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The purpose of this paper is to obtain a shared understanding of entrepreneurship education and to evaluate the effectiveness of employability and enterprise division in current fashion courses and amongst the students between a British and a Chinese university (UClan and SCAU).

It is a three‐stage action‐oriented PMI2 project (Second Prime Minister's Initiative for International Education) in fashion entrepreneurship, which was funded by the British Council. This paper presents the findings of the first stage of the research project. A combination of literature reviews, participant observation, semi‐structured interviews and focus groups were employed to deliver the results at this stage.

The findings represent similarities and differences between UClan and SCAU related to enterprise entrepreneurship education: identify rationale of evaluating fashion entrepreneurship education; and clarify a shared understanding of entrepreneurship education and the purpose of evaluating the effectiveness.

Due to geographical restrictions and limited resources, smaller‐scale samples were selected to gain a deeper insight into different approaches to fashion enterprise and entrepreneurship education between UClan and SCAU.

This research will be valuable to academics who wish to develop or enhance fashion entrepreneurship education, in particular with regards to forging links between universities in the UK and China.

This paper will increase awareness of fashion entrepreneurship amongst students, graduates and academics.

This research contributes to the current knowledge and best practice of fashion entrepreneurship education.

The purpose of this research is to develop a multidimensional measurement of fashion domain entrepreneurial self-efficacy (FDESE) based on which fashion entrepreneurs will be able to better develop strategies to gain and sustain success in their business development. The research is crucial to advocate fashion entrepreneurship and will provide direction for fashion business incubation services.

This research included three stages with mixed qualitative and quantitative approaches: conceptualizing construct definition and specifying domain(s) to generate initial items, scale purification and scale validation. This study started with reviewing the literature and individual interviews among 19 fashion entrepreneurs, which generated 72 initial items. An online survey was then conducted with individuals who are running or have the intention to run fashion businesses, yielding 249 useable samples for scale purification, which generated 21 items for the validation phase. Lastly, another online survey was administered to individuals who are currently running fashion businesses which resulted in 258 valid responses included for scale validation.

A measure of FDESE that is both reliable and valid was developed, including 21 items across four distinct dimensions: passion for fashion business (five items), marketing and branding (seven items), financial management (five items) and creativity (four items).

This study is the first attempt to develop practical scales measuring self-efficacy that focus on fashion domain entrepreneurship. The newly developed FDESE scale indicates that entrepreneurship not only involves marketing skills, financial knowledge, creativity, leadership, and proactivity but also requires passion and persistence.

Focuses on entrepreneurship in the fashion industry in Singapore, especially in the business of apparel fashion designing and retailing. Examines the factors that contribute to that success of this industry. Considers the support given to the fashion entrepreneur and the fashion schools in Singapore, including the difficulties encountered in starting and running such a business and the success factors. Concludes that the limited domestic market and lack of capital are the major difficulties. Suggests that whilst support has increased over the years, talent, the availability of capital and hard work seem to be the deciding factors determining success.

Using resource-based theory and social cognitive theory, this study aimed to investigate crucial resources that new US fashion ventures need to survive the initial stage of business development. It also intended to discover the role and characteristics of founders that contribute to the success of a fashion business, as well as challenges and struggles that fashion entrepreneurs face.

For the study, a qualitative research method with in-depth personal interviews was conducted. Participants were recruited through purposeful sampling methods. Using a grounded theory approach, we analyzed the approximately 308 pages of primary source data, transcribed from the records of the interviews.

Findings were categorized into three major themes. First, financial resources and literacy, marketing, merchandising, as well as legal resources were identified as critical resources at the firm level. Second, at the individual level, four important human agency factors, including intentionality, forethought, reactiveness and reflectiveness were revealed as essential for the success of fashion entrepreneurs. Lastly, relationships and networks were highlighted at both firm and individual levels.

This study contributes to the understanding of fashion entrepreneurship, an understudied area. The study identified critical resources for the success of fashion startups, especially during the initial business development process. The findings also emphasized the importance of human agency factors and networks at both firm and individual levels.

This paper aims to investigate the business operations of informal clothing manufacturing micro enterprises (CMMEs) and identifies ways to support owners to achieve economic sustainability.

A qualitative approach applying a case study design was used to study the business operations of 13 informal CMME owners at a business incubation hub (IH).

The study found that emerging CMME owners need ongoing generic business and fashion-related field-specific support particular to their business. Such support can be offered through the collaboration between higher education (HE) institutions and business IHs.

Starting a clothing manufacturing business offers women in Africa the opportunity to improve both their personal and community well-being contributing to three sustainable development goals, namely, to end poverty, gender equality and empowering women, as well as sustainable consumption and production patterns. Partnering with existing business IHs, HE can influence skills-specific training that may contribute to the economic sustainability of emerging entrepreneurs and reduce poverty.

The study proposes in-house apparel apprenticeships to ensure the economic sustainability of the CMME, contributing to apparel entrepreneurship literature and fashion-based entrepreneurship education.

This paper aims to show the representation of entrepreneurship in movies (blockbusters) as a source of influence on popular representations.

The author uses semiotics to contrast dominant representations in popular movies about Chanel with the reality of her professional life as can be found in archives about the fashion world and couture workers.

The changes in the account of the entrepreneur's success may disregard important elements such as the importance of collective work and the role of social history on entrepreneurial ventures.

Is entrepreneurship really a source of information in the general representations of what it is to be an entrepreneur and what explains the success and failure of entrepreneurial venture when we observe that popular representations are so far away from what research can describe and interpret using primary data?

By displaying the discrepancy between entrepreneurship theory and popular representations, especially in the movies, one may be able to grasp some of the reasons why entrepreneurship needs more in-depth analysis of actors' representations in relation to the image of popular entrepreneurs in the public eye.

The purpose of this paper is to address the interface between design education and business start‐up in the designer fashion industry (DFI) and provide a new framework for reflecting on ways to improve design education and graduates’ business start‐up preparedness.

This interpretive study employed semi‐structured interviews to collect nascent fashion designers’ enterprise development narratives and tertiary educators’ views on how they prepare designers for the challenges of the DFI.

While design and production skills studied in design education are valuable, it was found that work placements are particularly important resources for aspiring fashion business owners because they provide “education in enterprise” and the sort of social capital required for business success. The research produced a framework for reflecting on and refining the fit between design education and the practice of enterprise development in the DFI that incorporates considerations of the creativity‐business tension and designer's enterprise orientations.

The findings suggest there is a need to create more intersections between fashion design and entrepreneurship education and to incorporate more education for and in enterprise. They also suggest there is value in encouraging students to select design education that fits their enterprise orientation and any skill deficits associated with this orientation.

The paper makes a valuable contribution to both the higher education and entrepreneurship literatures by presenting an original model for conceptualising the way design education can interface with business start‐up to develop industry‐appropriate social capital and sound business practices.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

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.