Final Dissertation

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Quincy Ibn Carter
University of Westminster
MA Fashion Business Management
Virginia Grose
“Considering the interrelationships within the creative
industry, is it magic, luck, or just hard work, what does
it take to become a successful Creative Director in the
Fashion Industry?”

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TABLE OF CONTENTS
INTRODUCTION 4
1.1 RESEARCHOBJECTIVES 5-6
LITERATURE REIVIEW 7
2.1 LEADERSHIP THEORIES AND THE CREATIVE INDUSTRY 7
2.2 MOTIVATIONAL THEORIES AND THE CREATIVE INDUSTRY 8
2.3 LEADERSHIP AND ENTREPRENUERIAL BEHAVIOR 8-9
2.4 DIFFERENCE BETWEEN LEADERS AND MANAGERS 9-10
2.5 MODELS 10-11
MASLOWS HIERARCHYOF NEEDS
DE BONO’S 6 THINKINGHATS
THEORYX AND THEORY Y
METHODOLOGY 12
3.1 RESEARCH OBJECTIVE 12
3.2 METHOD TO COMPILERESEARCH 12
3.3 PARTICIPANTS FOR RES EARCH 12-13
RESEARCH RESULTS AND FINDINGS 14
4.1 ANALYSIS OF INTERRELATIONSHIPS OF THE CREATIVE INDUSTRY 14
4.1.1 CICELY L. TYSON COMMUNITYSCHOOL OF PERFORMINGAND FINE ARTS 14-15
4.1.2 LOVE OF VINTAGE AND FASHION 15
4.1.3 SUCCESS AND INTERRELATIONSHIPS 15-16
4.2 JOURNEY TAKEN TO BECOME CREATIVE DIRECTOR 17-18
4.3 DIFFERENCES IN LEVELS OF EXPERINCE AS A CREATIVE DIRECTOR 18-19
4.4 LINKS BEWTEEN LEADERS AND MANAGERS 19-21
4.5 DEBONO’S 6 THINKING HATS AND CREATIVE DIRECTORS 21
4.5.1 THE HATS AND THE MEANINGOF EACH COLOR 21
4.5.2 THE CREATIVE DIRECTORS AND HAT CORRESPONDENCE 22
4.6 ENVIRONMENT AND PROCESS TO CREATE CREATIVE WORK 22-23
4.7 SKILLS LEARNED TO BEA SUCCESSFUL CREATIVE DIRECTOR 23
4.7.1 BREAK-DOWN OF CREATIVE DIRECTORS AND SKILL SETS LEARNED 24-25
PART II OF RESEARCH: SURVEY RESULTS AND FINDINGS 26
5.1 EDUCATIONAL BACKGROUND AND EXPERIENCE 26-27
5.2 ROLE MODELS AND CREATIVE DIRECTORS 28
5.3 LEADERS AND MANAGERS 28-29
5.4 DEBONO'S 6 THINKING HATS 29
5.5 ENVIRONMENT TO PRODUCE CREATIVE WORK 30
5.6 PROCESS OF PRODUCING CREATIVE WORK 30-33
5.7 SKILL SETS AND CREATIVE BLOCKS 33-34
5.8 PLANNINGAHEAD 34
5.9 HARD WORK, MAGIC OR LUCK 35

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SUGGESTIONS FOR CREATIVE DIRECTORS 36-38
CONCLUSION 39-40
REFERENCES 41-44
APPENDIX 45
9.1 CREATIVEDIRECTOR INTERVIEW QUESTIONNAIRE 45-46
9.2 INDIVIDUAL RESULTS FROM EACHCREATIVEDIRECTOR 47
9.2.1 CREATIVE DIRECTORS OF FASHION 47-52
A. ANDREW GROVES 47-48
B. SIMON CARTER 49-50
C. B. MICHAEL 51-52
9.2.2 CREATIVE DIRECTORS OF THEATRE 53-61
A. CHELSEA FRIDAY 53-55
B. JAMES LEMON 56-58
C. MICHELLE RAE- DUDLEY 59-61
9.2.3 CREATIVE DIRECTOR OF MUSICAL THEATRE 62-65
A. TERRI GORGONE 62-65
9.2.4 CREATIVE DIRECTOR OF PERFORMINGARTS (MUSIC, THEATRE AND DANCE) 66-69
A. KATHYD. HARRISON 66-69
9.2.5 CREATIVE DIRECTORS OF VOCAL MUSIC 70-80
A. DEE JACKSON-FIELDS 70-72
B. JEAN L. JAMES 73-75
C. NORMA HUGHES 76-80
9.3 SURVEYQUESTIONNAIREON CREATIVE DIRECTORS 81

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1.0 Introduction:
"Success is a journey, not a destination. The doing is often more important than
the outcome" (http://www.brainyquote.com/quotes/keywords/journey.html). These are
the words of renowned tennis player Arthur Ashe, just like Ashe when individuals are on
their journey to achieve greatness in life; they are often not informed of what it truly
takes to achieve what they are ultimately after. The journey that individuals take to
achieve their goals sometimes seems unbearable due to the unforeseeable. Individuals
may speak about what it is they want, but oftentimes no one will tell them that there are
going to be obstacles in the way of their dreams. For example, when an individual is
looking to become a creative director, others don’t inform them that it's going to require
"blood, sweat, and tears", long hours, constant change and even no social life sometimes.
Although the role of a creative director can be found in various fields of the creative
industry, from those who work in theatre companies to those who work in fashion, still
there is no exact "formula" for an individual to follow to achieve that type of success.
Anna Wintour the Editor in Chief of American Vogue Magazine describes the
Creative Director of American Vogue Grace Coddington in the film “The September
Issue” by saying, “She (Grace) is a genius, there is no one who can visualize, picture or
understand the direction of fashion or produce a great shoot, and she is remarkable” (The
September Issue, 2008). The film “The September Issue” chronicles the journey that is
taken in order to produce the September Issue of American Vogue Magazine, which is
labeled as “the bible of the fashion world”. This film interviews some of the most elite
such as Anna Wintour, and Tim Florio, Florio who is quoted by saying “Wintour and
Coddington are some of the high, most important figures in this $300 billion industry”.
Vogue Magazine in collaboration with the Council of Fashion Designers of
America (CFDA) has helped with the development of several mainstream designers to
date, with the CFDA/Vogue Fashion Fund. On Fashionista.com a online magazine
dedicated to the world of fashion posted that “The Fund, which started in 2003 as an
initiative to help support young designers in a dire economy”
(http://fashionista.com/2013/11/cfdavogue-fashion-fund-winners) giving evidence to the
fact that Vogue has helped in the development and influence fashion designers globally.
After years of academic studying and getting the proper education, one can find
him/herself looking for the next step in the process they take to finding their dream job in
the fashion industry. One example of this would be fashion designer Thakoon Panichgul.
In the year of 2005 Thakoon was runner-up for the CFDA/Vogue Fashion Fund Award.
With a Bachelors degree from Boston University in Business and taking courses at
Parsons School of Design, Panichgul was scouted by Anna Wintour to do work for
MANGO and GAP as seen in the movie The September Issue. No matter what creative
industry an individual is apart of however, everyone does not take the same approach and
path to getting where they ultimately want to be. In some cases it takes some a little
longer than others to achieve their goals and become successful.
In an effort to become a successful creative director the question is asked what
path should one take to get to the level of people like Sarah Burton of McQueen, Grace
Coddington of Vogue Magazine (America), and maybe even Christopher Bailey of
Burberry. The journey that is taken in becoming a creative director differs depending on
the individual pursuing the career. Some may view it as some type of magic that calls for

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an individual to be very talented and never taking an educational course in creative
industry fields pertaining to that field, i.e. fashion and taking drawing, sewing and just
knowing how to do it, like Gianni Versace who learned sewing skills from his mother
(http://www.vogue.com/voguepedia/Gianni_Versace). Others may see it as luck which
requires an individual to simply be in the right place at the right time, that allows for an
industry executive to scout them and recruit them for a Creative Director opportunity, for
example designer Alexander McQueen who’s MA thesis collection from Central Saint
Martins School of Art and Design was purchased by Isabella Blow, who is a fashion Icon
(http://www.vogue.com/voguepedia/Alexander_McQueen). On the other hand a number
of people may believe that in order to become a successful creative director it takes hard
work and dedication. Meaning that one may be constantly designing, drawing, and
attending industry events with education to back up what it is that you do. In this instance
a majority of designers in the fashion industry come to mind as hardworking, and
dedicated to changing the world of fashion and improving what people look at as the
world of fashion. On the contrary to those things maybe it’s a combination of all three
things that make for a successful creative director in the fashion industry.
The overall purpose of this research is to investigate the journey that it truly takes
for one to become a successful creative director in the fashion industry while analyzing
creative directors in the creative industry as a whole. In addition, to investigating what
steps one takes to become a creative director, eleven interviews with creative directors of
the creative industry will be conducted, and analyzed to see what steps other creative
directors of other creative fields have done to become successful. Finally, quantitative
research will look into what other individuals think about what it takes to become a
creative director by conducting surveys, and looking at theories and models that pertain
to the creative industry.
1.1 ResearchObjectives:
1. This research will have an in-depth analysis of the creative industry and the role
that the creative director plays
2. It will also investigate what process current creative directors have gone through
to obtain the aforementioned positions
3. The research will examine what makes a creative director a leader or a manager
4. An analysis of De Bono’s 6 Thinking Hats and how it applies to the role of the
creative director
5. The second portion of research will conduct a survey to examine what others
think a creative director should posses
6. Finally, suggestions from fashion industry creative directors to the creative
directors of other creative fields such as vocal music, theatre, musical theatre, and
dance
A. Definition of Creative Director:
The creative director is responsible for all creative aspects of all advertising
campaigns being handled by the agency from concept through production. The
creative director sets the tone for the creative philosophy of a company and the
standards for the quality of its workmanship, and thus is the key person

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responsible for the effectiveness of all advertising produced by the agency. In a
large agency, the creative director is assisted by a number of associates and a
complete staff of artists, copywriters, and layout personnel, and is directly
responsible to the vice president of creative services. In a smaller agency, many of
these jobs may be combined or the creative director may depend entirely on a
freelance staff. (http://www.allbusiness.com/glossaries/creative-director/4965238-
1.html)
B. Creative Industry fields involved with research:
Vocal Music
Musical Theatre
Theatre
Dance
Fashion

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2.0 Literature Review:
This review of literature will focus on five main points in order to understand the
background and development of successful creative directors. The first point will
examine leadership theory and the creative industry, in examining this it will look at the
creative industry as a whole and how leaders in those fields differ from leaders of non-
creative fields. In addition, the second point will analyze the motivational theory and
creative industry. This will analyze the effects of a reward scheme and various types of
training that help develop successful creative directors. Moreover, the third point will
investigate leadership and entrepreneurial behavior. This point will investigate models for
authentic entrepreneurial behavior and student entrepreneurial behavior and how that
affects the future of their leadership. Additionally, the fourth point will examine the key
differences in being a leader and a manager. This examination will look at key
differences in being a leader and a manager and how the two differ from one another.
Finally, this review will analyze how models such as Maslow’s Hierarchy of Needs, De
Bono’s 6 Thinking Hats, and Theory X and Theory Y affect the creative industry. By
analyzing this it looks into creativity and motivation, facilitating the learning of creativity
by thinking outside the box and beyond simple textbook solutions and finally, leadership
management styles by theory x and theory y managers.
2.1 Leadership Theories and the Creative Industry:
To begin with, the first main point is the examination of leadership theory and the
creative industry. In examining this point the focus was based on two publications on
leadership and creativity. The first was from the International Journal of Cultural Policy
Vol. 16, No. 3, August 2010, pgs. 271–285, and the second was a dissertation from 2005
by Anice M. O’Connor titled “INTERPRETING BUSINESS IN FILM: THREE CASE
STUDIES IN CREATIVE LEADERSHIP”. The first publication examines the leadership
style of two director- generals from the BBC news station. This journal entry by Philip
Schlesinger emphasizes how the two director- generals John Birt and Greg Dyke have
been contrasted but not analyzed as in their different views of creative management. In
the journal it is said that Birt had an orthodoxed way of managing the station as opposed
to Dyke’s way, which was said to be fashionable, and neo-management. In further study
of the two however, the journal approaches how upon Greg Dyke becoming director-
general he wanted to change the culture of BBC (Schlesinger 2010).
In addition, the second publication regarding leadership theory and the creative
industry was from the dissertation entitled “INTERPRETING BUSINESS IN FILM:
THREE CASE STUDIES IN CREATIVE LEADERSHIP”. In this publication O’Connor
analyzes how behaviors of creative business leaders are depicted in three American films
which are “Tucker: The Man and His Dream, Bugsy, and The People vs. Larry Flynt.”
O’Connor then goes on to demonstrate how the study investigates how each film’s
protagonist depicts particular traits and levels of creative action in business, as identified
in leadership literature of the late twentieth century (O’Connor, 2005)

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2.2 MotivationalTheories and the Creative Industry:
Moreover, the second main point is motivational theory and the creative industry.
The first publication is from Jacob Eisenberg on the topic of “THE EFFECTS OF
REWARD SCHEMES, INDIVIDUALISM-COLLECTIVISM, AND INTRINSIC
MOTIVATION ON TEAMS’ CREATIVE PERFORMANCE”. The main point that
Eisenberg is addressing in his work is that there was a test of two competing theories
regarding the effects that rewards have on creative performance and task motivation. He
then goes on to strengthen this argument by saying Cognitive Evaluation Theory or CET
claims that external rewards are detrimental to intrinsic motivation (IM) and creativity,
and more so when rewards are expected, tangible, and performance-contingent because
they shift self-attribution to extrinsic causes. The second test was that he examined the
possibility that Individualism-Collectivism (I-C), assessed here as a personality variable,
would interact with reward types to affect creative performance and motivation. Finally,
Eisenberg informs the reader that he conducted this research using 340 students divided
into three groups while each group focused on three different reward conditions i.e.
Individual performance reward (IR), group performance reward (GR), and performance
noncontingent reward (PNR) (Eisenberg, 2001).
In further support of motivational theory and the creative industry, the second
publication introduces the concept of “WEB-BASED TRAINING FOR INNOVATION:
AN EXAMINATION OF TRAINING REGIMENS, TRAINING ENVIRONMENT,
AND THE MODERATING INFLUENCE OF CREATIVE PERSONAL IDENTITY
AND INTRINSIC MOTIVATION” by Scott E. Cassidy. In this academic work Cassidy
examines training regimens, and focuses on using Osborn-Parnes Creative Problem
Solving (CPS) program as the conceptual framework, to develop three online training
programs, which were implemented, and evaluated for their relative effectiveness for
enhancing innovative performance. Cassidy hypothesized that a full CPS training
program would have the greatest impact on innovative performance, both at the
dimension and facet levels, and that creative personal identity and intrinsic motivation
would exhibit moderating, interactive influences (Cassidy, 2011).
2.3 Leadership and Entrepreneurial Behavior:
Furthermore, the third point focuses on leadership and entrepreneurial behavior.
The first is an academic paper from Oswald Jones of the Centre for Enterprise and
Entrepreneurial Leadership, from the University of Liverpool Management School,
Liverpool, UK, and Helen Crompton of the Centre for Enterprise, MMUBS, Manchester,
UK. This paper concentrates on the topic of enterprise logic and small firms: a model of
authentic entrepreneurial leadership. Jones and Crompton theories focus on drawing on
emerging ideas related to the concept of entrepreneurial leadership, which emphasizes a
“distributed” model synonymous with terms, which indicate that authority is
decentralized (“shared”, “team”, “democratic”, “representative” and “dispersed”). In the
research process Jones and Crompton found that owner/ managers indicated that they did
in fact rely on an approach to leadership, which emphasized the role of employees as
genuine stakeholders in the business. They also found that owner/ managers were keen to
involve their employees in the development of the businesses through the development of

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new products and new services. (Jones, Crompton, 2009).
Additionally, the second is from the International Journal of Business and Social
Science Vol. 2 No. 2; February 2011. This journal centers on the topic of Student
Entrepreneurial Leaders: Challenges and Competencies of Leading University
Entrepreneurship Programs by Afsaneh Bagheri and Zaidatol Akmaliah Lope Pihie from
the University Putra Malaysia. The main purpose in the journal publication by Bagheri
and Pihie is that they want to illuminate the challenges and competencies of student
entrepreneurial leaders in leading university entrepreneurship programs. In order to do so
they selected 14 undergraduate student entrepreneurial leaders defined as having been
successfully leading university entrepreneurship clubs and activities for at least two
semesters and they were purposefully selected as the participants. Proceeding this
Bagheri and Pihie interviewed the participants and compiled data that illustrates three
critical challenges that include lack of interest and commitment in entrepreneurial
activities, confidence in their entrepreneurial abilities, and differences in their cultural
backgrounds. Furthermore, Bagheri and Pihie based their solution on the discussion with
the 14 students and found that the way to handle the above-mentioned is to create a
caring interpersonal relationship and teamwork, enabling task delegation, and building
confidence of their group members (Bagheri, Pihie, 2011).
2.4 Differences betweenLeaders and Managers:
Likewise to the other main points, point four illuminates on the theories of key
differences between leaders and manager. To support this, the first publication illustrates
Discerning the Differences Between Managers and Leaders, which is by
J. Gregory Reynolds and Walter H. Warfield from the Illinois School Board Journal.
Both Reynolds and Warfield demonstrate through various points what characteristics
leaders have and managers have and the difference between the two. The points that are
mentioned are geared towards educational visionaries, managers administer, leaders
innovate, model the way, inspire a shared vision, challenge the process, enable others to
act, and encourage the heart. The entry ends with the topic of Being Effective Leaders. In
each section however, it is looked at from what a leader would do and on the other end of
the spectrum what a manager would do, ultimately giving the reader the key differences
between the two opposing roles (Reynolds, Warfield, 2010)
However, in the second publication by Patrick Sweeney of the Franchising World
writes a compelling article on what's the difference between leaders and managers, and
tells the reader “managers keep things moving, leaders are more visionary, looking at
things differently”. In this article Sweeny addresses three points that give the readers
some differences between managers and leaders. First, he poses the question “how do the
best leaders rise through the ranks of management”, and with this gave the response of
"THEY DON’T". Following this question Sweeney then goes on to say that management
is not a training ground for true leadership. Another important point that Sweeney makes
is that during an interview with Patty Miller, Senior Vice President of Franchise Services
of Slyvan Learning Center, Miller says that identifying leaders, nurturing them,
rewarding them and separating them from the management pack is one of the reasons
why Slyvan was recognized by Success Magazine as Outstanding Franchise of the Year.
This goes to show that due to the way Slyvan goes about handling their leaders is by

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separating them from everyone else and letting them know they are different (Sweeney,
2001)
2.5 Maslow’s Hierarchyof Needs, De Bono’s 6 Thinking Hats and
Theory X and TheoryY:
The final point of the five points is aimed towards Maslow’s Hierarchy of Needs,
De Bono’s 6 Thinking Hats, and Theory X and Theory Y and how those models affect
the creative industry. Initially, one looked at the overall picture of how to become a
successful creative director. The first model was Maslow’s Hierarchy of Needs, this
model tells the reader that “Motivation theory which suggests five interdependent levels
of basic human needs (motivators) that must be satisfied in a strict sequence starting with
the lowest level”, (http://www.businessdictionary.com/definition/Maslow-s-hierarchy-of-
needs.html). In New Straits Times, Kuala Lumpur covers the topic of Creativity and
humanity and Maslow's wisdom: [Life and Times, 2* Edition]. The topic discusses
several different points, however; the most important point that was made was in part
three of the work when it discusses “Creativity and Innovation”, it then goes on to say
"Where was the human potential lost?" He (Maslow) urges readers to "... abandon the
sense of amazement in the face of creativity, as if it were a miracle anyone created
anything" (Lumpur, 2000).
The second model is De Bono’s 6 Thinking Hats. This model identifies that “Six
Thinking Hats is a simple, effective parallel thinking process that helps people be more
productive, focused, and mindfully involved. A powerful tool set, which once learned can
be applied immediately! You and your team members can learn how to separate thinking
into six clear functions and roles. Each thinking role is identified with a colored symbolic
"thinking hat." By mentally wearing and switching "hats," you can easily focus or
redirect thoughts, the conversation, or the meeting”
(http://www.debonogroup.com/six_thinking_hats.php). Each hat in this model represents
a different section of the company and how to effectively and successfully use those
people to have success in a company. The article at hand is by Knut Boge from Oslo and
Akershus University College of Applied Sciences, Oslo, Norway. His publication is titled
"How to facilitate the learning of creativity: thinking "outside the box" and beyond
textbook solutions." In the article Boge tackles traditional teaching methods, particularly
in undergraduate programs, and how they have emphasized the students’ ability to
reproduce textbook answers. The paper explores what is creativity and whether it is
possible to learn creativity, if it is possible to learn creativity, how to facilitate learning of
creativity, is this knowledge possible to transfer to other kinds of organizations and
settings other than higher education? The findings were that many Facility Management
students learned to use creativity enhancing techniques such as brainstorming and De
Bono’s (1986) ‘‘six thinking hats’’ from the Product Design students (Boge, 2012).
The final model is Theory X and Theory Y, the difference between the two
theories is that Theory X suggest that the average person dislikes work and will avoid it
anyway that he/she can, therefore most people must be forced with the threat of
punishment to work towards organizational objectives, and the average person prefers to
be directed; to avoid responsibility; is relatively unambitious, and wants security above
all else. On the other hand Theory Y suggest that effort in work is as natural as work and

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play, people will apply self-control and self-direction in the pursuit of organizational
objectives, without external control or the threat of punishment, commitment to
objectives is a function of rewards associated with their achievement, people usually
accept and often seek responsibility, the capacity to use a high degree of imagination,
ingenuity and creativity in solving organizational problems is widely, not narrowly,
distributed in the population, and in industry the intellectual potential of the average
person is only partly utilized (http://www.businessballs.com/mcgregor.htm).
The article for this model is titled "The mediating effect of leader–member
exchange on the relationship between Theory X and Y management styles and affective
commitment: A multilevel analysis" by Faruk Sahin from The Ministry of National
Defense, Mug˘ la, Turkey. Sahin focuses his discussion on the relationship between
McGregor’s Theory X and Theory Y management styles and affective commitment
through the mediating mechanism of the leader–member exchange (LMX) and adopting a
multilevel perspective to explain the complex relations among variables, data was
collected from 56 supervisors and 173 subordinates from yacht building companies in
Turkey. The findings were that Theory Y management style related positively to affective
commitment and LMX, also that the LMX partially mediated the relationship between
the Theory Y management style and affective commitment. However on the other side of
the argument the Theory X management style had no relationships with either LMX or
affective commitment (Sahin, 2012).

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3.0 Methodology:
3.1 ResearchObjective:
The purpose of the study is to determine what it takes for one to become a
successful creative director in the fashion industry, while looking at creative directors
from fashion and other creative fields such as music (vocal), theatre (musical and
traditional), and dance.
This study purposes if it is magic that requires an individual to be talented and
never taking an educational course in creative industry fields pertaining to the field in
which they are involved in. On the contrary, maybe it is luck where an individual is
simply in the right place at the right time, that allows for an industry executive to scout
you and recruit them for a creative director opportunity. Ideally, it might just be hard
work, where one is constantly designing, drawing, and attending industry events with an
educational background to do what it is that they do. Although these may be true, maybe
it’s a combination of all three methods to produce a successful creative director in the
fashion industry.
3.2 Method to compile Research:
1. Conduct a comprehensive review of literature on various theories and models that
pertain but are not limited to theories and models that affect the success of
creative directors.
2. Carry out extensive interviews with creative directors from the creative industry
on how they achieved their success. The interviews were conducted and recording
for academic purposes only and were accessed by the interviewer in order to
compile evidence on steps taken to become a success creative director.
3. Conduct surveys in regards to what individuals believe a creative director should
possess. The survey will help in an effort to see what people think the proper steps
are to becoming a creative director, if there are any. The surveys will also be an
intermediary to the research and act as statistical data in finding what people think
of creative directors, their effectiveness, how being a star creative director effects
the company and even if a company can exist with or without a creative director.
4. Suggestions from creative directors of the fashion industry and other creative
industry fields.
3.3 Participants for research:
Along with the 11 creative directors interviewed a survey was conducted with 100
participants. Below is the list of the 11 creative directors, the list for individuals who
participated in the survey are anonymous.
1. Michelle Rae-Dudley: Creative Director for Theatre
2. James Lemon: Creative Director for Theatre
3. Chelsea Friday: Creative Director for Theatre

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4. Jean L. James: Creative Director for Vocal Music
5. Norma Hughes: Creative Director for Vocal Music
6. Dee Jackson Fields: Creative Director for Vocal Music
7. Terri Gorgone: Creative Director for Musical Theatre
8. Kathy D. Harrison: Creative Director for Performing Arts
9. Simon Carter: Creative Director for Fashion
10. Andre Groves: Creative Director for Fashion
11. B. Michael: Creative Director for Fashion

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4.0 Research Results and Findings:
4.1 Analysis of interrelationships of the creative industry:
The role of a creative director is very important to the success of a company.
Depending on how hard working a creative director is, it can determine the work of
everyone else involved in the company. The success of a creative director often happens
because of the interrelationships they have with others to help make their visions come to
life. The term interrelationship is defined by Oxford dictionary as "the way in which each
of two or more things is related to the other or others"
(http://www.oxforddictionaries.com/definition/english/interrelationship). This section
will explore the interrelationships that creative directors have in order to fully produce
the type of work that they are involved with. It will look at the creative directors of the
Cicely L. Tyson Community School of Performing and Fine Arts and their production of
"The Color Purple. It will also analyze Simon Carter's love of vintage antiques and how
that helped in his journey to be called the "The King of Cufflinks". Alongside, looking at
the success of Kathy D. Harrison and her interrelationships with other creative fields like
graphic design and set design, and how they help her in producing her productions.
4.1.1 CicelyL. Tyson Community Schoolof the Performing and Fine
Arts:
Though the various fields are separate, the creative industries as a whole
sometimes works together to create what other see as art. In this case, the creative
directors of the Cicely L. Tyson Community School of the Performing and Fine Arts
demonstrate exactly how the interrelationships of the creative industry work with one
another to produce art. This past year, the institution put up their production of "The
Color Purple". This task required for all of the creative directors to work together to
produce this production. The following creative directors from the school worked on
making the production possible.
The creative director of theatre James Lemon was the director of the overall
production and as such was the director of the acting portion and getting the cast to
portray the roles. Jean L. James and Norma Hughes creative directors of vocal music
helped in the singing aspect of the show, while Terri Gorgone was in charge of the
orchestra and helping the band learn their music for the production. Michelle Rae-
Dudley assisted along the way in helping with props, and although not mentioned in the
research Cedric Weary helped with the lighting and sound of the production. Although
not mentioned in the research Tyshaun Williams was stage manager for the production
and Daniel Friday, younger brother to creative director of theatre Chelsea Friday was the
set designer. All these different elements helped in putting a successful production
together. The success of the production thanks to the cast and creative directors and
everyone else involved, helped the production pick up three "Rising Star Awards" for,
Outstanding Featured Ensemble Group-  The Church Ladies, Student Achievement
Award-  Tyshaun Williams  Stage Management, and The Jane Grey Burgio Memorial
Scholarship for the Rising Star Awards-  Cassandra Ogbozar

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(http://www.papermill.org/press-releases/current-season/340-winners-of-the-2014-rising-
star-awards.html). James Lemons says, "…the nature of art and what we do is like in a lot
of ways like a spider web, and you can very easily entangle yourself, if you’re not
looking at each spindle of that web and making sure that it’s not getting tangled". Thus,
showing that due to the interrelationships of the creative industry multiple entities are
dependent on one another to make the bigger picture work.
4.1.2 Love of Vintage and Fashion:
Simon Carter who is known for his cufflinks has a very interesting
interrelationship with the world of art. Carter's stores and garments are influenced by
"antiques", and Carter says that, " Underpinning all Simon Carter products are the core
qualities of original design, the best quality, and excellent value for money. Despite the
expansion of the business I believe that a whimsical English touch of individuality still
runs through all the products, just as it did in those early days"
(http://www.simoncarter.net/works.html). However, Carter's relationship to antiques
began as a trainee buyer for Fenwick’s. A customer brought in a motorcyclist brooch
from the 1930’s to sell. As payment for the days wages Carter was given the brooch and
it sparked an idea that would soon change men’s fashion. After tracing down a
manufacturer in Cornwall, he had 100 of those brooches created and went to the streets in
an attempt to sell them. Once he went out to sell them he was rejected by every store in
the Kings Road, and Chelsea when finally the last place he went to, brought 50 of the 100
brooches. In the year 1985 the Simon Carter brand was born. This moment was when the
face of the cufflink was changed forever. Launching his first official menswear collection
in the late 1990’s Carter would soon prove to be what he is now referred to as “The King
of Cufflinks (http://www.menswearstyle.co.uk/2013/09/30/interview-with-simon-
carter/775). Simon Carter's love for antiques and relationship with being a buyer for
Fenwick shows the interrelationships of the creative industry. The relationship
dependency does not always mean separate creative fields, like the creative directors of
Cicely L. Tyson School, sometimes the relationship are within that particular field that
one may be a part of.
4.1.3 Successand Interrelationships:
Take for instance, Kathy D. Harrison of Diversity Youth Theatre, she believes
that individuals should "Define your own success. Success is often based ONLY in
financial gain or the idea of becoming famous. Let the purity of your vision drive you.
Vision and purpose can become tainted when you're definition of success is rooted in
money or popularity. Develop a 3rd eye. Be self-aware and hold yourself to a standard of
excellence mixed with humility. This is a generation of 'right now'. The idea of working
from the bottom to the top is becoming extinct. Some of the greatest ideas and efforts
took generations to fully come to life (Freedom, women's rights, civil rights, end of
apartheid, automobiles, airplanes, high-rise buildings, medical cures). The ability to
create is one of the greatest gifts given to humankind. In the beginning, God CREATED!
We are made in his image. We should create" (Harrison, 2014). However, when she puts
on a production she seeks help from friends who are a part of other creative industry

16
fields like graphic design to produce the flyers for the production. She also has people
who construct the sets for the production and things of that nature. Those relationships
that Harrison has, help in making the vision that she has fully functional. Due to the
relationships that Harrison has with other individuals who are a part of the creative
industry, her vision for a production is brought to life due to those interrelationships.
In considering the interrelationships within the creative industry, is it magic, luck,
or just hard work, what does it take to become a successful creative director in the
fashion industry, the findings were conducted by interviewing 11 creative directors. The
directors are from the fashion field and other fields of the creative industry. The
following shows the interview questions that were asked to the creative directors of
various creative industry fields:
Interview Questionnaire:
1. Where did your journey first begin?
2. How did you get started in this industry (Education)?
3. How long have you been in this profession?
4. Who is/was your role model and why?
5. Would you describe yourself more as a leader or a manager?
6. According to De Bono’s six thinking hats which hat best describes you?
- The White Hat calls for information known or needed. "The facts, just the
facts.
- The Yellow Hat symbolizes brightness and optimism. Under this hat you
explore the positives and probe for value and benefit.
- The Black Hat is judgment - the devil's advocate or why something may not
work. Spot the difficulties and dangers; where things might go wrong.
Probably the most powerful and useful of the Hats but a problem if overused.
 
- The Red Hat signifies feelings, hunches and intuition. When using this hat you
can express emotions and feelings and share fears, likes, dislikes, loves, and
hates.
- The Green Hat focuses on creativity; the possibilities, alternatives, and new
ideas. It's an opportunity to express new concepts and new perceptions.
- The Blue Hat is used to manage the thinking process. It's the control
mechanism that ensures the Six Thinking Hats guidelines are observed
7. What was the driving force behind your decision to get into this field of the
creative industry?
8. What do you feel is the best environment for you when you are trying to come up
with creative and new ideas?
9. What process do you go through when putting your creative work together?
10. How do you manage your work/personal life balance while being a creative
director?
11. What are some crucial skill sets you had to learn in order to become a successful
creative director?
12. What is your method for overcoming creative blocks?

17
13. If you could go back and change anything about your career path what would you
change?
14. What is the most rewarding part about what you do?
15. What is your 1-year plan for your career?
18. What valuable lessons have you learned through your process of becoming a
creative director?
19. Best advice someone has given you that has helped you in your career?
20. Is there any advice for someone as myself trying to get into the creative industry
as a creative director?
The following section presents the key findings and important concepts from the 11
interviews with the creative directors.
4.2 Journey takento become a Creative Director:
In this section, the research looks at the exploration of the journey in which
several creative directors have taken in order to become successful in their creative fields.
Through reading these interviews, the reader might find that each creative director has
taken a different approach to figuring out how he/she will get to the goal of a successful
creative director. Thus, ultimately showing through the interviews that various journeys
are taken, to become a successful creative director. This discussion may help with current
research on creative directors because it analyzes not only the beginning stages of
becoming a creative director, but also looks into their lives in regards to what type of
education was obtained, and where they began in the creative industry. Under this theme,
participants gave accounts of the people, places, and things that encouraged their creative
intellect and helped in their process of pursing their dreams.
During each interview the creative director also stated an individual(s) that they
felt were their role model(s), and how that person influenced what it is they do today.
Norma Hughes a Creative Director of Vocal Music stated, “when I got to high school
there was a teacher named Ms. Strolmore and I just thought she was the baddest musician
at the time for a woman… she kind of took me under her wing. She’s really the person I
pattern myself after now”. Hughes also stated that her parents were her role models
“because regardless of whatever other dysfunction they had they still gave her values,
morals, and a good work ethic” (Hughes, 2014). Another creative director is Terri
Gorgone a Creative Director for Musical Theatre, and she shares that “I went to music
school at Crane School of Music in Potsdam, New York, for Music and Music Education
with performance concentration in piano and then I did my Masters in Theatre at NYU
(New York University)” (Gorgone, 2014).
While both women have degrees in related fields to what they are creative
directors of, Simon Carter a Creative Director for Fashion says that Beau Brummel a
Regency dandy and fashion leader, famous for his elegant dress, his witty remarks and
his friendship with George, Prince of Wales, the future George IV
(http://www.regencyhistory.net/2012/11/the-rise-and-fall-of-beau-brummell-1778.html)
is who he considered his role model. However, Carter did not start out in the fashion
industry, although he had a love for vintage he studied Immunology (is the branch of

18
biomedical science that deals with the response of an organism to antigenic challenge and
its recognition of what is self and what is not. It deals with the defense mechanisms
including all physical, chemical and biological properties of the organism that help it to
combat its susceptibility to foreign organisms, material, etc.), (http://www.news-
medical.net/health/What-is-Immunology.aspx), before launching his brand (Carter,
2014).
Thus, the aforementioned evidence shows that, although the three creative
directors are apart of the creative industry the paths that they have taken to become
successful are completely different. Hughes’ journey takes her through simply playing
the piano to college for music and then ultimately a vocal creative director for an
institution of education. Gorgone's journey ideally the same as Hughes' but ending up as a
creative director for musical theatre. Carter’s journey however, takes him through having
a passion for vintage and studying Immunology to ultimately starting his own fashion
brand and being a creative director in that right.
4.3 Difference in levels of Experience as a Creative Director:
This section explored the experience that various creative directors have in
various creative fields that pertain to the work that they currently are involved with.
While interviewing the creative directors, the experience that they have received varied
depending on whom the interview was conducted with. For example, Jean L. James
another Creative Director of Vocal Music stated that she had been a Vocal Music
Creative Director for over 41 years (James, 2014). She also explained that in all of those
years of experience she is “…a perfectionist, and I tell my singers to learn their music,
know it well and be able to read music, I work on reading, and music theory, so they
know how to hold notes and for how long. Know your music, study your music; I’m very
big on that, and then vocal technique.” (James, 2014)
In this research James has help amplify the importance of having experience, as
compared to someone like Chelsea Friday who is just beginning her journey as a Creative
Director for Theatre. Friday’s experience has only given her 8 years as a creative director
in theatre and she states, “this is something I love naturally, something I can see myself
doing over and over again. It is something I would do for free even. It is where my
passion lies and there’s nothing more exciting than actually being good at it! I enjoy the
process and how each job, company and ensemble is different” (Friday, 2014).
The research also calls for an in-depth examination into the lives of creative
directors on the educational side. In looking at education, this research also saw a
correlation in how varying educational differences affected the creative directors
experience that they gained over the course of their career. Terri Gorgone helps in
addressing this issue when she states that “I guess through music education in the
schools, I was taking piano lessons and things like that, and beginning to play in
competitions and performing everywhere I could. Then in college I went to music school
at Crane School of Music in Potsdam, New York, for Music and Music Education with
performance concentration in piano and then I did my Masters in Theatre at NYU (New
York University)” (Gorgone, 2014). Aside from Gorgone, Michelle Rae-Dudley a
Creative Director for Theatre with a theatre degree from Hampton University, has been
working towards her dream since her younger years just like Gorgone and has been

19
“involved in dance and choreography in high school and I taught dance every summer in
high school and college into adult auditions in theatre and performance” (Rae-Dudley,
2014). The two women give evidence of how the education they received from their
childhood, followed them into their adult lives and play a role in what they currently do.
Gorgone who played piano and acted as a child in musical’s now is a creative director for
musical theatre and Rae-Dudley who studied theatre and taught dance and choreography
every summer while in high school and college applies those things to being a creative
director for theatre. Thus, providing evidence that due to exposure to various crafts in the
school, education can in fact help in someone gaining experience.
4.4 Links betweenLeaders and Managers:
This portion of the research focused on the links between leaders and managers.
While analyzing the links between the two, during the interviews each creative director
was asked if he/she saw him/herself as a leader or manager. In order to answer
responsibly, each individual had to think about the work that they had done and if it were
more on the leadership end or the management end. Though the results did not change
drastically between the two titles, some creative directors still see themselves more as
leaders than managers.
In various industries the term leader and manager are often used to describe a
person in charge, however there are links between the two names and what it is they
exactly do. According to Oxford dictionary the word leader is defined as “the person who
leads or commands a group, organization, or country”
(http://www.oxforddictionaries.com/definition/american_english/leader?q=Leader+). On
the other hand the dictionary gives this definition for a manager “a person responsible for
controlling or administering all or part of a company or similar organization”
(http://www.oxforddictionaries.com/definition/american_english/manager?q=manager).
In each definition words are given that can be considered useful in what the two
are used for. Leaders according to the definition are meant to lead, while managers are
more like administrators. Presented here are the evidence of real life creative directors
and what they feel like their styles of work are.
Michelle Rae-Dudley a Creative Director for Theatre:
“I feel like I am a leader, with excellent managerial skills. I don’t want for others
to tell me what to do and when attacking a project I don’t sit around and let others
do things that I know I can do” (Rae-Dudley, 2014)
Chelsea Friday a Creative Director for Theatre:
“This question is difficult because it is natural for a stage manager to be both.
Personally, however, my style is more of a leader. I think this because of the way
I choose to communicate with the people I am working with to get the job done
and also because of the mentoring aspect I often have to apply to my assistants
and actors that are not as experienced in this field” (Friday, 2014)
James Lemon a Creative Director for Theatre:

20
“The two are inseparable, how can you manage without leading. Some managers
are not leaders but then that would be ineffective leaders. For me I cannot
separate the two because for me I see the separation of the two as ineffective.”
(Lemon, 2014)
Jean L. James a Creative Director for Vocal Music:
“I’m a leader! I don’t like to manage; I like to lead so that people can come up to
where I am so that they can become leaders. I want to teach someone how to be a
leader, I want to teach them what I know, so that they can become a better person
and you know to be a better singer, or what ever I can do. I feel like my
experience in being a leader can help somebody” (James, 2014)
Norma Hughes a Creative Director for Vocal Music:
“I would have to say a leader and I say that not because I want to be a leader. Me
and my husband were just talking about this and he says that I am very quick to
engage people like we were sitting in the doctors office and he was sitting in one
of the rooms and I was sitting out and I just came out and said one thing and I was
in this full conversation with everybody that was sitting there and then when I
went in the back and he came out he was in the conversation with the people, they
just kept carrying on that conversation. So I think even when you don’t want to be
a leader, and a lot of times I say I don’t want to be but you really in essence you
are.” (Hughes, 2014)
Dee Jackson- Fields a Creative Director for Vocal Music:
" I would describe myself as both a leader and a manager. I think the two should
coexist." (Jackson- Fields)
Terri Gorgone a Creative Director for Musical Theatre:
“I’m more of a leader; I’d love to give the managing to someone else. I like to
take control and make things happen. A leader is a manager too in essence
because sometimes when I think manager I think someone who is delegating and
letting people go and do, where as most of the time I feel like I’m the one doing it,
bringing the people in together, but you know you have to do both.” (Gorgone,
2014)
Kathy D. Harrison a Creative Director for Performing Arts:
“I would describe myself as a leader. Those who have contributed to the vision
that I am pursuing, do so voluntarily. They are invested in my vision as a result
of the shared perspective or the impact that the vision has on them directly. As an
entrepreneur, it is necessary that I manage the business, but I do my best to
motivate people that are involved by way of positive leadership.” (Harrison,
2014)

21
Simon Carter a Creative Director for Fashion:
" Leader" (Carter, 2014)
Andrew Groves a Creative Director for Fashion:
"Enabler" (Groves, 2014)
B. Michael a Creative Director for Fashion:
" I think I wear both ‘hats’ well" (Michael, 2014)
This research can also be looked at from the standpoint of individuals being
leaders, but having qualities of a manager that might help in being an effective leader.
4.5 DE BONO’S 6 THINKING HATS AND CREATIVE DIRECTORS:
This section investigated De Bono’s 6 Thinking Hats and how creative directors
saw themselves and how they fit within the spectrum of hats. According to De Bono “Six
Thinking Hats is a simple, effective parallel thinking process that helps people be more
productive, focused, and mindfully involved. A powerful tool set, which once learned can
be applied immediately! You and your team members can learn how to separate thinking
into six clear functions and roles. Each thinking role is identified with a colored symbolic
"thinking hat." By mentally wearing and switching "hats," you can easily focus or
redirect thoughts, the conversation, or the meeting”
(http://www.debonogroup.com/six_thinking_hats.php). Through this research, there was
an understanding of the 6 Thinking Hats and the creative directors. Below is a list of
creative directors and what hats best describes each one:
4.5.1 The Hats and the Meaning of each color:
1. The White Hat calls for information known or needed. "The facts, just the facts.
2. The Yellow Hat symbolizes brightness and optimism. Under this hat you explore the
positives and probe for value and benefit.
3. The Black Hat is judgment - the devil's advocate or why something may not work. It's
able to spot the difficulties and dangers; where things might go wrong. It is probably the
most powerful and useful of the Hats but can be a problem if overused.  
4. The Red Hat signifies feelings, hunches and intuition. When using this hat you
can express emotions and feelings and share fears, likes, dislikes, loves, and hates.
5. The Green Hat focuses on creativity; the possibilities, alternatives, and new ideas. It's
an opportunity to express new concepts and new perceptions.
6. The Blue Hat is used to manage the thinking process. It's the control mechanism that
ensures the Six Thinking Hats guidelines are observed

22
4.5.2 The Creative Directors and Hat correspondence:
1. Michelle Rae-Dudley/ Creative Director for Theatre: Yellow Hat
2. Chelsea Friday/ Creative Director for Theatre: Black Hat
3. James Lemon/ Creative Director for Theatre: Blue Hat
4. Terri Gorgone/ Creative Director for Musical Theatre: Yellow and Green Hats
5. Jean L. James/ Creative Director for Vocal Music: Blue Hat
6. Norma Hughes/ Creative Director for Vocal Music: White, Black and Red Hats
7. Andrew Groves/ Creative Director for Fashion: Red and Green Hats
8. Simon Carter/ Creative Director for Fashion: Yellow and Red Hats
9. Kathy Harrison/ Creative Director for Performing Arts: Blue, Green and Red Hats
10. Dee Jackson Fields/ Creative Director for Vocal Music: Blue and Green Hats
11. B. Michael/ Creative Director for Fashion: Green Hat
This questionnaire shows that although each creative director is of a different
creative field, De Bono’s 6 Thinking Hats are found in all regards. This research also
illustrates that some of the same hats apply to creative directors of the same industry but
also shows that individuals can be in the same field and not share the same hat. For
instance, Andrew Groves and Simon Carter both believe that they are red hats,
representing feelings, hunches and intuition. When using this hat you can express
emotions and feelings and share fears, likes, dislikes, loves, and hates. While two of the
creative directors for theatre on the other hand show that one is a black hat whereas, the
other is a yellow hat.
4.6 Environment and process to create creative work:
This portion of the research analyzed the environments in which creative directors
best produce their work. It also looks into the process that they go through to produce
creative work. In looking at the environments that they work in, the findings indicate that
there is not one particular place or one particular thing that creative directors do to
produce creative work. The creative industry however, is an industry where the people a
part of it have to adapt to the environment that they might have to go into. Rae- Dudley
says, “I’ve learned that the arts as a whole is a community of different leaves on a tree
because everybody doesn’t change like we do, everyone is not as adaptable as we are. We
adapt to our circumstances, we adapt to our rehearsal spaces, our stage spaces” (Rae-

23
Dudley, 2014). The environments that they work in are constantly changing, as for the
process, they have illustrated that it is the same.
The environment for some creative directors may be strange but it looks at that
specific individual. For instance, James Lemon a creative director for theatre says
“Driving, I guess I’m also saying that’s when things hit me, because I’m doing something
mundane with the physical body and its so routine that the mind can wonder a little bit
and dream up of stuff” (Lemon, 2014). On the other hand, Michelle Rae- Dudley also a
creative director for theatre answers, “A space where I can just think by myself and
things might just pop in my head while falling asleep so I have to write it down or text it
to myself because that’s something that I can do” (Dudley, 2014). Contrary to both
Lemon and Rae-Dudley Chelsea Friday the final creative director for theatre finds that “I
operate well with others in a room full of collaborators where I can link ideas with others
and come to a colorful medium” (Friday, 2014).
The research on the process to produce creative work looks at the system of
brainstorming, research, conceptualization, trial and error and finally the end results. The
brainstorming aspect focuses on coming up with the new idea that can take a company to
the next level. For example, Lemon says, “I get an initial idea, then the brainstorming
happens” (Lemon, 2014). Preceding the brainstorming stage, the research then takes
place. According to Rae-Dudley “Research everything about that piece, enjoyment of the
research, tangible connections, extensive research” (Rae-Dudley, 2014). After the
research occurs, then conceptualization begins. In this stage creative directors begin to
put things together, “…how that might role out, then research and then application,
exploring and applying it” (Lemon, 2014). Next, is the trial and error, this section
promotes taking an idea and/or concept and applying it until the idea and/or concept that
one has is effective in the best possible way. Finally the process produces its end result,
which shows what has come out of the brainstorming, researching, conceptualization and
trail and error stages. Friday sheds light during her interview by saying “The most
rewarding part, is knowing that I am a crucial part to shows and performances that evoke
powerful catharsis to its audience. We bring smiles, tears, and happiness to so many
people and keep the love of theater alive. Technology has such a hold on today’s society,
so to be a part of something so tangible and entertaining is beautiful to me” (Friday,
2014).
4.7 Skills learned to be a successfulCreative Director:
The final aspect of the research is skill sets that creative directors have learned in
their process of being creative directors. Skill sets can range from good communication,
to time management and even organizational skills. By having skills of this nature it
better equips creative directors to be successful and helps them in learning things that
they would not have otherwise wanted to learn. The findings for the skill sets are listed
below of all of the creative directors who participated in the research of magic, luck, or
hard work, what does it take for one to become a successful creative director:

24
4.7.1 Break down of Creative Directors and skill sets learned:
1. Andrew Groves/ Creative Director of Fashion
“Know when to compromise and went to stick to your decisions/opinions, listen
to others but also be prepared to ignore them, think long-term more than short
term, plan for disaster”
2. Chelsea Friday/ Creative Director of Theatre
“I had to learn how to follow before leading, and more importantly how to
sacrifice. It was important to have all the other elements (lights/electrics), sound
(costumes, props, etc.), drilled into my knowledge bank before mastering the craft
of stage management”
3. James Lemon/ Creative Director of Theatre
“Listening for understanding and letting the process happen naturally”
4. Jean L. James/ Creative Director of Vocal Music
“Not to take everything serious, organization, no stress, patience and you have to
meet people where they are, children and adults. I have to know there are things
going on in your lives that might cause them to react in a certain way, or feel a
certain way, and I have to be able to understand and I have to be able to realize
that.”
5. Michelle Rae-Dudley/ Creative Director of Theatre
“Planning, organizational skills, time management, and communication”
6. Norma Hughes/ Creative Director of Vocal Music
“Patience: I’m trying to recreate the level of where I was 20 years ago because
that was the prime, but until you move from that, like I do things now and people
going to think what wow, and my husband said no they’re not going to think that
you did the best of what you had to work with, and they’re going to say wow you
were able to get that out of that. I had to really learn to be accepting wherever I
am in that time and space.”
7. Simon Carter/ Creative Director of Fashion
“Managing and working effectively with my team.”
8. Terri Gorgone/ Creative Director of Musical Theatre
“Patience, being able to identify different learning types, understanding how
people process information, perseverance”
9. Kathy D. Harrison/ Creative Director of Performing Arts
“Effective Project Management Techniques and Approaches, Business
Management Skills, Persuasive Communication Skills, People Motivation

25
Techniques”
10. Dee Jackson-Fields/ Creative Director of Vocal Music
" For me, the most important skills are interpersonal skills, particularly dealing
with other creative people, and time management."
11. B. Michael/ Creative Director of Fashion
" Understanding the science between creativity, production, and the end use of the
consumer."
The above evidence conveys that there are various skill sets that had to be learned
in order for each creative director to successfully complete their jobs. Through this entire
section of evidence, it simply goes to show that due to the combination of magic, luck,
and hard work that’s what it takes for one to become a successful creative director.

26
5.0 Part II of Research: Survey Results and Findings
This section of the research focuses on a survey pertaining to creative directors in
the creative industry. The survey uses 100 participants, the participants are anonymous by
name some have given their level of education, the university they attend or attended,
what field of study they were/are a part of, and if they are a part of the creative industry.
The results are used to collate what individuals believe a creative director should possess.
The following is the actual survey questions without the options that were given:
Survey Questionnaire:
1. What type of education should one have to become a Creative Director?
2. How many years of experience in the industry should one have in order to become
a Creative Director?
3. Should an aspiring Creative Director have role models?
4. Should Creative Directors be Leaders or Managers?
5. According to De Bono’s six thinking hats which hat should a Creative Director
possess?
6. Why should one become a Creative Director?
7. What is the best environment for a Creative Director to work in?
8. What process should a Creative Director go through to create a successful
product?
9. Should there be a balance between the personal and professional life of a Creative
Director?
10. What skill sets should a Creative Director possess?
11. How should Creative Directors overcome creative blocks?
12. What type of plan should a Creative Director have?
13. What does it take for one to become a successful Creative Director in Fashion?
Following these survey questions are the survey results and findings that the 100
participants took part in. This section also has graphs of the actual results from the
survey.
5.1 EducationalBackgroundand Experience:
The research results and findings show that the level of education an individual
has, can offer different experience levels to various creative directors. The results of the
research gives a look into Terri Gorgone's journey of playing piano and acting as a child
in musical’s to becoming a creative director for musical theatre and Michelle Rae-Dudley
who studied theatre and taught dance and choreography every summer while in high
school and college and how those things are applied to being successful creative directors
for theatre (musical and traditional). One creative director has a masters and the other a
bachelors (see Appendix). The research also looked at two other creative directors Jean

27
L. James and Chelsea Friday, where James is a 41-year veteran and Friday an eight-year
fresh face to the creative director realm.
According to the results of the survey however, it shows that 45/100 individuals
believe that in order for someone to be a creative director they should have a combination
of a bachelors and masters degree. Contrary to that, the results and findings of the
research with the creative directors show that only 3/11 of the directors have master’s
degrees and the remaining directors just have Bachelors degrees.
Table 1.0: Educational Experience
The results also show that 59/100 individuals believe that a creative director
should have at least 5-10 years experience to successfully fulfill a role as a creative
director. The research results and findings indicate that 11/11 of the creative directors
have 5-10 years of experience or more.
Table 1.1: Industry Experience

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5.2 Role Models and Creative Directors:
The research shows that role models are a vital aspect to the development of a
successful creative director. The creative directors role models are not always individuals
who work in the same industry as them, but sometimes regular people. Kathy D. Harrison
a creative director for Performing Arts (theatre, music, and dance), had this to say in
regards to role models " I choose to say that I am inspired by people who have a vision,
put direct action into that vision, persist against all odds and achieve those goals…. all
the while helping others along the way" (Harrison, 2014). According to the survey results
a staggering 91/100 individuals think that a creative director should have role models
while 9/100 believe they shouldn't.
Table 1.2: Role Model
Harrison also stated that directly, "…My mother- Edith A. Harrison is a tangible
everyday role model and a true inspiration and my great grandmother, Lucy
Dawson. Her life story and her strong will are beyond noteworthy" (Harrison, 2014).
While indirectly, "…Harriet Tubman, Sojourner Truth, Fannie Lou Hamer, Medgar
Evars, Maya Angelou, Leontyne Price, Paul Robeson, Harry Belafonte, Whoopi
Goldberg, Nina Simone, Tina Turner, The Wright Brothers, Benjamin Franklin, People
who were first to do the unthinkable and also People who used their craft and their
platform to effect a greater cause. I truly aspire to leave that same kind of footprint"
(Harrison, 2014).
5.3 Leaders and Managers:
As previously mentioned (Links between Leaders and Managers), the term leader
and manager are used to describe someone in charge. The section also speaks about how
there is an "…interdependent relationship between the titles of leaders and managers."
Lemon describes himself as a leader and says in conjunction with it that, “The two are
inseparable, how can you manage without leading. Some managers are not leaders but
then they would be ineffective leaders. For me I cannot separate the two because for me I
see the separation of the two as ineffective” (Lemon, 2014). The results from the survey

29
show that 18/100 people think that creative directors should be leaders, 4/100 think that
creative directors should be managers. Nevertheless, 78/100 people believe that a creative
director should be a leader with good managerial skills.
Table 1.3: Leaders and Manager
5.4 De Bono's 6 Thinking Hats:
In this section the survey asked what type of hat a creative director should be in
accordance with De Bono's 6 Thinking Hats. Although the results from the research show
that the hats vary in use depending on the creative director, the results of the survey show
that 52/100 of the survey participants agree that a creative director should be a green hat.
The green hat focuses on creativity; the possibilities, alternatives, and new ideas, it's an
opportunity to express new concepts and new perceptions. While the green hat may
ideally fit the role of a creative director in the creative industry, Lemon gives the exact
reason why the blue hat is more realistic to fit the role of the creative director by saying "
Its impossible to be effective and not dabble in each of those hats, the nature of art and
what we do is like in a lot of ways a spider web, and you can very easily entangle
yourself, if you’re not looking at each spindle of that web and making sure that it’s not
getting tangled" (Lemon, 2014). The survey shows that 22/100 participants in the survey
believe that a creative director should be a blue hat.

30
Table 1.4: De Bono's 6 Thinking Hats
5.5 Environments creative directors work in:
The environment that creative directors work in to come up with ideas differs
depending on who it is, and what field of the creative industry they are involved in. For
example, Kathy D. Harrison says, "I don’t believe I put energy into ‘coming up’ with
ideas. Ideas will come to me and then I follow up when the idea arrives. So, I often will
have ‘dreams’ in which I am creating, and I will awaken and jot down what I created
during my ‘dream’ state. I’ve learned how to harness it over the years and trust it. I’ve
found that when I try to ‘come up’ with an idea...I come up empty handed. So, I don’t
make any attempts. Since I am a creative being, I am inspired in every moment. When
the inspiration occurs. (Mainly dreams)...I document those moments" (Harrison, 2014).
The results of the survey show that 45/100 individuals think that the environment creative
directors should work in should be in a group with other creative individuals to bounce
ideas off of one another.
Table 1.5: Environments to produce creative work
5.6 Processofproducing creative work:
The process that creative directors go through to produce creative work also
differs depending on whom the creative director is, just as the environment changes
depending on the creative director. The results from the survey convey that 63/100
participants believe that a creative director should go through the process of
brainstorming, research, conceptualization, trail and error, and end result.

31
Table 1.6: Process of creative work
Somewhat identical to the results of the research results and findings the process
that was chosen corresponds with the results of the survey answers. The results below are
from the creative directors responses from their interviews:
Andrew Groves:
"Create, review, edit, and repeat"
Chelsea Friday:
"The process differs for me depending on the time constraint, my responsibilities
and workspace (I travel a lot). I often spend a lot of time before moving forward
in rehearsal alone with the script, dissecting it. I move with the production and
then into tech, and into performance. But the time alone at the beginning is
essential for me to organize each element (costumes, lights, set, special FX, etc.),
log in my thoughts, decide on what my concerns are before I meet with the
director. I am sure to always be knowledgeable and clear on what the show is
before I step into the rehearsal room."
James Lemon:
" Idea, like I get an initial idea, then the brainstorming happens, on how that
might role out, then research and then application, exploring and applying it."
Jean L. James:
" Selecting music that I feel my children can sing, I have selected college
repertoire like negro spirituals, classical, inspirational, secular, I pick the music
first and ten after I pick the music I then make sure I understand it and internalize
the music, then I make sure my students internalize it while I teach it. Know that
each piece is different, know that you should internalize it for themselves and
understand what the music is saying. So when they sing they have music they
know what it says. So that’s all in the preparation so that they are ready for that
concert. Knowing that it is very important, they are vocal majors and I expect

32
them to be performance vocal majors."
Kathy D. Harrison:
" It depends on the project type. Theater, music, dance, but in general...
Once I have an idea, I’ve learned to create a timeline for completion. Without
this timeline guidance, I could take decades to reach some level of
completion. So I establish a time boundary. I outline the big picture relative to
time. I am a researcher. I like to research perspectives on a certain philosophy,
archetypes, languages, time periods, and the origin of any concept or belief. The
overall process usually includes having a recording device at all times, so that I
can be free in the moment to just go with the flow of ideas. Once I’ve developed
the core concept, I put it right into action. I love to workshop ideas. So, if it’s a
song, I will often teach the song and more ideas generate from the act of doing. If
I am writing a scene, I like to workshop it and I speak the dialogue out loud as the
scene progresses. I would then listen back to the recordings to type up the
scene. I create best when it’s in action."
Norma Hughes:
" I guess everyone is different; I always work on a theme and I’m always telling a
story. 99.9% of the time I am merely thinking about things going on in my life.
What I’m thinking about church or what I’m thinking about the world, or thinking
about working with my teachers or my family or whatever, and what are
something’s in society that are influencing right now, and I will tell a story. You
can always tell from beginning to end, you can tell if it’s a wide variety of genres
or all the same that I’m trying to tell a specific story. When we come to the end of
that concert I want to know when I talk to you and you say I felt this, this and this,
that’s exactly what I’m trying to get from you. So I’m always working on a theme
some sort of theme."
Michelle Rae-Dudley:
" (Poems, plays, musicals) Research everything about that piece (time period),
Enjoyment of research Connections tangible connection, Extensive Research"
Simon Carter:
" Start with the overall idea, narrow down and focus on the fine details."
Terri Gorgone:
" Researching and knowing everything about the work that you are doing, so that
you can have a deeper understanding about what it is, especially if I’m working
on a show I will spend a lot of time listening and then researching what the show
is about and what is the time period what’s going on at the time, what are the
characters, the depth of the characters the relationship between the characters. So
when I go to teach it to somebody I have an understanding and I am able to
express that and help him/her understand what the motivation is behind some of
the things that they do. Not only what might be there on the page but also what
historically might have been happening or other influences that might have been

33
happening. So it’s important to know all the aspects of what’s happening. For
example, “The Color Purple”, the students had to understand the time period and
had to research and we all had to make sure we knew what that time period was
all about and where “blacks” were in history and the development of a black
woman and the development of a black man as well at the time and the transitions
that they have made.
Dee JacksonFields:
" As an arts administrator, when I'm developing creative processes and systems
for teaching, I usually begin to create alone, and then bring in colleagues who will
give me constructive criticism and positive feedback."
B. Michael:
" Everything for me begins with sketching, and then fabricating"
5.7 Skill Sets and creative blocks:
The results from the survey show that 88/100 individuals think that a creative
director should learn/have the skill sets of patience, time management, organization and
communication to successfully fulfill their job requirements. According to "Research
Results and Findings: Skill sets learned to become a successful creative director", the
results indicate that those skill sets are the ones that creative directors had to learn along
with things like understanding, listening, and how to follow before leading just to name a
few.
Table 1.7: Skill Sets
The results of the survey also indicate that 28/100 of the participants believe that
creative directors should do something else geared towards a project if there is a creative
block. Creative Director Dee Jackson-Fields says " If I encounter a creative block, I find
it best to first try to continue on a little longer, and then if that fails, step away for a
while, return and try a different approach. Soliciting advice from my peers can be
helpful, although I keep in mind that "too many cooks can spoil the pot" (Jackson- Fields,
2014).

34
Table 1.8: Overcoming creative blocks
5.8 Planning Ahead:
This section explores a plan for creative directors over a period of time. The
survey calls for 4 career choices that a creative director could possible take to further
their career. Choice one is that they progress in their career yearly, so that it is ever
changing until they have gained enough experience to become a creative director.
Proceeding is the 5-year plan, which looks at gaining experience at one brand before
moving to another brand to become a creative director. The 10-year plan looks at having
lengthy experience at one brand before leaving and beginning their own brand. Finally,
the 15-year plan explores staying with a brand and waiting until they are appointed
Creative Director.
According to the survey results 60/100 individuals think that a creative director
should gain experience at one brand before moving to another to become a creative
director.
Table 1.9: Planning Ahead

35
5.9 Hard work, Luck or Magic:
The most important portion of the research is looking at what it takes to become a
successful creative director in the fashion industry. While looking at the journey that
various creative directors have taken, and what they had to experience to achieve what
they currently have, this survey shows exactly what people think a creative director
should do to become successful. 4/100 individuals believe it takes the magic of being
very talented and never taking an educational course in creative industry fields pertaining
to their creative field i.e. fashion taking drawing, sewing and just knowing how to do it.
9/100 people think that it's the luck of simply being in the right place at the right time that
allows for an industry executive to scout tem and recruit them for a Creative Director
opportunity. 37/100 individuals think that it takes hard work of constantly designing,
drawing, and attending industry events with education to back up what it is that they do.
While 50/100 participants believe that it’s a combination of magic, luck, and hard work.
Table 1.10: Hard work, Luck or Magic

36
6.0 Suggestions for Aspiring Creative Directors:
Although there is no calculated formula for how to become a successful creative
director, there are various ways that one can achieve their dreams of being a successful
creative director in the creative industry. During the interviews the final question was
asked "Is there any advice for someone trying to get into the creative industry as a
creative director?" The following are the results given by current creative directors of the
creative industry:
Thespis was an Ancient Greek writer and actor who is credited with the invention
of tragedy and was the first winner of the Great Dionysia in 534b.c.
(http://writershistory.com/index.php?option=com_content&task=view&id=822&Itemid=
32). The individuals who are involved with the world of theatre, understand and know
that this was the moment in history that made what they do important to the current world
people know as theatre. Below are the results of what theatre creative directors believe
they can share with aspiring creative directors to achieve their dreams.
James Lemon:
"…I could share with you that idea of creating space. That is that its like a law of
nature that space is created for it to be filled and if you are the person creating the
space and not filling the space then you are still growing. Not only are you
growing but you have the ability to nurture the growth of others."
Michelle Rae-Dudley:
" Be sure that this is your passion, be sure you are doing this because you love it,
be sure that you are not doing it for fame or fortune, be sure that you are going to
be up to the many obstacles that you are going to have to face and once you do get
in it love it, live it, in every way."
Chelsea Friday:
" When you learn more about one, it doubles into the other. I have learned to
communicate better, and how to push myself to achieve things I may have once
thought impossible… this industry is one of the toughest in the game. You must
be strong enough to deal with the ups and downs, and if you find out you’re not,
you should choose another career. I also always advise to research the field you
want to go into from every angle and NEVER STOP LEARNING."
The creative field of music is something that is sometimes referred to as the
"international language" (http://www.unspecial.org/UNS707/t41.html). In this field no
matter what part of the world one may be in, people seem to relate through music. For
example, when a celebrity like Beyoncé travels around the world to perform, people
don’t just get her music but they get her, no matter what language it is. Jean L. James,
Norma Hughes, Dee Jackson- Fields, and Oscar Petty give advice on becoming
successful creative directors in music.

37
Jean L. James:
" In this new day and age I would advise them not to get frustrated not to give up because
now and days its so much paperwork, and you have to do this do the other. I would just
say stick to the art and teach those kids."
Norma Hughes:
"…what I would say is make sure it’s your passion.
IF YOURE NOT DOING IT ALREADY OUTSIDE OF HERE YOU AINT GOING TO
DO IT."
Dee Jackson-Fields:
" My advice to aspiring creative directors is to follow your heart, but use your head!"
The world of musical theatre has given the world great productions, from
"Smokey Joes Café" to "The Lion King". This world calls for a combination between the
musical world and the theatrical world. Terri Gorgone the creative director of musical
theatre had this to say about how to become a successful creative director,
"If you want it bad enough, just keep trying, just keep going out there and accept
that you’re going to get “no’s”, and keep at it and be nice."
With a combination of theatre, music and dance, a triple threat, some find it hard
to achieve success in all three aspects, however Kathy D. Harrison shares how she
achieved success of becoming a creative director, "Define your own success. Success is
often based ONLY in financial gain or the idea of becoming famous. Let the purity of
your vision drive you. Vision and purpose can become tainted when you're definition of
success is rooted in money or popularity. Develop a 3rd eye. Be self-aware and hold
yourself to a standard of excellence mixed with humility. This is a generation of 'right
now'. The idea of working from the bottom to the top is becoming extinct. Some of the
greatest ideas and efforts took generations to fully come to life (Freedom, women's rights,
civil rights, end of apartheid, automobiles, airplanes, high-rise buildings, medical cures).
The ability to create is one of the greatest gifts given to humankind. In the beginning,
God CREATED! We are made in his image. We should create!"
Although the journey that an individual takes to achieve their dreams differs,
sometimes they can end up with the same position in different places. The world of
fashion continuously has inspiration from other creative fields like art and music, being
the creative director to come up with those ideas, must be immaculate. Simon Carter,
Andrew Groves and B. Michael share what they believe is the best advice to achieve
success as a creative director.
Simon Carter:
" Seek out people who know more about stuff than you do, listen to them and trust them!
You'll always have to depend on other people."
Andrew Groves:
" Good luck!"

38
B. Michael:
" Work for someone else first, and learn the industry!"

39
7.0 Conclusion:
This research has explored and investigated several important factors. While
considering the interrelationships of the creative industry, is it magic, luck or hard work,
what does it take for one to become a successful creative director in the fashion industry,
it gave a formula that could possibly help in ones journey of becoming a successful
creative director.
The first section of the research looked at research that was conducted pertaining
the creative industry and leadership theories. This section found that leadership theories
have an effect on the creative industry. This section looked at an article from the
International Journal of Cultural Policy in regards to two different director-generals from
BBC news station, and how the two men (John Birt and Greg Dyke) have different
creative management styles. The second publication looked at a dissertation on the topic
of " Interpreting business in film: Three case studies in creative leadership", this
dissertation focuses on the behavior of creative business leaders in three American films.
While looking at leadership theories and the creative industry it also analyzes in
publication number two behavioral theories and he creative industry.
In the following portion of this study, the analysis of motivational theories and the
creative industry by looking at publications on " The effects of reward schemes,
individualism-collectivism, and intrinsic motivation on teams’ creative performance” and
what are the effects that rewards have on creative performance and task motivation. The
second publication examined "Web-based training for innovation: an examination of
training regimens, training environment, and the moderating influence of creative
personal identity and intrinsic motivation". This article looked at training regimens, and
focuses on using Osborn-Parnes Creative Problem Solving (CPS) program as the
conceptual framework, to develop three online training programs, which were
implemented, and evaluated for their relative effectiveness for enhancing innovative
performance.
The third section of the study was the analysis of leadership and entrepreneurial
behavior. This section looked at a paper that focuses on drawing on emerging ideas
related to the concept of entrepreneurial leadership, which emphasizes a “distributed”
model synonymous with terms, which indicate that authority is decentralized (“shared”,
“team”, “democratic”, “representative” and “dispersed”). The second article is from the
International Journal of Business and Social Science. The article looks at the topic of
Student Entrepreneurial Leaders: Challenges and Competencies of Leading University
Entrepreneurship Programs by Afsaneh Bagheri and Zaidatol Akmaliah Lope Pihie from
University Putra Malaysia. The article was geared towards the challenges and
competencies of student entrepreneurial leaders in leading university entrepreneurship
programs.
Following that section, it focused on differences between leaders and managers.
The two publications used were discerning the differences between managers and leader
and what's the difference between leaders and managers. Both publications looked at
leaders and managers but article one looked at the points that are mentioned are geared
towards Educational Visionaries, Managers administer, Leaders innovate, Model the
way, Inspire a shared vision, Challenge the process, Enable others to act, Encourage the
heart. Article two stated that management is not a training ground for true leadership and

40
looked at Patty Miller, Senior Vice President of Franchise Services of Slyvan Learning
Center, Miller says that identifying leaders, nurturing them, rewarding them and
separating them from the management pack is one of the reasons why Slyvan was
recognized by Success Magazine as Outstanding Franchise of the Year.
The final section looked at three models that relate to the creative industry. The
three models were De Bono's 6 Thinking hats, Maslow's Hierarchy of Needs and Theory
X and Theory Y. Each model was looked at as they pertained to the creative industry.
The main research of the dissertation looked at interrelationships and how they
work in the creative industry. These relationships that were looked at analyzed three
different interrelationships. The first relationship was Cicely L. Tyson Community
School of the Performing and Fine Arts and how the creative directors at this institution
worked together to produce the production of "The Color Purple". The second looked at
Simon Carter's love of vintage and how that influenced his fashion career. It also looked
at how his work as a buyer helped in his development of his own brand. The final
relationship was of Kathy D. Harrison and her relationship with graphic designers and set
designers and how they help in making her theatrical vision come to life.
The research then goes on to ask the question of considering the interrelationships
within the creative industry, is it magic, luck, or just hard work, what does it take to
become a successful Creative Director in the Fashion Industry? This research looked at
more than just the fashion industry but the creative industries as a whole. The results
were formulated by talking to 11 creative directors of the creative industry. Just as the
hypothesis was suspected the creative directors along with 50/100 participants of the
survey believe that it is a combination of hard work, luck, and magic that truly allows for
one to become a successful creative director.
In this research, the first thing analyzed was the journey it takes to become a
creative director, by looking at the journey of how several creative directors got started in
the creative industry. One of the creative directors were Norma Hughes and she said,
"when I got to high school there was a teacher named Ms. Strolmore and I just thought
she was the baddest musician at the time for a woman… she kind of took me under her
wing. She’s really the person I pattern myself after now”. That research is followed by
the levels of education and experience that creative directors have. The research also
covered topics like the environments that creative directors use to produce creative work,
and skill sets that creative directors learned. The most important portion of the research
were the models of De Bono's 6 Thinking Hats and links between leaders and managers.
These areas show how they affect the creative directors of the creative industry.
The final part of the research looked at the survey results that 100 participants part
took in and how those things correlated with the creative directors. Finally, suggestions
were given to those aspiring creative directors that could possibly prepare them for their
journey as a creative director in the creative industry.
In closing, the results of considering the interrelationships of the creative industry,
is it magic, luck or hard work, what does it take for one to become a successful creative
director in the fashion industry, the results show that with a combination of magic, luck
and hard work an individual can become a successful creative director of the fashion
industry.

41
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44
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