A Reaction to consumerism or a result of new technology and the Web?



Introduction

The subject for my dissertation is inspired by a recent article in the Telegraph titled ‘The woof and warp of the Web; Knitting and other handicrafts are enjoying a renaissance thanks to the internet’. Wanting to research a topic that relates and influences my practice, I became interested in the idea of craft making a reappearance in Britain.

The rise in popularity for the craft world has escalated greatly in recent years. A re-emergence of traditional skills in crafting and domesticity have paved the way for the increasingly ‘trendy’ D-I-Y culture.
Artists and crafts people are embracing the craft of their trade. The process of making is becoming as important as the consumable item.

The trend developing is one of ethical awareness, re-using and re-making. The result is a desirable, well designed object that will be snapped up on websites such as Etsy.com.
The current movement towards a greener, more sustainable living has encouraged home crafts and the re-using of old fabrics and materials.

Conflicting theories exist regarding the reasons for the renaissance of the craft movement. These include the increased use of digital technology, a raised awareness of ethical issues and political movements such as feminism and activism.

We can therefore reflect that the rise in consumerism could be responsible for this re-emergence. Consumerism on mass is forcing a decision; to buy from cheap high street giants or to opt out of the unethical industry.

Crafting is the opposite of high street commercialism. Each item is unique, crafted with care and a direct response to the customers needs. The DIY culture is diverse in its content. The disciplines range from fashion and textiles to illustrated zines and household wares. The work is a reaction from the designer, undefined and unrestricted by mass production.
This gives the public the opportunity to buy work from new designers whilst encouraging them to pursue their own talents. An inexperienced crafter can develop their own skills, creating an object that is of greater personal value.

I also wish to research the way in which new media is promoting traditional crafts and how this new trend is allowing two seemingly different disciplines to work hand in hand.
The impact that the web has had on the craft industry is an important factor when considering its recent growth. An increased use of the web has introduced craft to a wider audience. The Telegraph states, ‘many younger people are using the internet as a place to merge two of their passions. New technology and traditional crafts.’

The growing popularity of social sites such as Facebook and Myspace has encouraged interaction on the web. It is unsurprising that as a result sites such as Rivalry and Craftster have been set up to share craft ideas and projects.
An increase in the use of digital technology has seen an influx in ‘bloggers’. These blogs promote the work of the artist. Not only can the artist share and sell work online, they can also communicate with other practitioners. Blogs and blogging give the designer an opportunity to showcase their work free of charge. Continued communication with other designers becomes an incentive to continue with your own practice.

To address this issue fully, we must also look at the rise and fall of feminism and its active role in encouraging women to embrace craft and domesticity. Third wave feminists are reacting to the ideal of what a woman’s role should be. Many do not feel the need to justify why they enjoy craft. Craftivism, an idea fostered by Betsy Greer, addresses craft and its relationship with activism.
These political and reactionary movements are fundamental when examining the reasons for the craft revival in todays society.

I will also look at crafting in terms of therapy and the benefits of providing alternate hobbies for those living in cities, seeking refuge from fast paced careers. Craft groups such as “Knit and Natter’ and ‘Stitch and Bitch” foster friendships and offer support for individuals with shared interests.

Also important is the accessibility of craft. Can anyone experience the DIY movement or is opting for a more sustainable way of living limited to those only with financial stability?

In this body of research I will address the issues surrounding the re- emergence of traditional crafts. I will be looking at what has triggered this movement and how new technology and the increased awareness of ethical practice has welcomed a trend for a design led DIY culture.

‘ I don’t think you need to distinguish craft by itself: so much craft work is now integrated into visual art and design and illustration. Its more a process than a movement.’ James Gulliver Handcock.

Craft is a skill that we immediately associate with the making of objects. However, now it seems to have become much more. It encompasses design, art and illustration. This new definition of craft is exactly what we are seeing re-appearing in Britain, America and worldwide.

Previously, craft has been a product of artists and professional crafts people. Now it is emerging from the streets. Craft groups are being founded in cities and small communities alike. Teenagers are learning new skills and the modern career woman is taking the time to learn sewing and knitting. Domestic crafts neglected due to a rise in feminism are welcomed back into an ever increasing, ethically aware society.
In addition to the ethical motives behind this movement, craft really has become ‘cool’. With celebrities such as Uma Thurman and Sarah Jessica Parker leading the way towards such a crafting revolution, a younger crowd are eager to follow suit.

‘DIY is the punk rock of the craft world.’ Andrew Wagner, founding editor of Dwell Magazine.

This quote sums up the new movement of craft. It is exciting, fresh and full of energy. It is about creating new and individual work that is desirable to a wider market. It is also fundamentally about making a living doing what you love.
The new crafter produces work that appeals to them. This turns consumerism on its head. Crafters are not primarily working with the consumer in mind and the products are not restricted by limitations of mass production.
This, in effect, is what makes the re-appearance of craft so exciting. As well as encouraging crafters to make a living from selling their work, the DIY movement also encourages individuals to try making for themselves.

‘For me crafts are an extension of a DIY lifestyle. If someone is excited about something I make, I tell them that they can do it themselves also, just to remind people that they can do everything, that anythings possible’. Jenine Bressner .

We must ask what has contributed to this gradual if not sudden rise in the practice of craft.
Alison Burke from ‘American Craft’ suggests that the revival of craft is a result of, ‘fresh teaching in art schools, a sophisticated consumer and a government that is supportive of creative industries.’

This generation of crafters have graduated from universities that have a very liberal attitude when referring to the arts. Craft, textile and illustration courses are diverse in content and encourage the student to pursue their own interests and influences.
However not all crafters are young graduates. Keen knitters and stitchers are now encouraged to be proud of their talents. Knitting groups of all ages and backgrounds are being established and flourishing in all areas of the world. A growth in support for all things creative has seen a definite influx in these groups in recent years.

An initiative in Britain to promote Craft was the Craft Councils 2007 mission to ‘make craft exciting and relevant to a broader audience.’

In one year alone we can see the results of this initiative by the development and growth of craft in Britain. The Craft Council promotes craft through fairs such as Origin and Collect. These fairs raise the profile of craft and close the boundaries between itself and fine art.

‘The flagship UK Craft event left me feeling a bit cold last time I went in 2006. I thought it was a tad too up market and whilst there was a lot of great work on display it felt a bit like a gallery or actually a museum. It felt dead. To them craft is undertaken by a privileged artistic few and the arbiters of quality are the gallery curators.’ James, Folksy Blog.

This article continues further to imply the benefits of the internet and our ability to chose a more accessible form of craft. It is important to realise that the DIY culture we are discussing is not the high brow craft displayed in galleries. It is work that is accessible to the public by craft fairs, websites, and blogs. It is produced by everybody for everyone.

In recent years we have seen a rise in the number of groups that promote and encourage craft. The groups vary from organisations that have a community based manifesto, to those who are working for themselves, promoting their work.
In the USA there is a wealth of such organisations, so much that it has been tagged the ‘Handmade Nation’. An abundance of crafters with an ‘anti-industrial, anti institutional and highly entrepreneurial manifesto’ ( The New York Times) take part in regular craft fairs that are community events.



Fairs such as the Renegade Craft Fair and the DIY Trunk show are common events in the USA. These showcase a whole array of designers who are making a living from their own skills.






This opportunity to show work is invaluable to any designer. It is also an excellent source of inspiration and a place to network with other crafts people.
Britain does not yet have a culture like this in place that so fully promotes entrepreneurial business between craftspeople. However, craft organisations and fairs are starting to emerge throughout the country, especially in cities such as Glasgow and Manchester where there is a growing indie community. Glasgow recently held ‘Made in the Shade’ craft fair that is now to be held annually.

Other new British craft fairs are Clutter City in Norwich and Manchester Craft Mafia Markets. Bust Craft fair, in collaboration with feminist magazine Bust, is also coming to London. Debbie Stoller founder of Bust, promotes craft and feminism. She started the first Stitch and Bitch group in the USA.





The Craft Mafia founded in Austin, Texas have three organisations in Britain; Nottingham, Manchester and Glasgow. The Craft Mafias are promoting crafty businesses within the city. They are an initiative that encourages crafts people to make and sell. These are the first of this nature in Britain and will hopefully be influential in establishing a thriving craft scene.

‘We want to help kick-start the new wave of . . .
. . . entrepreneurial crafters sacking the rat race and finding other ways to make a living . . . people crafting en masse and in public . . . anyone hiding an inner crafter . . . and everyone who just loves buying, finding or making something that bit different.’ Manchester Craft Mafia Website.




Crafting in public or within a group has been a large contributing factor to the re-emergence of craft in Britain. Taking craft into the public has raised its profile and made it clear that, yes, it is okay to craft! It has also encouraged younger generations to learn new skills. Working within a group has made a once, singular hobby now something that is sociable and therefore more enjoyable.

The Make Lounge in London has been set up with this in mind. It is an establishment that holds workshops related to crafting techniques. Founded by Jenny Pirtle, it was a response to a lack of existing workshops in London. Pirtle wanted to participate in an activity that was the opposite of working on her computer. Herself and other career women alike were in need of a respite from everyday life in the office. Not only is it a good place to learn new skills and meet others, it is a retreat and a surprising therapy to counteract the strains of fast paced careers.




Pirtle states: ‘craft is fashionable and exciting right now, I wanted to create a space that reflected that.’

The Make Lounge is an attractive proposition for young women. As the Daily Mail points out, ‘a girls night out that was once a glass of pinot grigio, is now seeing 20-30 somethings spending their evenings learning a host of new pursuits.’

In Britain, knitting groups have seen a huge increase in recent years. Knitting of all the crafts has experienced the largest renaissance.
John Lewis reported it sold 93,000 balls of wool in a week. Many knitters have referred to knitting as the new yoga, likened for its relaxing qualities. Various factors attribute to the mass knitting revolution and we will look further at this in following chapters. The groups which foster this craze for knitting range from ‘knit and natter’, to more subversive groups such as Cast Off.

Knit and Natter originates from the Stitch and Bitch groups established in America by Debbie Stoller. They are an opportunity for knitters of all abilities to meet and discuss their work. It encourages the crafter to proceed with their work and it gives reason and incentive to finish projects.

Cast Off is a knitting group founded by Rachel Matthews and Louise Harries. They vow to ‘never knit in the same place twice’. Cast Off aims to introduce knitting to a wider audience by taking it out into the public. As a result Cast Off is at the forefront of media attention. They challenge where it is acceptable to knit. The Savoy, the London Underground, local bars and pubs, have all been visited by the Cast Off group. They are questioning the publics perception of knitting. They aim to, ‘promote the art of knitting as a healthy, contemporary and creative pastime, through a club dedicated to craft’.

Groups like Cast Off, Knit Knit (a knitting zine) and ‘Knitta’ (extreme knitting, graffiti tagging) recognise knitting as a rebellion, a statement against feminism and consumerism. Gerard Allt of fashionable yarn shop, ‘I Knit’ values the benefits knitting has on the community and on personal achievement.

‘Knitting is all about love and giving, and community....and the other thing is that knitting is really empowering: it teaches you that you can make something for yourself. There’s no feeling of satisfaction like looking at something that you’ve made yourself.’ Gerard Allt.

This chapter has only briefly touched upon the growing amount of crafters, organisations and groups that are emerging as part of the indie craft movement. It is important to reflect that these craft groups are unlike the art and contemporary craft world we have been used to in Britain. This DIY culture is a fresh, new approach to craft that is exciting and infectious. It is as much a reaction to consumerism and politics as it is to entrepreneurialism and design. In the following chapters I will look at the main contributing factors to this re- emergence of the craft world, the DIY Culture and indie craft fairs. I aim to discover why the USA and Britain really are turning into a ‘Handmade Nation’.

The growth of the indie craft movement is a result of an increased need for handmade products. This is due to the growing conscience of the consumer and the lack of individuality offered by products on the high street. The pull of the handmade object is great. With spending slowing down due to the credit crunch and with the environmental results of buying from sweatshops becoming evident, consumers are looking locally for their buying needs.

Cottage industries and locally produced crafts are growing in popularity. What we have seen happen with organic food and drink, we are now seeing occur throughout the entire market place. Aside from the eco-friendly reasons that see us buying locally, and from the conscious decision to rebel against consumerism, we actually prefer handmade products.
This, in large part, is because of the personal nature of the object. We cannot equal the feeling of well being that comes from buying work from the artist, or food from the maker. Neither can we ignore the feeling of satisfaction and happiness that comes from receiving a handmade gift. With this taken into account, it is hardly surprising that we are eager to snap up the products at handmade gift fairs.

‘I think that in this day and age, people are seeking out something that is authentic and personal. There is the opportunity for a customer to meet the person who has made the item they are purchasing.’ Deb Dormody. Handmade Nation.

Buying from the high street can be stressful. It very rarely gives the satisfaction that comes from buying an individual piece. Handmade shops and fairs offer the chance to communicate directly with the crafter. Pieces will often have a story or history and conversing with the maker will allow this story to unfold.

‘All craft is personal as it is about interaction and being involved with your work. Everybody has a story behind why they started.’ Amy Spencer.

Craft is personal for the maker as well as for the consumer. Working on a design or a project will have taken time and effort. Each piece will have a story. There will be reasons as to why it was a certain colour or pattern. Every item that is handmade is different as each one is made individually. This is something that cannot be re-created on the high street. Crafters are creating work for other people to love and appreciate. Handmade products are the exact opposite of the throw away culture.

Craft is a very personal way of creating art and design. A craft will often have been passed on through family generations. Each crafter will have an individual memory of learning their skills, whether that be from a grandparent, a mother, or a friend.

‘ I think my mother thought it was time I learned to knit and decided she would teach me, just as her mother had taught her. This was a secret craft, there was a technique that needed to be learnt.’ Amy Spencer.


Handmade craft does not have a common marketplace in the UK. We do not yet have such a thriving community of craft fairs like those appearing in America. The most accessible place to purchase handmade is on the web via sites such as Dawanda and Etsy. Here we can communicate with the crafter by email but unlike a craft fair we are unable to meet face to face. Blogs are also a great way in which to find out about new crafters producing hand made products. Bloesem is a European blog that positively promotes handmade wares. A recent post features a handmade christmas gift guide.



(Picture from Bloesem Kids Blog)


With handmade products only being available online, it is easy to see why the web has played such an influential part in the renaissance of the DIY culture. Craft fairs in America such as Bazaar Bizarre and Renegade, are a perfect way in which to develop the indie community. They are a fun and lively collection of stalls where artisans and crafters meet to chat and sell their work. The relaxed atmosphere of fairs and trunk shows welcomes a fresh new approach to shopping. It can be sociable and creative. Spending money on craft is exciting. Each time you purchase something, it is a little piece of artwork, a little part of someone’s story. Giving money to an art student or dedicated crafter is much better than, as India Knight states,‘lining the pockets of some giant greedy-guts corporation’.

In India Knights new Thrift Book; Live Well and Spend Less, she talks about the value of the handmade gift.

‘One of my favourite recent birthday presents was a beautifully knitted Lurex scarf. The friend who knitted it for me had some little Cash’s name tapes made that said, “Made for you with love by Alison” in red curly writing. The woman’s a lawyer; she doesn’t have much spare time. She could have gone anywhere and spent any amount on my present, but it wouldn’t have made me feel a fraction as delighted’.

In sum, these are the reasons why we are either buying handmade or deciding to produce our own beautifully crafted items. If we receive a handmade present we feel special. We feel we deserve it. Satisfaction like this can only come as a result of receiving a hand made item. I know that I will be pledging to shop handmade this year. We should all perhaps do this in a hope that we can change the world with small steps towards stopping mass consumerism.

http://www.buyhandmade.org/

Mass production, Consumerism and the rise of an ethically conscious society


‘I believe that the simple act of making something, anything, with your hands is a quiet political ripple in a world dominated by mass production...and people choosing to make something themselves will turn those ripples in to giant waves.’ Faythe Levine.


Many crafters involved with the DIY culture are concerned with the political implications of mass production. It discourages individuality and self sufficiency, increasing the growth of the throwaway culture and the excessive consumable lifestyle.
Although a proportion of crafters create their work only through a desire to make, many are in fact aware of the counter culture forming due to the growing DIY movement. The re-appearance of craft in Britain has occurred, in part, because of this strong reaction to mass production on the high street. It is also effected by the increasing ethical awareness of the consumer.

‘ Craft is political. We’re not just trying to sell stuff. We’re trying to change the world. We want everyone to rethink corporate culture and consumerism.’ DIY Trunk show Craftifesto.

This is an example of the way in which progressive crafters are thinking. The recent rise of consumerism in high street stores has taken over. Cheap fashion encourages a throwaway culture that society is becoming accustomed to. This does not invite an individual reaction to fashion or to trends. The consumer is buying into a style and is not being encouraged to create one for themselves. As this becomes more apparent, the disconcerning shopper may realise that he or she no longer has a unique style that is distinguishable from the rest of society. This is where the DIY movement can offer something new.
The ‘craftifesto’ of American based ‘DIY Trunk show’ highlights the ethics and ideas behind the craft movement.

They believe that ‘craft is powerful’. Buying handmade is more rewarding than buying mass produced high street goods.

That ‘craft is personal’. Receiving a handmade gift made by some one you know has greater sentimental value.

‘Craft is political’. This relates to corporate culture and the unethical production of goods.

Lastly, ‘craft is possible’. This invites everyone to enjoy craft. It encourages beginners and professionals to create their own. It also fosters friendships and communities between crafts people.


In sum, this manifesto illustrates the essential theories that originated with the DIY craft movement. It also clarifies the differences between this new exciting culture and the craft world that existed before it. This new craft movement embraces everyone, it encourages the beginner. It instills a feeling of community and friendship between the makers and the consumers. It is a rebellion against consumerism.


‘Formula fashion stifles the growth of alternatives, pushing down prices and making it uneconomic for small makers to compete in the market.’ Kate Fletcher.

As Kate Fletcher points out, consumerism is at fault concerning the difficulties faced by the craft maker. Fletcher brings to our attention how our own relationship with fashion and textiles has changed over recent decades. We have nearly gone full circle from the domesticity of the 50’s, making our own clothes and re-using those of our siblings, to buying items that we are not invited to alter in any way. It is only now that we are starting to see the re -emergence of a trend for making things ourselves.

‘Ready made garments appear to offer us the promise of something better than we could make ourselves. But when we buy into this perceived perfection we forgo an opportunity to learn how to make things and become better skilled.’ Kate Fletcher.

High street fashion does not encourage us to foster our creative abilities. It entices us to buy into a style that we feel we could not recreate ourselves. We are beginning to wear a uniform of the masses and this is exactly what DIY craft is standing up against. The increasing growth of the craft scene is a reaction to this. Crafters are offering a way to move against this homogeneity of corporate consumerism and to welcome a renewed sense of individuality.

It is evident how this new trend for craft has developed. The consumer has become aware of ethical issues on the high street but also wishes to express themselves with what they wear and what they have in their homes. As Debbie Proctor, founder of ‘Wrappers’ states, ‘everyone is fed up with having the same things. Globalisation may mean lower prices but in its wake comes a loss of individuality.’

As a result of not finding that gift or accessory on the high street, the consumer is looking on the internet. This will give them a wealth of choice, introducing them to sites such as Etsy, a handmade market place. Crafters are answering this need and gradually shoppers are using these websites as their first choice for handmade goods.

‘Etsy is the first site I visit if I want to buy someone an original (as in, often, literally one of a kind), lovely, bargainous present. Everything about Etsy rocks.’ India Knight. The Times.

Etsy, an online craft market place, established in 2005 by Rob Kalin was a response to the growing amount of crafters in the USA. It was essentially somewhere to sell his work. Now it is the place where many crafters and designers sell their work worldwide. It is democratic way for ordinary people to buy and sell artwork. Kalin hopes Etsy will ‘promote sustainable products and begin to change peoples consumption habits...When you buy something new from Etsy, there’s a story behind it’. Financial Times.

This is an attraction of buying handmade. The story behind the product, who made it, and why, all contribute to the personalised gift.
Etsy is not only one of the largest craft online marketplaces, but it offers a custom made service called Alchemy. The shopper can request an item and crafters can bid to produce it. This service is changing the rules of consumerism in todays society.

Other websites offer similar concepts. Threadless, an apparel website based in the United States offers designers a chance to see their work printed onto t-shirts.



Images from Threadless.com

‘What sets Threadless apart is the way it determines which t-shirts it sells.’ Mark Tutton for CNN.

Threadless encourages designers to send in artwork which will be posted on the site. The users of the site then vote for their favourite designs. This not only ensures that the designs will almost definitely sell, but it again turns consumerism on its head.
As a result, the consumer gets a well designed t-shirt, often designed by established illustrators such as Jon Burgerman. The print will be a limited addition, therefore maintaining the individuality sort after by the modern shopper.

World of Good is a online store created by Ebay. The site is similar to Etsy, and Ebay itself, but sells fair trade goods from around the world. Selling products such as crafts, stationary and fair trade foods, World of Good is embracing the needs of an ethically conscious society. It shows a definite change in corporate consumerism if a consumer giant such as Ebay has realised the potential of cornering a part of this market.

Political opinions about consumerism lead to an increased awareness of ethical issues. This awareness has increased in recent years with emphasis on the carbon footprint, sustainable materials, and the realisation of continued slave labour. A culmination of these issues has made the consumer conscious of what they are buying. Shoshana Berger of Readymade magazine agrees. ‘Not only are people recognizing that mass produced stuff is unimaginative, they’re also feeling guilty about supporting unfair labor practices.’ Times U.S.

Where the consumer is able, they are choosing to buy ethically. This has had a huge effect on the DIY craft movement.
Abi Silvester, editor of website craftycrafty.tv believes that ‘a renewed focus on sustainable living has opened many people’s eyes to the possibility of making their own clothes or recycling.’
Recycling and making clothes is obviously not the only answer to ethical issues. However it gives the individual a sense of resourcefulness and as part of a larger scale protest could have damaging effects on growing consumerism. The public are wanting to buy from the crafter. They can see how and where the products have been made. Buying at craft fairs cuts down on the carbon footprint and promotes a community spirit. The consumer is happy with their purchase knowing they have supported cottage industry and have shopped with a clear conscience.

The financial and economic state at present has the media talking of the ‘credit crunch’ and the ‘recession’. Now was never a better time to become involved with the DIY culture. The consumer still wants to shop, but they want quality over quantity. Handmade items are an alternative to expensive branded gifts.

The public is eager to try craft for themselves. World of good website reported that the intake for sewing classes was on the rise. Designer labels are now being replaced by quality yarns.

‘But these days my treat of choice comes from a yarn shop in north London, not from the Chloé concession in Selfridges, and if I want to give someone I really care about a present, I may actually — gasp! — make them something....So: feeling poorer, feeling greener, minding more, realising that you don’t have to be a professional to be able to make things with your hands and that making things with your hands is unexpectedly and wonderfully rewarding.’ India Knight. Times Online.

So it seems that thrift and DIY can be rewarding in many ways. Not only does it support small business’, it promotes a greener lifestyle, is economically wise, and in turn benefits the consumer.
It is true to say that making your own is not always the cheapest option. Wool is costly and buying handmade is thought to be the equivalent of buying organic. Buying handmade is not a cheap alternative. It is however the ethical alternative. It allows the consumer to invest their money in something that will last. The product is well made and unique. A handmade gift will be appreciated and cherished.

If the handmade way is not always the cheapest and easiest way then why are we seeing such a growth in todays society. In Freddie Robins words, ‘So are we revolting against mass production and the loss of individuality? I hope so.’

Craftivists : The effect of activism and feminism on contemporary craft


The new wave of craft has bought with it fresh ideas about feminism and activism. Not only are crafters enjoying their practice, they are also enjoying the opportunity to actively make a difference. Crafting offers an opportunity for making political and social comment. When crafting, the individual can be rebelling against feminist conformity, contributing to charitable causes, or offering an alternative to mass production. Whatever the reason, this new generation of crafters not only have a conscience, but are seeking a greater importance for their work.

‘ Each time you participate in crafting you are making a difference, whether it’s fighting against useless materialism or making items for charity...it is possible to go beyond banners, email petitions and chants as ways of fighting for a cause you believe in. You could have a knit-in, paper- mache puppets or teach a crafty class for kids.’ Betsy Greer.

Greer coined the term ‘craftivism’ while studying a Masters degree in London. It was an idea that incorporated her love of knitting with her role as an activist. Individuals that were disillusioned with rallies and demonstrations, or believed them not beneficial, could put their skills to good use. Greer joined a craft group and in return discovered she was still fulfilling her desire to promote activist causes.

‘ I started thinking about ways to knit for the greater good, and I realized that right now, right here at this very moment in time, the act of craft is political. In a time of over ease and over use and over spending I can take back the control over how my life is lived.’ Betsy Greer.

With new theories about knitting (and crafting) for the greater good, there has become a surge of interest in crafting for charitable causes.
A growth of such craft groups is largely due to the internet, thus allowing a wider range of people to access and become aware of the ideas that these groups support. Charitable crafting groups have emerged naturally as a result of craftivism.

‘Mother Bear’ is a project that is supported by Greer. The charity donates hand knitted bears to children infected with HIV or aids.




Pictures taken from http://www.motherbearproject.org/


Melissa Dettloff of Crafters for Critters sells handmade items online, the proceeds contributing to animal rescue organisations.

‘..there was such a good response that I kept it going. It started in early 2004 and now we have raised close to $20,000 and have benefited over twenty organisations.’ Dettloff.

Dettloff, a crafter in her spare time started Crafters for Critters as a one off idea to raise money for animal rescue. The idea of supporting a charity in this way was so successful that charities have developed in similar ways all over the internet. Afghans for Afghans, Warm up America and Blankets for Canada are to name but a few. These organisations encourage the crafter to produce work for a worth while cause or purpose.
Crafting charities are where activism works hand in hand with craft and practice. The crafter can become actively involved with the charity whilst pursuing their own work.

Activism within the indie craft movement does not always take such a literal form. Many groups offer the crafter an opportunity to demonstrate political opinions through a diverse range of events or communities.

Cast Off, a knitting group based in London allows knitters to be subversive. Rachel Matthews, one part of the initiative behind Cast Off, knits objects such as woolen grenades. These and similar items feature largely in her book ‘Knitorama’. Knitting such items forces the knitter to question what their work is about. It raises the profile of the craft and declares that it does not remain a domestic pastime, dispelling any connotations with unsightly knitted garments.
Cast Off is about the freedom of knitting, and the freedom to knit in any location without judgement. The members are activists for their own cause. They stand up for the right to knit in public.



(Pictures from Cast Off website)

‘Sometimes we are overtly political. When we went on anti war marches our banner said ‘Drop stitches not bombs”. But by knitting in public we are saying something too. By doing it in public we are challenging what is seen as nerdy.’ Rachel Matthews. The Independent Review.


Another example of using craft as a political vehicle is Sonja Todd of London based company Threadymade.

‘I did a cross stitch protest outside Downing Street for the campaign for electoral reform. I got members of the public to stitch a sampler saying, ‘Make my cross count.’ Sonja Todd, Guardian.

Stitching and knitting are peaceful but thought provoking ways of getting a point across. It is a non aggressive rally of sorts, with care and time taken to convey a message into stitched form.



With the domestic connotations related to crafting, it would be impossible to avoid theories concerning feminism. Domestic crafting, originally a woman’s role in the home, was abandoned with the first wave of feminism. Women wanted to break free from their stereo types. They wanted to buy new and pursue careers that left little time for craft within the home.

The trend of the indie movement has made craft ‘cool’. It is no longer seen as out-dated, but as a way of expressing ones style and ones skills. Crafting has skipped a whole generation but now we are seeing a return to tradition. We are learning the skills from our grandparents or we are joining classes that teach, nurture and encourage craft.
Third wave feminists are open minded toward this progression, They believe true feminism allows women to pursue craft without judgment. Women should not have to defend their interests.

Debbie Stoller, founder of Stitch and BItch and feminist magazine Bust feels strongly about the way that knitting and crafts are perceived.

‘It seemed to me that the main difference between knitting and, say, fishing or....basketball, was that knitting had been traditionally done by women. As far as I could tell, that was the only reason it had gotten such a bad rap.’ Debbie Stoller.

Stollers views on feminism reflect a wide demographic. They encourage knitting and craft but still remain loyal to their feminist ideas. When asked why the popularity for knitting had grown she commented, ‘its a craft, its very pleasurable, its satisfying , its a great way to spend your time. Its just a fun thing. Our grandmothers have always known this and we’re just learning it again.’

This is true of Stollers groups Stitch and BItch. The groups promote knitting as an enjoyable, satisfying pastime that can foster friendships. Feminist view points aside, the fundamental reasons behind this renaissance of craft is enjoyment. Beliefs and ideologies may influence the crafters work or their original motivation for taking part, but, in truth, it is their love of the craft that ensures their commitment to every project.

The return to domesticity and looking after ones house has been encouraged by the uprising of handmade, household wares. The range of products available to the consumer for their home, from both the high street designer and the handmade seller, has become vast in recent years. Textile designers such as Cath Kidston have cornered a niche in the market that encourages house proud women to embrace their domestic instincts. A compromise has been offered to the career women. Females such as Kidston and Martha Stewart allow the working woman to have a home that appears full of homemade goods and domestic bliss, but in truth is only the product of discerning shopping and good taste.





(pictures from Cath Kidston website)

But these trends have grown and women have once again begun to appreciate and practice craft for themselves. Kidston has recently published a book giving detailed patterns and instructions on how to create the ‘look’ for your own home.
With the growing cost of products and the looming implications of the carbon foot print, women have taken it upon themselves to embrace the lifestyle of their grandmothers.
Activists and feminists aside, as Glenna Matthews, professor at the University of California suggests; ‘escaping from their own monotonous day to day life may be an activist venture for some woman.’