Creativity between individual insight and group support. An explorative study in the Italian fashion industry / La creatividad entre la introspección individual y el apoyo grupal. Un estudio exploratorio de la industria de la moda italiana

Abstract

Spanish

Creativity has been defined across time and fields highlighting different perspectives and variables, from the power of individual insight to creative intelligence, to the role played by mind wandering. After a brief literature review, the present paper presents an explorative study on the dialogue between individual and collective creativity in the fashion industry. The research design is inspired by mix-method research. The dataset is made up of in-depth interviews with 12 Italian stylists, focused on the creative processes. Data have been analysed both in qualitative terms (metaphors analysis) and in quantitative terms (automatic content analysis supported by T-Lab software). According to our results, the creativity processes involved in the fashion industry are mainly individual with a growing role played by teamwork. Stylists present themselves as psychologists in dialogue with their audience, so that the general public, in some sense, become an additional actor in the creative process.

Get full access to this article

View all access options for this article.

References

Amabile

T. M.

(1989). Growing up creative: Nurturing a lifetime of creativity. New York, NY: Crown.

Amabile

T. M.

(1997). Motivating creativity in organizations. California Management Review, 40(1), 39–58.

Amabile

T. M.

Khaire

(2008). Creativity and the role of the leader. Harvard Business Review, 86, 100–109.

Song

Carr

(2016). A comparison of two models of creativity: Divergent thinking and creative expert performance. Personality and Individual Differences, 90, 78–84.

Baird

Smallwood

Mrazek

M. D.

Kam

J. W. Y.

Franklin

M. S.

Schooler

J. W.

(2012). Inspired by distraction: Mind wandering facilitates creative incubation. Psychological Science, 23, 1117–1122.

Benevene

Kong

Barbieri

Lucchesi

Cortini

(2017). Representation of intellectual capital’s components amongst italian social enterprises. Journal of Intellectual Capital, 18, 564–587.

Cirella

(2016). Organizational variables for developing collective creativity in business: A case from an Italian Fashion Design Company. Creativity and Innovation Management, 25, 331–343.

Cortini

(2014). Mix-method research in applied psychology. Mediterranean Journal of Social Sciences, 5(23), 1900–1905.

Cortini

Tria

(2014). Triangulating qualitative and quantitative approaches for the analysis of textual materials: An introduction to T-lab. Social Science Computer Review, 32, 561–568.

10.

De Dreu

C. K. W.

Baas

Nijstad

B. A.

(2008). Hedonic tone and activation in the mood-creativity link: Towards a dual pathway to creativity model. Journal of Personality and Social Psychology, 94, 739–756.

11.

Denzin

N. K.

(2012). Triangulation 2.0. Journal of Mixed Methods Research, 6, 80–88.

12.

Ervas

Gola

Rossi

(Eds.). (2017). Metaphor in communication, science and education. Berlin: De Gruyter Mouton.

13.

Fechner

G. T.

(1876). Vorschule der Ästhetik [Primary school of aesthetics]. Leipzig: Breitkopf & Härtel.

14.

Finke

R. A.

(1996). Imagery, creativity, and emergent structure. Consciousness and Cognition, 5, 381–393.

15.

Finke

R. A.

Ward

T. B.

Smith

S. M.

(1992). Creative cognition: Theory, research, and applications. Boston, MA: MIT Press.

16.

Flavell

J. H.

Wellmann

H. M.

(1977). Metamemory. In Kail

R. V.

Hagen

W. J.

(Eds.), Perspectives on the development of memory and cognition (pp. 3–33). Hillsdale, NJ: Erlbaum.

17.

Forgas

J. P.

(2013). Don’t worry, be sad! On the cognitive, motivational, and interpersonal benefits of negative mood. Current Directions in Psychological Science, 22, 225–232.

18.

Furnham

Bachtiar

(2008). Personality and intelligence as predictors of creativity. Personality and Individual Differences, 45, 613–617.

19.

Glaser

B. G.

Strauss

A. L.

(1967). The discovery of grounded theory: Strategies for qualitative research. Chicago, IL: Aldine.

20.

Harvey

(2014). Creative synthesis: Exploring the process of extraordinary group creativity. Academy of Management Review, 39, 324–343.

21.

Holland

J. L.

(1959). A theory of Vocational Choice. Journal of Counseling Psychology, 6, 35–45.

22.

Imperatori

Bissola

(2009). Generation Y & team creativity: The strategic role of e-HRM architecture. In Proceedings of the 3rd International Workshop on Human Resource Information Systems (pp. 59–68). doi:10.5220/0002175300590068

23.

Karpova

Marketti

Kamm

(2013). Fashion industry professionals’ viewpoints on creative traitsand, strategies for creativity development. Thinking Skills and Creativity, 10, 159–167.

24.

King

(1995). Individual creativity and organizational innovation. In Ford

C. M.

Gioia

D. A.

(Eds.), Creative action in organizations (pp. 82–87). Thousand Oaks, CA: Sage.

25.

Lancia

(2012). T-LAB pathways to thematic analysis. Retrieved from https://www.tlab.it/en/tpathways.php

26.

Lévy

(1994). L’intelligenza collettiva. Per un’antropologia del cyberspazio. Milano: Feltrinelli.

27.

Lubart

T. I.

Getz

(1997). Emotion, metaphor and the creative process. Creativity Research Journal, 10, 285–301.

28.

Maisel

(2000). The creativity book: A year’s worth of inspiration and guidance. New York, NY: Putnam.

29.

Makridakis

M. K.

(2013). Creating time: Using creativity to reinvent the clock and reclaim your life. Novato, CA: New World Library.

30.

Mete

(2006). The creative role of sources of inspiration in clothing design. International Journal of Clothing Science and Technology, 18, 278–293.

31.

Michalko

(2006). Thinkertoys: A handbook of creative-thinking techniques. Berkeley, CA: Ten Speed Press.

32.

Mumford

(2003). Dispositions. New York, NY: Oxford University Press.

33.

Oleynick

V. C.

Thrash

T. M.

LeFew

M. C.

Moldovan

E. G.

Kieffaber

P. D.

(2014, June). The scientific study of inspiration in the creative process: Challenges and opportunities. Frontiers in Human Neuroscience, 8. doi:10.3389/fnhum.2014.00436

34.

Palmiero

Nori

Piccardi

(2016). Visualizer cognitive style enhances visual creativity. Neuroscience Letters, 615, 98–101.

35.

Patton

M. Q.

(1990). Qualitative evaluation and research methods. Newbury Park, CA: Sage.

36.

Pitcher

(2013). Using metaphor analysis: MIP and beyond. The Qualitative Report, 18(34), 1–8. Retrieved from https://nsuworks.nova.edu/tqr/vol18/iss34/2

37.

Preiss

D. D.

Cosmelli

Grau

Ortiz

(2016). Examining the influence of mind wandering and metacognition on creativity in university and vocational students. Learning and Individual Differences, 51, 417–426.

38.

Radomska

Wołczek

Sołoducho-Pelc

Silva

(2019). The impact of trust on the approach to management-A case study of creative industries. Sustainability (Switzerland), 11(3). doi:10.3390/su11030816

39.

Runco

M. A.

Acar

(2012). Divergent thinking as an indicator of creative potential. Creativity Research Journal, 24, 66–75.

40.

Selby

E. C.

Shaw

E. J.

Houtz

J. C.

(2005). The creative personality. Gifted Child Quarterly, 49, 300–314.

41.

Simonton

D. K.

(1988). Creativity, leadership, and chance. In Sternberg

R. J.

(Ed.), The nature of creativity (pp. 386–426). Cambridge: Cambridge University Press.

42.

Sternberg

R. J.

(1984). Toward a triarchic theory of human intelligence. Behavioral and Brain Sciences, 7, 269–287.

43.

Sternberg

R. J.

(1999). The theory of successful intelligence. Review of General Psychology, 3, 292–316.

44.

Sternberg

R. J.

(2005). The theory of successful intelligence. Revista Interamericana de Psicología/Interamerican Journal of Psychology, 39, 189–202.

45.

Thrash

T. M.

Elliot

A. J.

(2004). Inspiration: Core characteristics, component processes, antecedents and function. Journal of Personal Social Psychology, 87, 957–973.

46.

Tinio

P. P. L.

(2013). From artistic creation to aesthetic reception: The mirror model of art. Psychology of Aesthetics, Creativity, and the Arts, 7, 265–275.

47.

Van Oeck

(1992). Creative whack pack: 64 strategies to provoke and inspire your thinking. Stamford, CT: U.S. Games Systems, Inc.

48.

Verrocchio

M. C.

Cortini

Marchetti

(2012). Assessing child sexual abuse allegations: An exploratory study on psychological reports. International Journal of Multiple Research Approaches, 6, 175–186.

49.

Volmer

Richter

Syrek

C. J.

(2018). Creative at each age: Age-related differences in drivers of workplace creativity from an experience sampling study. Journal of Creative Behavior. doi:10.1002/jocb.233

50.

Von Krogh

Nonaka

Rechsteiner

(2012). Leadership in organizational knowledge creation: A review and framework. Journal of Management Studies, 49, 240–277.

51.

Ward

T. B.

(1994). Structured imagination: The role of category structure in exemplar generation. Cognitive Psychology, 27, 1–40.

52.

Weiss

Hoegl

Gibbert

(2011). Making virtue of necessity: The role of team climate for innovation in resource-constrained innovation projects. Journal of Product Innovation Management, 28, 196–207.

53.

Woodman

R. W.

Sawyer

J. E.

Griffin

R. W.

(1993). Toward a theory of organizational creativity. Academy of Management Review, 18, 293–321.