From The Experts: Louisa Pacifico, founder of Future Icons

Of the makers you work with, how many are selling abroad?

I would say it’s at least 15% to 20% are avidly selling abroad, although they tend to be the more established makers. I can think of two who get a lot through First Dibs. First Dibs has been amazing for premium craft artisans. They do charge, but their reach and reputation, especially in the US, is second-to-none. And the prices people can command there…

Talking of selling in the United States…

When you’re selling to America it’s very, very important to make sure you are labelling your pieces correctly. If you’re trying to prove artistic classification to avoid tariffs then you really have to make sure you have the right documentation. There are shipping companies offering that service, but it’s one to watch for.

Have the new tariffs put off the makers you work with? 

The people who have been trading for years have found ways around it, but I think there a lot of difficulties for emerging makers. Often, in order to get recognised outside of the UK, who have to do a show. And, for various reasons, the cost of getting over there, of the show itself, of shipping, of the time it all takes… it’s just unobtainable really.

What would your advice be? 

I always advise people to start with their home territory and grow from there. With any business in the early years, and I include myself in this, there’s a lot of trial and error. You don’t have much money so you want any errors you do make to not be so costly. But look at what’s around you. Speak to local studios, get involved in open house weekends. Speak to local shops. People who are buying like to support local makers. Look at the craft beer world, or bread. People are always hunting for things from local breweries and bakeries. And it’s the same with art and craft: people want to support the others in their area.

How would you advise a maker who does want to start doing shows as a way of selling abroad? 

Work out what the right one for you is. You might choose Maison Object in Paris because it’s easy to get the train across and a lot cheaper than the United States. But you need to do your research to make sure it’s the right kind of show for you. Use the internet, look at their social media and the people who have posted about attending. And if you've got the opportunity, always visit a show before you invest in it.

What kind of things should people look for when researching or visiting? 

It all depends on what they're trying to gain out of it for their business. It’s about looking at the audience. Who is going there is it? Is it big manufacturers, or retailers? Is it galleries? Is it private collectors? And if you are trying to attract private collectors, what is the demographic of these collectors? If you’re looking for high net worth individuals, it might be as simple as seeing how much a fair charges on the door. Events like Masterpiece, PAD, Frieze… they charge a fortune. But for a seller, that thins out time wasters. I would also look at a show’s marketing reach and the kind of press attention that they get. If you’re looking at speaking to retailers at a show, find out what kind of retailers will be there. Will they be retailers who meet your minimum order?

Are there any hidden costs that someone who is new to doing fairs wouldn’t know about? 

I charge a flat fee, but not everyone does. So you’ll have to see if you’re being charged for lighting, for electrics. A plug socket can cost you £200. Depending on the fair, you might be charged for your walls, your flooring, any beams you might want across the top of your stand, any lighting brackets. Perhaps you’re looking at £90 per spotlight. There might be charges for installation. Then on top of the costs of doing your show there could also be a charge for being included in the catalogue. You hear horror stories about people being locked in to future shows. Artists and makers can be quite bad at reading their contracts. Read your contracts.