Today in the West the use of the term 'craft' is restricted to describing professional practitioners who work to aesthetic ideals derived from, and subordinate to, contemporary art theory. Despite claims to universality and cultural relevance, craft as conceived and promoted by the craft establishment is becoming increasingly marginalised in the West. There have been recent high profile 'defections' by previously stalwart promoters, both individuals and educational institutions. Applications to study some craft subjects are currently so low these are now considered 'at risk'. To provide a foundation for a critique of this situation, this paper will examine two practices that display superficial similarities to contemporary craft but which operate within alternative conceptual frameworks. The consequences these have for their level of social engagement and contribution to sustainability will also be considered. The results will be compared with contemporary craft, with the aim of explaining the extent to which contemporary craft carries a 'social deficit' in its theory and practice which has led to its marginalisation. The paper will conclude by considering means by which contemporary craft in the UK could attempt to readdress such a 'social deficit'.