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and craftsmen keeping the high art/ low art debate alive rather than the audience’s opinion. In conclusion, within the art world traditional crafts are valued by some, apart from certain artists it would seem, and those that like a clear definition of art. E.J.T. Collins book ‘Crafts in the English Countryside: Towards a Future’ comments on the gap between craft and art getting smaller by saying, ‘In terms of utility, the rural crafts tend to be functional rather than decorative, although the gap between ‘vernacular’ and ‘creative’ is closing as crafts such as blacksmithing and basket-making turn increasingly to original design work’. Craft is adapting and changing making it still valuable. ‘Craftsmanship combined with entrepreneurship – is well adapted to the needs of post-industrial society’ (2004, p.15). Collins is supporting this theory by saying that crafts have adapted to survive in a machine-led world. Another aspect of traditional crafts that could be classed as Art would be its role in a movement called ‘Craft Activism’. This is worldwide and includes any sort of crafts used as a statement for a cause. For instance, an organisation called ‘Quilting for Peace’ uses the craft of quilting to raise money for charity while using images within their quilts to promote peace. Also the before mentioned knitting graffiti founded by Magda Sayeg also known as ‘Drive-by-knitting’ or ‘Knit Bombing’. Some graffiti knitters like Sayeg graffiti knit as a socio-political statement, other graffiti knitters say they do it to liven up a dull part of town or to just brighten someone’s day by making them smile. Surely this sort of Craft Activism should be considered Art, since it is non-functioning pieces being designed but work that has ‘something’ behind it, a complexity, like more traditional artwork. This sort of traditional craft surely proves its value in today’s society by making people think and commenting on society. To keep a check on traditional crafts value from a knitting point of view, it is the knitting machine that has kept knitting commercial however hand knitting is still used for bespoke designs within the fashion industry. As described in ‘The art of knitting’ by Fran Oise Tellier-Loumagne, ‘The hand-made look regularly returns in seasonal fashion trends; for this reason, the Parisian couture houses all maintain a network of ‘makers’, who may use hand-knitting, domestic machine-knitting, crochet, embroidery or other techniques’(2005, p.8). Knitting, like many other traditional crafts has adapted and changed with the times, to stay relevant. Loumagne goes on to explain about the constant progression in the knitting world, ‘Knitting is no longer created just length ways but in all directions; structures are becoming more and more complex…In fact, production hardware is increasingly high-performance: the newest knitwear is now made in three dimensions, meaning without seams, and often includes complex details’(2005, p.9). These sort of technological advances are keeping knitwear at the forefront of fashion, as designers come up with more intricate and innovative designs each year. At the same time, these sorts of advances; while promoting knitting it could see negative effects on hand knitting as a technique. Hand knitting is more time consuming, requires more workers and can be more costly than machine knitting. These sort of ‘production’ proble