the artisans walked out into the fields to try out water colors. Artisans painted their ideas on paper and then pressed the water colors on top of the designs they traced the day before.

For the last technique, Sabrina and the artisans walked out into the fields to try out water colors. Artisans painted their ideas on paper and then pressed the water colors on top of the designs they traced the day before.

On the last day, the artisans had to come up with twenty new design ideas each. Then, they had to pick their three favorites and Sabrina picked the final six designs that will be used for London. We'll reveal the final designs later this month!

On the last day, the artisans had to come up with twenty new design ideas each. Then, they had to pick their three favorites and Sabrina picked the final six designs that will be used for London. We’ll reveal the final designs later this month!

When Orders Go Terribly, Terribly Wrong…

We manage to make mistakes fulfilling orders every now and then. Rarely, we’ll have an order go terribly wrong. This past month, we’ve had two orders go terribly wrong:

A Custom Order Comes Out Completely Reimagined

A customer recently sent in an image of a rug that they’d like to have made and it looked like this:

The artisans started to work on it and submitted a progress photo, which the customer was incredibly excited about:

Then, the president of the Cooperative of Imelghaus, who oversees the rugs as they are made, suddenly left for a week because her sister was having a baby. As a result, the women just decided to wing it without any instruction or guidance and came up with something complete different but totally awesome:

The customer asked to have the rug remade since it was so radically different. But the rug which became known as the ‘mistake’ sold to another customer within a week. It then got two other custom order inquiries a week later. We ended up referring to this order almost everyday during our recent design workshop when discussing the benefit of trying new ideas inspired by traditional designs.

When Rugs Destined for New York Arrive in the  Philippines

Early last month, we had a customer from New York (who we’ll call ‘N’) order two rugs from the women of Cooperative Tisseuses in Ain Leuh and another customer from California (who we’ll call ‘C’) who bought rugs from the women of Association Timdokkals in Ait Bouguemez. Immediately after his purchase, ‘C’ informed us he wanted to change his address.

Since the artisans didn’t ship the order yet, we sent the new address to the artisan director. However, for whatever reason, the artisan director sent the new updated address to Cooperative Tisseuses, not Association Timdokkals. Last week, ‘N’ notified us that his rugs hadn’t arrived. It wasn’t until we investigated the shipment and found that it the shipment had arrived at ‘C’s address did we realize the incorrect address was sent to Cooperative Tisseueses.

When he reached out to ‘C’ about the mistake, he told us that when he received his package (the incorrect one) he didn’t open the package, safely assuming it was correct and had the package forwarded to the Philippines. With the package en route to an entirely different country, it would prove to be incredibly difficult to get them rerouted to the original customer. But since all of our customers are awesome, C decided to keep the rugs so we wouldn’t have to ship them all the way back to New York, and N decided to have the rugs he purchased remade. We’re so sorry that this happened C and N!

Fortunately, the last two terribly wrong orders and two incredibly positive outcomes — phew!

Launching the British Council and Anou’s Common Thread Project

Designer Sabrina Kraus and photographer Simon Mill arrive in Morocco and take a taxi to Ait Bouguemez to begin the British Council - Anou's Common Threads project.

Designer Sabrina Kraus Lopez and photographer Simon Mills arrive in Morocco and take a taxi to Ait Bouguemez to begin the British Council – Anou’s Common Thread project.

This past week we officially launched the Common Thread pilot project in collaboration with the British Council’s Architecture, Design, Fashion Department. Many changes have been made to the project since we initially announced it and we couldn’t be more excited.

The most obvious change is the project’s new name. The project’s vision is to create a truly equal learning exchange between Anou’s artisan leaders and British designers. We believe that this new title perfectly encapsulates this vision. In addition to this change, the British Council completed an intensive search for a designer to take part and selected Sabrina Kraus Lopez (http://www.sabrinakrauslopez.com), a graduate of the MA Material Futures at London’s University of the Arts: Central Saint Martin’s.

Over the past several weeks, we worked with Sabrina, who has completed similar work with artisans in Peru, to flesh out the details of the project. We ultimately decided to break down the project into three innovative parts:

Part One The first part of the Common Thread project will bring Sabrina, Scottish photographer/designer Simon Mills (http://photosby.si), and all Anou’s artisan leaders out to Ait Bougamez for a one week design workshop. The workshop will equip artisans with new design tools that will enable artisans to create designs inspired by their personal stories, community and craft. At the end of the workshop, the artisan leaders will each design a rug using the tools they learned and the ideas they developed during the week. In addition to this, Simon will also lead a photography training session and document the workshop via photography and video. Update: Success! See pictures of the training on our blog or on Facebook!

Part Two After the workshop concludes, the artisan leaders will return to their villages and to weave the rug they designed. Sabrina will then accompany artisan leader Rabha Akkaoui (www.theanou.com.com/store/5) back to Tounfite and will live and work with the cooperative for two weeks. Sabrina will design and weave her own rug using traditional weaving techniques learned from the members of Cooperative Chorouk. At the end of the two weeks, Sabrina will then travel to each artisan leader’s village to check the final progress of the rugs they designed during the opening workshop.Update: Success! read more about Sabrina’s experience in Tounfite on our blog or Facebook page!

Part Three All the rugs that Anou’s artisan leaders and Sabrina complete will then be shipped to London. From there, an exhibition for the Common Thread project will be set up at the London Design Festival this September to display the rugs the artisans created. All the Anou leaders will be flown out to London for the exhibition and will speak about their experiences during the project and the larger vision of Anou’s community. In addition, the leaders will be given personal tours of leading design studios in London and meet leading British designers and design professors.

With such a huge focus on an equal exchange of ideas between leading Moroccan artisans and leading British designers, we simply couldn’t be more excited for this project. Projects like this are incredibly rare and we have to thank the British Council’s British Council’s Architecture, Design, Fashion Department for making this happen. Follow Anou’s blog, Facebook page, and Instagram account for updates as the project unfolds!

Why We Don’t Provide Artisan Contact Information

We often receive messages from visitors on TheAnou.com if we can provide the contact details for an artisan in the Anou community or directions to their shop. Unfortunately, we are no longer able to do this. Several months ago, Anou’s artisan leaders decided against both fulfilling these requests and publicly listing the directions or GPS coordinates to artisans within the Anou community.

It wasn’t always this way. Prior to this decision, we provided directions to anyone who asked. However, we started receiving complaints from artisans that some visitors showed up haggling for discounts or imposing industry standard wholesale discounts. The artisans would ask why we would send such visitors to them when such requests are against the Anou community’s vision? It was a fair question. We tried doing informal chats with people who requested to be put in touch artisans so we could ensure that they knew the values of Anou’s community. This didn’t really work either. This problem culminated when a visitor got entangled in the politics of the cooperative they were visiting due to the often non-transparent practices that can occur with in-person sales. Since we sent the visitor, we were responsible for what occurred. The decision of Anou’s leaders came shortly after.

What we have learned is that customers of Anou’s online store, particularly recurring ones,  do understand our vision and we have had no problems putting them in touch with artisans on their trips. So if you’re a recurring customer of Anou’s online store we’re more than happy to work with you so you can visit artisans within the Anou community or recommend tour agencies that support the artisan community’s vision. If you have any feedback or thoughts, let us know in the comments below!

Anou Gift Cards!

Ever wanted to buy something from Anou for your friend’s wedding but had a hard time trying to figure out what might fit perfectly in their new home? Well, worry no longer, you can now buy a gift card for them on Anou! Even if your friend can’t find the perfect item, he or she can have an artisan custom make something just for them!

Here’s how it works:

1 – E-mail us at hello@theanou.com and let us know that you’d like a gift card.

2 – You can pick any amount that you want to give. For example, a $1.47 gift card if your friend gifted you a paper towel rack that you didn’t even want for your wedding. Or a $10,000 gift card if you know your friend has always dreamed of upholstering his or her new house entirely with Moroccan rugs.

3 – We’ll e-mail you a printable PDF (see below) that you can print. For an extra $2 USD, we’ll print the gift card for you and have it sent from Morocco straight to your friend’s home.

4 – Don’t worry, there are no annoying rules like expiration dates. Your friend can wait as long as they want before they make their purchase.

If you have any questions, just let us know at hello@theanou.com and we’d be happy to help. So spare your newly married friends yet another toaster or dishwasher and give a gift that matters. What are you waiting for?

Select from one of many photos of your favorite associations or cooperatives and we'll put it on the front of the gift card.

Select from one of many photos of your favorite associations or cooperatives and we’ll put it on the front of your gift card.

Screen Shot 2014-07-17 at 01.43.08

The backside provides instructions for how to redeem the gift card. These images can be provided in PDF for or be sent directly to an address you choose!

 

 

Are you a socially conscious riad or tour agency in Morocco? We want to hear from you!

After talking with Anou’s customers during the past several months, we’ve learned that they all share at least one of four characteristics. These characteristics are those who 1) have been to Morocco in the past or are planning a visit, 2) are socially conscious travelers and consumers, 3) have met an artisan in person during a previous trip, and lastly, 4) have a solid understanding of Anou and the fundamental role Anou plays within the artisan community. The more of these characteristics a customer had, the more likely they were to be champions of Anou and help us spread the word about what Moroccan artisans are doing  to create equal access to local and global markets. This sets the framework for how the Moroccan artisan community can best market itself.

Our goal then is to ensure that every socially conscious traveler coming to Morocco knows about Anou and the role it plays within the artisan community here in Morocco.  However, the big question is, how do we do that?

While being featured in the Lonely Planet helps tremendously, Anou’s most effective marketing strategy is when artisans are responsible for marketing themselves. The logic behind this is pretty simple:  almost no one believes that Anou is not a middleman until they hear it from the artisans themselves. Therefore, we must connect tourists traveling through Morocco with artisans, so that artisans can explain Anou in their own words.

As such, during the past several weeks we’ve been reaching out to socially conscious riads, tour agencies, and other businesses to see how we might be able to connect their clients directly with artisans in the Anou community. Our initial conversations have been incredibly promising.

One of the exciting ideas we’ve discussed is providing socially conscious businesses exclusive directories of Anou artisans. Take a look at this sample guidebook we put together for Dar Roumana in Fez. Such guidebooks will easily help riads like Dar Roumana create truly authentic experiences for their guests that go beyond typical, uncomfortable experiences with middlemen in the medina.  In return, these businesses will agree to take no commission from the artisans when their guests visit Anou artisans. In addition, they will help us inform their guests about the artisan community and the important role Anou plays within it. Many of these ideas have been outlined in a draft Memorandum of Understanding that we’re still modifying as we try and find the right blend of idealistic, and realistic, ideas.

If you’re a socially conscious, tourism related business that wants to support Morocco’s artisan community while aligning your business with an up and coming socially conscious brand , we want to hear from you!

E-mail us at hello@theanou.com and let us know why supporting the artisan community in Morocco is important to you! We’ll look forward to hearing from you!

 

There Used to be Candles on Anou

Earlier this year, an Anou artisan leader trained a group of candle makers on Anou. We were excited to bring an immensely popular request online for the very first time. The group posted a couple of candles online during their initial training and after a month or so they made their first sale.

A couple of days later, the candlemakers had not confirmed the order via text. The leaders reached out, but the president of the candle group said there were no problems and that they’d ship the candle soon. Two weeks later, the candle still hadn’t been shipped nor confirmed.

The leaders grew concerned because if an artisan does not fulfill their product, it doesn’t just reflect poorly on the candlemakers themselves, but on the wider artisan community. The leaders increased the pressure on the group, even suggesting that a leader would travel out to their town to send it for them if it wasn’t sent soon.

Eventually, the president reached out and said they wouldn’t send the candle because business wasn’t very strong. All the president had to do was send the order and they would receive their payment, and likely, they would have received more orders from the same customer. Orders, it seemed, was exactly what they needed. The artisan leaders quickly concluded that the president wasn’t motivated. Yet when situations occur that don’t exactly add up, it is a huge red flag that something behind the scenes is wrong.

The Disintegration of an Artisan Business

The leaders kept pushing and eventually the president shipped the order. Several weeks later, a leader received a call from the president saying she no longer wanted to sell on Anou. Instead, she just wanted to focus on selling to tourists and at craft fairs. We were concerned: Did Anou do something wrong? Was there any confusion about how Anou works?

The leaders called a few of the other members to find out what happened. The leaders quickly learned that all the members had quit the group. When the item sold on Anou, the women knew the final selling price for the first time because Anou sends out SMS messages with the final selling price to each person who made the product. Prior, the president simply sold directly to tourists and at craft fairs and had no incentive to tell the women the final selling price.

The president hesitated in sending the candle that sold on Anou because she’d have to pay them now knowing that the rest of the women actually knew the final selling price on Anou. According to the women, prior to Anou they had always been paid a much lower amount than the price now listed on Anou. Yet even after the women were made aware of the actual selling price on Anou, the president still paid them the lower amount that she had always paid them. Feeling cheated on top of a whole host of other problems, they all quit in protest. As of today, the candle group no longer exists and their account has been shut down.

The Need for Transparency

The story of the candle group illuminates the environment that the vast majority of artisans operate in. Many artisans, if they belong to an association or cooperative, are not even aware of what their own group sells their products for, much less the price it is resold for by a reseller. Sometimes, artisans don’t want to even know because it can complicate the fragile operations of the group. Othertimes, artisans say they simply don’t care to know the price. All this combined with low literacy levels goes to show just how easy it is for artisans to be taken advantage all while creating incredibly unstable working environments.

The importance of transparency, as we’ve written numerous times before, is key for the long-term success of Morocco’s artisan community. This is why we’ve prioritized transparency through tools such as our innovative text messaging system to ensure that every member knows what price their work sold for. When each artisan knows the price, they themselves can hold everyone accountable to ensure that they are paid what they agreed to as a group. This tool has been so effective that many presidents of artisan groups decline to work with Anou because it will likely end their position of power and personal profit. It is why the president of the candle group would rather keep selling at craft fairs, to tourists, fair-trade shops, or wherever else that requires little to no transparency within the group.

Is there ever too much transparency?

Despite the success of this tool, it remains imperfect. For example, does every artisan that receives a text message with the price their product sold for understand what the text message means? Did the text even go to the phone they own? We admittedly haven’t followed up on this after every sale. If we did, we are certain we’d uncover some non transparent practices. In fact, there are two groups currently on the site that we suspect are not paying all their members transparently. Unfortunately, we haven’t gathered enough evidence to intervene and shut down their accounts. The question for us is how far should we go to ensure complete transparency? If we followed up every sale or tightened our transparency tools, would we blow up more groups? Do artisans whose group disintegrates end up worse off as a result of transparency?

As you might have guessed, we are huge advocates of complete transparency. There is much, much more we can do to ensure full transparency of every sale, but we have to act carefully.  Ultimately, our ability to create transparency can only go only as far as the artisans’ customers desire it. Even the most non-transparent groups in Morocco would become more transparent if it resulted in more sales. As long as there are easy ways to sell work with little to no accountability, Anou’s impact across Morocco will be limited. And unfortunately, groups like the candle makers prior to Anou will continue to operate with very little incentive to change.

Anou Featured in Lonely Planet’s Morocco Guidebook!

Morocco_travel_guide_-_11th_edition_LargeThe cover of the new Lonely Planet Guidebook features a man in front of an imposing wall of Moroccan ceramics. The artisan-focused photo is fitting because Anou and its community of artisans have been prominently featured in the guidebook!

In order to change the market so it works for artisans rather than against them starts with educating tourists of the positive and negative effects their purchases can have in the lives of the artisans. There aren’t many better ways to reach this group of very important buyers than through the Lonely Planet. We’re incredibly excited to have such a significant endorsement of the work that many artisans have contributed to over the past two years.

Read what Lonely Planet wrote about Anou:

“Inhabitants in Aït Bougomez [where Anou began] are a surprisingly resourceful bunch, note the launch of Anou (www.theanou.com) a new artisan managed online platform that enables illiterate artisans to sell their work independently.

Unlike Etsy or Ebay the resource isn’t open to anyone but is limited to locally-recognised artisans peer-verified by Anou’s leadership team, the benchmark being the quality of the products produced and the motivation of the artisans to expand and develop their product line.

Anou then assists approved artisans in creating a profile page with a biography of each member, photographs of their studio and tools and GPS coordinates of their workshops. Each piece produced is subsequently approved by Anou’s administration team before being posted to the site, ensuring that every product on the site is exactly the item that will be shipped to you. When products sell artisans are alerted by an SMS from Anou and pop the purchased item in the post and, voilà, in two to three weeks your new handcrafted carpet/bag/sculpture will arrive on your doorstep.

It’s a great resource for travellers as Anou’s primary buyers so far are conscientious tourists keen to ensure that they are buying direct from artisans. At the time of writing there were 200 artisans on the site and 35 cooperatives and associations now extending well beyond Aït Bougomez across the whole country.”

The guidebook hits shelves on August 4th or you can buy their e-book online now on Lonely Planet’s online store!

 

The Last Generation of Metalworkers

 

Mohssine Benjalloun’s unassuming metal workshop can be found in one of the most visited alleyways of the Fez medina. The presence of his workshop in such a popular area is unique. Today, Fassi artisans are almost exclusively found in corners deep inside the medina or on the distant fringes of Fez’s suburbs. Rarely are artisans found where tourists often visit. Such popular places are now filled with whom Mohssine describes as “bazarists,” those that sell Moroccan crafts, but don’t make them.

Mohssine recalls that the alleyways of Fez didn’t always look like they do now. Decades ago, when Mohssine was just a teenager, he began learning metalwork from his father. Demand for his and his father’s metalwork was booming, just as much as it had for his grandfather. Before, Mohssine, recalls, artisans earned enough from their craft that they were able to innovate and design new products and ideas. He now only has memories of all the shops that lined the alleyways of Fez which were filled with artisans teeming with work.

Mohssine painfully remembered that as he grew older, the demand for his and all of the other artisans’ craft in Fez began to slow. “Cheap imitations from China,” he says, forced many artisans to close down their shops and either relocated to the suburbs of Fez, or simply quit craft all together.

Mohssine continued to ply his trade even as all the shops around him filled up with bazarists, reselling similar products at prices that barely sustain the artisan that made it. Over time, his sales dried up. Determined to keep his workshop, he began spending less time on his craft. In order to continuing earning an income, he has filled most of his time with making simple board games that he sells for $3. He also handles the occasional repairs for metal pieces people bring to his store and dabbles in cutting glass for picture frames. He earns enough to keep the shop open and to support his family. A picture of Mohssine’s grandfather, who bought the workshop nearly 100 years ago, hangs on the wall behind him where he works everyday.

Everyone once in awhile, when money and time allow, Mohssine pulls out large copper brass sheets, his old metal cutting scissors, and a torch and begins working on the craft he loves. His ten year old son, who often sits at the door of the workshop, watches as his dad begins to immerse himself in building craft by hand. “I hope my son never goes into craft,” Mohssinne says as he begins work on a new lantern, “There is no work left. He is better off doing something else.” His son silently looks on.

Mohssine acknowledges that the artisan sector must change and innovate if it is going to survive beyond his generation. He laughs as he recalls a recent TV documentary he watched about rockets that fly into space, “It takes hundreds of people, a community of people, working together to build a rocket.” The effort and focus of many is what is needed to revive the artisan sector. To build a future where his son can become an artisan, Mohssine says, will take the collective effort of an entire community.

Visit Mohssine’s online store and view his newest item. 

Mohssine talks about his workshop and craft as his son sits at the door and listens in.

A picture of Mohssine in his early years.

A picture of Mohssine in his younger years.

A picture of brass lantern made by Mohsinne's grandfather.

A picture of brass lantern made by Mohsinne’s grandfather.

Two recently made lanterns hang above Mohssine's shop. A board game Mohssine made hangs on the wall.

Two recently made lanterns ordered through Anou hang above Mohssine’s shop. The board game Mohssine makes and sells hangs on the wall behind the lanterns.

Mohsinne's son holds up a lantern recently made by his father.

Mohsinne’s son holds up a lantern recently made by his father for a custom order on Anou.

 

The British Council’s Design Explore Anou Residency Program

british-councilAfter several months of development, we’re excited to officially announce our collaboration with the British Council’s highly successful Design Explore program. Starting this August, the British Council will sponsor a British designer to live and work with Anou’s artisan leaders. The goal will be to exchange ideas, culture and techniques in their respective crafts in order to spur both the artisans and designers’ ability to create new and innovative designs.

At the conclusion of the month-long residency, the artisan leaders will fly to London for one week. In London, the artisans will work with the designer alongside a UK curator to set up an exhibition to display the work they created together in Morocco at the London Design Festival, one of the largest and most dynamic design events in the world. At the festival, the artisans will be able to observe cutting edge design all while sharing their experiences as Moroccan artisans and what they learned working directly with expert designers. During the week, the artisan leaders will visit leading designers in their studios and also meet and exchange ideas with students and professors from the top design schools in the United Kingdom.

This program has an immense amount of potential to benefit the artisan community in Morocco. In order for Moroccan artisan community to truly thrive, direct access to the market isn’t enough. Artisans themselves must also learn how to innovate and create new designs that blend their traditional craft with current and future trends in the global marketplace. Artisans will never be able to earn more than a fair wage if they just continue to work as labor. Through the direct access to market Anou provides, in combination with the one-of-a-kind experience the British Council program will provide the community, Moroccan artisans will be able to make the leap from merely being producers to designers and ensure the sustainability of their craft and livelihood.

If the pilot proves successful, Anou will continue working with the British Council to expand the program next year so it can benefit more Anou leaders and highly motivated artisans. We can’t wait for this program to begin!

Envie d’acheter d’Anou lorsque vous êtes au Maroc? (French)

La question qui revient souvent à chaque fois que quelqu’un découvre Anou est, “Est-il possible d’acheter des produits du site lorsqu’on est au Maroc?”. Malheureusement notre réponse a toujours été non. Mais cela va changer à partir d’aujourd’hui! Vous pouvez désormais faire vos achats sur Anou même lorsque vous vous trouvez au Maroc.

Tout ce que vous avez à faire est de cliquer sur n’importe quel produit et vous pouvez avoir accès au prix en dollar incluant les frais de livraison aux Etats-unis et en Europe AINSI QUE le prix en Dirhams Marocains incluant les frais de livraison au Maroc. Si vous souhaitez acheter un produit, il vous suffira de nous envoyer un e-mail, et nous vous expliquerons les options de réglement. Ensuite les artisans n’auront plus qu’à vous faire livrer votre achat à votre adresse Marocaine.

Tout ce que vous avez à faire est de cliquer sur n’importe quel produit et vous pouvez avoir accès au prix en dollar incluant les frais de livraison aux Etats-unis et en Europe AINSI QUE le prix en Dirhams Marocains incluant les frais de livraison au Maroc.

Tout ce que vous avez à faire est de cliquer sur n’importe quel produit et vous pouvez avoir accès au prix en dollar incluant les frais de livraison aux Etats-unis et en Europe AINSI QUE le prix en Dirhams Marocains incluant les frais de livraison au Maroc.

La première est qu’il existe une forte demande pour les produits marocains au sein des communautés d’expatriés au Maroc. Et même si ces expatriés ont accès aux médinas, ils ont toujours exprimé leur désire d’acheter au travers d’Anou afin de s’assurer que leur argent est transmit aux artisans de façon directe et transparente.

Deuxièment, cela permet de renforcer le rapport de confiance parmi les clients. Lorsque des acheteurs voient que les prix affichés sur Anou sont diférents de ceux qu’on retrouve en médina, ils peuvent supposer qu’Anou se fait une marge sur le prix de base tandis qu’en réalité il ne s’agit là que du prix incluant les frais de livraison aux Etats-Unis et en Europe. Avec cette nouvelle option, tout le monde pourra avoir accès au prix d’achat au Maroc et à l’étranger, ce qui représente une information essentielle pour la transparence d’Anou.

Enfin, la dernière raison est que même si la demande à l’international continue à augmenter, le marché Marocain reste le marché le plus demandeur, en particulier la zone Casablanca-Rabat. Même si cela pourrait en surprendre plus d’un, la demande des produits artisanaux au Maroc ne cesse d’augmenter. Et de plus en plus de marocains investissent dans la préservation de leur patrimoine culturel et leurs produits artisanaux. Il ne sera donc pas surprenant pour Anou de voir ses artisans commencer à livrer une grande partie de leurs ventes au sein même du territoire Marocain et ce dans les 5 à 10 années à venir. Et celà n’est pas vraiment extraordinaire lorsque l’on sait que seul 8% des ventes des artisans sont déstinées à l’export.

24 heures seulement après la mise en ligne de cette nouvelle option pour la livraison au Maroc, une coopérative a déjà réalisé sa première vente. Donc si vous êtes au Maroc et que vous souhaitez soutenir directement les artisans, n’attendez plus!