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Study regarding the development of creative industries, especially those in the field of

prepared under project n° 2017-1-TR01-KA202-046243, "Discover the New Fashion World” co-funded by the Erasmus + Programme of the European Union

May 2018

This project (project n° 2017-1-TR01-KA202-046243) has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

This study was prepared under project n° 2017-1-TR01-KA202-046243, "Discover the New Fashion World” co-funded by the Erasmus + Programme of the European Union. The valuable information was provided by the participating project partners: Izmit District Directorate of National (TR), Spoleczna Akademia Nauk (PL), Pymev (ES), Egestionpyme S.L.(ES), BEST Institut für berufsbezogene Weiterbildung und Personaltraining GmbH (AT), Istituto Dei Sordi Di Torino (IT), Initiative De Antreprenoriat Si Dezvoltare(RO)

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CONTENTS 1. Introduction ...... 4 1.1. About the project ...... 4 1.2. About the project partners ...... 5 2. About the fashion ...... 7 2.1. Brief introduction to the situation of the global fashion sector ...... 7 2.2. Fashion and high-end industries in the EU ...... 7 2.3. About the importance of the fashion sector in the project countries ...... 7 2.3.1. Austria ...... 7 2.3.2. Italy ...... 8 2.3.3. Poland ...... 9 2.3.4. Romania ...... 9 2.3.5. Spain ...... 10 2.3.6. Turkey ...... 10 2.4. Example fashion hubs in the participating countries ...... 11 2.4.1. Bilbao (Spain) ...... 11 2.4.2. Istanbul & Ankara (Turkey) ...... 12 2.4.3. Masovia Province (Poland) ...... 12 2.4.4. Milan (Italy) ...... 13 2.4.5. Vorarlberg (Austria) ...... 13 2.4.6. Romania - to be defined ...... 14 3. Some success factors to entrepreneurship in creative industries ...... 14 3.1. Political support for creative entrepreneurs ...... 14 3.2. Education and experience ...... 14 3.3. and ...... 15 4. Summary...... 15 5. Bibliography ...... 17

1. Introduction

1.1. About the project

Creative industries and especially fashion are perhaps one of the best ambassadors of internationalisation and globalisation. Creative industries are a relatively new concept which contains areas involving scientific or artistic , including fashion and creation of fashion and accessories. The UNESCO defines creative industries as “sectors of organized activity whose principal purpose is the production or reproduction, promotion, , and/or commercialization of , services and activities of a cultural, artistic or heritage-related nature”1. As such, creative industries target everything that is produced by science and artistic creativity and has industrial potential, creates added value, generates government revenue through taxes paid, creates jobs and profit, helps regional and national development. Statistic data show that creative industries typically involve persons motivated to use their individual resources and creativity to develop small enterprises. The promotion of creative individuals can bring added value to the economy, as their ideas can boost the creative industries. More interestingly even, according to a study released by Ernst & Young all 11 creative and cultural industries mentioned in it2 (fashion being one among them) play an increasingly important role in the global economy: In 2013, they generated revenues of 2.250 billion USD (3% of global GDP) and provided 29.5 million jobs. In this context, the present project “Discover the new fashion world” aims to create an instrument of innovative training that will enable interested people and people working in the fashion sector to learn and put into practice various ways helping improve their knowledge in fashion and , fashion accessories and and not at least, entrepreneurial knowledge necessary for market penetration and internationalisation of business. The project’s transnationality brings the advantages of sharing experience and expertise of each country, involving different economic and cultural approaches with partner organisation involved in the project from Austria, Italy, Poland, Romania, Spain and Turkey (in alphabetic order).

1 Cultural times: The first global map of cultural and creative industries, Ernst & Young, December 2015 2 , , , Gaming, Music, Movie, Newspapers and Magazines, Performing , , TV,

1.2. About the project partners

Please each partner provide a short description of their here BEST Institut für berufsbezogene Weiterbildung und Personaltraining GmbH (www.best.at) was founded in 1990 as an independent Austrian organization for providing continuous training, vocational qualification and career services. Its main activities comprise the development of innovative training programmes for young (+16) individuals and adults, many of them disadvantaged and with migration background, on continuous and vocational training, counselling & coaching and activation for job seekers and employees. The training schemes are client-oriented and based on both the specific needs of the labour market and the participants' individual situations, skills and competences, previous experience and life circumstances. The institute offers training facilities for up to 15,000 students per year.

The Valencian Confederation of Small and Medium Enterprises (PYMEV) was created in 1977 with the intention of channeling the efforts and interests of the Valencian Small and Medium Enterprises so that they are represented and defended in the strategic places of decision making. It is the most representative organization for the defense and representation PYMEV defends a policy of unity of action within each sector, branch or activity, which does not mean that we think of a single business organization, but the existence of independent employers who and collaborate assiduously. In short, the unit of action implies for SMES that in the face of a common problem affecting the whole of the business , a unitary response must be agreed upon of the interests of micro-enterprises and small enterprises of the Valencian Community.

E-GestiónPyme Internet, S.L., is a legal and economic office with headquarters in Zaragoza, and collaboration with associated offices in Barcelona and Madrid. The fixed staff is seven professionals, and one or two fellows according to needs. We have 32 years of experience in the sector.

We work from the entrepreneurship, the areas of taxation, labor, legal, and international accompanying the company in a didactic cooperation. We work for entrepreneurs and the small and medium Enterprise.

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Our office work for different non-profit entities, in areas related to youth insertion, social protection, counseling to disadvantaged groups and support in the creation of micro-enterprises. Our company providing multidisciplinary solutions, our areas of intervention correspond to each of the areas of the companies. We create value in the environments in which our customers coexist, we take care that their innovation, quality, equipment talent and continuous improvements contribute to the achievement of their objectives.

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2. About the fashion industry

2.1. Brief introduction to the situation of the global fashion sector

The fashion sector, globally, belongs to one of the most dynamic and growing industries. It covers a very diverse set of activities: from the transformation of natural materials (cotton, , etc.) or artificial materials (i.e. polyester, polyamide) to the generation of yarns and fabrics, going through a wide variety of productive activities like making clothes, footwear and accessories, jewelry, watches and . The 27 countries of the European Union generate each year 350,000 million dollars (311,951 million euros) to the sector, as much as countries such as the United States or China – as the report prepared by Statista (2014)3 says. Overall, fashion has a turnover of 1.1 trillion dollars annually (0.9 trillion euros).

2.2. Fashion and high-end industries in the EU4

The fashion and high-end industries are one of the most vibrant and creative sectors in Europe. Interestingly, the high-end sector grew faster than the rest of the European economy during the financial crisis of 2007-2008, recording double digit growth in 2010 and 2011. High-end industries alone employ over 1 million people, export over 60% of their production outside Europe and account for 10% of all EU exports.5 And, with 5 million people directly employed in the fashion , these activities provide an important contribution to the EU economy.6 They such are present in the everyday life of millions of people and act as ambassadors of European values, such as , creativity, innovation, and craftsmanship. They represent European and expertise. These industries form complex and interlinked value chains from the design and of fashion goods (such as textiles, clothing, footwear, , fur products, jewellery, and accessories) and high-end goods to their distribution and retail. Many European companies in the sector have managed to defend their position in the global market. This is mainly due to a move towards innovative, high added-value products and services, niche markets, and new business models – as the details on the of the European Commission highlight.

2.3. About the importance of the fashion sector in the project countries

This section gives an overview about the state of the fashion sector in each participating country (in alphabetic order): Austria, Italy, Poland, Romania, Spain and Turkey.

2.3.1. Austria

As a highly export-oriented economy with a fragmented business structure, Austria has been relying on steep innovative dynamics more than ever, due to radical changes in society and the economy brought about by globalization and digitization in the last years. The creative industries play a crucial role in Austria: they constitute a significant driving force for the economy in terms of growth and innovation. The innovative and transformative force exerted by the creative industries contributes to the generation of sustainable jobs (especially in small and medium-sized enterprises), improves the appeal of cities and regions as business locations and strengthens regional innovation systems. According to Advantage Austria, the international provider of the Austrian Economic Chamber (WKÖ), there are, more

3 Statista: https://www.statista.com 4 European Commission: https://ec.europa.eu/growth/sectors/fashion/high-end-industries/eu 5 European Commission: https://ec.europa.eu/growth/sectors/fashion/high-end-industries/eu 6 European Commission: https://ec.europa.eu/growth/sectors/fashion/high-end-industries/eu

than 280 textile companies with around 12,000 employees in Austria. Their high export rate of 80% proves that Austrian textiles have a good reputation worldwide7. The main ’ market of Austrian textile exports is Europe but certainly, some particular product segments have other territories favored. For, e.g. embroidery companies from Vorarlberg, Africa is the most important export market: More than half of the embroidery products go to Nigeria8. In addition to textiles for the , home and technical textiles are also important in Austria. Some companies from this industry are even global market leaders, for instance in the area of terry cloth products or in the production of industrially manufactured, high-quality cellulose fibers. The share of technical textiles in the overall turnover of the Austrian now already accounts for more than 50%.9 The domestic fashion landscape is characterized by micro companies; the serve different niches. Austrian fashion is characterized by an artistic orientation and high-quality craftsmanship and material. Many Austrian labels and designers are very popular e.g. on the Asian market. As the buyers there like to experiment, the Austrian "avant-garde" style of fashion is particularly well received. Far away from other prominent fashion capitals, like Milan, Paris or Barcelona, Austrian designers can develop their own ideas, without having to enter into any compromises. However, there is one challenge for the whole industry: There is a dwindling number of qualified, low- cost production firms that can meet the requirements of the domestic fashion scene. This is one of the reasons why the production of prototypes and collections is increasingly being moved abroad. Although this development potentially leads to cost savings, this is countered by a substantially increased entrepreneurial risk.10

2.3.2. Italy

In 201411 , cultural and creatives industries produced 78.6 billion euro of added value and stimulated other sectors of the economy so as to generate the 15.6 % of the whole national added value, equal to 227 billion euro in Italy12. This includes the incomes of the national economy that is directly activated by culture. According to recent data of the Union Camere-Symbola Report (2015), between the years 2012 and 2014, despite the global crisis, companies that invested in creativity increased their turnover by 3.2%. These companies were rewarded with a 4.3% increase in exports. Moreover, the 443,208 enterprises in the cultural production system, accounting for 7.3% of domestic enterprises, reach 5.4% of the wealth produced in Italy, equaling up to 78.6 billion of euros. This represents about 84, equivalent to 5.8%, of the national economy when we include public institutions and in the non-profit field of culture.13

Creative industries are also promoted by the “Made in Italy” label which is a merchandise mark indicating that a product is planned, manufactured and packed in Italy, especially concerning the design, fashion, food, manufacturing, craftsmanship, and industries. The “Made in Italy” brand has been used since 1980 to indicate the international uniqueness of Italy in four traditional industries: fashion, food, and mechanical engineering (automobiles, , machineries and

7 http://www.advantageaustria.org 8 http://www.advantageaustria.org 9 http://www.advantageaustria.org 10 Creative Industries Strategy for Austria, 2016 11 European creative Industries Summit, Brussels 2015, http://ecbnetwork.eu/wp-content/uploads/2015/09/ECIS- 2015-Brussels.pdf 12 European creative Industries Summit, Brussels 2015, http://ecbnetwork.eu/wp-content/uploads/2015/09/ECIS- 2015-Brussels.pdf 13 Creative Economy, Cultural Industries and Local Development

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). Italian products have often been associated with quality, high specialization and differentiation, elegance, and strong links to experienced and famous Italian industrial districts, often connected with the concept of luxury. In recent times, the merchandise “Made in Italy” has become decisive for Italian exports and so common worldwide to often be considered as a separate product category. In January 2014, Google Cultural Institute, in collaboration with the Italian government and the Italian Chamber of Commerce, launched an online project aimed to promote “Made in Italy” by using virtual showrooms for several famous Italian products.

2.3.3. Poland

The creative industry in Poland, due to its specificity, is quite difficult to define. It is described in numerous studies with the intention of finding one coherent definition and meaning of the creative industry. Referring to the definition of the creative industry proposed in Montreal in 1982 which encloses "activities in the production, reproduction, storage and distribution of large-scale cultural goods and services” 14 it can be stated that within this industry there are various types of creative activities. In other words, it is a part of activity combining artistic activity with entrepreneurship. In broad terms these are: "industries that are based on individual creativity, skills and talent, and create the potential to generate new jobs, increase affluence and develop ”15. The creative industry in Poland includes: visual and stage , cultural heritage, music, movie, house (books and press), radio and , architecture, fashion design and design, advertisement, and computer games16. The creative industry is characterized by uncertainty and risk of undertaken activities, high dynamics (related to changes in the demand and supply), high flexibility (ongoing adjustment to the needs and expectations of customers, irregular payments), high innovation resulting from the nature of the work and the type of products manufactured17.

2.3.4. Romania

The businesses in Romania’s fashion industry have been growing each year, reaching almost 5 billion euros according to an analysis by the financial consultancy firm KeysFin. Foreign groups hold a share of 83% in the local fashion retail sector, with H&M, Zara, C&A and Pepco among the top players. Meanwhile, in the production sector, Romanian companies still hold a higher share in the revenues, namely 62%. Some 18,890 companies were active in the fashion retail sector, in 2016, while 5,670 were producing clothes. The total sales in the fashion industry went up by over EUR 1 billion from 2013 until 2016, reaching almost EUR 5 billion. The net profits in this industry also increased almost four-fold compared to 2013, reaching EUR 280 million. The increase in consumer confidence – due to higher available salaries and changes in the fiscal/ tax system in favor of individuals - has also caused that consumers feel more comfortable at the moment to finance their purchases. Adrian Ariciu, Director of Supply for Metro Cash and Carry, said in an interview with Doing Business Romania that the increase in consumer spending was largely due to the increase in the variety of products available.

14 Konfernecja UNESCO, 1982 za http://designthinking.pl/czym-jest-przemysl-kreatywny/, 28.05.2018 15 Creative Industries Taskforce 16 S. Szultka (red.), Kreatywny łańcuch powiązania sektora kultury i kreatywnego w Polsce, Gdańsk 2014 17 J. Alvarez, R. Bill, A. Grawon, M. Materska-Samek, A. Klimczuk, Ł. Kowalski, J. Zętar, M. Mazerant, M. Pałasz, R. Ulatowska, Przemyłsy kreatywne 2.0.12, Fundacja Rozwoju Kina, Kraków 2013, p.32

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2.3.5. Spain

The fashion industry in Spain represents 2.8% of the total GDP18. There is a total of 6,800 companies in Spain focused on the fashion (clothing and shoes) industry. In terms of employment, the fashion sector - in direct or indirect terms - represents 4.3% of total employment, making the fashion industry a strategic sector in the Spanish economy. The recovery of the 2008-2010 finance crises has been based, among other factors, on the increase of exports and the fashion sector has been one of the main contributors to this increase of exporting activity, mainly due to the relevance of worldwide multinational companies. It is the fourth sector in terms of exports, supposing 8.4% of the total amount. The sector of the fashion industry in Spain of which its companies excel and succeed worldwide is known as “fast fashion”. Fast fashion is defined as low price clothing that follows the latest tendencies in the fashion industry worldwide. The companies that are part of this group have a significant international presence and the ability to duplicate and export the new trends to almost any market in the world. This requires a developed logistic system as well as an efficient designers’ cluster and organization. The main companies in this sector - also world leaders in this aspect - in Spain are e.g. Inditex (Zara parent company) or Mango. The total added value of the Spanish fashion industry reaches 30,000 million Euros that represents 18% of the total in the world. However, not all news is positive regarding the state of the fashion sector in Spain. Even if multinational companies are improving their results year by year, it is mainly based on international activities and generated abroad, inter aliea. In fact, national sales of the whole fashion industry have struggled in the last years. Even if in 2017, when the sales of the industry grew for 0.4%, which has to be seen in comparison of the 2016 sales’ decrease of 9% compared to the earlier year. The fact that this recovery has occurred mainly thanks to purchases by 45 and 55 year olds than by younger population should also worry producers. The long-term perspectives of the sector are not very optimistic considering that future consumers are the ones who are reducing their budget spending in clothes and fashion and companies in the sector are therefore not capable of creating brand loyalty amidst this group. Nevertheless, it can be affirmed that fashion, as an economic sector, does not have as clear a visibility as , telecommunication, energy or infrastructure providers have. It is a sector with a plurality of products categories (e.g. textiles, footwear, accessories ...) and services (e.g. Professional consultancy in fashion, , companies, etc.???). The fashion sector is also known as being a complex value chain, with specialized companies in one or several phases of it, and having a great diversity of distribution channels. All this makes it necessary to have specialized knowledge to better understand one’s investment and improvement opportunities. It should be also considered that apart from the direct activity generated by the fashion industry, there is a wide spectrum of companies that provides auxiliary services (furniture manufacturers, architecture and engineering firms, law firms, communication companies, consultancies or travel agencies, among others) that in turn collaborate in the strategic development of the sector.

2.3.6. Turkey

Turkey takes a significant role as a between transnational markets and industries. As such, it is a country that the European Union takes into account while developing policies related to creativity- oriented economic growth. By integrating different and , Turkey has a decisive role not only in Europe but also in Asia´s and Africa's economic performance19. When it comes to fashion, Turkey is in the first rank in textile, second in ready-to-wear production in the EU and it is the world's

18 Gross Domestic Product 19 IIMEM Study, page 1

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seventh largest ready-to-wear supplier. Despite Turkey being Europe's second largest manufacturer of textile machinery and the world's sixth largest in terms of raw cotton, there is work to be done in terms of and Research & Development within the world competition. (TÜBİTAK, 2003: 6). Turkey's strategic sectors of the textile and apparel production shifted heavily to international markets. (İTKİB, 2005: 6).In addition, the fact that the textile industry and the fashion production start being moved slowly into other countries, especially into the Balkan and Central Asian countries, puts the sector further into serious trouble. There is no research on the creative and cultural sector at national that would enable international comparisons available in Turkey today. The researches that have been conducted so far are focused on particular industries and cities. However, what can be reported is the number of people employed in the creative industries in Turkey in 2011 was 191,634 and that between 2008 and 2011, the total employment in the industry increased by 38%. Nevertheless, the share of creative industrial employment in total employment is only around 2%. In recent years, performance of the economic organizations that focused on the creative sectors has attracted attention. The positive effects of the growing and developing creative and cultural sector have commonly gained acceptance. There have been improvements on the concept of 'creative industry' both in public and private sector. Accordingly, different economic and social policies have been made in order to support the creative industries' development and dissemination. Studies of inventory made by development agencies in Istanbul, Izmir, Ankara and the Ministry of Culture and are some of the good examples of these policies. In addition to this, the Creative Industries Council Association set up by 18 professional organizations has done their studies since 2012. There are different aspects that lead to the growth of the creative sector, such as: The importance of , the awareness how towards innovative and the competitive organizational structure.

2.4. Example fashion hubs in the participating countries

Large(r) cities with a high quality of life favour creative processes due to access to , the ability to build relationships and, above all, the presence of recipients of products and services offered by creative business. Cities also give access to the resources necessary in the creative process and enable quick and easy communication between centres. In big cities, special zones are created that are friendly to creative activities. Each country in the project has such fashion hubs that are characteristic for their country/ region they are in. The examples mentioned (in alphabetic order) on the following pages demonstrate some added value in this respect: Bilbao in Spain, Istanbul and Ankara in Turkey, Masovia Province in Poland, Milan in Italy, Vorarlberg in Austria,???.

2.4.1. Bilbao (Spain)

Bilbao is one of the most important cities in Spain and is clearly the most important industrial pole in the north of Spain. The city has historically been characterised by its petrol and maritime industry. However, in the last decades, the city has transformed towards a more touristic and cultural economy based town. The development and support of creative and cultural industries has been one of the main focal points of the economic policies of the town. In the case of the fashion industry, there are a total of 53 companies in Bilbao that focus on fashion design employing 196 people according to data of the year 200820. The most important aspect to take as an example by other cities is the collaboration and objectives shared by education institutions,

20 LanEkintza Bilbao (2009): “Estudio sobre el potencial de las industrias creativas en Bilbao”.

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associations, promotion activities and public policy. Education in this field in Bilbao is carried out both through a master’s degree in fashion offered by the of the Basque Country (Universidad del País Vasco – UPV), the institute Inedi, as well as through a fashion school and a specialised academy (EscuelaMaría Teresa Gandaries and Academia Marta Terán). In addition, the city of Bilbao and UPV have a collaboration agreement with the London College of Fashion bringing designers from one of the fashion capitals of the world, -London-. In the field of associations we find the collective BizkaikoModa that groups all the fashion firms in the province of Bizkaia under one single collective and the association of new and young designers that is particular significant in the case of innovative activities and designs. Other important promoting annual activities are: competitions (like the International Art & Fashion Competition and the Competition for Young Fashion Designers from the Basque Country and from Navarre), fashion fairs and the fashion show for new designers.

2.4.2. Istanbul & Ankara (Turkey)

Researches show that especially the cities of Istanbul and Ankara have a great potential in the creative and cultural sector. The number of studies and projects that focuses on creativity has increased after Istanbul's selection as cultural capital in 2010. The papers of Salman (2010), Çetindamar and Aksel (2012) say that Istanbul is - according to the index measuring the creativity of cities - an innovation friendly city. Nevertheless, problems in technical support, research and development are identified in these studies. Creative and textile-fashion industry are – along with the industry - pioneer in the promising cluster in Istanbul and have a significant role in the economic activity of the country (Gülcan and Akgüngör, 2008). Ankara shows better performance than Istanbul in terms of science and technology. From the 1990s to the 2000s, the domestic consumption in the textile and fashion sector increased from about 8 billion US dollars to 17 billion dollars; production went from US$ 12 billion to $ 28 billion. While exports amounted to 20 billion US dollars from 5 billion dollars, import rose by 4 billion from 800 million US dollars. 61.2% of the firms’ shareholders in the fashion are located in Istanbul21.

2.4.3. Masovia Province (Poland)

The most creative region in Poland is the area of the Masovia Province22 with the Art Incubator and the Art Factory in Łódź or the FabLabs, which are both a place of creative work (mainly for those who start their business) and also provide space for meetings, new contacts and mutual learning. Local authorities recognise the benefits of having creative businesses in the region. Therefore, they try to promote and attract small creative business to establish new organizations in the city and offer support for creative business development. In the case of Łódź, the scope of planned solutions strengthening the development of the creative sector includes: "sharing space between cultural institutions and creative entrepreneurs (it also allows sharing technical and production resources between institutions and creative entrepreneurs), public-private , preferential rental rates, financial support (including grants and loans to start, funds supporting development and promotions”23. The interest of public authorities in the subject shows a great development potential not only for a business itself but also for the region's economy. The benefits of the promotion and development of the creative industry can certainly be measured by an increase in innovation, creating new spaces and

21 followed by İzmir (7,8%), Tekirdağ (4%), Kırklareli (3%) and Bursa (2,5% 22 Source: S. Szultka, Kreatywny łańcuch powiązania sektora kultury i kreatywnego w Polsce, Gdańsk 2014, p. 23 Strona Internetowa, http://kongres-kultury.pl/diagnoza/lodz/rkk/art-sektor_kreatywny.html, 30.05.2018

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developing infrastructure, attracting highly qualified staff, increasing the attractiveness of the city and attracting new investors.

2.4.4. Milan (Italy)

In 2014, Milan was regarded as the world fashion capital (based upon frequency of mention in global media outlets), even surpassing New , Paris, Rome and London. In 2011, Milan was ranked 4th, behind London, , and Paris. Many of the major Italian fashion brands, such as Valentino, Versace, Prada, Armani, Dolce & Gabbana, Marni, Iceberg, Missoni, Trussardi, Moschino, Dirk Bikkembergs, Etro and Zegna are currently headquartered in the city. International fashion labels also operate shops in Milan. Milan also hosts a fashion week24 twice a year (during the months of February and March for the Spring- Summer Collection, and September and October for the Fall-Winter Collection), just like other international cities but the fashion week in Milan is one of the largest in the world, attended by the most elite members of the fashion industry: Gucci, Prada, Dolce & Gabbana, and Roberto Cavalli – to name a few designers. An upscale fashion district in Milan, known as the quadrilatero della moda (literally, "fashion quadrilateral"), is where the city's most prestigious shopping streets are located (i.e. Via Montenapoleone, Via della Spiga, Via Sant'Andrea, Via Manzoni and Corso Venezia) but the Galleria Vittorio Emanuele II, the Piazza del Duomo, Via Dante and Corso Buenos Aires are other important shopping streets and squares. Milan is also a destination for anyone who wants to study and enter as a high professional in the fashion sector: the city hosts one of the top 10 fashion schools in the world25, known at Italian and international level, the Istituto Marangoni (www.istitutomarangoni.com/en/) which offers a prestigious fashion course in Milan and in venues in London, Paris and Florence.

2.4.5. Vorarlberg (Austria)

The Smart Textile Platform, with its centre in Vorarlberg (the province in the West of Austria), is a worldwide unique merger of textile companies whose competences cover all the textile value chain. Besides initiating projects and opening up funding, the platform promotes cross-border technology transfers (for example in form of a textile symposium or the leading trade fair SALTEX). Other than that, the platform stimulates an intense cooperation between textile companies and enterprises of other industries. Its main aim is the development of new solutions and products by using technical textiles. In order to restrict this extensive field, the focus today lies on smart textiles, sensor textiles, wearables and light weight . All the knowhow concentrated in Vorarlberg helps to efficiently and effectively produce textile composites for example. An important success factor is formed by the platform’s scientific partners that engage in textile , like the Research Institute for Textile Chemistry and Textile Physics of the University of Innsbruck, located in Dornbirn (Vorarlberg). Internationally, the platform is seen as best practice model for innovation networks26. Besides the numerous product innovations and awarded funds the success is also shown in the start-up Texible. It has transferred the network’s idea of sensor bedding into a market-ready product. With its knowledge

24 https://www.milanomodadonna.it/en/ 25 https://fashionista.com/2017/11/best-top-fashion-schools-in-the-world-2017-rankings 26 https://www.chancenland.at/en/2017/08/21/textile-hub-vorarlberg/

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in integrating sensors and conductive materials into textile structures it also offers help to other founders.27

2.4.6. Romania - to be defined

Romanian partner, please provide your input here.

3. Some success factors to entrepreneurship in creative industries

It can be said that entrepreneurship is even more challenging in the creative than in other industries. Competition is huge, including the pressure through multinational fashion companies, trends change more frequently in many creative industry sectors than in other industries and production is in many niches still very labour intensive. Under the given circumstances, only the most outstanding performers can establish themselves on the market. The following pages show favourable factors, like the support of entrepreneurs by the state, experience gain or technologies used for innovation to be successful in the fashion industry.

3.1. Political support for creative entrepreneurs

The political intention to improve welfare through the promotion of creative industries is closely linked to the political stance that supports corporate innovation and individual entrepreneurship. Positivist statements call for political measures to regulate education and the economy in accordance with the needs of creative industries. Thus, this concept becomes an important argument for structural measures which aims have a direct functional relationship with the economy. Creative industries can influence policies that have the potential to transform teary education structurally, it can also change expectations. Some of the sectors in the creative industries in Turkey take part in national strategies and plans but these sectors don't take part in creative industry group in a common. Only the Tenth Development Plan states that innovative and value added sectors in urban transformation projects will be prioritized with creative industries and applications supporting high technology and environmentally sensitive production and The National Strategy for Regional Development (BGUS) aims to intensify efforts to become a around the world, including the cultural sectors of Istanbul.

3.2. Education and experience

The most successful entrepreneurial projects in the fashion industry have come, mainly, from the hands of people with experience in the world of business management. ACME and Factoría Cultural, a nursery for creative and cultural industries in Matadero Madrid, launched Emprendemoda in 2016 which is a pilot program supporting entrepreneurship in the fashion and retail industry. Initiatives of this type are essential to enhance the scalability of small brands and help entrepreneurs in the sector providing them with business training that helps them carry out their projects successfully. Hannibal Laguna grew up observing the work of his parents in one of the most outstanding children's fashion firms of the seventies. He studied Fashion Design in Milan and, in 1987, began his career in this world with the opening of his own atelier. When he was only 19 years old, his first collection was awarded with the Air France prize and selected to represent Spain in the "International salon Europe in USA". His collections have been shown since 1997 at Fashion Week Madrid, the bridal fashion creations are presented each year at the Gaudí Novias Catwalk in Barcelona. Its alliance with other companies

27 https://www.chancenland.at/en/2017/08/21/textile-hub-vorarlberg/

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such as MTNG Experience, a private company dedicated to footwear and accessories, has ensured that its designs are present in more than 500 stores around the world.. The company is in the process of expansion and currently generates around 1,800 indirect jobs.

3.3.Craft and innovation

The Romanian fashion design scene is bursting with originality. One mission is to transfer the feeling that it is ‘the time now’ to be creative, unrepentant yet sensitive and, whatever done, to always be in touch with the own true self. There are a number of Romanian designers carrying on this mission, for instance Murmur, Lana, Chic Utility, MA RA MI, Manghiuc Ramona, Adina Orboi, Crina Bulprich, DBOL, Undress. Lana Dumitru is a young Romanian fashion from Bucharest who has recently finished her research in London and her PhD in Arts and Fashion. Her original style comes from the fact that she designs all her visuals and patterns transforming pure white fabrics into strong unique conceptual pieces through the means of digital . As a creator of ‘wearable opinions’ she uses digital techniques to bring to life her vision and transforms it into strong and unique conceptual pieces. Her work has been exhibited in around the world, such as Horniman London, Malmö Design Centre and at various fashion weeks and events. Lana is the first Romanian designer to officially collaborate with Puma in a custom print jacket coined “T7 Etno Shake Puma by Lana” and added to her credentials the quality of being a previous member of the digital design team for Mary Katrantzou in London. Lara was nominated as the best young Romanian fashion designer of 2015 (Forbes Award) and was listed by Forbes in Top 30 under 30. The Spanish firm Maria Ke Fisherman, formed by the couple of designers Víctor Alonso and María Lemos, has become a cult phenomenon worldwide and dresses international celebrities such as Lady Gaga, Katy Perry or Miley Cyrus. The brand, created in 2009, was born to cover the market niche of high-fashion fashion, from the balance between craftsmanship and innovation. In February 2014, the brand participated in the New York Fashion Week and won Vogue’s Who's On Next award months later. Since 2015, Maria Ke Fisherman parades on the catwalk of Mercedes-Benz Fashion Week Madrid. With regard to its distribution, the Spanish firm already sells in important points of the multi-brand channel. The jewels of Helena Rohner reveal the purity of lines, the simplicity of the forms and the curious mixture of silver with materials as surprising as or wood. From her native Canary Islands, Helena's evolution in design has been influenced by her environment and the people she has collaborated with at every moment. Since its beginnings in 1995, the creative universe of the Canarian designer has extended beyond jewellery, including design projects in and household items for prestigious companies such as Georg Jensen or Munio.

4. Summary

This document gives an overview of how each involved country with its different background and infrastructure makes a great deal of contribution to the fashion industry in Europe in its own way.

Statistics mentioned in this document show the economic importance of creative industries all over Europe, as well as the growing awareness and acceptance of related impact. Even if the growth rates – in employment and monetary powers – seem to be increasing in most of the participating countries in this project, all of them risk losing market shares. Since ready-made clothing production is labor- intensive, it concentrates mainly in countries where labor costs are low. So, the production of ready-to- wear products has shifted over the last years to countries that have cheap labor due to the rapidly increasing competition.

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Nevertheless, global brands emerge from developed countries which (still) stand out with their fashion and design abilities. This results, inter alia, in innovative business models like Spain pioneering in “fast fashion”, Romanian or Austrian designers applying innovative technology in fashion or in entering niche markets like many Italian or Spanish brands do. At the same time, high creative talents are for all enterprises a key to excellence in design and manufacturing enabling companies to position themselves in a global market. In fact, Italy maintains a strategic advantage in style thanks to its net of entrepreneurs who are able to attract the most talented designers in the world and thanks to its system of enterprises that produce the creations designed by today’s best designers e.g. Alumni from famous fashion schools/ Higher Education institutions demonstrate in small to large companies how to bring in creative approaches, link individual product categories in fashion innovation. (More examples than the ones listed in this document are mentioned in national reports by partner organizations in this project.)

The political intention to improve welfare is closely linked to the political stance that supports corporate innovation and individual entrepreneurship. Examples have shown that larger cities with high quality of life give access to resources necessary in the creative process and they also enable quick and easy communication between them. Positivist statements call for political measures to regulate education and the economy in accordance with the needs of creative industries. Cooperation between research and industry, demonstrated in all countries in this project partnership, are as important as the bonds between design and enterprise.

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