Throughout history, being a creative has been associated with overcoming, misunderstanding, and difficulties. Today, young people are more concerned than even about earning a minimum wage to survive within a cost of living crisis. How can artists continue to create authentic art in the context of the current global economy? And how can artists continually create unique products in both an over-saturated market and rapidly changing industry?
Today, consumers love to buy from the mass market, and it is increasingly difficult for independent creators to gain notice. The topic of conscious consumption is indeed increasingly pertinent, however, there are simple reasons why people would choose to buy an ordinary vase instead of a handmade contender, or mass market jeans instead of those hand-sewn by a private manufacturer. It ultimately comes down to price and availability.
Emotions also play a strong role in dictating shopping habits, and people are both increasingly busy, and increasingly looking to save money; people crave a quick and effortless dopamine boost from purchasing. A beautiful shopping centre and a huge red “sale” sign often does the trick. Most people are simply not interested in art, nor conceptual fashion. They are interested in discounts and quick-fixes. This is the power of the mass market. It is consistently becoming quicker and more tailored, to the point that the very act of shopping can become addictive.
Insight Into Creative Education & How Students Fear The Job Market
Whilst studying, myself and an independent small group of masters’ students decided to do a survey amongst our other students and ask them how well their choice of faculty corresponded to with their realization desires. Each of us sent questions to a diverse cohort of our university friends, spread globally. Our surveying showed that 26% of respondents entered faculties that were unrelated to their creative passions, due to a genuine desire to study something different. 13% of respondents said that they simply entered their faculty intending to pass, and obtain a degree. Others preferred not to answer.
More than 50% said that they’d never see a career for themselves in the subject they studied. More than 30% of them turned out to be musicians, perfumers, fashion designers. Their faculty choice, in their own words, was often influenced by family pressures or fears of poverty. They worked outside their studies as service staff, managers, or cashiers, trying to save money to start their own businesses. 9% of students interviewed admitted that they’ve faced mental health problems due to working and studying within a field they don’t like. 52% of students of business and management faculties confessed they hoped they were taught how to build business, but said jestfully that they were rather taught how to be a corporate slave.
Education in the creative sectors is typically diminished or deemed unimportant. With the cost of university level education being so elevated in most countries, many families and parents don’t value its worth, and don’t see it leading down a clear and reliable career path. Some respondents to this survey spoke about how they constantly heard the refrain that “Art is only a hobby, and that regular jobs gives stable salaries”.
The Artistic Conundrum
The conundrum for many evolving creatives seems to be centred around how they can monetize their creativity. It would seem that after studying in the creative fields, there isn’t a clear direction as to how to generate an income from artistic passions, and many students are left unable to start their professions due to financial constraints. Instead, they resort back to more mainstream occupations, not using their studies, nor enjoying the job they dedicate 40hrs of their life to a week.
A simple solution seems to be organic showcasing of creativity and art – people today are able to show the world what they create and in the 21st century, it seems social media is the easiest way. But in reality, social media itself can become a huge financial investment as it is, requiring specific skills and knowledge. Unknown brands must gain and maintain consumer interest and confidence in order to sell an expensive product. An artist has to invest money, time, and effort not only into the creation of their product, but into platforming it. It is hard to call it a hobby when such execution warrants consistent hard work and dedication! Many artists quit because of financial issues and lack of time. They simply don’t see an exit plan from their unwanted standardized jobs, without risking financial instability.
Navigating the education system and labor market remain the main problem for artists and the arts in general. Yet, one hope for independent artists is organized communities, media, magazines dedicated to fashion and art. By connecting artists around the globe, it is possible to create a new model of consumption, to raise more interest in unique products rather than standardized and over-produced product. If there is a consumer demand for unique products, ethical fashion, and individualism, then the education system will have to change, and there will be a demand for creative professions in the labour market. This, we hope, could be the beginning of a new model of production and consumption.
Written by Vedamira Velesk a GLITCH Magazine contributor
Photography by Kateryna Verbytskaya
