5 Ways Most Crafters are Privileged… And What to Do About It

The other week I spent $80 on yarn. True, it was to make an absolutely amazing vest called Goodale by Cecily Glowik MacDonald. (Go check it out here.) A vest that I saw a friend wearing and immediately asked who designed it. I am making it with Tangier by Cascade in Seascape. It is my jam.

However, I’m not exactly rolling in the dough seeing that I just started freelancing. More like skipping among the crumbs as I get the word out… But I bought it. I bought the damn yarn, the damn beautiful yarn. Given my strong support network, I will most likely never be in a situation where I have to choose between food and the electricity bill. And I am forever grateful to be in this position. As in humbled daily by it, because it allows me to sleep better at night as I have a solid place to call home.

But, still, I bought $80 yarn. It is pretty and soft and is doing that really cool stripey thing which non-knitters may think I engineered myself. (Yes!) And, I would expect that most of the people I know in the craft world could also buy $80 of yarn (more on that below). I also think that most of us will never have to make the decision between food and the electricity bill. Or at least not for our whole lives. By this standard, we are all privileged.

So what do we do with this privilege? Act like we don’t have it? Act like we’re a super diverse group of people and just ignore the fact that the majority of us are privileged?

1. First of all, given what the Industrial Revolution started, that we knit or otherwise craft for pleasure is an example of our privilege. Because those without are too busy working to put food on the table to monogram a pillow. (Yes, there are exceptions, but not everyone has an evening free for some crochet and a Netflix binge.)

What we can do about it: We can accept our privilege fully, and in doing so, we may start thinking about doing things for others who are less fortunate. By not trying to ignore it, we can make a difference by the fact that we’re admitting it to ourselves.

2. Secondly, that we have the income (or the credit card limit) that allows us to buy craft supplies at all makes us privileged. Not everyone has the extra money to spend on organic beets and nice yarn. To many, those things are luxuries, well, maybe not the beets so much.

What we can do about it: We can donate what we’re not using to worthy places, because there schools and shelters (along with other groups and organizations) out there where those supplies would be used and loved, instead of taking up space in your attic. Start with this Google search and reclaim your space by allowing your unused supplies to have a brand new adventure!

3. That we have the power to either ignore or kvetch about our privilege means we’re privileged. I know it may sound crazy, but dude, millions of people do not have internet access. And some of those people may live just down the street. In fact, check this out, according to Slate, “less than 40 percent of people worldwide have connected to the internet.” While the reality of this may be lost on your kids, it should be very clear to us adults.

What we can do about it: Stop complaining about our old laptop or shitty internet provider, expecting to get honest sympathy from real grown ups. Donate our old technology (that still works) to charitable organizations who really don’t care if it takes that YouTube video 30 extra seconds to open. Have a look here for where to donate if you don’t know where to start.

4. That we have the option to hoard all those craft supplies means that we’re privileged. It’s not just that we hoard them, but that we don’t have to always use what we bought right away.

What we can do about it: We can make sure that what we have, we use or donate (see above). We can make smarter decisions about what we buy and not just buy something because it’s a good deal. We can use the privilege to make better choices.

5. That we have so many options around us all the time makes us privileged. We’re not making things by hand because we have no other choice.

What we can do about it: We have a learning opportunity in front of us to see how clothes are made as we learn how to construct them. By seeing how much time goes into the process, we can start to question how that top with all the hand beading at Forever 21 is $10. Then, we can learn more about where our clothes are from and support brands that are paying their workers well and caring for their wellbeing when we do buy readymade clothes. We can educate others on the dangers of fast fashion by sharing how long it took to make that top. Opening this dialogue can really make for some interesting conversations.


This is just a short list of the many ways our community holds privilege.

And as crafters and creatives, I think it’s important to also be mindful of what we’re consuming while making things by hand. And therefore we should use the lessons that we learn from crafting and creating to help others become more aware of so very many things we take for granted. And there are ways to do so that aren’t annoying, just like in #5, talking to someone about how you made that scarf or skirt. Doing so creates dialogue, which can change minds, which can change behaviors.

ETA: I decided to write more about this issue; therefore, you can see Part 2 here and Part 3 here.

The Riot Grrrl Manifesto, Craft, and Community

The amazing Alien She show that has been traveling* around the United States just opened at the Orange County Museum of Art. In reading an article about the show, which is stupendous and I highly recommend seeing, over at Fast Company (this article), I clicked over to the link for the Riot Grrrl Manifesto, which is here.

Then I wrote this over on Facebook, which also belongs here, too.

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The original Riot Grrrl manifesto by Kathleen Hanna from BIKINI KILL ZINE 2, 1991 [is] good reading and mega inspiring. Although I saw (and had some) a lot of early RG stuff, I hadn’t read this until today.

While some of it is on the angsty-side, there’s a lot of good points, which were much more needed 20 years ago. This is my favorite:

“BECAUSE we are interested in creating non-heirarchical ways of being AND making music, friends, and scenes based on communication + understanding, instead of competition + good/bad categorizations.”

I kind of feel like we did that with craft, y’all. I know we differ on whether the craft resurgence came from RG origins, but we created a very inviting scene once upon a time, one that still exists. We showed up for each other and collaborated and owe a lot to what RG fought for and sweated over. (Well, them, and thousands of other feminists prior!)

I am proud to be in a community that helps others grow and succeed, one that celebrates the good fortunes of others, instead of taking them down. I feel lucky to have found craft when I did and know I owe a lot of what I have due to timing and little else. I am grateful to have met some incredibly awesome people down this road, people whose work I greatly admire and am lucky enough to call friends and peers.

So, I guess my next question is, what are we going to do next? xx

*You can see me in the show if you go! I was one of the people the incredible Faythe Levine interviewed for Handmade Nation. While my interview didn’t make it to the film, I was well chuffed to see that my photo pops up in the related photostream, yeah!

Threads of War, moving south, and other adventures

Sometimes, even though you’ve been online since the beginning of the century, you turn away from the internet. Not to shy away, not to disappear, not to bunk off without a trace. When I got back from tour with Kim and Leanne in late October I was tasked with putting together the final touches of Threads of War at Artspace, which was an exciting process, but definitely a learning one.

Having this opportunity to try my hand at curating was an invaluable experience; therefore, I am both thankful for the kind support of the Artspace staff as well as the willingness of Hanne Bang, the Combat Paper Project, Bonnie Peterson, and Alexandra Walters to share their amazing work for this show. While I have shown my own work in a number of shows over the years, it’s a whole different experience to have someone else agree to share their work with you!

Here are a few photos of the show itself and its installation.

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All of these photos were first shown over on Instagram, should you wish to follow me over there.

The show will be up until January 31st. Olisa Corcoran, who participated in Hanne’s In a War Someone Has to Die project and stitched a handkerchief that is in the show, has written a lovely blog post about it here.

As for what’s next for me and my brand of craftivism (as while I did start the whole shebang, I’m definitely not the only one writing about it, which you can see here), well, first of all, in just a few weeks I’m moving to Durham, North Carolina! While I was installing Threads of War and then hanging out with my little niece and nephew over Christmas, I realized that I needed to go back home and make the time to do more freelance projects (editing, writing, making), all the while embedding myself in a smaller (yet thriving) arts community.

I’m excited about this next chapter in my life, and while doing 365 projects may seem like all the rage these days (and why not- they’re great), I’m going to let this blog and my work grow in ways that it needs to. I want to take more photos and write more essays and make more things. I want to get back to where I was before 4 years of spending 1.5 hours a day commuting, although I’ll miss crossing the Potomac on my way.

I want to produce work just like the quote below goes, not because I aim to get anywhere in particular. (The photo below is from @wrdsmith’s feed on Instagram, which is simply amazing!) I want to dive into things deeper as opposed to trying to learn 10,000 things at once and really “aim” for “good,” instead of aiming to know all the things. I’m looking forward to the journey and would love to have you come along with me.

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The Book Tour is here!

So the book tour with Kim Werker and Leanne Prain is here! I’m writing this at Révielle Coffee in San Francisco, where I am still nursing a wicked good cup of coffee and just finished an amazing salad that was as big as my head.

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I’m staying with an old friend and his partner in the Castro, a neighborhood that I had forgotten how much I loved. The photo is of their dog, who very kindly greeted me and showed off his tricks yesterday when I arrived. AND there’s no humidity, which is kinda like heaven.

I’m super excited to get this tour started, and if you’re in or near San Francisco, Oakland, Portland, Seattle, Vancouver, Toronto, Philadelphia, Boston, New York City or DC, come see us and see hi. Full details here!

On this tour, I’ll be talking about Craftivism: The Art of Craft and Activism, craftivism in general, why applied craft is important, among other things.

When I get back, I’m going to start focusing more on a few PTSD research projects and the Voices of PTSD Quilt, along with getting the Threads of War show I am curating at Artspace (Gallery Two) in Raleigh, which will be up from December 5 – January 31, 2015. I’ll also be giving a talk at Judith Heartsong’s salon on October 30; feel free to email me for details.

Also, if we met at Crafty Bastards and you participated in my Craftivist Swap,* I will be getting your pictures up soon! It was so great to meet you!

Check out the awesome body positive messages that one participant put up on university mirrors! Heck yeah!

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*I asked for people to pledge to do craftivist acts (or general acts of kindness) in exchange for free craft supplies!

Act #14 of 48 Acts of Historical Craftivism, Alexis Casdagli’s F*ck Hitler Cross Stitch!

As life keeps conspiring to get in the way of 48 weeks of historical craftivism, this is now 48 acts. Still chuffed and determined to do this, though, so keep posted!

This week I’m talking about a piece of work that has made the rounds of various blogs, but I think is still important to include in this project, Alexis Casdagli’s F*ck Hitler cross stitch, which he made as a POW in WWII.




After six months held by the Nazis in a prisoner of war camp, Major Alexis Casdagli was handed a piece of canvas by a fellow inmate. Pinching red and blue thread from a disintegrating pullover belonging to an elderly Cretan general, Casdagli passed the long hours in captivity by painstakingly creating a sampler in cross-stitch. Around decorative swastikas and a banal inscription saying he completed his work in December 1941, the British officer stitched a border of irregular dots and dashes. Over the next four years his work was displayed at the four camps in Germany where he was imprisoned, and his Nazi captors never once deciphered the messages threaded in Morse code: “God Save the King” and “Fuck Hitler”.

This subversive needling of the Nazis was a form of defiance that Casdagli, who was not freed from prison until 1945, believed was the duty of every PoW. “It used to give him pleasure when the Germans were doing their rounds,” says his son, Tony, of his father’s rebellious stitching. It also stopped him going mad. “He would say after the war that the Red Cross saved his life but his embroidery saved his sanity,” says Tony. “If you sit down and stitch you can forget about other things, and it’s very calming…

Most of all, though, Casdagli recorded his anger and frustration in cross-stitch. He had picked up sewing skills from elderly relatives and, when Red Cross parcels began arriving (containing hairbrushes with secret compartments that concealed maps, which the prisoners annotated with intelligence and smuggled out), he acquired materials. He also borrowed more threads from his old Cretan general friend – this time from his pyjamas.”




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The amazing thing about Major Casdagli’s work is that it was displayed in four separate camps where he was imprisoned, but his captors never caught on to the secretly stitched messages. He also ran a needlework school for 40 officers inside the camp. His work illustrated his thoughts and feelings, and was undoubtedly a major source of strength in surviving his four years as a POW.




“Having run a textiles company before the war he knew a little about sewing, so when he was given a canvas by another prisoner he started stitching for something to do.”

Alexis was held along with a Greek general, from whose dress jacket Alexis pulled the threads he used to stitch the sampler.

“The Red Cross wouldn’t give care packages to captives until they had been held for over a year ,” said [his son,] grandfather-of-five Tony.

“So my father had to pick threads from items of clothing. Eventually he was able to ask for thread and canvas in his packages.

“He was so good at it the Germans had him giving classes to his fellow officers, but the Germans never worked out his code.”




The BBC did a wonderful interview with his son, Tony, which you can listen to here.






Also, the Washington City Paper was kind enough to do an interview with me the other week! Yay!