From crochet to ceramics: why are there more and more creative workshops?

BarcelonaIn an era marked by screens, artificial intelligence, and hyperconnectivity, more and more people are dedicating part of their free time to manual activities such as ceramics, embroidery, crochet, furniture restoration, or clothing making. This phenomenon, known as DIY (Do It Yourself or “Do it yourself”), has ceased to be an activity exclusively associated with specific generations to become a widespread practice among people of all ages.

“I started going to workshops to socialize and relax; now they have become a weekly activity that helps me disconnect,” explains Mireia, 36. About two years ago, coinciding with the start of her son’s schooling, she almost by chance began attending pottery workshops. What was initially a way to share time with other mothers from school turned into a hobby that is now part of her routine. Although for years she had been a regular consumer of handmade products, she now enjoys being on the other side of the counter and getting her hands dirty.

A hobby that has conquered all generations

Although the massive digital boom of DIY took place around 2011, it has now spread to people of very diverse profiles. Manual activities are no longer perceived solely as entertainment, but also as a way to disconnect, socialize, and express one's identity.

This interest is also reflected in participation in specialized festivals. One of the best known is the Handmade Festival, an event dedicated to crafts, artisanry, and creativity that brings together both amateurs and professionals in the sector, which this year celebrated its 14th edition in Barcelona. These spaces allow you to discover new techniques, find inspiration, and connect with other people interested in the handmade world.

DIY has ceased to be just a hobby to become an economic opportunity. Social networks have made it easier for many people to move from hobby to business. Through digital platforms, they can show the creation process, give visibility to their pieces, and sell them directly to consumers.

The search for unique objects also drives this market. Anna, 28, admits she doesn't do crafts, but she does regularly buy handmade products: “I usually buy handmade jewelry, clothing, and accessories, I find them to be more exclusive and, in a way, more authentic than mass-produced items,” she says.

The need to touch in a digital society

As technology occupies an increasingly important part of daily life, many people feel the need to reconnect with physical and tangible activities. For Jordi Busquet Duran, a doctor in sociology and professor at the Faculty of Communication and International Relations Blanquerna, this phenomenon is related to the special connection that exists between the brain and the hands. “Although screens allow us to create content quickly and efficiently, the satisfaction derived from crafting an object with our own hands is different,” he assures. This fact would explain the return to activities that involve touching, manipulating materials, and participating directly in the creative process.

The trend can also be understood as a response to a society marked by constant speed and acceleration. “In a context where immediacy is prioritized, manual activities offer a radically different experience; they require time, concentration, and patience,” points out Busquet. These characteristics allow for a more unhurried pace: reflection, imagination, and creativity are fostered.

The emergence of artificial intelligence also forms part of this debate. While acknowledging its usefulness in streamlining processes and facilitating tasks, creativity remains an essentially human capacity. Current systems function by reproducing learned patterns and are not aware of what they produce, a fact that reinforces the need to maintain human control over these tools.

Furthermore, the growing use of technology raises questions about learning processes. “Many skills are developed through practice, error, and repetition, but when a machine solves all the tasks, this learning is reduced,” explains the sociologist. Therefore, the recovery of manual activities can also be interpreted as a claim for more active forms of learning and experiences.

This return to the tangible world is not limited to objects. It also responds to the need to recover spaces for face-to-face encounters and relationships. After the pandemic, many people became aware of the value of sharing collective activities and experiences beyond screens, a need that helps explain the growing interest in manual and creative practices.

The IKEA effect

One of the theories that helps to understand the success of DIY is the so-called "IKEA effect". This concept, developed by researchers Michael I. Norton, Daniel Mochon, and Dan Ariely, explains that people tend to place more value on objects they have helped to create or assemble.

The study shows that people are willing to pay more for objects we build ourselves than for identical ones already finished. This phenomenon is related to three main factors: the feeling of competence, the emotional connection with the object, and the need to justify the effort invested.

Psychologist Antoni Baena, coordinator of the Psychology commission of the Official College of Psychology of Catalonia and director of the master's degree in digital health at the UOC, agrees with this interpretation. "When a person creates something with their hands, they are taking on a challenge, dedicating time and effort to it. This whole process generates an emotional connection that increases the value attributed to the final result," he explains.

Baena also highlights that many manual activities have an effect similar to meditation. Their repetitive nature helps to concentrate on the present, promotes relaxation, and helps to reduce stress and anxiety levels.

Paula, 74, is an example of this emotional connection with handicrafts. She makes all kinds of creations, especially bags and hats, and assures that one of the things she likes most is being able to give them as gifts. "I love being able to share my pieces with family and friends, it's my favorite part of the process," she comments. 

This emotional component also explains why artisanal products continue to hold a special prestige. Whether made by oneself or created by another person, they are perceived as unique objects, different from industrial and mass-produced items.

The increase in workshop participation, interest in manual activities, and the expansion of creative communities show a growing need to reclaim more tangible and personal experiences. In a context dominated by screens, handicrafts offer an opportunity to create and connect with others in a different way.