Peer to peer consumption is an economic model in which two individuals exchange goods without an intermediary third party, which usually takes the form of a business firm. Although viewed as an alternate route to traditional capitalism, P2P still exists within a capitalist economy (Investopedia, 2021). Without a third party involved in the transaction, the exchanging parties do contract some risk and responsibility. My hope is that with this risk comes trust, and thus builds community between each party. To mitigate this I could involve a rating system much like many online secondhand platforms that are regularly used by the general public. Marketplaces such as Ebay, Vinted, Depop, Gumtree and Olio ever-popular, it is no surprise that the younger generation has these companies in their regular roster of ecommerce spaces. Generation Z in particular is said to save 38% more than older generations from shopping secondhand (Gumtree, 2023). Although the recommerce industry is varied from cars to cutlery, the global market of secondhand apparel alone is forecast to be $64 billion by 2024 (Hinojo et. al, 2022). This increasing widespread popularity could be attributed to several factors such as sustainability concerns, affordability, and the ease of use that comes with online marketplaces (Ek Styvén and Mariani, 2020). According to Gumtree's Circular Economy Report (2023), 45% of British people believe that engaging with a circular economy is will lead to more sustainability, and 49% plan to buy more secondhand items in the future. My app will aim to address all of these facets and as such take advantage of the forecasted growth in this sector - which indicates the industry's potential and provides insights into the evolving preferences and behaviours of consumers.
Gumtree's report also evaluates the reasons why a culture of recommerce is so important for a sustainable future, particularly highlighting the crises of climate and cost of living. My community is art students, most of whom continually exhibit attitudes of concern towards the environment and economy. According to a survey conducted by the BBC, 60% of young people said they felt "very worried or extremely worried", and 56% think humanity is doomed if something does not change (Harrabin, 2021). This level of environmental awareness is reflected in their consumption behaviours. Students are actively trying to participate in reducing waste and promoting a circular economy because it is so directly related to their futures. In this economic model, materials and products can be recovered and regenerated through recycling, remanufacturing, or repurposing. This reduces the dependence on continually depleting resources and closes the traditional linear model of take, make, dispose. In terms of the cost of living crisis, students already have limited budgets, and so the financial effects are compounded. However, buying secondhand allows them to find unique items at a much lower cost with high aesthetic value; disregarding purchasing entirely "on Gumtree alone, 44% of users have used the platform to give items to others for no cost" (Gumtree, 2023). Considering this, a swap-focused app would be viable amongst students. Moving the marketplace online aligns with their digital lifestyles, and allows for convenience, accessibility, and social engagement. Regarding social engagement, I want my app to foster community as much as it makes use of the pre-existing networks available within local neighbourhood groups (such as the areas surrounding an Arts University). Although the rise in loneliness felt by Generation Z is commonly attributed to higher smartphone and social media usage, it was found that there is no direct correlation between Fear Of Missing Out (FOMO) and usage time (Brazil and Rys, 2020). Humans naturally need connection, and so my app should facilitate that through encouragement of in-person meetups for the transactions to take place (Lartaud, 2021). On the other hand, a postage option would increase accessibility.
In Culture Shift: How artists are responding to sustainability in Wales, a 2014 report on sustainable arts initiatives, it is posited that art has a transformative, leading role in our transition to a more sustainable society. There has been a particular emphasis on art that is relational and community based, through which the imagining and communication of complex ideas regarding the future can take place. 94% of respondents to the report's survey agreed with this sentiment, notably in regards to creating "spaces for dialogue" (Allen et. al, 2014). The use of "spaces" here translates as non-specific places where creative individuals feel they are encouraged and empowered to exchange ideas and most importantly connect with other individuals. These could be physical such as exhibitions or co-working spaces, but also social platforms or virtual communities - such as my app. The emphasis is on creating inclusive and accessible environments that transcend traditional boundaries.This can happen across disciplines and organisations. These collaborations can lead to the discovery of new perspectives, insights, and opportunities. My app should also become an instrument in creating these spaces, or at least expedite the process for other artists to do so by fostering connections.
In the digital age, creative individuals show their work on platforms such as Instagram. Despite the engagement they may receive through shares and likes, this by no means translates to financial gains. Artists who are just starting careers often receive little to no vocational guidance and as such bear an emotional, mental, and financial burden (Laino, 2019). Galleries take massive cuts of income wether in the form of taking a portion of profits from a sold piece or charging rent as a cost for exhibiting in their space. Non-profit spaces expect artists to set up their exhibitions on their own. Supplies in general are expensive. If these responsibilities can be shared the strain is lightened for everyone.
The art world can be highly competitive, with artists vying for recognition, exhibitions, grants, and sales. This competitive environment can create a sense of individualism and self-promotion, making it difficult for artists to collaborate and form strong connections with their peers. Furthermore London is known for its high cost of living (Dorling 2014; Edwards 2015), including expensive studio spaces and limited cultural centres. These pressures can make it challenging for artists to sustain their practices and establish a sense of stability, leading to a fragmented community. Building a sense of community provides artists with support networks, resources, and opportunities for collaboration. Artists can share knowledge, ideas, and experiences, provide feedback, and help each other navigate the challenges of the art world. Collaboration can lead to new creative directions, innovative projects, and mutual growth. Junkyard can be used as an intermediary for these collaborations, leading to a more vibrant art community: one that enhances the cultural fabric of a city. Artistic community contributes to the vitality and identity of a place, attracting visitors, fostering dialogue, and engaging the public in artistic experiences. Community-led initiatives, exhibitions, and events can create a sense of belonging.