In sum, we are asking why craft has become cool? Why after all these years of embracing a modern lifestyle and avoiding domesticity at all costs, are we now returning to such traditional ways?

As India Knight rightly states, ‘if you are under thirty and fairly with it, you’ll understand what I’m talking about when I say the craft movement is huge and super cool.’

In the last year alone, the UK has seen a dramatic increase in its involvement with the indie craft scene. Publicity about the DIY culture and articles on thrifty spending have increased the awareness about buying handmade.

To credit one reason for this resurgence would be impossible. A host of factors working together have seen the reputation of craft reform into a hip trend. Craft, once seen as a traditional art form represented in galleries, and a craft fair, something not dissimilar to a country fete, has been transformed into an exciting new movement.

DIY culture in the UK has undoubtably been influenced by the massive movement that is occurring in America. There, craft has really taken a foot hold in the economy. Indie fairs and shows are a regular occurrence, earning America the title ‘The Handmade Nation’.
As we in western countries are effected by mass consumerism, it is no surprise that people are beginning to rebel. One of the main reasons for the craft resurgence is the consumers reaction to mass production. The individual is seeking to escape the homogeny of the masses.

Hand in hand with consumerism comes activism and environmentalism, all equal reasons contributing to the growing craft scene. As the throwaway culture develops, we become increasingly aware of sweat shops and dire working conditions in eastern countries. We are left questioning human rights and wanting to opt out of this lifestyle altogether. Here we see the opportunity for the indie movement to thrive. It is offering local products with little or no carbon footprint. It is produced by the artist or crafter with love and with focus on quality. What it offers is a guilt free conscience for the consumer.

As a result we are seeing crafters become directly involved with activism and the new term ‘craftivism’. Crafters are using their skills as a means to fight against consumerism. They are also crafting for charities such as HIV and Aids, Help the Aged and for those effected by natural disasters.

Financially, crafting is also a good option. Perhaps buying handmade is less cost effective than buying from a chain store, but making your own is certainly a thrifty skill to have. The public are, now more than ever, conscious of what they are spending. With a market for literature such as India Knight’s Thrifty Book, we can be sure that the consumer is re- thinking the benefits of crafting and the importance of domesticity.

The focus on domesticity has not gone unnoticed by feminist groups. First wave feminists were opposed to the woman’s place in the home and discouraged any kind of crafting. Now however, feminists are open to women practicing any skill that they wish. Allowing the woman the freedom of choice, without judgement or prejudice is possibly the most liberal form of feminism since the 1970’s.

Perhaps the largest reason for the revival of craft, in the form of the DIY culture, is the web. The network that the web creates, links crafters all over the world. Never before has there been such a vast amount of communication between crafters and artists alike. The web has made easy the sharing of ideas, the access to handmade goods and the creation of artistic communities. Blogs have created a link to the outside world for many crafters working alone. They have opened up the channels of communication allowing the UK to flourish with ideas inspired by the American craft scene.
The web has informed the public about craft. It has made it accessible to all. It has moved craft into the modern age, creating a new and vibrant art scene.

The revival of craft owes to all these factors, but most of all I think, it owes to the fun and enjoyment experienced by the crafter. The reasons for the expanding crafting scene are all dependable on trends. For example, publicity about the carbon footprint will result in people buying locally. This in turn will benefit the handmade cottage industries. However what we must remember is that crafters would not pursue their craft if they did not enjoy it. The one constant is gratification. Activist manifestos and ecological policies are all , though greatly beneficial, a by- product, secondary to the act of crafting itself. While the public remain loyal to their hobbies and to their love of crafting, the DIY culture will continue to grow.