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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9.0 Appendix:
9.1:Creative Directors Interview Questionnaire:
ResearchQuestion: “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?”
-Interview Questions
21. Where did your journey first begin?
22. How did you get started in this industry (Education)?
23. How long have you been in this profession?
24. Who is/was your role model and why?
25. Would you describe yourself more as a leader or a manager?
26. 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 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
27. What was the driving force behind your decision to get into this field of the
creative industry?
28. What do you feel is the best environment for you when you are trying to come up
with creative and new ideas?
29. What process do you go through when putting your creative work together?
30. How do you manage your work/personal life balance while being a creative
director?

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31. What are some crucial skill sets you had to learn in order to become a successful
creative director?
32. What is your method for overcoming creative blocks?
33. If you could go back and change anything about your career path what would you
change?
34. What is the most rewarding part about what you do?
38. What valuable lessons have you learned through your process of becoming a
creative director?
39. Best advice someone has given you that has helped you in your career?
40. Is there any advice for someone as myself trying to get into the creative industry
as a creative director?
Any other questions comments and or concerns

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9.2:Creative DirectorResponses:
9.2.1 Fashion:
A. Andrew Groves
Creative Director for Fashion
Question 1 and 2:
Learned theatre and costume design then set up on own design business
Question 3:
26 years
Question 4:
Anyone that goes against the norm or trend
Question 5:
Enabler
Question 6:
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.
Question 7:
Because I’m very good at it, and I saw so many that weren’t that were.
Question 8:
In a group with others
Question 9:
Create, review, edit, and repeat
Question 10:
There is no balance. It’s all one thing
Question 11:
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
Question 12:
Leave it and have a cup of tea

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Question 13:
Nothing it’s been a real adventure
Question 14:
Working with fresh young talent
Question 15-17:
To be running the world’s best fashion design course.
Question 18:
I think of myself as an editor not director. Share and be generous.
Question 19:
Learn to say no
Question 20:
Good luck!

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B. Simon Carter
Creative Director of Fashion
Question 1:
1985
Question 2:
Passion for vintage - I studied Immunology before launching my brand.
Question 3:
Coming up to 30 years.
Question 4:
Beau Brummel
Question 5:
Leader
Question 6:
Yellow/Red Hat
- The Yellow Hat symbolizes brightness and optimism. Under this hat you explore the
positives and probe for value and benefit
- 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.
Question 7:
My passion and interest in vintage and antiques.
Question 8:
Travelling and exploring.
Question 9:
Start with the overall idea, narrow down and focus on the fine details.
Question 10:
I have a lot of interests outside of work such as croquet which helps to keep my
work/personal life equally balanced.
Question 11:
Managing and working effectively with my team.
Question 12:
Talk it through.
Question 13:
Nothing.

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Question 14:
Having my name on every product produced!
Question 15:
Open two more UK stores.
Question 16:
Have a portfolio of 20 UK stores.
Quuestion 17:
Open more international stand-alone stores.
Question 18:
Take everything in and gather inspiration from it. Trust the inspiration.
Question 19:
Never say no!
Question 20:
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.

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C. B. Michael
Creative Director for Fashion
Question 1:
I would say my “journey” started as a young man in CT when I knew I wanted to be
designer, because I was always sketching
Question 2:
I started as a millinery designer and subsequently attended FIT
Question 3:
My millinery line launched in 1989, and my clothing line in 1999
Question 4:
I would not call anyone my role model, but Oscar de la Renta definitely inspired me in
my career
Question 5:
I think I wear both ‘hats’ well
Question 6:
The Green Hat focuses on creativity; the possibilities, alternatives, and new ideas. It's an
opportunity to express new concepts and new perceptions
Question 7:
In a word: passion
Question 8:
Solitude in a stimulating creative space
Question 9:
Everything for me begins with sketching, and then fabricating
Question 10:
Not without challenge… For me it is about establishing a division and zone for each
Question 11:
Understanding the science between creativity, production, and the end use of the
consumer
Question 12:
Creativity is not always driven by inspiration
Question 13:
I never go back

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Question 14:
The ability to share my vision with others
Question 15- 17:
N/A
Question 18:
The balance between being true to yourself as a creative person and fashion as a business
Question 19:
Eleanor Lambert told me with my first collection; “Learn to edit”
Question 20:
Work for someone else first, and learn the industry

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9.2.2 Theatre:
A. Chelsea O. Friday Interview
Creative Director of Stage Management
Question 1:
In middle school, I attended one geared towards the performing arts. I started as an artist,
moved into acting but found a peculiar love for the craft of stage management.
Question 2:
I attended middle school and high school in the performing arts, did internships along the
way and then trained for a college conservatory where I succeeded well and obtained my
BFA in Stage Management.
Question 3:
I have trained as a stage manager for eight years while pursuing my high school diploma
and undergraduate degree. I now work actively as a freelance stage manager.
Question 4:
My role model is my older sister because of all the hardship she encountered in her
journey to be successful. She has been through everything that would make the average
person give up, but instead rose to the occasion and conquered every obstacle in her way.
I aspire to be so strong and resilient that there is nothing that would hinder me. She is the
type of woman I hope to become when I get older. She is also very comfortable in her
skin, an attribute I believe all women should become accustomed with.
Question 5:
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.
Question 6:
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.  
Question 7:
Stage management 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.
Question 8:
I operate well with others in a room full of collaborators where I can link ideas with

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others and come to a colorful medium.
Question 9:
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.
Question 10:
I am very spiritual so I am sure to pray a lot for strength and stability. I also make sure I
something relaxing once a week even if it’s just going for a walk or doing thirty minutes
of yoga. There is always a time I set aside for myself, and my family so I can remain
grounded.
Question 11:
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.
Question 12:
Stepping away from the project is sometimes very important. Gaining another perspective
and drawing from other forms of inspiration is also essential.
Question 13:
I would have definitely seized more opportunities granted to me, taken my career more
seriously earlier and spent more time building connections with more people.
Question 14:
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.
Question 15:
To continue working in this field, my next step is to explore the world of technical theater
on cruise ships. I have multiple jobs coming up, most of which are annual events I have
worked on previously. I also am using this time to research options for grad school.
Question 16:
I want to go back to graduate school and major in something I can bind with my
undergraduate degree to create my own production company.
Question 17:

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I want to start my own Production Company, and possibly practice teaching more than I
do already.
Question 18:
I have learned a lot about myself, and my own strength. It’s true what they say: ART IS
LIFE. The two go hand in hand. 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.
Question 19:
‘If you’re not doing what you love, you’re wasting you’re time.’
Question 20:
Refer to question 18, and also that 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.

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B. James Lemon
Creative Director for Theatre
Question 1:
10 grade, English class my teacher gave the assignment of doing a monologue, for
studying Julius Caesar, and I did the monologue and she was so impressed she started
taking me around to other teachers and to the theatre department in high school (Blair
Academy)
Question 2:
I think it was then and there in high school, so after that year, I began to do plays in high
school which ultimately lead to me becoming a theatre arts major in college, and right
from college I was kind of recruited into African Globe as its Artistic Director, actually
before that, before leaving college I think it was my sophomore year in college, I
recognized that there was not a summer theatre program in the city of Newark for kids
and so at 19 that’s what I started my first nonprofit theatre company.
Question 3:
Professionally, I would say since 1992. 22 years
Question 4:
Its challenging having role models for what I do, as a director and a producer of theatre,
primarily because there aren’t that many, and black theatre in America has had such a
tumultuous and turmoil history, and its lasting power has made it difficult. So its kind of
hard to select a, you know one person that I would consider a role model, although there
are a lot of great people who have helped the development of black theatre. So in
different ways, but no one person in particular, I mean you can go into the Ricardo Khan
of the Crosswords Theatre and the Mary Baraka’s, you know all that. There’s certain
people who have some legendary status, but it’s not anyone, each of those theatre
companies have rose to fame and they also have had declining moments.
Question 5:
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.
Question 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. 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 lit 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.
Question 7:
That theatre exposure and participation in theatre was limited to people of color.

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Question 8:
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.
Question 9:
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.
Question 10:
I am just learning that skill set, at the age of 42 just learning it. In this past maybe 2 years,
and that is that I don’t do work at home. I allow myself to brainstorm, to think some
research if I have some time on the computer but that’s it. I had to completely cutting it
off because I spend so much time at work.
Question 11:
Listening for understanding
Letting the process happen naturally
Question 12:
LEAVE IT ALONE, walk away, get away from it, I leave it until the next thing hits,
which is usually not long. I mean you cant deny the subconscious, its going to be in the
back of your mind working so, inevitably I have never gone a long period of time before
the solution came.
Question 13:
I think that this is where I was destined to be, and I feel like there is another thing after
this too; you know what I mean, so I see it all as a continuum you know as a process. I
feel like I am where I’m supposed to be.
Question 14:
Seeing or having students come back and achieving whatever level of their success is.
Question 15:
In the next year I see myself growing in terms of taking on some new challenges. For
example, I think we are pretty set on doing Porgy and Bess. I’ve never directed an Opera
before so that should be a cool experience. So I will be challenging myself, I mean I
don’t have planned at least some big upward mobility, in terms of career; it’s more about
growing within the space that I am in. The school system is always challenging because
it’s always changing, and that is the challenge, but in addition to that I will challenge
myself creatively.
Question 16:
I think I’d like to go back to school at some point, just out of the thirst for knowledge,
and with the advancements in technology and I’m interested in how as a teacher of a

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theatre history course so how technology is influencing the development of theatre, its
extremely important and critical and it will determine theatres relevance.
Question 17:
Ten-year plan I don’t know.
Question 18:
Create space and allow others to fill it!
Question 19:
Create Space
Question 20:
That’s an interesting one, that’s tough because there are things that I know that you
know, but 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.

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C. Michelle Rae-Dudley Interview
Creative Director for Theatre Arts
Question 1 and 2:
Hampton University 1989 Speech and theatre arts Major
Question 3:
Involved in Dance and Choreography in High School
Taught dance every summer in high school and college into adult auditions in theatre and
performance
18 years in industry
Question 4:
My father
United Methodist Minister
Pushed me to pursue my passions
And my strength
Passion caring and working with children
Strength performing and igniting a room with energy
Question 5:
As a leader
I don’t want for others to tell me what to do
When attacking a project I don’t sit around and let others do things that I know I can do
“A leader with excellent managerial skills”
Question 6:
The positives that I see with the optimism that I have
Question 7:
The enjoyment and fulfillment I received from all of my years of teaching and sharing
performance.
The joy I get not only from performance seeing the students that I taught
Question 8:
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
Question 9:
Research everything about that piece (time period)
Enjoyment of research
Connections tangible connection
Extensive Research

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Poems, plays, musicals
Question 10:
I don’t know (laugh)
Due to managerial skills a lot of planning ahead
A lot of organization in order for me to be free to create
Mom and wife role has to be taken care of before leaving the house or I get to rehearsal
or classroom so that I can fully devote my time to my passion and if I didn’t have those
things it wouldn’t work
Always 3-10 steps ahead of myself
Question 11:
Planning
Organizational Skills
Time Management
Communication
Question 12:
Letting it go for a little
Stage blocking
If something is not working and I need to figure it out i.e. Set Design
Example: (Up the down staircase)
Conflict: Blocking, making sure the characters dialogue is heard but also being seen
LET IT GO
Solution: WINDOWS
Don’t overstress
Question 13:
I would have audition for more projects as a performer at an earlier age
Question 14:
I touch lives and I see it every year and that is so fulfilling for me
It’s overwhelming if I get a phone call, email, or text from one of my students even if its
just to write a recommendation letter that shows me that they are still thinking about me,
and to tell me “I was the only one who knew the answer to that question because you
went over Misner in my junior year” and just knowing that I’ve touched lives and the
relationships and bonds that I have with my students and colleagues over the years is
amazing and that’s why I stay here.
Question 15:
1-year plan for career is that I plan to expose myself more to the theatre and that’s in the
works, I’ve been “lettings things go and they eventually work themselves out”
Next year seeing 6 different Broadway shows which is in the works already and meeting
more people in the industry and hopefully by summer of 2015 I will be working on a
project for myself.

61
Question 16:
5-year plan for career is to continue doing what I am doing as far as teaching but
broadening my horizons for my personal goals. So in the next five years I really want to
perform more and I think that if I keep on the path of being organized and balancing
motherhood and “wifeyhood” in the home I will be allotted more time to do the auditions
and to perform in the pieces that I want to do.
Question 17:
10-year plan for career is just to continue, I mean I see myself getting involved in
projects that are going to enhance my craft but I also see my daughter you know working
with her and building her up hopefully she will follow in the footsteps of performance,
which she is already on the path. But in the next 10 years I see myself still here but with
more projects.
Question 18:
I have learned that not everyone loves theatre as much as I do and sometimes you have to
step back and make it live for certain students and for certain colleagues, 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, our classroom spaces,
we adapt to the changes in curriculum and I’ve just learned that I have to be patient with
those who are not apart of our tree yet.
Question 19:
No matter what always smile, if I am faced with adversity and struggles someone told me
don’t ever let him or her take your smile away from you, so that’s what I try to do, I try to
stay positive thus my reasoning for choosing the yellow hat and I just keep that smile
within when you just fell like giving up.
Question 20:
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.

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9.2.3 MusicalTheatre:
A. Terri Gorgone
Creative Director of Musical Theatre
Question 1:
My interest began as a child; I began taking piano lessons at 7 years old and was very
musical and there was a band where I played flutes, and I continued throughout high
school where I was in everything. First it was the music then the shows, band, chorus,
select choir, orchestra everything. I don’t think that there was an element of music I
wasn’t involved in. I knew at a very early age that I was going to go into music probably
around 12 or 13 that was when I knew that something in my path was going to take me
into music. So I was very fortunate and blessed because most people don’t know where
they are going in life. I knew that music was my gift and it is what drove me to be the
person I am today and it has drove me to be successful in what I do.
Question 2:
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).
Question 3:
I’ve been on stage in music theatre as a young kid, I think I was 9 when I did my first
show, I played Ms. Hannigan in Annie the Musical and then it was a “love fest” every
since then. I’ve always been involved with theatre, some point of theatre every since
then. Even when I got out of college I was teaching music then I would go and give
lessons after school and I would be in the theater every night, IT WAS MY LIFE.
Question 4:
Well growing up I think my band director was one of my role models growing up, very
much influenced me to push myself further and follow my dreams and guided me in the
right direction. As I get older it always changes, who I model and immolate, and I’m
always looking for people who are gifted and talented that I can pick there brain or aspire
to be as good as them and challenge myself as an artist to grow, so there are a lot of
influences.
Question 5:
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.

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Question 6:
- The Green Hat focuses on creativity; the possibilities, alternatives, and new ideas.
It's an opportunity to express new concepts and new perceptions.
Question 7:
Well like I said earlier my band director was the one who pushed me towards music
education. As far as doing more musical theatre, I’ve always wanted to do more acting
you know more of that, cause I enjoy being on the stage. Now in my later years I find
myself more behind the piano, doing a lot more music directing, putting the show
together wearing more of the directors hat rather than being on the stage.
Question 8:
My home music studio, it has everything that I need there. It has all kind of creative
aspects that I need, or even in school too because all of my music is here but at home I
have all my instruments and resources if I need them but I spend a lot of time on the
creative end at home, I just play and do random things.
Question 9:
As best I can, my husband hardly sees me but when I do I make time. When things are
slow I make time for him and we find time to do stuff and I like to think I still have a
pretty good social life. I make time to see friends, but I do work ridiculous hours, and I
enjoy that it keeps me out of trouble.
Question 10:
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 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.
Question 11:
Patience
Being able to identify different learning types
Understanding how people process information
Perseverance

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Question 12:
Drinking (laughing hysterically), no seriously just walking away from it, you have to take
a break and go to something else, or even calling it quits for the night, it’s only so much a
brain can take.
Question 13:
Being in the musical theatre field that I am in now, they have whole musical theatre
education in colleges where as though they didn’t have that when I was in college.
Though I don’t know if that was necessarily my path at that point because I was more
into playing classical piano. That was where I was at, at that point in my life, I would
love to go back and get what these kids are getting now, from these musical theatre
education classes cause it’s huge, they are coming out with like so many skills, dancing
and singing and acting and you know all the incredible that they didn’t have when I was
growing up. So I wish I would have had that.
Question 14:
Seeing growth, seeing the growth in somebody, seeing somebody get it, seeing someone
find his/her love. It’s about teaching all day long you know, when you touch someone’s
life and effect them in a way that they want more of what you are giving them, and want
it for themselves and work really hard at it. Seeing their growth and getting excited about
that.
Question 15:
I plan on continuing, I think my career is on a path where I teach all day and I do a lot of
music directing and my name is getting out there, I’ve been doing a lot of work outside of
school and theatre communities I would like to take more of my opportunities to open up
in New York and get more involved in playing and maybe working on a Broadway show
at some point doing in the pit where I’m playing piano or whatever, I don’t care if I’m
playing keyboard three, it doesn’t matter what it is I just want to be there in that
atmosphere, just ideally emerging myself into and branching out. I think this year for me
was about significant growth and getting out there.
Question 16:
I don’t know I haven’t really thought about that, I think with having kids in college my
five-year plan is that they get out of college and I sell my house and run away for a while
with my husband. My five-year plan Ill be in my 50’s so I really don’t know, I don’t
think I thought that far ahead to be honest with you.
Question 17:
I hope to be retired in ten years, well not necessarily retired from the arts but maybe retire
from teaching in the schools and working in theatres and opening my own studio and
having a small space, but that ten years doesn’t even seem that far away.
Question 18:
I don’t know maybe never to give just keep working at things that come, don’t stress over
the small stuff, let the process happen.

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Question 19:
Some of the same things maybe, you know just relax don’t get caught up in it and get
yourself worked up if things don’t go my way. Its like I need things to go a certain way
but I have to let everybody do their own thing hints it will come together.
Question 20:
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.

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9.2.4 Performing Arts (Music, Theatre, Dance):
A. Kathy D. Harrison
Creative Director for Musical Theatre
Question 1:
During my childhood years, I was surrounded by a wealth of creativity in my immediate
family; so I often state that my journey in the creative field is my lineage, my heritage or
my birthright. In regards to officially holding the title of a Creative Director; that
officially began in 2004, when I became the owner and Managing Artistic Director of a
theater company.
Question 2:
I currently hold a Bachelors Degree in Communications with a minor in Theatre. The
portal that started me in this industry was my informal education in music. I was noted as
having the gift for all things that involved music during my formative years. During my
elementary, middle and high school years, I was submerged in music and writing. I was
a vocalist and also played various instruments (violin, piano, clarinet). I had a strong
interest in journalism that I pursued during my undergraduate years. I majored in
Communications, with an emphasis in Radio & Television. I did not study music, as I
felt that my practical experiences were significant and held strong merit. However, I was
introduced to theater during my freshman year when I auditioned for a musical. That
experience altered my career path significantly. I decided that musical theatre was the
perfect forum for all of my interests- writing, music, acting and movement. It allowed
me the perfect playground to explore my multiple creative interests.
Question 3:
Unofficially, my entire life, as a working professional, receiving residual income for my
service; since 1997. 17 years.
Question 4:
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. 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. 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.
Question 5:
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

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necessary that I manage the business, but I do my best to motivate people that are
involved by way of positive leadership.
Question 6:
As the leader, I am intentionally a Blue Hat. But if within a group that is being led, I am
a combination of the Green Hat and the Red Hat.
Question 7:
I have worked in diverse fields and have always found myself in a management role,
even at a young age. (Worked in Higher Education in the Financial Aid Department,
Worked as a Wedding Videographer/Editor, Worked in Volunteer
Recruitment/Management…) I was not fully content since I was not within my
purpose. I do not feel like I’m working when I am within in the creative industry. I am
most inspired and full of energy and perspective, even when I am exhausted. I feel as
though I am truly living, when I am on course with my heart, my gut and my intellects
are fully in sync when I am creatively engaged. We are each designed with certain
gifts. I recognize that it’s not mere coincidence that when I would sing, people would be
brought to tears and high levels of emotions. I recognize that when I would write a poem
and submit it to a competition, it would garner awards. I recognized that when I wrote
lyrics, it remained with people even if they heard it once. So, it’s not coincidence. It’s
confirmation. And I’ve learned to trust it and to take heed to it.
Question 8:
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.
Question 9:
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.
Question 10:

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Managing my work and personal life has remained a challenge. It’s easier when I am
able to merge my work/personal life. When I can bring my child with me, I am more at
peace. Or when I was in a personal relationship with someone that was integrated in my
business, it worked better for me. Since my work is such a significant part of my life...to
have to separate it, would seem unrealistic, nearly impossible.
Question 11:
Effective Project Management Techniques and Approaches, Business Management
Skills, Persuasive Communication Skills, People Motivation Techniques
Question 12:
I’ve learned that creative blocks are crucial to my personal and professional development.
Creative blocks present an opportunity for me to step back, exhale and see a new
perspective. Often times, creative blocks are life’s way of forcing me to ask, ‘what am I
missing’. When faced with a creative block, I step away and do things unrelated. It
allows me to come back with a fresh perspective
Question 13:
During my undergraduate years, I would go back and take strong business courses. I
have learned business components through trial and error, research and practical
application. As a creative person, understanding contracts and negotiations, profit
margins, financial planning, fundraising and more, are critical to growth of and
sustainability of an idea
Question 14:
Creative flexibility and freedom. When the world becomes too predictable, I feel less
creative.
Question 15:
In the next year, I am committed to fully packaging several projects that have been
developed over the past 10 years, and securing financial backing from investors.
Question 16:
Expand creative ventures into a regional and national market.
Question 17:
In ten years, I will move further into the invention field.
Question 18:
I’ve learned to trust when an idea has been given to me. I’ve learned that it’s important
to believe in those ideas greater than others that are involved in the development of the
idea. It is a surefire belief that will continue to fuel the others when doubt arises. I’ve
learned that previous moments are preparation for the next moments that will
come. Every experience really is connected to the next phase of a journey. Failure is a
part of the process. Evaluation is key to improvement. As a leader, solitude time is
critical to hearing the next steps in the process. (Moses went away, Jesus went away,
Abraham went away...isolated themselves to block out the interfering noise) It takes a

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strong discipline to work effectively in business with a friend. I’ve learned that
comparing my journey to another person’s journey is self-sabotage
Question 19:
Keep going! Don’t give up
Question 20:
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!

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9.2.5 VocalMusic:
A. Dee Jackson-Fields
Creative Director for Music
Question1:
My journey began at home. Both my parents were musicians and my mother and older
sister were educators.
Question 2:
I got started in education primarily because it was part of my upbringing and because I
wanted to make a difference for underserved youth.
Question 3:
I have been a professional musician since 1980 and an educator since 1992.
Question 4:
My mother and sister were role models for me. They were both nurturers who were
concerned with educating young people and helping them excel in life. My husband also
became a role model for me as a musician because of his love of the craft and his
dedication to excellence.
Question 5:
I would describe myself as both a leader and a manager. I think the two should coexist.
Question 6:
Of course, De Bono's Hats are interchangeable, depending upon the circumstances. I'm
probably wearing my Green Hat most of the time since it allows me to create and
contribute. But of course, I do strive to always wear my Blue Hat as often as possible
when assessing any given situation.
Question 7:
The driving force behind my decision to get into the creative industry is a deep-rooted
love of music and a strong desire to make a difference in the world. I believe the creative
arts can be used for that purpose.
Question 8:
Initially, the best environment for me to create and come up with new ideas was in
solitude. Having a creative partner changed that somewhat, although I do find that ideas
still come when I'm alone. Having a partner doesn't make it easier to create, just
different.
Question 9:
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.

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Question 10:
My work life and my personal life are often one and the same. I work in the creative
field, as a singer-songwriter. I teach music and I am an arts administrator and creative
consultant. My friends are mostly creative people. Many of my family members are
creative people. They understand and accept the time and energy it takes to be my
creative self.
Question 11:
For me, the most important skills are interpersonal skills, particularly dealing with other
creative people, and time management.
Question 12:
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."
Question 13:
Many of the things that shaped me were beyond my control. If I had to change
something, I would have started thinking earlier about the business aspects of the creative
industry.
Question 14:
The most rewarding part of what I do is being able to share not only the results of my
creativity but also the knowledge and experience I have gained along the way.
Question 15:
My 1-year plan is to continue to create and share music, including writing for and
collaborating with other artists and growing my non-profit youth arts organization. .
Question 16:
My 5-year plan is to continue to grow and expand my music production and recording
business, getting more involved in producing other artists and publishing.
Question 17:
My 10-year plan includes branching out and continuing to explore other creative areas,
particularly fashion design and photography.
Question 18:
Two of the most valuable lessons I have learned is to behave in a manner that will
demand respect and to respect others.
Question 19:
A great piece of advice I have received is to always value my work and expect the same
from others.

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Question 20:
My advice to aspiring creative directors is to follow your heart, but use your head!

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B. Jean L. James
Creative Director for Vocal Music
Question 1:
A small child at 5 years old where I began taking piano lessons and continued through
high school and upon entering high school introduced to different genres of music and I
had a very fond music teacher and I became more interested in vocal music.
Question 2:
I received a scholarship to the Hart College of Music, which is apart of the university of
Hartford, Connecticut
Question 3:
I have been a Vocal Music Director for over 41 years
Question 4:
I have two role models. One early in 3rd grade Mrs. Gertrude Racks was my 3rd grade
classroom teacher and she just took an interest in children, she just loved children, and
she could see different needs that we needed but she just took a special liking to me and
she became like another mother to me and I said I wanted to grow up to be like she was.
My second was a teacher who was my 7th and 8th grade teacher here in East Orange at
Cicely Tyson School, which was then Vernon L. Davey junior high school and she was
my ROLE MODEL, students were learning how to speak, learning how to pronounce
words and that’s what I carry into my students now a women of dignity.
Question 5:
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 to. 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 teacher
can help somebody.
Question 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
Question 7:
I just love music, I love singing, I know that God has given me a gift and I a thankful for
that, and the voice that I have and I am just thankful for that. I just wanted to give back. I
just wanted to be a teacher and just give back. I wanted to give what I have, I have a lot
to offer and I have a lot to give to my children, black children. My gift to black children
that I had to offer was the gift of music.
Question 8:
I think church, I feel like I am inspired by God in school and in church, its just being in
that environment. So that church is the place and it spills over into education.

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Question 9:
Example: Middle School Choir Show
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. I am a perfectionist, and I tell my
singers to learn your music, know it well and be able to read music, I work on reading,
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. You have to be able to sing it
right to make it sound a certain way. 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
them to be performance vocal majors.
Question 10:
It’s very difficult, it’s extremely difficult, because my life goes from one start in the
daytime, then nights for rehearsals and then there is Sunday church, but some kind of
way it works out. I am a mother and a grandmother too, and I have my life too, so I have
to keep my balance and I have learned how to say “NO”. You have to say no sometimes
you can’t do everything, “I am not superwoman”.
Question 11:
Not to take everything serious
Organization
No stress
Patience
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.
Question 12:
I PUT IT AWAY
I say okay we’ll come back to it maybe in a couple of days or a couple of weeks but
something’s not right. If something is not feeling right we won’t do it at all. If there is
like a block that means you don’t need to do this thing. But sometimes in rehearsals in
choirs and in schools I just say let put this back and go to something else at that time.
Most of the time I come back to it but others times I’m just like no we not going to do
that.
Question 13:
I am happy with my career…No I wouldn’t change anything about it. What I would like
to change is with the position I’m in now at a total performing art school that I would
have loved to do that at the beginning. You know when you first start teaching you teach
K-8th grade like general music and vocal music I alright with that I did what I had too do.

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And another thing is if I could go back because I had babies and got married I would
have went and got a Master’s.
Question 14:
To look after I teach and to see the work I put into it, and to see the students respond to
something and do what they do, that is the ultimate record to see all my work coming
through those kids. Those are “Little Jeans”, and to see them perform and excel that is
such a reward.
Question 15:
My 1-year plan is that I want to do some things different with my students vocally, I
don’t plan to retire, People ask me all the time when I’m going to retire but I feel good
and God’s given me health and I’m thankful for what I do so I just keep doing what I do.
Question 16:
My 5-year plan is to… WOW maybe in 5 years I’ll be retired but I would like to after
retiring I would like to be some type of consultant for music education or something, I
would like to do that.
Question 17:
Ten years how old will I be (Whew)… well by then I guess I’ll be ready to retire but
honestly who knows. I have a lot to offer, I have a lot to pass down, and maybe help
some more people to become more experienced vocal music teachers.
Question 18:
I love it, I absolutely love it, first of all students can excel and do anything they put their
minds to. People ask me how I get the students to sing in 4-part harmony and I say EASY
THEY CAN DO IT. I just know they can and I let them feel like they can do it, I try to
give them life lessons and let them know you can do whatever you want to, that’s one
thing I have learned. The other thing I have learned is that I am able to accept my gift be
able to know that I have a special gift and not try to play it aside knowing that I have a
special gift and accept that.
Question 19:
I’m sure someone did but that was so long ago (making reference to her 41+ years in the
industry)
Question 20:
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.

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C. Norma Hughes Interview
Creative Director of Vocal Music
Question 1:
My journey began, I was really little about three or four years old, and my uncle who was
on the lamb from down South he came to stay with us and I didn’t know he had killed
someone and he came to stay with us and he as a gift he brought an organ and one day I
was in there plunking on the thing. It had these buttons on the side and I was plunking on
the cords and my mother came out the kitchen and said, “was that Jesus loves me” and I
started picking out little things and that’s where I really started my music. So from there I
started doing it at church you know it’s just something that I do, I didn’t think it was
anything special. Then 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. At
the time women weren’t really there, like I’m sure they were there but you didn’t see
them. That’s really where my journey began because she took me under her wing when I
got to school and she said come here, she heard me doing something and said do this do
that and she kind of took me under her wing. She’s really the person I pattern myself after
now, and she arranges and she was just… just would just take an Earth Wind and Fire
song and make it into a gospel song. She would just take like Fill the fire and change it to
fill the spirit; you know she was just that good. She just played really well and arranged
and stuff and she is the reason why I went into the music field.
Question 2:
When my senior year of high school came, I didn’t think about going to college because
no one in my family went to college. I have two siblings above me and they didn’t go to
college, and so I just think about it. So it was a few months before school was over and
my guidance counselor called me down Mr. Hoft, I’ll never forget it, and he said here
what do you like to do and I say music that’s the only thing I do, he says okay you really
should go into technology because technology is going to be a bog thing in computers
and so you might want to go into that area. I say I don’t know anything about that. He
says take this home have your parents sign it and bring it back, I didn’t even look at it. I
brought it back gave it to him and shortly after he told me I had got accepted into Trenton
State College, and you’re going to school for music, but I never in my wildest dream
thought, I mean this was like up until May, didn’t think about it, he said you need to go to
school and that’s how I went to school. BA in Vocal Music Education in grades K-12.
Question 3:
I have been doing music professionally however, since I was a teenager, I used to do
other gigs and things outside of school so if you want to consider that professional. When
I was 13 I actually had a job where I went to Savannah, Georgia and I worked there as a
Music Director there for a Revival, and someone was visiting my church and heard me
and asked me if I could go with them in the next week and my parents allowed me to go,
and I went and I stayed a month.

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Question 4:
I guess I would have to say my parents even though they may not have been the best
parents I had both parents in the house and there were some issues that were there and as
an adult you recognize that it was really dysfunction. I would still stay those are the
people who gave me my foundation, regardless of whatever other dysfunction they had
they still gave me values, morals, good work ethics.
Question 5:
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.
Question 6:
I feel like I am a combination of three hats, which are…
- The White Hat calls for information known or needed. "The facts, just the facts.
- 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.  
Question 7:
Again I thought I wasn’t going to college and for one moment I thought about being a
math teacher but it was really this guy who said you’re going to go to school and I was
like okay. Even as I was in the process of going through school, a lot of my friends said
we didn’t even know you were in school we never seen you study, and I really didn’t take
it serious because music was always just in me and so even though the teacher told me
one thing but I always just took it and my creativity just made it go another way. But I
did use something of the things I learned like classical things and used them in my
secular music. You can hear it in there sometimes but if it had not bee for that person I
probably would not have gone to school. That was definitely God’s grace his intervention
to send this man to get me to go to college.
Question 8:
Those things come at different moments and different times, it was a time when it used to
come at night like really bad to a point where I couldn’t sleep, and I had to see a doctor, it
would like seriously music would just be constantly rolling in my head until I felt like I
was crazy. Even now but not to that degree, I used it more as a healing for me, so you can
almost really tell what was going on in my life, based in the arrangements and I just look
back on them and they seem so crazy, like some of the nuances of the song and now the
arrangements I put together have a more calming, the chords are a little different but it all
depends because I’m sitting talking to you now and sometimes I’m in the middle of class

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and I start playing and someone may say something and it may trigger something and I’ll
just start playing it on the piano. It can be any given thing sounds, expressions.
Question 9:
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.
Question 10:
It’s easier for me now, which I find interesting; I would think it would be different
because I’m married now. Before I got married there was no balance and that was my big
problem, where everything was centered around music and it has been since I was little,
like everything, even on my down time if I said I was going to do something it was music
related and it got to a point, I think when I turned in my 30’s, maybe late 30’s early 40’s
and I just got to a point where I didn’t want to do music anymore because there was no
balance in my life. When I was little I didn’t go to the circus, while the kids are out
playing I was in practicing and my whole life I realized I had no balance in my life cause
all I did was that. When I left Rosa Parks I spent some time alone and then I came to the
original Tyson and thought I didn’t have to work so hard, I just felt like the talent was
there but the environment just didn’t fit, what was going on there and the standard. I
came and would do stuff and they said that was so great and I didn’t even do anything, so
I felt if they thought that was great, I don’t have to work so hard but then as I started
going along that’s not who I am, so regardless I have to put my whole 200%, but I
learned to leave it there when I finished, I started going home, and started consciously
doing other things. Like on the weekend I would go to the park, or I started going out
every Sunday, I would get myself dress and go to the Cheesecake Factory, and I would
go early in the morning and the same girl would wait on me and I would just sit in the
silence, and I just started doing things that were just for me and being intentional about it.
Question 11:
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.
Question 12:
I just did a show recently at Rosa Parks High School and I was trying to make it go this
way but it really wasn’t, so you really have to listen to your inner voice when it tells you

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that this may not be it, and once you start working on it, if you have set in your mind that
you want it to go this way, if your instincts tell you that you shift and do something else,
you have to listen to the process, and while you’re in the process listen to what is coming
back at you for what you’re trying to do, it will tell you what you need to do and it will
get to a point where you just get quiet. I had to walk away from something and really
think about it like this, so maybe I need to go like that and you shift your whole thing but
again you have to get to a point where you get quiet and still, you just have to walk away
from it for a while and then and once you go about what you’re doing and you start
observing people and what they are doing I’m like ah ha this is it.
Question 13:
I wish that I had not gotten stuck right here, and that I had not let fear to keep me from
moving to the next level. Quite often when you are gifted with multiple gifts within one
area, for example music was arranging but also being able to coach, and being able to
direct. Like if I’m putting together a show, I don’t just see the music end of it, I see the
whole picture. The stage, what your wearing, it’s almost like a movie to me, it’s like a
production, and so being able to do that I wish someone would have told me which path I
should take. You should take this path next, like how do you know, I’m always
questioning what path I should go to next to take it to the next level. Sometimes I wish I
had gone to the next level.
Question 14:
I think the lasting impression that people have on music, and they will say that I still
remember to this day when you sang so and so and this was going on in my life and this
is how it affected me. When people can get that, cause I always say when I’m out and I
hate being out front, although people say you’re out front, but in my mind I’m not, like
you see me but you don’t see me, in my head I just want you to hear what’s going on and
if you can really grasp the message out of those songs, if we can really make them come
to life and command peoples attention when you’re performing and they get a chance to
really get that message, that is the greatest gift to me.
Question 15:
In the next year, I would like to retire but I want to do music for sure. I’m sure I will
continue to work with young people but I just feel like there is a broader audience that I
can reach with what I want to say. So in the next year I would hope to be retired but
hopefully into the next level of whatever it is God has in store for me.
Question 16:
Five-year plan I would like to be in Hollywood, within the 5-year plan. At first I thought
it was to late for me because I’m middle aged and I waited to long to do it but I see so
many people who are older, and when I just did this last show, I said okay I think I still
got it, cause everyone is like you still got it, and I was like okay I hope I still got it. I
always wonder will people be accepting of what I want to give and what I want to say but
before I could never see myself. I knew I was capable of doing it but fear kept me here
now when I get calls I do it. I got a phone call from Ms. Tyson and I asked how was I
going to do it, and my husband just said stop, listen to what you’re saying, you can do it

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don’t say what you cant do, just focus on the positive, you got it you’ve been doing it so
now you’re just taking it to the next level and the more I do it the more confident I get
about it.
Question 17:
In ten years I hope that I am still working in the music field, like I’m really out there that
people really know who I am and that I realize that it’s okay for people to know who I am
without me thinking that it’s all about me. People can know who you are and your work
without you being the spotlight.
Question 18:
I am capable of loving others. Growing up although I had both parents in the house I
never noticed them embracing each other or embracing us, so one time we were in a
performance and at FITNYC (Fashion Institute of Technology New York City) for their
choir competition and my girlfriend who had become my best friend had came to hug me
after we won the competition and I just froze up cause I’m not used to anyone around in
my space and we talk about that now and I would never open myself up to wanting to
have to care about the students I just wanted to just teach but I realized tat I have to know
who they are and they have to know who I am in order for me to be able to create and this
is why I think I am able to get what I can out of them because I always want to be an
open book and I share stories about my life and I want them to feel comfortable. I have to
know whom they are I n order for me to do this right, I just can’t teach somebody and I
don’t know anything about you.
Question 19:
Donald Dumpson he was trying to get me to do NJPAC (New Jersey Performing Art
Center), when they first opened they did a choir that was supposed to sing with the
symphony orchestra, he ended up doing it actually, and I would to him what if get out
there and I don’t have the experience of the other musicians and what if they say what is
the 5th degree of the whatever and I don’t know the answer he said just say you don’t
know the answer, you’ll be surprised about what they don’t know. They perceive it and
they have the degrees behind it but they know just as much as you do. I was like oh okay,
my fear of not knowing the answer, he said I just say I don’t know the answer or let me
get back to you on that. I was like you’re right.
Question 20:
Initially I would say don’t even come into the field to be a teacher, because it has
changed so much. But 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

81
9.3:Survey Questionnaire on Creative Directors:
14. What type of education should one have to become a Creative Director?
15. How many years of experience in the industry should one have in order to become
a Creative Director?
16. Should an aspiring Creative Director have role models?
17. Should Creative Directors be Leaders or Managers?
18. According to De Bono’s six thinking hats which hat should a Creative Director
possess?
19. Why should one become a Creative Director?
20. What is the best environment for a Creative Director to work in?
21. What process should a Creative Director go through to create a successful
product?
22. Should there be a balance between the personal and professional life of a Creative
Director?
23. What skill sets should a Creative Director possess?
24. How should Creative Directors overcome creative blocks?
25. What type of plan should a Creative Director have?
26. What does it take for one to become a successful Creative Director in Fashion?

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