Crafting sustainability: unpacking economic, environmental, and social challenges in craft-making practices

Craft has recently been presented as a response to crisis, in particular referring to climate change and conflict (Niedderer et al 2024), it has also been associated with degrowth as a response and an alternative to capitalism, recognizing the prioritization of human engagement over machine control, the de-commodification and dealienation of labor (Vincent, Brandellero 2023; Patel 2024; Kroezen et al., 2021), capable of instigating radical organizational, societal, and ecological transformations (Schaefer and Hallonsten, 2023) and prefiguring alternative economic models (Schiller-Merkens, 2022). However, is the work of a craft-maker really sustainable from an economic, psychological and environmental point of view? Or is it subject to self-exploitative forms of work, dynamics of production and mass consumption, touristification, and job precarity too, as it is common for creative jobs (Towse, 1992)? Using a multidimensional definition of sustainability applied to craft (Søraa, Fyhn 2017), which includes economic, environmental and social/cultural sustainability, the paper addresses if/how craft is/can be a more sustainable option in terms of environmental impact, job meaningfulness, well being, and economic viability. The article studies the sustainability of craft of the craft community of Bornholm (Denmark), a particularly significant craft ecosystem since it is the first island in the world and the first region in Europe to become a World Craft Region. The paper uses a qualitative methodology based on semi-structured interviews, a focus group, and a co-creation workshop organized with the craft community of Bornholm (September 2024). Results link the challenges of craft-making work, such as innovating tradition and developing a personal style, with the structural precarity of the CCIs, lack of funds and grants to support creative careers, and the difficulties of having income stability also due to the seasonality of tourists on the island. Critical aspects also involve the environmental impact of craft production, in terms of procuring materials, mass consumption, waste and reuse; and also struggles on a psychological and social level related to personal well-being and stress. Participants highlighted several potential pathways for improving sustainability in the craft sector. These include creating communal workspaces, improving access to funding, fostering collaborations with other industries, and providing education on sustainable practices. Institutional support, both economic and logistic, was seen as critical to enabling craft makers to continue their work in a way that is both economically viable and environmentally responsible.