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Hustling in the creative industries: Narratives and work practices of female filmmakers and fashion designers

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  • Robin Steedman
  • Taylor Brydges

Abstract

This paper examines practices and narratives of hustling in the creative industries. We draw on two illustrative cases: independent female filmmakers in Nairobi, Kenya, and independent female fashion designers in Toronto, Canada, with a combined 69 interviews. Taking a comparative, intersectional approach, we explore both the practices and narratives that entrepreneurial creative workers construct. In doing so, we contribute to ongoing conceptual debates regarding the contemporary nature of work in creative industries. We define hustling in the creative industries as entrepreneurially navigating precarity to build and sustain creative businesses. We argue that hustling is not merely a “stage” of work and life to be moved past or overcome, but instead an ongoing, entrepreneurial creative practice. This fact has implications for how we think about success and creative work: hustling is not a deviation from the good life, but a way of making a good life in precarious circumstances.

Suggested Citation

  • Robin Steedman & Taylor Brydges, 2023. "Hustling in the creative industries: Narratives and work practices of female filmmakers and fashion designers," Gender, Work and Organization, Wiley Blackwell, vol. 30(3), pages 793-809, May.
    • Handle: RePEc:bla:gender:v:30:y:2023:i:3:p:793-809
    DOI: 10.1111/gwao.12916
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    References listed on IDEAS

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    1. Niels van Doorn & Olav Velthuis, 2018. "A good hustle: the moral economy of market competition in adult webcam modeling," Journal of Cultural Economy, Taylor & Francis Journals, vol. 11(3), pages 177-192, May.
    2. Taylor Brydges & Rhiannon Pugh, 2017. "An “Orphan†Creative Industry: Exploring the Institutional Factors Constraining the Canadian Fashion Industry," Growth and Change, Wiley Blackwell, vol. 48(4), pages 942-962, December.
    3. Brian J. Hracs, 2012. "A Creative Industry in Transition: The Rise of Digitally Driven Independent Music Production," Growth and Change, Wiley Blackwell, vol. 43(3), pages 442-461, September.
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