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.