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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.



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 than people.

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 (Edmonds 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 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).

Industries 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 2010).

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 2010).

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).


For any 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 creators.

The 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.  


Edmonds, D. and Bradley, T., 2015. Mechanical boon: Will automation advance

Australia. Department of Industry, Innovation and Science Research Paper, 7, p.2015.

Hordcre, A., Spoehr, J. and Barnett, K., 2017. “Creative Solutions- creativity, innovation and

sustainable jobs in South Australia”. Flinders University: Australian Industrial

Transformation Institute.

Krätke, S., 2010. ‘Creative cities’ and the rise of the dealer class: A critique of Richard Florida's

approach to urban theory. International Journal of Urban and Regional Research, 34(4),


Lazzeretti, L., Boix Domenech, R. and Capone, F., 2010. Why do creative industries cluster? An

analysis of the determinants of clustering of creative industries.

Leontief, W., Leontief, W.W. and Duchin, F., 1986. The future impact of automation on workers.

New York: Oxford University Press.

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30/use-of-automation-has-profound-impacts-for-australia/ [Accessed 29 Mar. 2017].

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series B, human geography, 92(2), pp.115-130.

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Development, 1152, p.33.

The Business of Fashion. (2017). How Automation Is Reshaping Fashion. [online] Available at:

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