Titlebook: Craft and the Creative Economy; Susan Luckman Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited 2015 craft.creative

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,Introduction — Craft and the Contemporary Cultural Economy: The Renaissance of the Handmade,on of merchandise was sold globally through the Etsy.com website - the ‘eBay for the handmade’ - launched in 2005 to specialise in handmade and vintage items, and handmade supplies.. And Etsy.com is just the highest-profile tip of a much larger iceberg that includes a plethora of online retail sites

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Craft Revival: The Post-Etsy Handmade Economy,and DIY … have redefined their images and social stigmas with progressive agendas of emancipation, individualization, sub-cultural identification and anti-commercialism as well as emerged as a multibillion-dollar industry’ (2013, p. 127). That is, ‘Crafts are currently being rediscovered not only as

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Crafts as Creative Industry, corporate planning, research and development. This shift has included (as we have seen) a growth in the aestheticisation of everyday life, the rise of recreational and lifestyle sectors of the economy, and the emergence of copyright industries as drivers of global market share. Alongside this econo

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,Craft Work and ‘The Good Life’: Creative Economic Possibilities, be conservative or backward looking; progressive and forward thinking; radical or resigned; in short, a site of contestation over both political containment and possibility. Despite this complexity, attitudes to the politics of craft tend to be polarised around similar dichotomous extremes to attit

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,Conclusion — Craft Micro-Economies: More Than ‘Cool Capitalism’,idence of this everywhere. Thus, through processes of diffusion and defusion, it is more than capable of not only bringing resistance under its umbrella but in so doing actually strengthening its own hegemony. This is what he argues occurred in response to the countercultures of the 1960s which puta

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Die Narben im Antlitz der Himmelsk?rperand DIY … have redefined their images and social stigmas with progressive agendas of emancipation, individualization, sub-cultural identification and anti-commercialism as well as emerged as a multibillion-dollar industry’ (2013, p. 127). That is, ‘Crafts are currently being rediscovered not only as