The introduction of the creative
industries came as a result of the emergence of the economy of British where knowledge-based
or creative immaterial inputs offered additional social and economic value to
merchandises and services. A large proportion of the creative economy aspect
was a slogan for mobilization. The knowledge has been applied in various
concepts and ideas such as creative innovation, creative education, creative
skills, creative ecology, creative cities and creative skills among others (Krätke
2010). The current turn in the creative
industry can be associated with the onset of the digital revolution which has
transformed policy thinking. The present environment of business has changed
gradually over the years, and it has not left back the creative industry (The
Business of Fashion 2017). This paper discusses and reviews two trends that have
changed the creative industry significantly. Several trends exist, but the
article will focus on the impact of the emergence of the new economy on
creativity and innovation then secondly look at the role played by
sustainability entrepreneurship in influencing the same industry.
GLOBAL TRENDS IMPACTING THE CREATIVE INDUSTRY TODAY
AUTOMATION AND INNOVATION
In the world of
today, machines have taken over all the duties performed manually by man. The
fashion industry has profoundly become influenced too. Robots have become part
of the product life cycle from production, distribution, and marketing of
goods. They have become essential in the operation of most of the clothing
lines, and their effect is a requirement of less man power. The effect impacts
the fashion industry as they are efficient and cost effective as required by
owners of such production and distribution centers (The Business of Fashion
2017). However, the trends are changing, and automation is no longer replacing
manual labor but also jobs such as trend forecasting (Leontief,
Leontief, and Duchin 1986). Forecast of trends is vital for the fashion
industry and requires movement across the globe to obtain first-hand
information on new ideas, products, and behaviors. However, all these is
currently being reshaped by automation with the introduction of intelligent
software. At the end of it, human labor will just be a supplement, as a
precaution to double check work done by machines (Stirrat 2013).
The thought of jobs
in the creative sector is secure is not correct since there is computer-aided
design. They change the method of how human designers make apparels. The
probability of artificial intelligence performing some of the tasks if not all
of the designing in the future is high. When the idea of cloth is already
perceived, the production of that garment can be automated. The existence of
sewing machines will make such garments cheap to produce (The Business of
Fashion 2017). However, pieces that are handmade are considered to be of higher
value than those made by sewing machines. The automated tools might radically
cut the necessity for human garment workforces as they deliver better quality
The future of human
touch in the fashion industry is less likely to lose touch completely. The
fashion industry often requires an emotional aspect which is only provided by
people. Prediction of the source of new occupations, jobs, and activities is
still quite a challenge. Creative tasks and similar tasks such as interaction
with other individuals alongside those that involve managing and developing are
less susceptible (The Business of Fashion 2017). Automation has become an
essential component in most organizations engage in production and
manufacturing, and the future of careers in the fashion sector are getting
reshaped in all aspects
and Bradley 2015). Many companies are adopting automation in an attempt to curb
competition as it provides higher throughput and quality besides a variety at a
lower cost (The Business of Fashion 2017).
THE NEW ECONOMY AND CREATIVE INDUSTRIES GROUP
The discussion of the role of culture
and creativity in the local economy has been gradually developing (Lazzaretti
et al., 2010). As the economy changes with time, the creative sector is also
rapidly growing. The central questions involve a decision as to what defines
the creative industry while attempting to explain its distinctiveness and
finally develop a model that explains how it functions. Creativity is crucial
to generally to the economy but especially to the external surroundings of the
creative industry. Also, the stress is the perception of the inventive worker,
as this is vital for the survival of regions alongside cities and the economic
wellbeing of the country (Krätke 2010). Creativity has over time been often considered by the
cluster of organizations such that creative sectors get inconsistently spread
through the region but are incredibly focused. They, in fact, have a tendency
to group within towns to address abundant variation of economic sectors and respective
professions (Stirrat 2013).
It is important to note that the idea
of industrial groupings has acted a crucial role in the investigation of the
invention. Manufacturing groups entail physical concentrations of businesses
within interrelated sectors of the value chain or a similar industry that work
in partnership and also contest with each other yet have links to other local
players. The investigation on the descriptions for the grouping of creative
sectors is limited hence the explanations of the particular trend being
uncertain, predominantly the motives for the areas' urban situations and
concentration in urban (Marin-Guzman 2016). The creative industry has led to several questions behind
them getting clustered in the same geographical location (The
Business of Fashion 2017). The impact of this may include duplication of ideas by
these sectors. The influence involves killing creativity as most firms in the
economy provide similar goods and services.
However, five theories are explaining the ideology behind clustering of
companies in the creative sector. They get categorized as determinants or
factors of original groupings. They include; mass economies, cultural and
historical endowments, related variation, availability of a creative class and
human capital concentration (Lazzaretti et al. 2010).
in the creative sector often lean towards medium-sized and large cities, hence
creating original resident production structures. The creative industries get to grow in such
concentrated areas as a result of the forces dictating their environment of
operation. The businesses offer productive employment to the locals, and the
result is the emergence of new and vibrant economies. The new economies act as
a support system for more emerging innovation ideas and businesses formed by
locals. The multidisciplinary approach which depends on the creative and
cultural aspect of economics helps in the establishment of creative economies (Scott
However, the creative sectors have lost
connection with the national and local development of the economy since it
lacks strategy. The creative industry is having a challenge in the transition
process from the knowledge industry but targets to provide creative solutions (Hordcre, Spoehr, and Barnett 2017). The
shift from the knowledge economy has reached the creative sector by surprise
and will mainly lead to an initial stagnation of emerging or new economies. The
emergence of the creative sector in new economies involve the skill sets and
roles played by creators, alongside original producers and cultural
arbitrators. Such mediators of culture include creative brokers, content
providers, navigators, curators, and distributors who have become more
essential (Lazzaretti et al. 2010).
The paradigm of creative businesses for
social progress foresees a cross-industry social support for the private and
public which will inspire applications and processes that are economically
sustainable containing a cultural and creative activity factor (Hordcre, Spoehr
and Barnett 2017). There are attempts made by concerned institutions over the
new economy impact on the creative sector, and this includes cultural
development programs have become created about offering a suitable solution (Scott
They form the basis for the knowledge
economy taking over control of several and various sectors of any nation.
National organizations recommend the culture of marketing with the intention to
enhance the sustainability of the economy through provision of significant
desirability to individuals and businesses while deciding on investment
decisions and the locations to setup. It is true that the new economy has
impacted the creative sector and the creative economy provides a holistic
notion with multifaceted exchanges between economics and culture (The
Business of Fashion 2017).
successful tasks in the current uncertain and dynamic times, innovation,
creativity, together with entrepreneurship, are major constituents. The
realization commercial industries rely heavily on culture which is comprised of
symbols, beliefs, and values. The connection linking creativity, culture and
economy provide an exciting frontier that impresses economic academics who
study the relationship between culture and creativity (Stirrat
2013). Also, they research the relation between the social
economy, with modern and corporate economists, regional economists, and policy
policies on culture get substantially based on economic aims that often get
challenging since the circumstances for sustainable development in social terms
need to embrace demand of the public for immaterial welfare and the
interdependence of both cultural and economic factors. The effect of new trends
such as the new economy and entrepreneurship invention execution would exhibit
the disparities in economic outcomes across nations. The current beliefs impact
economic creativity which positively encourages implementation of innovation,
hence the prosperity of a country.
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