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This paper analyses the working lives of contemporary craft makers1 The term “maker” is used to refer to those working with a contemporary aesthetic in craft disciplines including, but not exclusive to, the following: automata, basketry, blacksmithing, book art, ceramics, furniture, glass, jewellery, lettering, metalwork, mosaic, paper, printmaking, puppetry, stone carving, textiles and wood. in England and their contributions to the country's cultural sector, and reflects on the enabling role of public sector investment in maximising this economic contribution. First, the types of project and role undertaken by contemporary craft makers are investigated, with a focus on makers who adopt portfolio working patterns. Identified trends include role diversification and an increasing embeddedness within creative industry supply chains, with makers increasingly providing services as well as products and working to supply other businesses as well as consumers. Second, the distinctive contribution made by makers working in this way is analysed, and the centrality of craft knowledge, skills and working practices to innovation, user-centred design and the creation of expressive value is asserted. The value of portfolio working as a business strategy is articulated both in terms of enhancing makers' commercial sustainability and creative growth, and of producing significant contributions for industries including architecture and design, tourism and heritage, advertising and events, and film and television. Third, factors influencing makers' successful adoption of portfolio working patterns are identified, with new recognition given to the valuing of creative dynamics between collaborative and solo working, and between different elements of a portfolio practice. Tensions and challenges for portfolio working makers are also elicited, with the need to achieve an appropriate balance between opportunity, income generation and creative focus identified as a critical challenge for many. The influence of public investment in higher education and professional development programmes under the New Labour government is considered, in the context of a changing UK political climate. As craft, design and the wider cultural sector respond to economic, social and political change, the paper provides a timely analysis of shifting patterns of work and creativity in transition to a new era.
Yair et al. (Wed,) studied this question.