Local authorities have also sought to leverage the brand power of local heritage as a means of distinguishing their cultural offer from those of their competitors. Like the Dorman’s pots, they will endure as material survivals, through which future generations of museum-goers can refashion heritage. Confronting the disregard for the immaterial heritage of industry and its intersection with material culture, Neil Brownsword took Anthony Challiner to the 2015 Gyeonngi International Ceramic Biennale in Korea: one of several countries that grant bearers of intangible cultural properties the status of National Living Treasures. Brownsword’s work has a tangential relationship to traditional approaches to regeneration. He strives to revivify immaterial heritage and change attitudes, rather than promoting tourism or making it more appealing to investors. Working at the intersection of making, place, and heritage to reimagine communities, Emily Hesse and Brownsword remake themselves in the process: they are placemakers extraordinaire.