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This paper examines the growth strategies adopted by fashion design houses which have undergone significant transformation in the past decade from being privately owned, niche market companies to stock‐market‐listed businesses selling fashion and other lifestyle products to a lucrative and international middle retailing market. In order to illustrate this transition, the paper will focus upon the entry of American fashion design houses into central London. The expansion activities of these firms are identified and the resultant impact of their strategies upon central London fashion retailing is considered, providing invaluable insights to the impact of fashion retailer internationalisation and strategic growth at the micro environmental level.

Creative industries, such as the designer fashion industry (DFI), are among the toughest in which to establish sustainable business ventures. While studies have examined how networks and social capital contribute to independent DFI start-ups and why such businesses fail, these studies have been largely restricted to well-established entrepreneurial spaces like London, which differ in structure and size compared to emerging DFI entrepreneurial spaces in small economies like New Zealand. This chapter addresses this gap in the creative enterprise literature by presenting findings from an examination of 12 New Zealand fashion designers’ accounts of their responses to start-up challenges. The analysis, which paid particular attention to the relationship between social capital and reported strategic practice, revealed that the designers’ challenge profiles and strategic responses were linked to very ‘biographical’ personal networks and their personal enterprise orientations. While those designers with well-established networks started the most resilient businesses, the analysis revealed that even these designers were not necessarily particularly strategic when tapping into the social capital embedded in their networks. Overall, the findings provide further confirmation of the importance of social capital and network management during start-up. Most significantly, they demonstrate why designers need to be forward looking and employ a strategic approach to developing and accessing social capital and when making business decisions. Those who did so were more likely to have viable ventures than those who accessed social capital in order to react to unanticipated challenges.

This paper aims to provide an insight into how fashion designer businesses work and survive in London, with an understanding of business techniques and the survival strategies of British fashion designers.

The initial research demonstrated a need to define “innovation” as well as recognise the approach of “creative people” in business by exploring existing literature. This was followed by a series of structured interviews with nine British Fashion Designers in London, and three with intermediaries aimed at putting the designers' activities within a business context: a fashion PR; a lawyer specialising in fashion business and a creative director of a fashion distributor.

The research suggests ten survival strategies employed by fashion designers. The five fashion designers in a sustainable business all operated all of these principles. Those no longer in business operated between one and five of these principles. As designers gain experience and realise their “value“, there is evidence that they can get leverage for contractual agreements with licensors, which has led to financial growth of the designers' businesses. Strategies for diversification and consultancy, if managed without diluting design values, have also led to business growth and stability.

Further research is required to consider innovation and entrepreneurship in the different creative and cultural industries, particularly concerning issues and challenges for the creative person.

The implications are that designers need to be quick to understand the business and wider environment in which they are operating. More published material needs to be widely available to them concerning role models and business models relevant to this unique and problematic industry.

The value of this original research is to share experience and inform designers and practitioners of current practices.

This paper aims to present an original conceptual model that captures the orientations of new business founders in the fashion design sector as they navigate the tension between creative endeavour and business practice.

The start‐up experiences of 38 fashion designers from the four main fashion centres in New Zealand were examined using an interpretive narrative approach. The designers' enterprise development narratives were analysed using in‐depth literary and conceptual analyses to reveal the nature and context of their start‐up behaviour and the conceptual frameworks they employed to make sense of their start‐up behaviour.

The designers were, to varying degrees, preoccupied with a perceived tension between creative processes and business practices. This tension was typically experienced as a disjunction between self‐identity and the identities supported by the business models designers worked within. Successfully navigating this tension could require significant conceptual shifts or fundamental adjustments in business approaches which challenged designers' original rationales for start‐up. The analysis of designers' responses to the creativity‐business tension and how they made sense of this produced a conceptual framework, a space delineated by three basic enterprise orientations: creative enterprise orientation (CEO), creative business orientation (CBO), and fashion industry orientation (FIO).

This conceptual framework has major implications for policy makers and providers of design education and business support as it offers a means of differentiating between the lived‐in experiences of designers. In so doing it could be used as a tool for tailoring support more appropriately to designers' needs. The narrative approach produced rich, contextualised insights and a template for the further studies that will be required to establish the wider applicability of the framework.

The original conceptual framework presented here provides much needed insight into creative business start‐ups that will allow better targeting of education, support and policy development. The approach used to create this framework is an innovative example of how narrative and sensemaking approaches can be combined to provide rich insights into enterprise creation from the entrepreneur's perspective.

Developing countries engaged in apparel value chain are going global, seeking opportunities to upgrade the industry through providing higher value-added products and services. The purpose of this paper is to investigate how Sri Lankan apparel industry designers interact with the western fashion world in the apparel value chain process, and how they acquire, adapt and apply the knowledge needed to develop high-value fashion products in their fashion design practice.

The study adopts a qualitative approach through semi-structured interviews conducted with fashion design and product development professionals in the Sri Lankan apparel industry. An inductive thematic analysis is used in identifying participants’ experience of the western fashion world within their fashion design practice.

The study proposes a “fashion knowledge bridge” illustrating the ways in which Sri Lankan designers acquire and merge high-value fashion consumer culture and lifestyle knowledge with the manufacturing industry, through multisensory and virtual experience, termed “exposure”, in their interactions with the western fashion world as well as the manufacturing culture of the Sri Lankan apparel industry. Designers’ exposure improves the feasibility and reliability of their apparel products, aligning to the end-consumer needs. The study also proposes a “designers’ exposure framework” that illustrates gains made by the Sri Lankan apparel industry resulting from knowledge enhancement through the designers’ exposure.

The study is based on a qualitative methodology that has potential subjective biases on the part of the researchers; in this case only the Sri Lankan designers’ perspectives were used in synthesising the findings.

The findings propose frameworks with theoretical and managerial implications for developing designers’ capabilities in apparel manufacturing countries that seek industrial upgrading through value-added fashion design practice.

The purpose of this paper is to analyze the factors that make Beirut a fashion hub by studying the characteristics of creativity and the role of the different stakeholders in setting an environment that encourages creativity in Beirut.

The methodology of this research is based on a literature review and information collected through semi-structured interviews with the different stakeholders of the sector.

The research reveals three results. First, this dynamic fashion design in Beirut is explained by the international success of some Lebanese fashion designers. Second, as there is an absence of any form of governmental intervention, the development of the sector is totally based on private business initiatives. Third, the research demonstrates the importance of the local culture, knowledge exchanges and lifestyle in shaping creativity and designers’ careers in Beirut.

These findings contribute to the clarification and critical analysis of the current state of fashion design in Beirut, which would have several policy implications.

Fashion designers in South Africa remain ambivalent in embracing sustainable fashion. This study examines the role of neutralisation techniques on attitude towards sustainable fashion. The study was conducted in South Africa, an emerging market known for water scarcity and pollution emanating from the textile industry.

A structured questionnaire was used to collect cross-sectional data from a sample of 590 fashion designers using a web-based online survey. Study constructs were drawn from the neutralisation theory and theory of planned behaviour.

Standard multiple regression analysis results identified denial of injury, appeal to higher loyalties and external locus of control as the major rationalisation techniques influencing South African designers' negative attitudes towards sustainable fashion.

Research was conducted in South Africa where the concept of sustainable fashion is still at developmental stages. The generalisation of the study findings may be enhanced by extending the study to other markets with a fully developed market for sustainable fashion.

The study results underscore the necessity of reducing social, structural and institutional barriers associated with the adoption of sustainable fashion. This study provides input towards efforts to develop attitude change strategies to stimulate designers to embrace sustainable fashion.

The research study contributes to theory, practice and future research.

The focus of this paper is two‐fold. First, it examines the growth strategies adopted by fashion design houses to transform and reposition their businesses from relatively small, niche‐market and privately‐owned companies to stock market listed conglomerates which produce fashion and lifestyle products aimed at a lucrative and international middle retailing market. The second is to consider the geographical implications of these strategies as illustrated through an examination of their locational impact on London and New York. The findings of this research suggest that both cities have experienced unprecedented and parallel patterns of development, apparently as a result of the aggressive expansion activities of fashion designer companies. As such, the paper highlights the impact of internationalisation and strategic growth at the micro environmental level.

The process of fashion design varies between market segments, yet these variations have not yet been properly explored. This study aims to examine the fashion design process as practised at the mass-market level, as this is the most vibrant and the largest market segment in terms of production volumes and sales.

It is observed that 15 semi-structured interviews were conducted with mass-market fashion designers. Key activities of the mass-market design process were identified and a comparative analysis was conducted with the general design process.

The mass-market design process is found to prioritise profits rather than aesthetic aspects, with the buyer exercising more power than the designer. This hinders creativity, which, in turn, may impede a move towards more environmentally benign designs.

The clothing industry is responsible for high environmental impacts and many of these impacts arise through decisions made in the design stage. In particular, the mass-market for clothing because of its high volume of sales and fast throughput, accounts for a great deal of the impact. However, little is understood about the design process that is practised in the mass-fashion market. This paper fills the gap by developing a framework that describes the mass-market design process. Understanding the design process will enable progress to be made towards achieving the United Nations Sustainable Development Goal 12: Responsible Consumption and Production.

The purpose of this paper is to identify both the inspiration sources used by fast fashion designers and ways the designers sort information from the sources during the product development process.

This is a qualitative study, drawing on semi-structured interviews conducted with the members of the in-house design teams of three Australian fast fashion companies.

Australian fast fashion designers rely on a combination of trend data, sales data, product analysis, and travel for design development ideas. The designers then use the consensus and embodiment methods to interpret and synthesise information from those inspiration sources.

The empirical data used in the analysis were limited by interviewing fashion designers within only three Australian companies.

This research augments knowledge of fast fashion product development, in particular designers’ methods and approaches to product design within a volatile and competitive market.