GUPS 2015 Amina Yagoubi, Diane-Gabrielle Tremblay TELUQ, Montréal, Canada
We analyzed the relation between : Creativity and sustainable development. (qualitative method, interviews with designers and intermediary organizations) We analyzed career paths along 2 main dimensions : On the axis centered on identity, we highlighted what Heinich (2012) calls The rise in peculiarity or specificity. On the axis centered on support in the sector, it is cooperation (Becker, 1988) that seemed to be the most interesting Careers take place in a regime of reputation and we analyzed the different ways designers distinguish themselves in their careers, amongst which sustainable development niches and ecological products.
Also, from the point of view of long term sustainability of the fashion-garment sector, we analysed the actions taken in relation with contemporary societal goals : those in sustainable development in the creative industries (here fashion design) The Montreal Metropolis is very active in supporting actions to foster creativity but also sustainability. The commitments taken by the Montreal Metropolis aims to support fashion designers in the context of the sectorial restructuring after the 2005 crisis (elimination of export quotas, tariff barriers fall). Ecological products = new niches to compensate.
In the Creative City context, we move from a given fashion world to a plural fashion world (Fig. 1) that expresses different strategies used by designers in order to distinguish themselves and gain recognition, and supported by the Metropolis and its actors. In our paper, we concentrate on the various actions of the Metropolis, but also the ways designers work together towards a new global value system with the concepts of think global and act local, in an uncertain horizon (Menger, 2002).
Associations sectorielles -Apparel Québec -Council of Fashion Designers of Quebec (CCMQ) -Fur Council of Canada -Association Canadian Manufacturers shoe -Conseil québécois retail sector (CQCD) Other industry promoters -Montréal Fashion Bureau (MFB/BMM) -Private developers (MFW/SMM, etc.) -Media ISSUE TABLE (CONSULATION)! Organizations supporting local production and training -Montréal couture -Apparel Connexion! Creative workshops & Manufacturers Retailers Wholesaler- Distributors! Organization of research support -Vestechpro : Collegial Center for the Transfer of Technology (CCTT) -CTT Group Educational institutions -Secondary schools -LaSalle College, Cégep Marie-Victorin, Campus Notre-Dame-de-Foy -College Fashion Montreal (ESMM) de l Université du Québec à Montréal (UQAM)
The creative segment of the industry is composed mainly of the creators workshops, mainly self-employed designers working on their own and selling their own creations. Some sell in local boutiques also. The designers work to construct their reputation (Moulin, 1992, Heinich, 2012) in interaction with the environment, that is the industry, the media, the public, and their peers (Becker, 1988). In the construction of the «creative milieu», designers try to distinguish themselves from the mass of designers and creators (Heinich, 2005), some with ecological designs and strategies, the ecological niche also contributing to the sustainability of the sector.
While developing their specificity, cooperation is important in the construction of reputation ; it is a founding bases for the development of a creative career, but also for the sustainability of the sector. It is interesting to note that designers are a creative segment of an industry (Garment) which is not in essence «cultural» or part of the «Creative City» (CAA, 2013) BUT they largely contribute to its Sustainability
Creativity and Apparel In 2013 a Canadian study tried to determine the dynamics of creative industries. Figure 2 shows the various components of the «ecosystem of creativity», which should favour sustainable development of the fashion industry. Designers are the intermediaries between a creative industry (fashion) and a more traditional industry (apparel). They are essential to futuresustainable development of the industry They create and reinforce the image of the city as a city of fashion (fashion shows, Fashion week, various cultural activities around fashion ) and they contribute to define the identity of Montreal as a creative metropolitan city, with creative metropolitan identity (Plan d action 2007-2017; Culture Montréal, 2012; Ville UNESCO design, 2006).
Creative Ecosystem Designers try to contribute to a green transition and sustainable developement by equitable production and natural products (coton), by respecting CSR criteria in productions, national and abroad. While the garment industry is in competition with China (cost competition), designers in Metropolitan Montreal are moving in another direction and trying to pull the industry in this ecological, green, sustainable direction. Delocalization is not their pattern of choice and some (not all) try to lead the local garment and fashion industry in this more socially responsible path of sustainable development
Sustainability The sustainable option for the fashion industy is based on a choice of products and production modes that are more centered on local sourcing, local production and sustainable modes of production A relation between creativity, culture and development is put forward, just as economy and ecology, or environment and development were put forward by the Brundtland Commission (Rapport.Brundtland, 1984) which put forward the concept of Sustainable development in its report (Agenda21, 2012 : 2). UNESCO calls for a Creative Diversity («Notre diversité créatrice», UNESCO, 1996)
Sustainable development law Québec positions itself well on sustainable development issues (not so much Canada recently with S. Harper as PM) A Law on Sustainable development was adopted in 2006, including environmental, social and economic issues + including culture. All these elements are essential to the definition of sustainable development (Pascual Espuny, 2010 : 14-15)
Sustainable production Changes in modes of production. Production modes are moving to smaller series/batches, smaller quantities that need to be produced more quickly. This requires Local Sourcing (not international), which can reduce GreenHouse Gasesrelatedto Intl Imports. This leads to a reversal of delocalization for some production segments, ++ local production niches. Also Ecological brands and production as well as Equitable production are important new strategies for the Garment-Fashion sector
Changes in Production Increases in transportation costs but also observation of production defects with production in China lead to relocalization in Canada-Québec Proximity between production and market, quality control and close relations with subcontractors become more important than the cost dimension, at least for some segments of market In 2005, one designer is amongst the first to return to Québec: «It was not trendy then, he says, but has become more so in 2006-2008 and more and more so. More and more clients want to have local products and local production».
Designers and creative workshops Designers: the creative workshops produce small batches, exclusive and unique products, and they distinguish themselves from imports and international production. They develop sales arguments favoring local production and design. New qualities are put forward: authenticity, originality, singularity, distinction (unique or exclusive pieces) are opposed to the mass production market. «Creativity takes over» (IPI.3). RD.1 says : «I am not in competition with China, I am on a totally different markete, more intermediary or top brands» (RD.1). The Made in china products «are not in the same sector as designer products [ ]. It is not a challenge for us!» (ED 6)
Local production «Creative workshops produce smallseriesand it is not worth producing abroad» (IPI.2) Local production becomea an ethical, equitable label and we value the 100% made in Québec. There are specific niches : Ecoluxury brands such as Harricana by Mariouche (Harricana), a designer who has developed a niche with recycled fur and ecological fashion. An eco-design boutique (Boutique La Gaillarde) also sells local creators and ethical Québec brands
Recycling, ethical Recycling of clothes, fur, leather becomes very fashionable, biological coton and other products, and local production all contribute in crating a specific local niche with a very particular identity. Some designers define themselves as being in a «counterfashion movement». The creative engagement contributes in defining a new nichefor ethical products. To distinguish oneself by creativity in the ethical field contributes to building a reputation (RD.1). Denis Gagnon says he wants to be as creative as possible and not limit himself to «commercialisation». To distinguish oneself is a source of success and «the ethical and ecological niches areone way of doing this» (ED.6).
An ethical creative cluster For the fashion industry to transform itself in an ethical creative and sustainable cluster, it needs the support of various actors in order to value the «made in Québec, Canada» It needs support for the marketing of local designers The image of the Creative city is also useful to support the local designers image: Montreal, City of Fashion, but also Sustainable Fashion. Fashion week and governement support are instrumental in this project.
Sustainable development and creative industies come together (Pascual Espuny, 2010) Coming together of the objectives of creativity and sustainability 1. Social dimension: working and producing locally, this implies an eco-responsible consumer, and a strong relation to the client base. 2. Economic dimension: Creativity, innovation and visibility are added values for the industry and the ecological fashion industry contributes to the identity of the fashion cluster. 3. Spatial dimension: proximity of actors and subcontractors contributes to a reduction in greenhouse gases and favors a new image of the industry/cluster. 4. Political dimension : Governements engages in the industrial restructuring by supporting this new vision for a sustainable fashion sector.
MUCHAS GRACIAS! Amina Yagoubi and Diane-Gabrielle Tremblay TELUQ, Université du Québec, Montréal, Canada