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Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft

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Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft Jacqueline Wallace A Thesis in the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication) Concordia University Montreal, Quebec, Canada June, 2014 © Jacqueline Wallace 2014 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Jacqueline Wallace Entitled: Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft and submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Communication) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _________________________________________________Chair Dr. Brian Gabrial _________________________________________________External Examiner Dr. R. Gajjala _________________________________________________External to Program Dr. N. Rantisi _________________________________________________Examiner Dr. J. Pidduck _________________________________________________Examiner Dr. K. Sawchuk _________________________________________________Thesis Supervisor Dr. M. Soar Approved by __________________________________________ Dr. Jeremy Stolow, Graduate Program Director June 11, 2014 __________________________________________ Professor J. Locke, Interim Dean Faculty of Arts and Science ii ABSTRACT Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft Jacqueline Wallace, PhD Concordia University, 2014 This dissertation is a feminist ethnography of the contemporary craft scene in North America. It examines do-it-yourself (DIY) networks of indie crafts as a significant cultural economy and site of women’s creative labour, moving beyond existing research, which has historically focused on craft as primarily associated with women’s domestic activity, or as a salon refusé subordinated to the fine arts, or affiliations with turn of the 20th century industrialization. Rather, my research focuses on contemporary craft work as a field of women’s cultural production, informal networks and entrepreneurship—a highly contemporary cultural and economic phenomenon buoyed by the rise of the so- called creative class, a DIY ethic and a broader conception of craftwork as “Handmade 2.0,” underscoring the role of digital media and networked communications in the modern craft economy. By contrasting the global ecommerce marketplace, Etsy, and the work of independent crafters, it offers a significant contribution to emergent debates at the intersections of the gendered workplace, flexible labour and (corporatized) cultural production. Specifically, this research makes three key interventions: a reconceptu- alization and cultural analysis of DIY craft as a Bourdieuian-influenced field of gendered cultural production; a case study and critique of Etsy as a corporatized model and significant marker of social class and distinction; and a feminist cultural analysis of crafty women’s making, connecting, and the precarity of their feminized labours. The research findings underscore the contemporary importance of gendered, informally networked cultural production that must constantly interface with other more entrenched institutions, while also exposing the vast personal and professional networks that female makers as individual entrepreneurs must incessantly nurture to earn esteemed social and cultural capital—both on- and offline. These dynamics require crafty women to play multiple roles in the circuit of culture, and most often for paltry wages and at significant emotional cost. By way of a critical feminist analysis, it concludes that today’s indie craft represents a complex and dynamic web of tensions, discourses and contradictions as women negotiate the material and emotional labours of their multiple identities and investments in the ‘always on’ work/lifestyle environment of the digital age. Finally, by calling for the continued vigilance of feminist inquiry and policy and advocacy work, I suggest pathways for future research as new technologies, social media and economic models continue to evolve and affect this growing sector of flexible forms of women’s creative work existing outside conventional employment structures and social protections. iii ACKNOWLEDGMENTS First, I would like to thank the talented women who participated in my study. By sharing the intricacies of their craftwork and creative aspirations alongside the triumphs and challenges of being an entrepreneur, I was able to gather invaluable insights into their dreams, passions, anxieties and vulnerabilities—all vital aspects of their many roles and commitments they juggle as modern women. They’ve inspired me beyond words. I would especially like to thank Emeline Villedary, whose warmth, intellect and creativity are remarkably enviable, but remain second to the incredible friendship that began while sewing in her shop and has become one of the very joys of my life today. Thank you to my doctoral committee: Dr. Matt Soar, Dr. Kim Sawchuk, Dr. Julianne Pidduck, Dr. Norma Rantisi and Dr. Radhika Gajjala. Special thank you to my supervisor, Matt Soar, for his constant encouragement that began from the moment we met and talked about our shared love of design, his background as a designer turned scholar and my experiences working at Veer. I am grateful to Matt for his ongoing guidance; he has made me a better scholar, taught me to trust my instincts and value my own voice as a feminist and a cultural producer bridging academic and professional realms. His influence is deeply woven into the fabric of this thesis and I am forever thankful for his support. Thank you to Kim Sawchuk for introducing me to many important feminist literatures and instilling a belief that “everything is research,” which opened up my mind to looking at methods and methodologies from a much richer perspective. Also, for opening doors to new networks, including the Fembot Collective. Many thanks to Julianne Pidduck, who provided helpful feedback as part of my proposal committee, and to Norma Rantisi, whom I got to know as part of organizing Angela McRobbie’s scholarly visit in the Fall of 2013, and has come on board largely on blind faith. Thank you also to Radhika Gajjala, whose intricate work I deeply admire and respect. My academic career is far richer for having her in it. I would also like to express my sincere appreciation to Dr. Monika Kin Gagnon, Dr. Peter van Wyck, Dr. Bill Buxton and Dr. Mia Consalvo, as well as Eve Girard and Sheelah O’Neill—all of whom contributed to my time at Concordia and have made the PhD program such a rewarding experience. Thank you to the Department of Communication Studies, the Faculty of Arts and Sciences, and Concordia Graduate Studies for the financial support, without which this dissertation would not have been possible. To my cohort: M.E. Luka, Dave Madden, Constance Lafontaine, and Mélanie Millette, I cannot imagine having a better group of scholars and friends. You’ve supported my work, shared your insights and our “lovefest” bond shall never be broken. Et, un gros merci to Mél Hogan for the never-ending inspiration and friendship. Thank you to Tamara Shepherd, Andrea Zeffiro, Shirley Roburn, Sam Thulin, Brian Fauteux, Renaud Carbasse, Dany Baillargeon, Isabelle Caron, and the rest of the extended PhD gang. I would also like to thank my mom, Charlene Osland for teaching me to sew and instilling a love of craft and learning, and my sister, Ceilidh Osland, for her ongoing love and iv support. My last thank you could never truly express the full extent of my love and appreciation. To my lifelong partner, Benjamin, who has been with me every step of the journey and whose encouragement and love lights my way: thank you, thank you, thank you. v TABLE OF CONTENTS List of Figures ................................................................................................................ vii Introduction ................................................................................................................... 1 Starting-up: my early career ............................................................................... 4 The contemporary craft moment: Handmade 2.0 ........................................ 11 Why study DIY craft? Why now? ................................................................... 16 Chapter outline ................................................................................................... 21 Chapter 2 Literature Review: Conceptual and Theoretical Frameworks ............... 26 Situating craft ...................................................................................................... 28 Cultural economy .............................................................................................. 36 Bourdieu’s cultural field theory ....................................................................... 41 Moral economy and cultural work ................................................................. 47 Feminisms, political economy and cultural production .............................. 52 The aesthetics of cultural production .............................................................. 66 Web 2.0 and participative media .................................................................... 68 Chapter 3 Method and Methodology ...................................................................... 73 Research design .................................................................................................
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