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This obviously has a bearing on the perception and the execution of creativity, Vangkilde is convinced that the creative work at Chanel is also systematised to some degree.

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“So there’s no practical application for my project in the sense that if we know X, we can do Y. But by becoming more reflective about the creative process, we can perhaps continue working to optimise some of the factors that are crucial to the process.”

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“If Karl Lagerfeld were to say everything had been put into a system, that would undermine his own position and thereby the brand’s image, but I’m sure their creativity has been systematised.”

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“Fashion is an interesting field to study in terms of creativity because fashion is, by its definition, creative in the sense that it’s in its very nature that it has to establish a discontinuity with what already exists,” he says.

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“Four times a year the fashion houses launch a new collection that must include something new, so I think it makes sense to study creativity through the fashion industry, with its strong focus on novelty.”

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The reason a fashion house ended up as the basis for Vangkilde’s study was partly that Hugo Boss was interested in his project but also that fashion is an ideal area to study when it comes to creativity.

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“Creativity is discussed in many different ways, but I study it as the process by which an innovation occurs. Lots of researchers have studied creative products such as fashion collections, but I want to go behind the products and zoom in on how they are made.”

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Novelty is encircled by the three components of the creative system, Domain, Agent and Field. This is where the ‘rules of the game’ are learnt, experienced and generated through the three components. The knowledge and creative exchanges that occur in this circle might be called random, but they can also be described as dynamic, iterative and recursive exchanges. Generally these exchanges begin as external to the creative individual, and over time they become internalised by the creative agent through practice. Here is an example of how it can work – when the cultural domain transmits information to an agent, the agents idiosyncratic background enables them to stimulate novelty by reproducing that symbolic knowledge through the production of an artefact or idea. The artefact or idea is then presented to fields of experts whom reside inside society. If the artefact stimulates sufficient novelty then it is accepted by the field. Field acceptance allows the domain to select the novel artefact or idea and store it inside the domain’s library, which is part of the cultural archive that all cultures drawn on as they learn to negotiate the ‘rules of the game’.

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Through eight months of fieldwork at the large German fashion house Hugo Boss Vangkilde observed how creativity was turned into clothing collections.

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