This article was downloaded by: [Monash University Library]On: 04 December 2014, At: 20:29Publisher: Taylor & FrancisInforma Ltd Registered in England and Wales Registered Number: 1072954Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK

The Journal of The TextileInstitutePublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/tjti20

Investigating Creativity in theDevelopment of Fashion TextilesJ. Moxey a & R. Studd aa Department of Textiles , University of ManchesterInstitute of Science and Technology , Manchester 1, UKPublished online: 30 Mar 2009.

To cite this article: J. Moxey & R. Studd (2000) Investigating Creativity in theDevelopment of Fashion Textiles, The Journal of The Textile Institute, 91:2, 174-192, DOI:10.1080/00405000008659537

To link to this article: http://dx.doi.org/10.1080/00405000008659537

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information(the “Content”) contained in the publications on our platform. However, Taylor& Francis, our agents, and our licensors make no representations or warrantieswhatsoever as to the accuracy, completeness, or suitability for any purposeof the Content. Any opinions and views expressed in this publication are theopinions and views of the authors, and are not the views of or endorsed by Taylor& Francis. The accuracy of the Content should not be relied upon and should beindependently verified with primary sources of information. Taylor and Francisshall not be liable for any losses, actions, claims, proceedings, demands, costs,expenses, damages, and other liabilities whatsoever or howsoever caused arisingdirectly or indirectly in connection with, in relation to or arising out of the use ofthe Content.

This article may be used for research, teaching, and private study purposes.Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expresslyforbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

Investigating Creativity in the Development ofFashion TextilesJ. Moxey and R. Studd

Department of Textiles, University of Manchester Institute of Science andTechnology, Manchester I, UK

Received 12.5.2000 Accepted for publication 18.12.2000

A programme of research is under way within the Department of Textiles at the University ofManchester Institute of Science and Technology (UMIST) that seeks to identify the dimensionsof creative success within the domain of fashion textiies. This paper begins with a review ofcreativity theories and ends by describing these theories within the context of a domain inwhich fashion textiles are developed.

1. INTRODUCTION

Prominent within today's complex world of clothing production and promotion are couturedesigners. The readiness to bestow these innovators with the crown of creative genius isevident within the fashion media. The distinction between designers of garments anddesigners of fabrics is blurred when one examines the activities of couture designers. Couturedesign requires the sourcing and development of fabrics to complement garment shapesand, as Sonia Delaunay described in a lecture at the Sorbonne, Paris, in 1927. thedevelopment of garment shapes to complement fabric designs (Damasse, 1991, p.58).Present-day fashion conceptualists insist on a holistic approach to the birth of theircollections, and this includes a key role in originating and overseeing the development ofradically novel fabrics and fabric sculptures. Designers such as Hussein Chayalan(McRobbie, 1998, p.lO9), Issey Miyake (Benaim, 1997). Zandra Rhodes (Rhodes andKnight, 1984, p.9), and Dries van Noten (Tucker, 1999. p. 13) are characterised by thiscreative textile dualism.

The following section introduces dimensions of creativity theory that will form thebackdrop against which the activities of designers of fashion textiles will be contrasted.

2. CONTEXT: DIMENSIONS OF CREATIVITY2.1 Defining Creativity

Creativity is a 'highly complex construct' (Mumford and Gustafson.1988, p.27; Perkins,1988, p.367). As a response to this complexity, a multidiscipiinary community of creativitytheorists has emerged in an effort to understand its peculiarities. This has resulted in theoriesthat attempt to describe the underlying cognitive, social, and cultural variables that regulatethe generation of creative products.

Individuals within the creativity-research community propose theories that focus on thecreativity of people (behavioural and mental characteristics: Stein, 1974. p.XI; Mednick,1962, p.221; Torrance, 1988, p.47). creativity as displayed in products (including ideas,theories, and artefacts: Martindale, 1994, p.7), and creative activity as a process (cognitiveprocesses and practical techniques: Vemon, 1989. p.35; Gardner, 1994, p.I45).

Gardner proposes a scatter-bomb definition of creativity: 'solutions of problems, productsfashioned, or new questions defined in a domain by individuals in a way which is initiallyconsidered novel but that ultimately becomes accepted in a particular cultural setting'

1 74 / Text. Inst.. 2000. 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

(Gardner, 1993, p.35). The common thread that runs through this and definitions proposedhy other theorists is that creativity is an activity that leads to the generation of a productthat is hoth novel and of value (or appropriate for the situation within which it was proposed).If these two conditions are met. then an idea or product (e.g. a garment design) can beclassed as creative, as can the individual (e.g. a fashion designer) engaged in the activity ofcreating it.

2.2 The Creative PersonThe creative individual has heen described as a 'point of energy in a broader web of culturalprocesses of influence and engagement' (De Cock, 1996. p.207). Much work to date hasfocussed on psychoanalytical study and psychometric testing of individuals as part of asearch for creativity traits and personalities (Gardner. 1994, p.144). Psychologists havedesigned experiments and developed tests in order to measure the creative abilities of giftedpeople. Research has suggested that creative people display a particular cognitive style ortrait (Eysenck, 1994, p.2O9; Amabile, 1990; Welsh. 1975). This psychological processmanifests itself as an ability to: • . ; . .

• explore new pathways; , . . ,• discover and formulate new problems; . .- .• break perceptual sets;• tolerate ambiguity; -.• generate and examine a large number of ideas and possibilities while engaged in a task;• make associations and juxtapositions that are more unusual;• suspend judgement while experimenting;• concentrate effort for long periods;• spend a longer period of time on the activity;• spend more time in thinking about the task after others have finished it;• abandon unproductive strategies; and• depart more frequently from familiar algorithms for task engagement*. '

Gardner's cognitive profile of high achievers confirms that creative individuals are 'highlyenergetic and extremely demanding on themselves' (Gardner, 1994, pp.149-150). Suchindividuals may be blessed with the ability to access childlike traits allowing them to breakwith convention and ask questions that might otherwise have been disregarded. Othershave found that independence might support the activity of divergence from known paths(Getzels and Csikszentmihalyi, 1976, pp.38-39). It is unclear, however, whether thesecharacteristics were present before creative success or developed as a result of it (Stein,1974. p.8). It has been argued that this will contribute towards the development of anindividual's cognitive style and support 'a regular pattern of being irregular' (Amabile,1990, p.84).

Simonton (1995) argues that the acquisition of a rich base of knowledge supports anindividual's ability to make associations that lead to ideation (Simonton, 1995, p.466).Creative achievers establish adequate knowledge of a domain over a decade of hard work,dedicated learning, practice, and experimentation (Gardner, 1994, pp.147-149). Baron(1969) supports this view and argues that 'great insights only occur in minds that are amplyprepared through saturation in the relevant scholarly disciplines' (Baron, 1969, p.3). Thisis complemented by Amabile. who states that "it is not possible to have too much knowledgeabout a task domain" with the important caveat that 'how you use knowledge is as important

*Tbis is adapted from Amabile (1990. p.86) and Stein (1974, p.8).

/ Text, lnst., 2000. 91 Part 2. No. 2 © Textile Institute 175

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

as the amount of knowledge' (Amabile, 1990. p.82).A number of researchers emphasise the importance of an individual's intrinsic motivation

for the actual process, task, or activity if creative success is to be achieved (Amabile, 1990,p.64; Hogarth, cited by Gombrich, 1984, p.X; Abetti, 1996, p. 145). It has, in fact, beensuggested that creative individuals are intrinsically motivated to search within a domainprimarily because it will allow them to generate creative responses to its particular problems(Weisberg, 1986, p.73).

2.3 The Creative Product

A creative product is a generic term that can be applied to, for example, scientific theories,works of art, and artistic performances (Gardner, 1994. p. 152). If, as De Cock (1996, p.2O5)has argued, it is not possible to identify empirically the construct that is creativity, then anemphasis on identifying the nature of creative products would seem more relevant. Creativework embodies the theoretical and practical processes from which it evolved and providesa means of critical assessment by the field. It embodies psychophysical qualities such asnovelty, complexity, surprise, unpredictability, and meaning (Martindale, 1994, p. 160) andprovides a concrete assessment target whereby value judgements can be made. Amabileproposes that 'a focus on the product seems . . . the most straightforward and scientificallyconservative; products are the most easily observed discrete units and probably the leastsubject to disagreement" (Amabile. 1982, p.66). Rickards and De Cock have reportedattempts to measure the effectiveness of creativity-training courses by assessing the productsof their graduating students (Rickards and De Cock, 1994, pp.59-65). They argue thatresearchers should supplement or replace more forma! paper-based tests with longitudinalinvestigations that collect evidenceof creative outputs (Rickards and De Cock, 1994, p.64j.

2.4 The Creative Process

2.4. J Types of Creative Activity

The problems associated with modelling creative processes have been highlighted byGardner, who has identified at least five different types of creative activity (Gardner, 1994,p. 152). A model of the creative process would therefore have to address the followingkinds of activity:

(i) the solution of a well-defined problem;(ii) devising of encompassing theory;(iii) the creation of a frozen work;(iv) the performance of a ritualised work; and(v) a high-stakes performance.

Gardner argues that the first two items reflect the type of search processes associated withscientific activity. Items (iii) and (iv) are associated with artistic activity, such as theproduction of a painting or ballet. The fifth item refiects activity within, for example, thepolitical domain. Gardner uses a biographical account of Mahatma Gandhi to emphasisehow radical ideas can bring about social and political change in different political domains(Gardner, 1994, p. 151).

It is argued that the generation of ideas in each of these areas is based on a four-stageprocess oi preparation, incubation, illumination, and verification (Kneller, 1966, p.47), asdescribed in Fig. I.

176 / Text, lnst., 2000, 91 Part 2, No. 2 0 Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

Preparation

Incubation

Illumination

This initial stage typifies a period when the individual spends time

consciously thinking about a problem and defining its character, in these eariy

stages, creative achievers have an ability to identify the correct questions

rather than the correct ansv ers (Weisberg, 1986, p.74; Einstein and Infeld,

1938, p.92}. Initial problem-solving attempts generate a series of problem

impasses (Seifert, Meyer, Davidson, Patalano, and Yaniv, 1995).

This stage represents a period when the individual appears to leave the problem,

putting aside conscious deliberation, but when, according to a number of

researchers, problem-solving work occurs at a sub-conscious level. This rest

period may also provide an opportunity to refresh the mind, which may be

exposed to other stimuli.

This stage represents a new way of looking at a known problem or

phenomenon in such a way that its essential features are grasped

(Csikszentmihalyi and Sawyer, 1995, p.329). Fresh stimuli resolve an

impasse via the combination of ideas in nev^ ways.

Verification

As the definitions of creativity suggest, variations that are produced as part of

the creative process must be identified as useful, Verification and testing of

ideas is thus an essential activity and relies on the experience of the individual

(to identify which variations are promising) and the field (as experts who

understand the domain).

Fig. 1 The four stages of the creative process (after Kneller, 1966)

2.4.2 The Associative Basis of Ideation

A number of theorists have attempted to describe the cognitive processes that lead up to theeureka moment, i.e. the moment when a possible solution to a problem is recognised. Thesignificance within fashion textiles of mixing concepts to form new ideas will be describedlater. This will reflect the importance that a variety of theorists attach to the associativenature of the ideation process. A number of researchers argue that the mind is a product ofbiological evolution composed of modular intelligences (Cosmides and Tooby, 1992,pp. 163-228) that interact and enable the cross-fertilisation of ideas to take place. This hasbeen termed cognitive fluidity (Mithen, 1996, pp.73-94; Gardner, 1983. p.279), whichsupports a creative mind in which a network of multiple intelligences work togethereffortlessly (Gardner, 1994, p. 149).

This neurological perspective appears to support the proposal that selective combinationis an essential stage in the creative process (Davidson, 1995, p.l27; Perkins, 1988. p.363;Koestler, 1975, p.2), arrived at via the imaginative toying of idea combinations prior to themoment of insight (Isaak and Adam-Just, 1995, p.306). Similarly, Hirshberg claims thatideas come about through associations that overlap, collide, and congeal 'into a new whole'(Hirshberg, 1998, p.23) and that 'synthesis is the principal impulse of the act of creation'(Hirshberg, 1998. p.25). Boden describes how this associative process relies on 'strangeblendings' of ideas that are 'merged and subtly transformed" (Boden, 1996, p. 117). Koestlerrefers to a cognitive-mixing process of bi.sociation, whereby ideas are drawn together fromdifferent domains (Koestler, 1975, p. 210). Mednick defines a similar creative process:'the forming of associative elements into new combinations, which either meet specific

J. Text- lnst., 2000. 91 Part 2. No. 2 © Textile Institute 177

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

requirements or are in some way useful' (Mednick, 1962. p.221). He describes a process inwhich the juxtaposition of psychical entities is joined through combinatory play and inwhich this fusion of distant realities generates creative sparks (Mednick, 1962, p.22O).Similarly. Partridge and Rowe have argued that Japanese Haiku, which embodies the simplestform of creafive poetry, is underpinned by a device in which 'the combination orjuxtaposition of two objects or events' is central to the creative act (Partridge and Rowe,1994, p.3).

According to Mednick, the combination of elements can occur through a process ofserendipity or mediation or via 'best-guess' processes (Mednick, 1962, p.221). The principleof forming associative elements underlies creative-idea-generation techniques, includingthe use of metaphors and analogies (mental blends and conceptual combinations: Finke,1995, p.271), brainstorming (Osbom, 1963, p.151), synetics (aimed at the preconscious tostimulate the rate and complexity of combinations: Baron, 1969, p.l44; Lawson, 1983,pp. 111-112), and morphological analysis (random combination of elements: Stein, 1975, p.246).

Seifert et a/.(1995) have offered a somewhat abstract neurological explanation (whichthey call The Opportunistic-assitnilation Hypothesis), whereby the combination of ideascontributes towards the resolution of problem impasses within a mind that acts as a networkedsubstrate for insights (Simonton, 1995, p.48O). Failed attempts at solving problems at thepreparation stage generate a series of psychic markers or 'red flags" (Seifert et ai, 1995,p.87). which indicate the point at which an impasse has occurred. A break in direct thinkingabout the problem (for example, sleep, a shower, a walk in the woods) prepares one for theresolution of impasses by encouraging and allowing access to other stimuli. A richenvironment in which considerable amounts of intellectual and cultural stimulation is presentwill encourage the generation of a more heterogeneous array of associative variations(Simonton, 1995, pp. 480-481). New information detected by a problem solver will causean impasse to well up fi-om the depths of the unconscious, to fuse at the preconscious levelwith the new stimuli, and to break the surface of the conscious. Illumination thus refers toa stage at which this new information is interpreted, compared, and synthesised. The excitementor rush that the individual feels at this point has been related to a sense of relief or as an appealto our sense of aesthetics, impressed by the beauty and simplicity of the solution (Weisberg,p.21). This, according to Seifert et ai, describes the eureka moment (Seifert et al., 1995,p. 118), whereby the resulting product or 'creatrix' (Mednick, 1962, p.22O) is a novel outcomethat arises out of a combination of 'shattered fragments of memory' (Boden, 1996. p. 117).

2.5 The Systems View

2.5.] Outline

Csikszentmihayli has argued that creativity theories based on the role of individuals, theirmethods, and their products will only start to address the true nature of creativity if they aredescribed in the context of the environment or creative system within which ideas areultimately to be exposed (Csikszentmihayli, 1990, pp.197-220). The study of intrapsychicprocesses of individuals in which some psychologists are engaged must be placed withinthe context of this 'social milieu' (Csikszentmihalyi and Sawyer, 1995, p.330). Thisenvironmental view requires that the role of the individual and the process he or she employsto generate creative products be placed within the context of two additional dimensions.These are:

• the dotnain, which preserves and transmits new ideas to individuals;• the field, a set of social institutions that make value judgements of creative output and

understand the history and parameters of the domain within which individuals generatenew ideas and products.

178 J. Text. lnst.. 2000. 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles '

2.5.2 The Domain

The term domain can be used to describe 'bodies of disciplined knowledge that have beenstructured culturally and which can be acquired, mastered, practised, and then advancedthrough the act of creating' {Li, 1997, p. 109). Identification of the structural nature of adomain is essential if one is to understand the creative processes that influence thepractitioners who operate within it (Robinson and Hackett. 1997, p, 13). This will also meanidentification of the generative rules (Boden, 1996, p.38), practices, assumptions, theories(Robinson and Hackett, 1997, p.12), language, notation (Csikszentmihalyi, 1988, p.330),and parameters (Li, 1997. p. 110) that shape the production of creative and non-creativeitems within the domain. Li argues that there appears to be more flexibility for novel-ideageneration in some domains than in others: a by-product of the level of rigidity of thegenerative rules that are applied, maintained, and monitored within these domains (Li,1997, pp. 108-111).

In reference to scientific exploration, Kuhn (1970) argues that a paradigm underlies thework of large groups of individuals and that this regulates acceptable problems to beinvestigated and solutions to be proposed. These regulations come under tension at timesof upheaval or flux. Gardner explains that breakthroughs in science and art are more likelyto occur at a time when practitioners cannot agree which are the appropriate problems,methods, and solutions in any particular domain (Gardner, 1994, p.152). Thesebreakthroughs correlate with the highest occurrences of creative activity.

2.5.3 The Field . .

A person's ability to convince other individuals that his or her ideas are novel and valuableis an essential part of the creative process. These individuals and institutions form aninfluential community that has been referred to as \hefield. This community is linked via aseries of interlocking roles (Csikszentmihalyi, 1988, p.330) in which some field membershave a more significant influence on the accreditation of creativity than others (Johnson-Laird. 1988. pp.202-2l9). The role of the field in determining the creative success ofindividuals highlights the problem by focussing on the assessment of personality measures.The field decides whether an individual's product variations meet the criteria of the domainin a creative way or whether they deviate so much from the standard rules that they shouldbe ruled out (Csikszentmihalyi, 1990, p.200). The importance of the field as a factor in thecreative process has been emphasised by Simonton. who refers to its role as the ultimatearbitrator: 'In the last analysis, the attribution of creativity hinges on whether a person hasactually influenced others in concluding that creativity has in fact been established'(Simonton, 1990, p.98).

2.6 Summary

The arguments in Section 2 have led to a series of claims relating to creativity in terms ofindividuals, products, and processes. If the role of the individual, the field, and the generativerules that structure the domain are taken into account, a description of creativity may be asfollows.

A person follows a process that leads to the variation of a product. The variation ispresented to the field, which either rejects or selects it on the basis of its novelty andvalue. The selected variation is then transmitted to the domain.

From this, it is possible to offer a definition that is based on a systems-view approach,where creativity is:

J. Text. Inst.. 2000, 91 Pan 2. No. 2 © Textile Imtitute 179

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

the composite of a value judgement that is bestowed upon an individual by an audiencein response to the novelty of tbe products presented to them by tbat individual.

3. INNOVATIVE FASHION TEXTILES: A CREATIVE SYSTEM

3.1 Introduction

A complete tbeory tbat attempts to describe the nature of creative success within a domainsuch as fashion textiles must address each of the dimensions described in Section 2. Asystems view of creative success in fashion textiles would tberefore require analysis of thefollowing:

• the structure of the domain within which fasbion fabrics and garments are developed;• the creative product that results from the application of these processes;• the role of individuals in generating novel fashion fabrics and garments;• the role of the field in attributing creative success to individuals; and• tbe processes and methods of generating novel fashion fabrics and garments. ,

The brevity required within this paper prevents detailed analysis of these dimensions interms of the development of creative fashion textiles. However, by using tbe frameworkprovided by Csikszenlmibalyi, an attempt is made in tbis section to describe how thesefactors might relate to the world of couture.

3.2 The Domain: Fashion Textiles

Functional criteria (e.g. warmth and protection), a love of change (a psychological drive oftbe consumer and designer), a desire to make an impression (social interaction), and strategiccommercial interests (tbe benefits of fashion obsolescence) bave sbaped the evolution oftbe fashion industry (l^odes, 1995, p. 13). The adoption of articles of clothing by consumersas 'insignia" indicating either their social class or how they wish to be perceived leads toemulation from otbers (Hann and Jackson, 1987, p.l3). This is vital, since the clothingindustry depends on the creation of wants in excess of what is actually needed (Carr andPomeroy, 1992, p.48).

Historically, creative ideas have filtered from the couture houses to tbe high street, where'tbe masses imitate the small number of those who set tbe tone' (Gombrich, 1984, p.3]).Couture as a creative catalyst and a laboratory for new ideas (Craik, 1999, p.58) plays avital role within the apparel industry. During the 1980s and early 1990s, a proliferation ofdesigners began to source the most innovative fabrics in order to distinguish themselvesfrom the crowd (Colchester, 1996. p.21). A new breed of creative professional tookadvantage of slimmed-down. specialised production to target consumers witb bigb-quality,highly symbolic textile products (Colchester, 1996. p.4). This constant demand for newfabrics and garments explains the lack of rules or conventions dictating bow couture productsshould be developed and presented (Moxey, 1998, p.39).

3.3 The Product: Fabrics and Garments

McRobbie (1998) bas argued that designers of 'bigb-fasbion' garments generate productsthat answer two objectives: they create an image of their personal vision (embodied withintbe designer label), which is personified by an object, i.e. tbe garment (McRobbie, 1998,p.l53). Fashion shoots and catwalk shows are opportunities for designers to transmit theircreative ideas to an audience and to tempt them to react in some way. Tbis often portrays tbedesigner's aesthetic, functional, social, and psychological principles tbat will be adopted by

180 J. Text. lnst.. 2000. 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

the consumers if they wear the label. Tbe label thus acts as an insignia identifying one's socialgrouping. If couture designers wish to promote their label to a wider consumer base and at thesame time increase turnover, then their clothing has to be diffused into ranges for themainstream. Couture ranges are thus seen as the figurehead to the commercial arm of thedesigner's business. Successful designers will produce novel textile products that that willsatisfy both activities. An example can be found in the work of Issey Miyake, who has createdinnovative pleated fabrics and garments that have been described as forms of textile Haikuand have also appealed to a mass of satisfied customers (680 000 Pleats Please outfits soldbetween March. 1993, and March, 1997: Benaim, 1997, p.6). Designers are thereforediversifying into two collections: those in which couture emphasises the designer's visionand supports the exclusivity of the label (Coleridge. 1988, p.8; Hann and Jackson, 1987, p.5)and diffused ranges that succeed in generating turnover. Diffused ranges have wider popularityat more affordable price ranges (Frings, 1991, p. 127) and are developed in response to thevarying demands of large numbers of external and internal customers. This has led to arepositioning of business (in terms of product lines) and to the restimulation of the fashion-designer outlet within premier locations around the world (Moore and Femie, 1998. pp.94-95).

3.4 The Person: Designers of Fabrics and Garments for Couture

Successful couture designers are revered as celebrities for their fresh insights and twists onold ideas (McRobbie, 1998, p.5I). As creative leaders within the fashion domain, couturedesigners are indeed points of energy within a broader web of activity (De Cock, 1996,p.207).

As in other domains within the arts and sciences, prominent couture designers havebeen labelled as creative sorcerers. The creative work of successful designers is oftenshrouded in a myth of genius. This is itself a strategy for power that helps support the"magic of the label' (McRobbie, 1998, p.66), whereby the demystification of the processthat leads to the evolution of these products may remove couture from the high-art statusthat it seeks to achieve. McRobbie has analysed the nature of successful individuals in thefashion world and has drawn up the following encompassing profile.

'It means being multi-skilled in hand work, design work, publicity and promotions,management, and business and having some idea of manufacture, as well as beingin possession of creative vision, imagination, and all the other quahties associated withfashion design' (McRobbie, 1998, p. 188).

Couture has been referred to as 'ideas fashion' (McRobbie, 1998, p.48), and the idea makershave been labelled as fashion conceptualists. Their work is epitomised by innovation andexperimentation. Couture designers are more closely associated with artists, craftsmen, andcraftswomen who are 'free to generate problems and responses which are important to them'(Lawson, 1983, p.63), and their work epitomises fme dressmaking and creativity (Frings,1991, p.l28). Boundary pushers (Craik. 1999, p.57). such as John Galliano, AlexanderMcQueen, and Antonio Beradi, have placed fashion alongside other art forms. The evolutionof the fashion conceptualist has been supported by a number of colleges in the UK that alignthemselves with painting and sculpture rather than design. Young fashion graduates in the1980s resisted the call of the marketplace by favouring a commitment to 'artistic and culturalintegrity' (Craik, 1999, p.5) and were motivated by a belief in their own work and an intrinsicdesire to pursue their own creative goals (McRobbie, 1998, p.8l). These designers, whoworked for long hours for little income, were rewarded with the freedom to be creative in

J. Text. Inst.. 2000, 91 Part 2. No. 2 © Textile Institute 181

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

their own way. They were reluctant to exchange this freedom for secure jobs within largeclothing companies, where "creativity is much lower down the agenda' (McRobbie, p.98).

The importance of an individual's background that supports and stimulates creativityhas been emphasised by Stein (1975). Issey Miyake attributes much of his success to hisexperiences that were shaped by his cultural and social background:

'I am Japanese, and in my country we have remarkably strong traditions, which toucheverything in our lives: art, ideas, life, nature. We are able to make use of both technologyand our traditions to make our exceptional fabrics' (Benaim, 1997, p. 12).

The influential backgrounds of designers such as Wayne Hemmingway, Jean-Paul Gaultier,Calvin Klein, and 2^ndra Rhodes have been described by a number of authors (Kingswell,1998:Chenoune, 1998. pp.14-15; Coleridge. 1988, p.l8: Rhodes and Knight. 1984, p. l l ) .Carr and Pomeroy argue that creative fashion and textile designers 'refer to a history offashion and costume' (Carr and Pomeroy, 1992. pp. 26-27). Thus Jean-Paul Gaultier'sknowledge of the fashions of the past and his understanding of how they should be womhave been described as 'a sort of personal thesaurus' (Chenoune. 1998, p.8). This rich baseof knowledge was gained through six years of apprenticeships at Cardin, Esterel, and Patoubefore he launched his first collection in 1976 (Chenoune, 1998, p.6). Issey Miyake servedhis apprenticeship with Guy Laroche and Givenchy and moved to Geoffrey Beene prior tosetting up his own studio in 1970. John Galliano supplemented the freedom of the designcourse at St Martin's with the rigour and practicality of a part-time job at the NationalTheatre. As a dresser, he learnt how to use an iron to "coax and control fabric into behavingas it was required' (McDowell, 1998, pp.63-79).

Fashion designers have been described as self-assured individuals who lack conformity(Carr and Pomeroy, 1992, p,18). They have also been described as flamboyant andcharismatic (McRobbie, 1998, p.52). John Galliano is seen as childlike and naive, workingfrom a combination of his whimsical approach to life, his instinct, his mastery of clothingtechniques, and his knowledge of fashion history. Some may regard him as a romantic(something that might be reflected in the sophistication and romance of his designs), butthis is built on a foundation of hard-headed determination (McDowell. 1998, p.63). Histotal faith and confidence in his own ideas supported what has been described as a gift of'volcanic creativity' (McDowell. 1998. p.53). Paul Poiret. one of the most influentialcourtiers of the early twentieth century, has been described as complex, confident, rebellious,and supremely arrogant (McDowell, 1998, pp. 196-197). Zandra Rhodes unequivocallyrejects convention and opposes formal attitudes (Rhodes and Knight. 1984, p. 12). Jean-Paul Gaultier has been frowned upon by the French couture houses because he rejectedtheir elitist traditions. His nickname as enfant terrible personifies his approach ofdecanonising these fashion empires (Chenoune, 1998, pp.7-8). However, it is difficult todescribe his meticulous and creative output as anything other than 'high-fashion'.

Analysis of fashion designers graduating from colleges in the UK during the 1980s leadsMcRobbie to conclude that successful designers would fit the following profile.

'The star of the year...[usually male|...most closely fulfils the role of highly creativeindividual by virtue of his careful and studied deployment of the requisite attributes.These include a certain kind of brash confidence, the evident mastery of some key featuresof fashion technique such as bias-cut and tailoring, the ability to apply, in a seeminglycasual way, key art words to his own work, an eccentric or flamboyant personality, a

182 ./. Te.u. Inst.. 2000. 91 Part 2. No. 2 © Textil,-

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

inve.'Higating Creativity in the Development of Fashion Textiles

sense of drama and theatricality so that the clothes are made to perform, and, last but notleast, a desire to break some rules and shock the public as well as the art and fashionestablishment with his work' (McRobbie, 1998, p.52).

3.5 The Field: The Fashion Press

In his book The Fashion Conspiracy, Nicholas Coleridge describes his experience of meetingthe key players in what he describes as a 'fashion circus' (Coleridge, 1988, p.6). He describesthe nature of this field during the 1980s as follows.

The larger the fashion industry grows, the fewer the players that really count. In thedeveloped world, fashion employs eleven million people. And yet, when you pare thecast of leading characters to the minimum, it reduces to sixty' (Coleridge, 1988, p.7).

Coleridge identifies these key players as a community of designers, fashion editors,journalists, and buyers. The respect that designers have for these individuals is demonstratedin the seating arrangements at catwalk shows, which are both hierarchical and divisivewhere:

'...depending on the designer, and how he and his press and PR staff rate individuals,publications, stores, and manufacturers, everyone is seated according to status, power,and buying and publicity clout' (McDowell, 1998, p.l23).

The fashion media share the same world as fashion designers, but they work within adifferent domain from that of fashion design. This domain is structured by conventions thatregulate the generation of newspaper columns, articles, and television programmes.Traditions that are specific to this form of journalism shape what is said and in what format(McRobbie, 1998. p.151). Fashion magazines in particular attract 'enormous readershipsand lavish advertisements, a field of spectacular visual display and consumption' (McRobbie,1998, p.68).

The factors that govern their output include:

• editorial reputation;• circulation figures; '• competition from other publications; and '• advertising revenue.

Journalists are supported by other professionals, including stylists, photographers, and make-up artists. Teams of these individuals work together to support the business of image creation.The way in which a designer's products are presented by such teams is regularly at odds withthe personal vision of the designer, which can then lead to discontentment (Coleridge, 1988,p. 17; McDowell, 1998, p. 153). The mission of the team is not to sell clothes but to sell themagazine to an image-conscious consumer. The clothes that are selected for display withinmagazines play more of a role in constructing or reaffirming the fantasies and aspirations ofthereaderthaninprovidinginformationon what and where to buy (McRobbie, 1998, p. 171).Through these statements, the fashion media promote what is in and what is out.

Fashion commentary places overwhelming attention upon the stars and celebrities of thefashion world. Pierre Bourdieu (1993) has argued that journalists, reviewers, and critics areimportant in sustaining the elite position associated with a number of fashion designers.The fashion media also seem to reserve a 'site of expectation' into which a few new design

./. Te.xt. Inst.. 2000. 91 Part 2. No. 2 © Textile Institute 1^^

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Mo.xey and Studd

talents will slot each year (McRobbie, 1998, p.7O). The relationship between John Gallianoand Anna Wintour (ex-editor of British Vogue) is just one example of this. Ms Wintourdirectly contributed to the promotion of Galliano's work and profile by taking him to theright parties and allowing him to mix in circles where he would be able to demonstrate hiscreative credentials (McRobbie, 1998, p.I68).

The importance of the role of the fashion press is reflected in the fact that many fashiondesigners employ publicists to promote their work. Strong relations with the fashion pressare seen as a form of business asset, and thus the provision of expensive press packs,luxury lunches, and extravagant parties is commonplace (McRobbie, 1998, p. 170). Designersare very eager to promote the names of celebrity customers since they add creditability totheir label (Coleridge, 1988, p.14). However, this has its down side. McRobbie argues thatyoung UK designers in the 1980s had a tendency to design clothes for the editors of fashionmagazines rather than an end-consumer. Thus efforts by young designers to supply goodcopy are part of a plan to be noticed, and 'the press attention, the celebrity shopper, and thecoverage provided by a few shots in a range of fashion or style magazines and gossipcolumns work as a kind of symbolic capital' (McRobbie, 1998, p. 127).

3.6 The Process: Methods of Creating Couture

3.6.1 Review of Methods Adopted

Numerous accounts of the creative activities of textile and clothing designers appear tocomplement the associative nature of the creative process discussed in Section 2.4.2. Inaddressing the nature of design in general, Bruce and Cooper argue that designers 'use acombination of intuition, understanding, and current knowledge' to develop design solutions(Bruce and Cooper. 1997, p. 13). Concepts are developed via a mix of new informationabout the domain (i.e. technological breakthroughs and the latest marketing information),external stimulus, and previously acquired information.

Hirshberg has described how the antagonism generated by a clash of polarities providesthe impetus for the creative spark in other design disciplines (Hirshberg, 1998, p.24). Themesbased on polarities are common frames of reference for artists and designers (McRobbie,1998, p.63). Evidence for tbis can be seen in the work of Vivienne Westwood, who, indescribing her output, states the following:

'...There are certain polarities operating in whatever I do, very strong ones - betweenmasculine and feminine...there's dress and undress (whether it's nun-like to the neck,or it's lace-up boots, or fig-leaf tights)...it is the final synthesis of the polarities in thegarment itself which will be suggestive to the people of the idea' (Ash, 1992, p. 171).

John Galliano seeks the tension and romance that arise from the marriage of cultures,proportions, shapes, and textures (McDowell, 1998, pp.91-92). He describes this processas follows.

'It's all a mad mix. I mix shapes, mix proportions.. .1 put long over short, short over long,and break every possible rule and find different looks emerge by playing with how theyare put on the body' (McDowell, 1998, p.92).

Jean-Paul Gaultier's method is "collect, convert, combine' (Chenoune, 1998, p.7), which isreflected in an ability to fuse together concepts such as elegant with vulgar, beautiful withugly in a virtuous and eclectic mixing of genres (Chenoune, pp.8-9). Dries van Noten'sproduct fusion derives from what has been described as his 'magpie aesthetic' (Tucker,1999. p.8). This is epitomised by the layered look, which is used not only to juxtapose

184 J. Te.xt. Inst.. 2()00. 91 Fart 2, No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

colour, texture, and fabric but also as a barrier against the cold of the Belgian climate(Tucker, 1999, p. 16). His process of garment design is described in his own words:

'From the start, my designing has been about looking at a garment, taking it apart, puttingit back together, playing with the proportions of collars and sleeves...It's because I lovejuxtapositions.. .rich and poor, bright and dull, a huge sweater with a chiffon skirt - it alladds to the richness of the design' (Tucker, 1999, p.2O).

Van Noten often uses processes that incorporate up to five techniques on one fabric, withsome garments containing a mix of 'metallic foil prints, embossed sequins, felted wools,and simple pigment prints' (Tucker, 1999, p.24). The textiles of print designer Nathalie duPasquier embody an approach whereby her impressions of collages are, as Colchester putsit, the 'visual equivalent of a remix in music' (Colchester, 1996, p.35).

The fact that combining materials is fundamental to the development of textiles isembodied within the term composites, which is used 'where two or more materials, differingin fonn or composition, are combined to make a new material with enhanced performancecharacteristics' (Braddock and O'Mahony, 1998, p.67). Experiments in blending wool withcopper and silk with stainless steel are leading to exciting new developments in textiles(Braddock and O'Mahony, 1998, p.10). The combination of microfibres with other morecommon fibres such as cotton and silk is important in producing fabrics that have newproperties in terms of aesthetics, function, and handle (Braddock and O'Mahony, 1998,p.I3).

It thus appears that novel fashion textiles arise from the selection and fusion of elementsfrom diverse sources. Although tbis mirrors the claims regarding the associative basis ofideation described earlier, it fails to provide a framework that describes the nature of productdevelopment in the fashion-textile domain. The following section is an attempt to resolvethis. It proposes that designers of fashion textiles adhere to a series of stages that are looselyconsequential but where iterative recycling of problems and solutions occur as fashiontextile products are developed.

3.6.2 Finding and Defining Problems

An intention to create new forms can be a starting point for any designer who will also useelements derived from the social and natural environment to achieve product variations(Colchester, 1995, p.22). This activity is often focussed upon the achievement of some objectivethat manifests itself in the form of a problem. A number of researchers argue that designerssolve specific problems that are either presented to them or defined by themselves (Cooke,1995, pp.19-21; Goldschmidt, 1997, pp.441^^44). Decisions on which fabric to utilise ingarment design can be decided by aesthetic criteria (e.g. colour, texture, lustre, pattern, handle),functional criteria (e.g. sewability. insulation, dissipation, rub-fastness), and commercial criteria(e.g. right time, right price, right quality) (Carr and Pomeroy, 1992, pp.4-5). These requirementscan be defined quantitatively, for example, by acbieving colour-fastness, light-fastness, andseam-strength standards. However, much of fashion and textile design is regulated by attributesthat escape these kinds of measurement. These include a desire for symmetry (or asymmetry)and the communication of personality statement and social status. Couture designers who areengaged within what McRobbie calls 'ideas fashion' (McRobbie, 1998, p.48) tend to giveaesthetic problems priority over performance and price. Fashion conceptualists have beenmore concerned with tackling philosophical questions than considering their implications forinvestment in new machinery and workforce-training should the garment go into large-scaleproduction (Carr and Pomeroy. 1992, p.4; McDowell, 1998, pp.81-83; Benaim, 1997, p.7;Yusuf, 1998, p.l3; Braddock and O'Mahony, 1998, p.l l) .

J. Text. lnst.. 2000, 9! Part 2, No. 2 © Textile Institute 185

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

3.6.3 Searching for Stimuli

Textile and fashion designers find information and inspiration through an active searchwithin magazines, trade fairs, theatres, cinema, books, architecture, television, and 'thestreet' (Joyce, 1993, pp.38-39; Bawden, 1994, pp.29-33; Carr and Pomeroy. 1992. pp.26-27). Textile and clothing designers can be inspired by art, music, motion pictures, andother forms of imagery. Where Versace was inspired by the high-art of the renaissance(Martin, 1998, p.7), Wayne Hemmingway (of Red and Dead) is inspired by the low-art (orkitsch) of the car-boot sale (Kingswell. 1998. p.22). The search for stimuli can be plannedsystematically in order to identify specific answers to problems (Colchester, 1995, pp. 20-23; Braddock and O'Mahony, 1998, p.2O). This search process can also take the form of aless formal investigation, in which, for example, designers may travel to other countries inorder to soak up stimuli rather than to look for an answer to a specific problem. Travelprovides more than just an opportunity to collect source material. These periods of culturalrelief allow designers to recharge their batteries and relax (Yusuf, 1998, p.28; Rhodes andKnight, 1984, p. 10). Thus designers appear actively to seek periods where the serendipitousdiscovery of elements (Tucker. 1999, pp.27-28), the incubation of ideas, and the resolutionof problem impasses may occur.

It is important that elements of information and material collected from these periods ofresearch are recorded and arranged in a form that assists the development of ideas. Tosupport this activity and to overcome problems with memory recall, designers usesketchbooks, visual diaries, journals, and notebooks, which contain elements such aspostcards, fliers, photocopies, photographs, sketches, painted work, fabric indicators, yamwrappings, trimmings, and written notes (records of ideas and thoughts). These storagedevices can act as both an aide memoire and a source of inspiration in which eclecticborrowings ofeverything and anything reflect 'long periods of research' (McDowell, 1998.p.41). These are vital for generating successful concepts from which the final collectionwill be developed.

3.6.4 Developing Concepts for Fabrics and Garments

Essential to the successful development of new products is the ability of designers toexternalise concepts (Verstijnen et ai, 1998, p.52O; Moxey. 2000). In this paper, the tennconcept refers to the external representation of elements of a potential solution (Reber1995, p. 146; GoMschmidt, 1997, p.445). Goldschmidt describes the use of various methodsfor representing concepts. These include written and oral representations, three-dimensionalmodels, diagrams, ad-hoc graphic utterances, and sketches (Goldschmidt, 1997. p.445).These refer to visual and mental transactions between an individual and that which he orshe is trying to represent (Oxman. 1997, p.329). Textile and clothing concepts, as visualresponses to information and ideas collected at the research stage, represent early attemptsat solving problems. The visual concepts of a fashion or textile designer can be representedin a painting, sketch, story board, or fabric sample (Carr and Pomeroy. 1992, p.6).

Both fashion and textile designers may begin developing ideas by manipulating andexperimenting with design elements, such as yams or fabrics. For textile designers such asJun'ichi Arai, fabrics evolve from the manipulation of yams at early stages (Braddock andO'Mahony, 1998, p. 12). Many designers start to drape and pin fabric to models or stands toassess qualities such as handle and drape. Yohji Yamamoto. a Japanese fashion designer,begins garment development by manipulating a fabric to see how it moves and drapesbefore thinking about the form it should take as a gannent (Braddock and O'Mahony,1998. p.ll9).

y. Text. lnst., 2000, 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

Observational drawing and sketching (as external representations of intemal concepts)are an important part of the training of both fashion and textile designers (Conran, 1957,p.69). Fashion sketches are used primarily to represent the size and shape of silhouettes(which describe the outline of a garment) and in describing the relationship of designelements in two-dimensional form. A sketch can quickly and efficiently describe designelements such as proportion, balance, and rhythm (Frings, 1991, pp. 157-162). Both fashionand textile designers produce observational drawings and sketches that act as the basis formotifs and pattern elements.

Fashion and textile designers often present ideas in the form of montages composed ofvisual material (photographs, magazines clippings, colour chips, fabric indicators, trims,and bundles of yam) collected from sensory wanderings (Bruce and Cooper, 1997, p.90).These represent composites of distinct visual elements tbat reinforce tbe direction the productsolution should follow. These boards are used to communicate trends, end-user lifestyles,aesthetic considerations, and functional aspects of future solutions. They support and clarifythe concept being represented: a form of multiple representation that is 'essential inindeterministic processes such as design problem-solving' (Goldschmidt, 1997. p.454).

3.6.5 Evaluating and Refining Concepts

At the concept-refinement stage, concepts are evaluated and either hardened up into moreconcrete proposals or rejected (Cross, 1995, p.l 18). The evaluation of concepts can highlightimportant aspects of the problem and in this sense steer the concept-refinement process(Lawson. 1983, p.33; Getzels and Csikszentmihalyi, 1976. p.9O). Fashion designers oftenproduce prototypes of garments or toiles that provide early sculptural representations ofgannent concepts. Promising ideas can then be carried forward and developed into pattemsand sample garments (duplicates are made for showing to buyers). The modification andadaptation of a fabric or gannent are part of an iterative process in which aesthetic andconstruction problems are refined.

Concepts generated by textile designers need to be translated into fabric forms. Roughlysketched ideas or croquis need to be resolved so that forms of repeat networks can beconsidered. An essential part of this process is the interpretation and evaluation of paintedideas in order to determine which textile process should be utilised to reproduce thesepainted ideas accurately. This is refened to as sampling, a method of transferring textile-design concepts into fabric form, allowing designers tbe opportunity to evaluate conceptstbat can be either rejected or selected as a scheme that will lead to the final design.

i . 6.6 Preparing Specifications

At this stage, concepts are converted into more detailed design specifications that can beused by manufacturers to produce larger numbers of garments or to produce longer lengthsof fabric. Garment designs require detailed specifications, which are usually described onwork sheets (Frings, 1991, pp. 163-164). These provide information about trimmings, fabricswatches, colour specifications, and other manufacturing details. This information can thenbe used to provide guidance for pattem-engineering, pattem-grading, and lay-planning(Rhodes, 1995, p.58).

3.7 SummaryThe process of designing textiles and garments described above is shown in Fig. 2. Thispresents a series of actions and results that are generic to both textile design and fashion

J. Text- In.st.. 2000, 91 Part 2, No- 2 © Textile Institute 187

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

design. This adheres to the general model of the design process established by Cross (1995)and complements the work of Rhodes (1995) and Bruce and Cooper (1997). who describean iterative process in design which involves problem identification, research, conceptdevelopment, and evaluation. Textile and fashion designers prepare for success by generatingproblems and problem criteria. They then immerse themselves within Iheir work, findingand combining elements that might help redefine these problems (Lawson, 1983, p.32).This prepares the way for the generation and representation of responses to the problem.These responses are then evaluated against the problem criteria to identify possible solutions.

\ . r e c o r d > '

conceptgeneration

('concepts^

conceptrefinement

detaildesign

instructfor

making

Fig. 2 Generic framework for fashion textite design (adapted from Cross (t995. p.l l8),

4. DISCUSSION

Fig. 3 presents a framework for a system view of creative success within fashion textiles interms of the topics raised in the previous sections. It describes how successful designers aredeeply motivated by the act of creating new textile forms and rely on a rich base of knowledgeand experience that has been acquired through many years of hard work. Textile and fashion

188 J. Text. Inst,, 2000. 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

designers contemplate novel concepts through the synthesis and interpretation of externalstimuli (via searching, enquiry, and exploration) and internal stimuli (knowledge, experience,and perception). This process is one of bard work, rest, and combinatory play. At the coreof creative explosions is a process fuelled by tbe fusion of unusual elements. This is part ofan iterative process of discovery and evaluation in which problem definition, active search,concept development, and concept refinement are completed before working instructionsare passed through to manufacture. The act of creation within couture design generatesobservable events and products. The results of this process are novel variations of fabricsand fabric sculptures designed for clothing use. These products embody the creative-thoughtprocesses of the designer by visually representing aspects of tbe designers responserepertoire. These are presented for assessment to a wide variety of individuals who eitherselect or reject them. Successful variations are transmitted to tbe domain via tbe fashionpress and are thus accessible for otber fashion-textile practitioners.

PERSONfollows a

PROCESSthat teads to the

variation of a

Multiskilled. determined,expenenced, intrinsically molivated

Iterative process of problem-finding, concept development, and

refinemeni before deatiled design is finalised

PRODUCT which isy^ Novel aesthetic, functional and

^ socio-physco logical aspectsembodied within fabncs and clothing

PRESENTED to the

FIELD who either .

yes

Via fashion shows and otherforms of promorior

Ttie powerful fashion press

Or select ot ori itsnovelty and value

The selected variatloriIs then selected

the domain

Defining quality of creativity

spapers, magazines and other forms ofmedia publiBhirig

;tory of fashion were couture is seen as aive catalyst for the clothing industry

Fig. 3 System view of creative success within fashion textiles

/ Text. Inst., 2000. 91 Part 2. No. 2 © Textile Institute 189

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

5. CONCLUSION

As in other disciplines in science and art, the creative process of developing fabrics andgarments is complex and multidimensional. There has been a lack of research into thecreative conditions that lead to the development of innovative fashion textiles. In this paper,we have endeavoured to address this by highlighting correlations with established creativitytheory. Undoubtedly, the personality of fashion textile designers is an important dimensionof creative success. However, the argument presented in this paper is that an individual'spersonality is as much to do with gaining positive affirmations of creative genius from thepowerful fashion press as it is with solving problems and developing new and excitingtextile products.

REFERENCES

Abeiii. P.A.. 1996. Letter to the Editor. Creativity & Innovation Manage.. 5. No. 2, 145.Amabile, T.M.. 1982. Social Psychology of Creativity: A Consen.sual Assessment Technique. J. ofPersonalitv& Soc. Psychol., 43. 997-1013.Amabile, T.M.. 1990. Within You, without You; The Social Psychology of Creativity, and Beyond. In Theoriesof Creativity (edited by M. A. Runco and R. S. Alben), Sage, London.Ash, J.. 1992. Philosophy on the Catwalk. In Chic Thrills (edited by J. Ash and E. Wilson), Pandora Press,London.Baron, F,. 1969. Creative Person and Creative Process, Holt, Rinehart, and Winston, New York. NY. USA.Bawden, J., 1994. The Art and Craft of Fabric Decoration, Mitchell Beazley, London.Benaim. L., 1997. Issey Miyake. Thames & Hudson, London.Boden. M. A.. 1996, Tlie Creative Mind. Abacus, London,Bourdieu. P., 1993. The Field of Cultural Production. Polity Press. Cambridge, UK.Braddock,, S.E.. and OMahony. M., 1998. Techno Textiles: Revolutionary Fabrics for Fashion and Design,Thames & Hudson. London.Bruce. M., and Cooper, R., 1997. Using Design Effectively. In Marketing and Design Management (edited byM. Bruce and R. Cooper). International Thomson Bu-siness Press. LondonCarr, H., and Pomeroy. J.. 1992. Fashion Design and Product Development. Blackweil Scientific PublicationsOxford, UK.Chenoune. F., 1998. Jean Paul Gaultier. Thames & Hudson, London.Colchester. C . 1995. Hi-Tech Styles. Crafts, 132, Jan./Feb., 20-23.Colchester. C , 1996. The New Te.xtiles, Thames & Hudson, London.Coleridge, N., 1988. The Fashion Con.tpiracy. Heinemann, London.Conran, T., 1957. Printed Textile Design. The Studio. London.Cooke. C , 1995. An Introduction to Design (T2O4 Block 1), The Open University Press, Milton Keynes,Bucks, UK.Cosmides. L., and Tooby. J., 1992. Cognitive Adaptation for Social Exchange. In The Adapted Mind (editedby J.H. Barkow, L. Cosmides. and J. Tooby), Oxford University Press. New York. NY, USA.Craik. L., 1999. Couture Shock, Scene. Oct., 56-60.Cross, N., 1995. Product Planning and the Design Brief IT204 Block 2). The Open University Press, MiltonKeynes, Bucks, UK.Csikszentmihiilyi. M.. 1988. Society, Culture, and Person: A Systems View of Creativity. In The Nature ofCreativity {edited by R.J. Stemberg). Cambridge University Press, New York. NY, USA.Csikszentmihalyi, M. 1990. The Domain of Creativity. In Theories of Creativity (edited by M. A. Runco andR. S. Alben). Sage, London.Csikszentmihaiyi, M., and Sawyer, K.. 1995. Creative Insight: The Social Dimension of a Solitary Moment, InThe Nature of Insight (edited by R.J. Stemberg and J.E. Davidson). MIT Press, Cambridge. MA. USA.Damasse. J.. 1991. Sonia Delaunay: Fashion and Fabric. Thames & Hudson, London.Davidson, J.E., 1995. The Suddenness of Insight. In The Nature of Insight, (edited by R.J. Stemberg and J.E.Davidson), MIT Press, Cambridge. MA, USA.De Cock, C , 1996, Thinking Creatively about Creativity: What can We Learn from Recent Development inIhe Philosophy of Science? Creativity and Innovation Manage.. 5, 204-211.Einstein, A., and Infeld, L.. 1938. The Evolution of Physics. Simon & Schuster. New York, NY. USA.Eysenck, J. H.. 1994. The Measurement of Creativity, la Dimensions of Creativity (ediied by M Boden) MITPress, Cambridge, MA, USA.Finke. R.A., 1995. Creative Insight and Preinventive Forms. In The Nature of Insight (edited by R.J. Stembergand J.E. Davidson), MIT Press, Cambridge, USA.

190 J. Text. Inst.. 2000. 91 Part 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Investigating Creativity in the Development of Fashion Textiles

Frings, G.S., 1991. Fashion: From Concept to Consutner, Prentice-Hall, Englewood Cliffs, NJ. USA.Gardner. H., 1983, Frames of Mind: The Theory of Multiple Intelligences. Basic Books, New York, NY, USA.Gardner, H., 1993. Creating Minds: An Anatomy of Creativity Seen through the Lives of Freud. Einstein,Picasso, Stravinsky, Eliot, Graham, and Gandhi, Basic Books, New York, NY. USA.Gardner, H., 1994. The Creators" Patterns. In Dimensions of Creativity (edited by M. Boden), MIT Press,Cambridge. MA, USA.Getzels, J.W., and Csikszentmihalyi, M., 1976. The Creative Vision: A Longitudinal Study of Problem Findingin Art. Wiley. Toronto, Canada.Goldschmidt, G.. 1997. Capturing Indeterminism: Representation in the Design Problem Space. Design Studies.18, 441^55.Gombrich, E. H.. 1984. The Sense of Order, Phaidon Press, Oxford, UK.Hann, M.A., and Jackson. K.C.. 1987. Fashion: An Interdisciplinary Review, Text. Prog. 16, No.4.Hirshberg, J., 1998. The Creative Priority. Harper Business. New York, NY, USA.Isaak. M.L, and Adam-Just, M., 1995. Constraints on Thinking in Insight and Invention. In The Nature ofInsight (edited by R.J. Stemberg and J.E. Davidson), MIT Press, Cambridge, MA, USA,Johnson-Laird, F.N., 1988, Freedom and Constraint in Creativity. In The Nature of Creativity (edited by R.J.Stemberg), Cambridge University Press, New York, NY, USA.Joyce, C . 1993. Textile Design: The Complete Guide to Printed Textiles for Apparel and Home Furnishing,Watson-Guptill, New York, NY, USA.Kingswell, T,. 1998. Red or Dead: The Good, the Bad and the Ugly. Thames & Hudson, London, UK.Kneller. G.F.. 1966. The Art and Science of Creativity, Holt, Rinehart, and Winston, San Francisco, CA. USA.Koestler. A., 1975. The Act of Creation, Picador, London.Kuhn. T.S.. 1970. The Structure of Scientific Revolutions, Chicago University Press. Chicago, IL, USA.Lawson, B., 1983, How Designers Think. The Architectural Press, London.Li, J.. 1997, Creativity in Horizontal and Vertical Domains. Creativity Res. J., 10, 107-132.Martin. R., 1998. Versace, Thames & Hudson, London.Martindale, C , 1994. How Can We Measure a Society's Creativity? In Dimensions of Creativity (edited by M.Boden), MIT Press, Cambridge, MA, USA, ' ,McDowell, C , 1998. Galliano, Phoenix, London.McRobbie, A.. 1998. British Fashion Design: Rag Trade or Image Industry. Routledge, London.Mednick, S.A., 1962, The Associative Basis of the Creative Process. Psychol. Rev., 69, 220-232.Mithen, S., 1996. The Prehistory of the Mind, Thames & Hudson, London.Moore, C , and Femie. J., 1998. How Address Sells the Dress - An Evaluation of Fashion Designer Retailingwithin London and New York, J, Text. lnst., 89, Part 3, 81-95.Moxey, J., 1998, A Creative Methodology for Idea Generation in Printed Textile Design. J. Text, lnst., 89, Pan3. 35-^3.Moxey, J.. 2000. The Representation of Concepts in Textile Design. Point: Art & Design Res. J., 9, 50-58.Mumford, M.D., and Gustafson. S.B., 1988. Creativity Syndrome: Integration, Application and Innovation.Psychol. Bull.. 103, 27-43.Osbom. A. F,, 1963. Applied Imagination. Scribner, New York. NY. USA.Oxman. R., 1997. Design by Re-representation: A Model of Visual Reasoning in Design. Design Studies. 18,4.Partridge. D,, and Rowe, J.. 1994, Computers and Creativity, Intellect. Oxford, UK.Perkins. D,N,. 1988. The Possibility of Invention. In The Nature of Creativity (edited by R,J, Stemberg),Cambridge University Press, New York, NY, USA.Reber, A.S., 1995. A Dictionary of Psychology. Penguin, London.Rhodes, E., 1995. A Review of Design, (T204 Block 6), The Open University Press, Milton Keynes, Bucks.UK,Rhodes, Z., and Knight, A.. 1984, The An of Zandra Rhodes, Cape, London,Rickards, T,, and De Cock, C , 1994. Creativity in MS/OR: Training for Creativity - Findings in a EuropeanContext. Interfaces. 24. No. 6, 59-65.Robinson, R.E,, and Hackett, J.P,, 1997. Creating the Conditions of Creativity. Design Afana^^. /., 8, Fall, 10-21-Seifert. CM,. Meyer. D.E., Davidson, N.. Patalano, A,L.. and Yaniv, I,, 1995, Demystification of CognitiveInsight: Opportunistic Assimilation and the Prepared-mind Perspective. In The Nature of Insight (edited byR.J. Stemberg and J.E. Davidson), MIT Press. Cambridge. MA, USA.Simonton, D.K., 1990. History. Chemistry, Psychology, and Genius, In Theories of Creativity (edited by M, A.Runco and R. S. Albert), Sage, London, UK,Simonton, D.K,. 1995. Foresight in Insight? A Darwinian Answer. In The Nature of Insight (edited by R.J.Slernberg and J.E. Davidson), MIT Press, Cambridge. MA, USA.Stein, M.I., 1974, Stimulating Creativity. Vol, I. Academic Press, New York, NY, USA.Stein, M.I., 1975. Stimulating Creativity. Vol. 2, Academic Press, New York, NY, USA,

,/. Text. lnst.. 2000. 91 Part 2. No. 2 © Textile Institute 191

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14

Moxey and Studd

Torrance. E.P., 1988- The Nature of Creativity as Manifest in its Testing. In The Nature of Creativity (editedby R.J. Stemberg), Cambridge University Press. New York, NY. USA.Tucker, A., 1999. Dries Van Noten: Shape, Print and Fabric. Thames & Hudson, London.Vemon. P.E., 1989. The Nature-Nurture Problem in Creativity, In Handbook of Creativity (editicd by J.A.Giover. R.R. Ronning, and C,R. Reynolds), Plenum Press. New York. NY, USA,Verstijnen, I,M,, Hennessey, J.M-, van Lceuwcn C , Hamel, R., and Goldschmidt. G.. 1998, Sketching andCreative Discovery, De.sign Studies. 19. 519-546.Weisberg, R,W., 1986, Creativity: Genius and Other Myths. Freeman, New York. NY, USA.Welsh, G., 1975, Creativity of Intelligence: A Personality Approach. University of North Carolina FVess. ChapelHill. NC. USA,Yusuf, N,, 1998. Georgina von Ettdorf: Sensuality. Art and Fabric. Thames & Hudson, London.

192 J. Text. lnst., 2000, 91 Pan 2. No. 2 © Textile Institute

Dow

nloa

ded

by [

Mon

ash

Uni

vers

ity L

ibra

ry]

at 2

0:29

04

Dec

embe

r 20

14