Craft and the Creative Economy by S. Luckman

By S. Luckman

Craft and the inventive financial system examines where of craft and making within the modern cultural economic system, with a particular concentrate on the ways that this inventive quarter is turning out to be exponentially because of on-line shopfronts and home-based micro-enterprise, 'mumpreneurialism' and downshifting, and renewed call for for the home made.

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120). The residue of this locational shift remains with us today and in no small part underpins the gendering of crafts (female) and the emerging maker movement (male). The links with the freer, more politically charged and (discursively at least) commercially independent fine arts also helped set the scene whereby post-1968 craft played a key part in New Age and hippie movements with their growing environmental awareness and increasing interest in alternative lifestyles. The parallels between the search for meaning implicit in this so-called second wave of interest in craft and the current third moment are worth noting, especially in light of the current downshifting to home-based micro-enterprise explored later in this book.

Perhaps not surprisingly, the links between peaks and troughs in interest in making articulated at the start of this chapter are invoked by another member in The Guardian interview in generational terms, with the current generation of ‘20- and 30-something’ members looking back to their grandmothers to re-connect with skills of making, otherwise by-passed by their baby-boomer mothers (Williams 2013). 36 Craft and the Creative Economy So, on one hand, as we shall see in the next chapter where I explore craft’s status as a creative industry, there is an ongoing desire, especially on the part of professionally trained craft practitioners, to distance ‘serious’ studio craft from the amateur end of the spectrum.

1, p. 3), and clearly resonates with current consumer demand for uniqueness and a sense of provenance in an age of seemingly faceless capitalism and mass production. The term ‘designer maker’ also potentially allows for scaling up when a business meets with success; like studio potters and other more traditional models, a designer maker can continue to be the intellectual property owner and creative face of a business, even while their designs may be handmade by hands not their own but under their supervision.

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