Creativity in Fashion

7/29/2019 Creativity in Fashion

1/17

CREATIVITYin Fashion

Enhancing

CreativityFind out howdesignerskeep those creativejuices flowing! p.4

Inspiration

Check out where famous designers like Chanel, Yves Saint Laurent and

Alexander McQueen get their inspiration from. Flip to p.7!

Ready

for theRunwayIt takes more than just

creativity to get thosedesigns on the runway.

How exactly do you turncreativity into innovation?

p.15


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SummaryFashion is constant, but trends are ever-changing.

The fashion industry is a cutthroat one. Designers are hard-pressed to constantly come up with new designsand fashion statements, and the need to keep up with ever-changing fashion trends is imperative to besuccessful in the industry.

This report is split into two sections:

From mind to paper This section will first look at how creativity can be stimulated at an individual and

environmental level, then examine where three key fashion designers get their inspirations from.

From paper to cloth Creativity is not enough. Designers need to know how to turn their creativity into

innovation and this section aims to address the issue of turning creativity into innovation.

The report will also be peppered with examples and quotes from Karl Lagerfeld, renowned fashion designer forbrands like Chanel, Fendi and his own label, Karl Lagerfeld, to provide more real-life insights on the topic ofcreativity in fashion design.

KarlLagerfeld,fashiondesigner

FROM THE

EDITORS

DESK

2


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SummaryNo doubt about it: Fashion designers have to constantly be creative to come up withthe latest designs, keep up with changing styles and tastes, and in doing so, reel

consumers in. The nature of the fashion industry is as such. Designers continuously

look for ways to gain inspiration for designs, but such inspiration is not enough.

Designers need to know how to cultivate these ideas, and to turn them into

practical, ready-to-wear designs.


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FROM MIND

TO PAPER:

GAINING

INSPIRATION

Fashion design is a problem, and creativity is a solution.

In this respect, both the individual and the environment can work together to cultivate creativity.

INDIVIDUAL

Convergent & Divergent Thinking Styles

Fashion designers usually have to move from aconvergent to divergent style of thinking during thedesign process, therefore, they have to be adept atswitching between both thinking modes.

Convergent thinking is applied when designers undergothe research and analysis phase to derive the bestsolution to a clearly defined question, in this case,fashion design. The fashion industry, though volatile, is

highly dependent on catering to consumers tastes.Designs should not only be creative, but wearable as

well. With a focus on accumulating information, theycan look at past designs to determine past fashiontrends. Such industry knowledge can be gained through

convergent thinking, and is essential in framing thedesigners thought processes towards successful trendsand customer preferences.

Divergent thinking comes thereafter. It is considered animportant aspect of creativity as it allows individuals todevelop their own solutions to problems. Linking it tothe idea of fashion design being the problem andcreativity the solution, divergent thinking allowsdesigners to draw inspiration fromvarious sources. Theydo not have to stick rigidly to the same patterns anddesigns already in the industry, but instead, look to

various sources for a creative solution which will giverise to more creative and unexpected designs.

4

Enhancing Creativity

Clear thinking at

the wrong moment can

stifle creativity.

Karl Lagerfeld
http://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeld


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KnowledgeTo go beyond the status quo and do original work, one isrequired to have the basic knowledge of the industry and

processes. This includes knowledge of the latest fashiontrends, sewing experience, drawing and sketchingabilities, and understanding of form and proportion.Only with such knowledge can a designer begin to thinkout of the box, challenge or conform to trends, and lookfor creative and viable ideas for future designs.

Environment

Fashion designers are seen as the creative souls of thefashion industry. It is this environment that fosterscreativity further, as risks appear to be less detrimentaland hence, designers are more inclined to go into morerisk-taking initiatives.

Personality

Creativity requires a risk-taking personality, whereindividuals dare to defy the crowd and go on a different

path. Such risk-taking personality is apparent in the

work of acclaimed fashion designer, Karl Lagerfeld,head designer and creative director for fashion house,Chanel. Besides many achievements during his work atChanel, Lagerfelds strong sense of humour also led tomany interesting pieces such as the shower-dress, car-dress, and a whole range of quirky hats1.

Motivation

Individuals are usually only creative in the pursuits thatthey enjoy. Karl Lagerfeld is definitely motivated in his

job as a fashion designer. He is completely obsessedwith fashion, and considers himself to be a workaholicand totally in love with his job2. Lagerfelds interest infashion began at an early stage. As a child, he would poreover history books to look at the costume designs andaccompanying descriptions, as opposed to reading thestories within the books. He was also reported as sayingthat his favourite childhood pastime was designing andsketching dresses3.

Thinking stylesThe most important thinking style that designers have to

possess is the inventing style, where they do things theirown way. When working for Chanel, Lagerfeldincorporated into his designs the precise attributes thatmade Chanels style so famous: lack of convention,

perfectionism, uniqueness, passion and vision.Operating on a completely different wavelength from theexaggerated, abundantly decorated and embossed stylesthat ruled the fashion industry then, Lagerfeld insteadcreated pieces that obeyed his Less is More maxim.Powered by inexhaustible creativity and energy, he viewsroutine as a horror4.

This attitude clearly indicates Lagerfelds inventingstyle, and his lack of conformity to the styles set out bythe industry. Instead, he chooses to push forward with

his simplistic and successful designs.

Intellectual abilities

This attribute constitutes seeing things in different

lights and making new connections, which is particularlyimportant in the fashion industry. Designers have to

view ordinary clothing like dresses, tops, and bottoms invery different lights, to see how they can transform itinto something unique and creative. This also entailsmaking new connections, especially in terms of mixingand matching fabrics and colours to create new designsand styles.

INDIVIDUAL

Investment Theory of Creativity

The investment theory of creativity states that there are six resources required for creative enterprise.


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Autonomy

Most creative individuals work best in solitude. Thismeans that organisations have to provide creativeindividuals with autonomy in their work. In this respect,it would be better for organisations to provideemployees with autonomy to the means, rather than theend. The world of fashion design is similar, but slightlymore open-ended. With the end being the wearabledesigns, fashion designers have claim over this aspect as

well. The end stipulated by the organisation orcompany would then be the number of apparel in thefashion lines they come up with.

Such autonomy stimulates creativity as individuals havemore time for themselves, which stimulates creativity.Karl Lagerfeld corroborates this sentiment. People

who do a job that claims to be creative have to be alone torecharge their batteries. You cant live 24 hours a day inthe spotlight and remain creative. For people like me,solitude is a victory.

Resources

Time and money are the two greatest resources thatcreative individuals need in order to be creative. Thelack of these resources forces them to focus on obtainingthem, rather than stimulating their creativity.

Time-wise, designers are usually hard-pressed to comeup with a whole line of designs for upcoming seasons.When time is tight, it becomes harder to come up withmore creative designs as stress is an inhibitor tocreativity. Likewise, designers require resources to domockups of their designs before actually sending themto the production line. This requires them to havesufficient resources and time to come up with thesemockups, and the lack of provision of such resourcesmay act as an inhibitor to creativity even if thedesigners have very creative ideas, as they will be unable

to act upon it.

Motivation

Organisations should endeavor to enhance the intrinsicmotivation of their employees since this form ofmotivation makes for the best creative works. Individualsare spurred to be creative when they enjoy and have a

passion for what they do. Designers are usually verypassionate about their job, and this sense of intrinsicmotivation continually spurs their creativity. Also, whendesigners are able to see their designs on the runway,the sense of achievement, fulfillment, and value in whatthey are doing will motivate them to come up with moredesigns.

6

People who do a job that claims to be

creative have to be alone to recharge their

batteries. You cant live 24 hours a day in the

spotlight and remain creative. For people

like me, solitude is a victory.

Karl Lagerfeld

ENVIRONMENT

Environment plays a huge role in stimulating, and sometimes inhibiting, creativity. In fashion design, three mainfactors should be considered, namely autonomy, sufficient resources of time and money, and intrinsic motivation.
http://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeldhttp://www.goodreads.com/author/show/5963.Karl_Lagerfeld


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InspirationThis section will examine the likes of famous high-end fashion

designers such as Alexander McQueen, Yves Saint Laurent, andCoco Chanel to find out their sources of inspiration.


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Gabrielle Coco

Bonheur Chanel(19 August 1883

10 January 1971


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Chanel was a passionate woman, and her fashioninspirations were derived from the simplicities ineveryday life. She never stopped looking for inspirationfor new product collections from the closets of herlovers to the times she spent outdoors fly-fishing. Sheincorporated her favourite colour palettes of black,

beige and white into her apartment and clothing, inaddition to elements from her art collection andtheatrical interests which provided themes for her

collections.

Mens Wear

Chanels clothing was primarily made of jersey material.This was a highly unusual choice from other fashiondesigners in her time, as jersey was a fabric mostcommonly used in the production of mens underwear.

At that time, Chanel was in a precarious financialposition, and the cheap nature of jersey fabric made it afavourable choice. However, the fabric proved to bedurable and draped well, which suited her simple,

practical and mens inspired wear, ensuring itscontinued use even after Chanels business becameprofitable.

As a companion to many powerful and talented menduring her time such as Picasso and Stravinsky, Chanelmade use of such occasions to gain inspiration for hercollections. In the 1930s, she was the mistress of theDuke of Westminster, and it was then that she got herinspiration for her soft-belted coats, tweed jackets and

blazers, sailor sweaters and cuff-linked shirts. By making

use of his wardrobe, Chanel created a style that wasuniquely hers.

The Natural Environment

Chanel loved Camellia a largebut delicate flower with simpleleaves arranged in an alternate

pattern. Said to represent both radiance and purity,Chanel grew to become infamous in her attempts toimmortalise the flower in her clothes, bags, belts and

jewelry; and wore a white camellia on herself on manyoccasions. This flower soon became a classic Chanel

trademark.

Personality of Paris

Chanel lived in the Ritz in Paris throughout most of hercareer, and the view from her suite overlooked the Place

Vendme, a hexagonal open area in the centre of Paris.This shaped proved to be an inspiration to her, and sheincorporated it into numerous watch faces as well as onthe stopper of the bottle of her most famous scent,Chanel No.5.

It was Chanels ability to take the beauty from the thingsaround her and turn it into beautiful designs that made

her designs so widely appealing. She understood thatelegance lay in the simple flower on the side of a

handbag, rather than a handful of frills and lace, and shemade this understanding the basis of all her creations.

Coco Chanel......was a French designer and founder of high-end fashion label, Chanel. She was a highly

influential fashion designer who made waves in twentieth-century fashion with her

modernist thought, practical designs and pursuit of expensive simplicity. She was the only

fashion designer to be named on Time 100: The Most Important People of the Century.5

9

THROUGH THE

EYES OF

A FASHION

DESIGNER

Fashion is not simply a

matter of clothes. Fashion is

in the air, born upon the wind.

One intuits it. It is in the sky

and on the road.

Coco Chanel

CHANELS CAMELLIA-INSPIRED | CHANEL TWEED COATDRESS
http://www.evancarmichael.com/Famous-Entrepreneurs/631/Coco-Chanel-Quotes.htmlhttp://www.evancarmichael.com/Famous-Entrepreneurs/631/Coco-Chanel-Quotes.htmlhttp://en.wikipedia.org/wiki/Time_100:_The_Most_Important_People_of_the_Centuryhttp://en.wikipedia.org/wiki/Time_100:_The_Most_Important_People_of_the_Century


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Yves Saint Laurent(1 Aug 1936 1 June 2008)


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Yves Saint Laurent...

11

THROUGH THE

EYES OF

A FASHION

DESIGNER...was a French designer who owned a label under his name. His work has been acclaimed

through various awards such as International Wool Secretariat Award, 1954; Neiman

Marcus award, 1958; Harper's Bazaar award, 1966; Council of Fashion Designers of

America award, 1981; CFDA Lifetime Achievement award, 1999; Fifi Fragrance award

(for Baby Doll), 2000.

Yves Saint Laurent was one of the most celebrated andinfluential fashion designers in fashion history. In 1985,Caroline Rennolds Milbank, author of the bookNew

York Fashion, wrote, [Yves Saint Laurent] is the mostconsistently celebrated and influential designer of the

past twenty-five years, [he] can be credited with bothspurring the coutures rise from its sixties ashes and withfinally rendering ready-to-wear reputable.6

Besides his name being synonymous with his success inintroducing the womens tuxedo suit, Saint Laurent wasalso known to gain inspiration from non-Europeancultures in his work, and was the fist ever designer tointroduce ethnic models in his runway collections.

Morocco

The city of Marrakech in Morocco proved to be highlyinfluential in Saint Laurents creations. When Idiscovered Marrakech, it was an extraordinary shock.

The city taught me color, claimed the designer.7

Uponretirement, Saint Laurent grew to be highly reclusive,spending most of his time in his villa in Marrakech.

Art and History

Yves Saint Laurent saw fashion as an art form and grewthis sentiment with the public by being the first everdesigner to hold a museum show in the MetropolitanMuseum of Art in 1983. Saint Laurent had great kinship

with ideas, and could embody an artist in his clothes anddesigns through the use of hand stitching and well-

placed seams.

In fact, the talented designer translated van Goghssunflower designs into a jacket, by building up silkribbons, embroidery and sequins in a way that mirroredthe brushstrokes on that famous piece of canvas.

Such sensitivity to creativity in art also showed SaintLaurents talent in revealing other peoples sensibility bythe use of his craft. He gained his inspiration byimitating artists and even entire historical periods, andmade use of colours and textures to reveal thesesimilarities.

MOROCCAN INSPIRED DESIGNS | YSLS VAN GOGH INSPIRED JACKET | VAN GOGHS SUNFLOWER PAINTING | YSL MODEL ON THE RUNWAY
http://en.wikipedia.org/wiki/Ready-to-wearhttp://en.wikipedia.org/wiki/Ready-to-wearhttp://en.wikipedia.org/wiki/Ready-to-wearhttp://en.wikipedia.org/wiki/Ready-to-wearhttp://en.wikipedia.org/wiki/Ready-to-wear


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Lee Alexander

McQueen(17 March 1969

11 February 2010)


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Alexander McQueen......was a British fashion designer and couturier who worked as chief designer at the label,

Givenchy, between 1996 and 2001 before founding his own McQueen fashion label. He has

been awarded British Fashion Designer of the Year, Commander of the Order of the British

Empire, Council of Fashion Designers of America, and International Designer of the Year 2003.

13

THROUGH THE

EYES OF

A FASHION

DESIGNER

McQueen is well-known for his in-depth knowledge inBritish tailoring, his inclination to juxtapose fragility andstrength in his collections, and the emotional power andraw energy seen in his provocative fashion shows. He didnot conform to the conventional and normative standardsof beauty set by the industry, and instead, would dress

women up in outfits that obscured their features. To him,clothes were more a form of empowerment than vanity andwearability. He saw fashion as a way to challenge the waypeople fundamentally thought about clothing.

McQueens sources of inspiration came from unusualplaces: Fine artists, television programmes on nature andscience fiction, his mentor Isabella Blow, Renaissancepainters, and primitive societies. His designs have beendeemed as changing the course of fashion, history andculture.8 He also had a love for nature, mainly due to its

unpredictability and spontaneity, and emphasized theseattributes in his work.

CollectionsMcQueens designs and inspiration always held a darknessand the deep romanticism of the nineteenth century. Everycollection tells a different story, and invokes feelings ofawe, wonder, fear or terror. McQueen was also quoted assaying that he did not care about whether people liked hiscollections or not, as long as they felt something when theylooked at it. To him, the runway was a channel where hecould express his imagination, and much of his collectionswere inspired by his state of mind at the time he came upwith them.

The Savage Mind By displacing and deconstructingfabric, McQueen explores his subversion of traditionaltailoring and dressmaking practices.

Savage Beauty This collection was on display at theMetropolitan Museum of Art in 2011 and was one of themost memorable and imaginative fashion exhibitions everheld. McQueen used many unusual resources from the pastand present, such as razor clam shells, butterflies, stuffed

birds on a bare shoulder, or a sprouting elk hornheadpiece. Under his creative hand, these organicmaterials come together with dazzling creativity.Romantic Gothic McQueens narrative approach tofashion can be seen in this collection, where hisengagement with Romantic literary tradition such as death,decay and darkness can be seen.

Romantic Nationalism Looks at McQueens

fascination with distant past while Romantic Exoticismexamines the designers focus on distant places.

Romantic Primitivism Explores McQueensengagement with the ideal of the noble savage.
http://en.wikipedia.org/wiki/Council_of_Fashion_Designers_of_Americahttp://en.wikipedia.org/wiki/Council_of_Fashion_Designers_of_Americahttp://en.wikipedia.org/wiki/Commander_of_the_Order_of_the_British_Empirehttp://en.wikipedia.org/wiki/Commander_of_the_Order_of_the_British_Empirehttp://en.wikipedia.org/wiki/Commander_of_the_Order_of_the_British_Empirehttp://en.wikipedia.org/wiki/Commander_of_the_Order_of_the_British_Empirehttp://en.wikipedia.org/wiki/British_Fashion_Awardshttp://en.wikipedia.org/wiki/British_Fashion_Awards


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Absurdity

and anti

absurdity arethe two poles

of creative

energy. Karl Lagerfeld


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Communication

It is crucial that the designer knows how to

communicate his ideas effectively to the sample makers,to ensure that the most accurate representation of hisideas is created. Designers thus have to know how bestto turn their creativity into innovation, and in the case offashion designers, this is usually done through the use ofmagazine tears, swatches of fabric or drawings. Thus, itis not enough to merely have many creative ideas. It isessential for designers to have the necessary skills toconvey these ideas into action.

The lack of communication between the designers andsample makers creates an atmosphere of uncertainty andstress. This is heightened by the fact that most samplemakers are evaluated and judged based on their sampledesigns, rather than the designs on paper.

InterdependenceWhen looking for inspiration and putting ideas to paper,designers require autonomy. However, interdependence

between the designer and the sample makers is crucial in

creating an accurate representation of the designerswork. Both parties have to work together, and thereshould be a constant flow of two-way communication.

Knowledge and Expertise

Knowing what the consumer wants is also important asthis will help the designer in his choice of fabric, cutting,and other design components. Intuition is particularly

important in this respect as designers have to use theirbase of knowledge that they have built up over years ofdesigning, to make the right decisions that will benefitconsumer and pander to their needs.

However, knowledge and expertise may result indesigners sticking to what they know, and not venturinginto new and untapped areas of creativity. Theytherefore have to exercise their knowledge and expertisein the right moments, and ensure that it does not hamper

their creativity. It is at this point that the designer has toknow when to switch from divergent to convergentthinking, as stated in the earlier sections of this report.

FROM PAPER

TO CLOTH:

READY

FOR THE

RUNWAY

Ready for the Runway

15

The previous sections showed how to stimulate creative energy, and looked at where some creative

designers get their inspiration. However, inspiration and creativity are not enough. To truly be a successful

designer, one has to know how to turn these creative ideas into actual clothing, ready for the runway.


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ReferencesMain SourcesCreativity as investment, Sternberg, Robert J;O'Hara, Linda A;Lubart, Todd ICalifornia Management Review; Fall 1997; 40, 1; ABI/INFORM Complete pg. 8

Corporate Creativity Readings, Week 2-9http://www.tx.ncsu.edu/jtatm/volume2issue4/articles/sinha/sinha_full_25_02.pdfhttp://www.fashion.net/howto/fashiondesigner/http://en.wikipedia.org/wiki/Convergent_and_divergent_productionhttp://www.wikihow.com/Become-a-Fashion-Designer

Karl Lagerfeldhttp://www.thebiographychannel.co.uk/biographies/karl-lagerfeld.htmlhttp://www.always-inspiring-more.com/Karl-Lagerfeld.119.0.html

Coco Chanelhttp://cocochanel.evancarmichael.com/Lesson-3-Be-Inspired.htmlhttp://www.metmuseum.org/toah/hd/chnl/hd_chnl.htm

Yves Saint Laurenthttp://www.artinfo.com/news/story/34445/the-artful-inspirations-of-yves-saint-laurent/

Alexander McQueenhttp://blog.metmuseum.org/alexandermcqueen/about/

End Notes1 http://www.thebiographychannel.co.uk/biographies/karl-lagerfeld.html2 http://www.thebiographychannel.co.uk/biographies/karl-lagerfeld.html3 http://www.bookrags.com/biography/karl-lagerfeld/4 http://www.always-inspiring-more.com/Karl-Lagerfeld.119.0.html5 http://en.wikipedia.org/wiki/Coco_Chanel6 http://en.wikipedia.org/wiki/Yves_Saint_Laurent_(designer)7 http://fashionurbia.me/search/inspiration

8 http://www.huffingtonpost.com/bruce-helander/ten-top-picks-from-the-al_b_903835.html

BIBLIO-

GRAPHY
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Individual Assignment 2

Creativity in Fashion Design

This report was prepared for Dr. Gilbert Tan, for MGMT227: Corporate Creativity,

by Denise Tan Su-Wen.

Documents

Creativity in Fashion