Craft is complicated, especially in a world where over consumption and wastage is prevalent.
The definition and connotations of craft is constantly evolving. According to Amanda Thatch, Craft echoes through every part of our modern world, regardless of whether it is considered ‘new’ or ‘old media’. Craft is ultimately defined as “a process, a product, a tradition and a skill set” (Thatch, 2019, p .244) (Routledge, 2015) .
Due to society functioning in a heavily automated environment, the term ‘idealistic’ comes to mind when associated with modern day ‘craft’ (Cummings and Worley, 2009). “Global, economic and technological developments and competitive pressure force organisations to continually adapt to their environment”. Thus craft still exists in our modern world, it has just been adapted to meet the demands of our growing population; evolution (Brenninkmeijer, 2015, p.148).
Modern day understandings imply there is definitive beginning and end when it comes to craft, and the process itself is fluid and cyclical; ‘streamlined’. With our world so over commercialised, and the “Web 3.0” providing people with a plethora of information, it ultimately provides one with the opportunity to pursue and ‘master’ more than one craft. There is no denying that Consumerism has influenced people’s understanding of craft, where ‘wants’ are outweighing ‘needs’; and the consequences of society’s impatience is leading to the sacrifice and decrease in the quality of one’s craft, known as ‘overconsumption’.Ultimately it raises the question on whether divided attention positively leads to a productive outcome, when it comes to specialising in a craft (Brenninkmeijer, 2015, p.149)?
A major example of overconsumption of ‘craft’ is within the fashion industry. “The fashion industry involves a very long and complicated supply chain, which is associated with large consumption of water and energy, use of chemical substances, water and air pollution, and waste production”. The ‘trend’/ season led industry has impacted people into ‘buying more clothes than they need’, thus “treating clothes as if they were candies”, “disposable” goods that can be “thrown away after just seven or eight wears”. Hence with our world so commercialised, people have been influenced to believe that they need a new “trendy” alternative, despite the functionality of these crafts remaining the same for thousands of years; newness and relevence proving a problematic issue for our environment (Remy et al. 2016) (Jacometti, 2019, p. 2)
Ultimately, Craft does not always have to translate to a tangible object. An example of craft through movement is expressed through the famous exercise method known as Pilates, founded back in the 1920s by Joseph Pilates. Joseph Pilates based pilates around key principles being “breath, concentration, centring, control, precision, and flow”, with an aim to build “complete coordination of body, mind and spirit”. Thus, Craft is the way in which “ art and design meets functionality” (Lately, 2001) (Pilates, 1920).
Hence, Craft is the way in which we choose to communicate, and tell stories, craft is the way we choose to move and manipulate our bodies. Arguably, to excel at craft, it requires one to be consumed and committed to something long term.
Ultimately Craft is culture. Craft is an ideology. A microcosm for society at the time. Craft is not solely a linear process; it can be collaborative, or independent, as well as tangible or intangible.It’s also important to recognise that the meaning of craft is not necessarily expressed through one definition; and upon further research, what one considers as craft can be highly subjective based on the individual.
REFERENCES
Brenninkmeijer, Veerle et al (2015).To Craft or Not to Craft: The Relationships Between Regulatory Focus, Job Crafting and Work Outcomes.Career development international 20.2 (2015): 147–162. Web. https://rmit.primo.exlibrisgroup.com/permalink/61RMIT_INST/4t5l5f/cdi_crossref_primary_10_1108_CDI_12_2014_0162
Jacometti, Valentina (2019). Circular Economy and Waste in the Fashion Industry. Laws 8.4: 2–13. Web.
Latey, Penelope (2001). The Pilates Method: History and Philosophy. Journal of Bodywork & Movement Therapies 5.4: 275–282. Web.
https://rmit.primo.exlibrisgroup.com/permalink/61RMIT_INST/4t5l5f/cdi_gale_infotracmisc_A84224888
Routledge, Clay (2015). Nostalgia : A Psychological Resource. London: Taylor & Francis Group. Web.
Stonorov, Tolya (2017). The Design-Build Studio : Crafting Meaningful Work in Architecture Education.Taylor & Francis Group.
.http://ebookcentral.proquest.com/lib/rmit/detail.action?docID=5050744.
Thatch, Amanda (2019). Craft, Textile History, 50:2, 244-248, DOI: 10.1080/00404969.2019.1655939 https://doi.org/10.1080/00404969.2019.1655939
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