By S. Luckman

Craft and the artistic economic system examines where of craft and making within the modern cultural economic system, with a particular specialise in the ways that this artistic area is becoming 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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31), the Arts and Crafts Movement celebrated of craft-based production systems. In the face of rapid industrialisation, the Arts and Crafts Movement sought to rekindle the wealth of craft knowledge and, alongside it, they fought against the reduction of labour to production-line or routinised piecework joylessly undertaken by poverty-stricken workers. But the Arts and Crafts Movement was, clearly, uniquely focused on not only a political but also an aesthetic project. Indeed, it is via the iconic prints, objects and home furnishings of Morris & Co.

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. And on the other, younger women are celebrating, albeit in a very twenty-first-century way, precisely the fact that these are their grandmothers’ crafts. There remain lingering possibilities of a re-traditionalisation of gender roles here, of a ‘return’ of professional women to the domestic realm of the nuclear family (see Matchar 2013).

17 In the case of the WI, for instance, famously this includes many in iconically hipster suburbs such as those of inner eastern and north-eastern London (Dalston, Shoreditch), which are attracting a younger cohort of women who via the WI bring together making and activist practices, old and new. For instance, the Shoreditch Sisters have undertaken an embroidery-focused campaign making a quilt of vulva-shaped patches in protest against female genital mutilation (FGM) (Clark 2013). An article describing this campaign in the London Evening Standard was accompanied by images of ‘20- and 30-something’ WI members from the Dalston Darlings, Shoreditch Sisters and Gothic Valley WI branches.

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