Creative Business campus

 

 

 

 

 

	Content	Page
·             ·	FOREWORD   ACKNOWLEDGEMENTS	3   4
·	EXECUTIVE SUMMARY	5
·	Drivers for Change	5
·	Vision	5
·	Objectives	5
·	Target Industries and Business Organisations	6
·	Links to the Planned Economic Regeneration	6
·	Campus Development Strategy	7
·	Project Structure	8
·	Next Steps	8
·	CONCLUSIONS	9
Appendix 1.	Focus Group Objectives and Programme   List of Organisations, Businesses and Practitioners Consulted   Programme of Discussions	10   11   12
Appendix 2.   Appendix 3.   Appendix 4.   Appendix 5.	Summary of Issues Raised     Overview of the Kings Cross, Arsenal and FinsburyPark Regeneration Areas   Glossary of Terms     Contact Details	13     19     23     24

 

 

Foreword

 

 

I am delighted to present you with our report proposing the establishment of a Creative Business Campus in North London.

 

The Campus will form the hub of a development programme that will support the continuation and expansion of the creative industries in King’s Cross, Arsenal and FinsburyPark. These include Film and TV production, Fashion/Clothing Design, Design and Visual Arts, Publishing, Photography and the Performing Arts. Nearly 16,000 people are already employed in these industries within the area. The programme aims to secure their future and stimulate growth in the market.

 

We will take advantage of the generic redevelopment work already underway in King’s Cross, Arsenal and FinsburyPark and over a 5-year period invest an additional £23m. This will fund a range of affordable workspaces (a Media Complex, a Design and Crafts Centre and accommodation to allow business growth) together with major new showcasing facilities (focusing on Fashion and Clothing marketing, Speciality retailing and Visitor Attractions, aimed at promoting the work of the Campus industries).

 

The report sets out our proposals in detail and shows how they have emerged through the engagement of local creative businesses, and an understanding of the local conditions and opportunities.

 

This is an exciting development with huge potential and we are looking forward very much to translating these proposals into action.

 

 

 

 

 

ACKNOWLEDGEMENTS

 

 

Fashionworks would like to acknowledge the contributions made by the following organisations, creative businesses and practitioners to the development of this research and report.

 

 

Funders

 

This research has been conducted by Fashionworks, ITN & ANCER SPA with funding from the London Development Agency.

 

 

List of Organisations Businesses and Practitioners Consulted        

 

AngelIslingtonTown Centre Manager l Arsenal Regeneration l British Libraryl Business  Design

Centre l Business Link 4 London l Camden Business Forum l Camden Business Partnership Camden Enterprise Agency (CENTA)l University of the Arts London (Central St. Martins)lCIDAlCity & Islington North (CIL)l City & Islington College l Cockpit Artsl Create KXl DM Londonl Drivers and Norrisl EMEP – Sew Eastl [email protected] Projectl Fashionworksl Finsbury Park Business Forum l Finsbury Park Community Forum l Finsbury Park Partnership (SRB) Fonthill Road Traders Association/Fashion Centrel Government for London l Elizabeth Marcono-MortlocklHackney Business Venture l House of Harlot l Hoxton Bibliotech l Islington CouncillIslington Enterprise Agency l Islington Training Network l KX Partnership l London Metropolitan UniversitylLB Islington Arts and Creative Dept l Marie Loney Knitwear l Michael Ward l Muslim Welfare House l Prevista l Queensland Multi-Media Arts Centre l Quantom l Reflex Project l UK Trade and Invest l WAC Performing Arts and Media College l Westminster Kingsway College

 

List of Creative Practitioners Consulted 

 

Doreen Adusei l Ralph Bernstein l Pip McCredielKate Clarkson l Cedric Whilby l Renato Termenim l Patrick Lee Yow l Dominic Ong l Spike Hill l Alison Lewy l Claire StevenslMike WardlDom HarrislRichie Wynells lFi StewardlPaul CaisterlStephanie Lipton lJewellDavide Fermigerl Taylor Glasbyl Zowie Broachl Sian Evansl Samson Soboyel Don McCollinlJames Harris l Alexis Johnson

 

 

 

EXECUTIVE SUMMARY

 

1.    Drivers for Change

 

There are 1,164 businesses operating within the Creative Industries in the King’s Cross, Arsenal and Finsbury Park Swathe, employing around 16,000 people.  Work with businesses and other stakeholder organisations has identified a number of factors that are both preventing the expansion of the market and which potentially threaten its sustainability.  Existing regeneration programmes do not focus specifically on creative industries but do provide opportunities to address these issues.  There is potential to add value from adopting a collaborative approach but there is a lack of an organisation that can provide appropriate leadership.

 

 

2.    Vision

 

Against this background, the proposal set out in this report focuses on the development of a Creative Business Campus.  It will have a central a hub but will be a distributed organisation that works across the Swathe and at a number of levels. It will:

 

·               Be a powerful engine of entrepreneurism within London’s economy, harnessing an inspiring mix of dynamic cultures, energy and talent, driving the successful transformation of the area

·               Become a leading London visitor destination, attracting spending into the visual and performing arts, whilst creating a high quality of life for those living within the area and wider region.

·               Be London’s leading focus for the showcasing and marketing of creativity, linking local and regional creative output to national and international markets

·               Deliver practical support in terms of specialist business management and affordable workspace.

 

Finally, the development recognises the many strengths of the business community in Islington and Camden, the business support organisations and academic links.  The Campus aims to build on these and add value in a specialised area of development.

 

 

3.    Objectives

 

1.            To provide the range of specialist business support services needed to help creative businesses successfully grow and develop, and to deliver these in the most appropriate way.

 

2.            To ensure that the required business accommodation and supporting infrastructure needed to enable local creative businesses to develop is provided amply and affordably.

 

3.            To create exemplary models for business engagement with creative businesses by local education and skills providers to develop their creativity and equip them with business skills, and apply this widely within the area. 

 

4.            To work with the creative industries to create the sense of place required to attract visitors and spending to the area through cultural tourism.

 

5.            To add value within and between complementary creative sub-sectors and related economic activities through networking, collaboration and supply chain development.

 

6.            To develop synergy with other creative hubs within London.

 

 

4.    Target Industries and Business Organisations

 

The main industries involved will be:

 

·               Film and TV production

·               Clothing and fashion design, manufacture and trading, and related brokerage.

·               Design, life style and Visual Arts

·               Publishing

·               Photography

·               The Performing Arts.

 

The primary users of the Creative Business Campus services will be:

 

·               Existing creative businesses with potential for growth.

·               Start-ups and individuals with start up aspirations.

·               Social enterprise with cultural market potential

·               Larger businesses at risk of leaving the area.

·               Companies with an interest in moving into the area.

·               Funding bodies with an interest in enhancing business competitiveness, workforce skills  and local area regeneration

 

 

5.    Links to the Planned Economic Regeneration

 

Over the coming five years the areas within the Swathe will be undergoing a major transformation made up of the development of the Kings Cross railway lands and the Arsenal redevelopment, both of which have links to Finsbury Park.  The A1 strategy will regenerate

Holloway Road

,

Caledonian Road

and

Pentonville Road

forming a spine, which will integrate the three areas.

 

In the Swathe, some 16,000 jobs are attributable to the Creative industries, and almost 45,000 across the two boroughs of Camden and Islington as a whole.  The proposal set out in this paper will contribute to the area in a number of ways.  Creative industries, once clustered in a particular location, have a tendency to attract more such businesses to the area.  This creates more demand for suitable business accommodation, stimulating the re-use and refurbishment of vacant buildings or new development.  Creative and cultural activities have a beneficial effect on local image building, as they tend to raise the profile and fashionability of local areas.  In addition, it will bring a range of social benefits to the area, including business creation; training and education and access to employment; social engagement and inclusion of isolated communities.

 

 

 

 

 

 

6.    Campus Development Strategy

 

The report identifies a number of valuable business support, educational services and networks already in existence within the Swathe specifically oriented towards the creative and cultural sector, which can cover most support needs. The major requirement is to bring these together in partnership and to provide better co-ordination and leadership to them. There is also a need to improve the networking between creative businesses within the area.  A major shortfall has been identified in the availability of affordable workspace for the creative sector.

 

Workspace and showcasing provision will form the main flagship projects and key nodal points within the overall Creative Business Campus strategy.  One single development would not address the entire sector specific or area specific regeneration needs.  At least three major nodes of activity need to be created, together with complementary regeneration initiatives in the inter-linking areas such as

Holloway Road

,

Caledonian Road

,

Blackstock Road

and

north Upper Street

.

 

 

7.    Proposed Projects and Initiatives

 

7.1.   Property Projects

 

a)            Hub Headquarters

 

b)           Affordable Workspace

 

1)      Media and Related Creative Lifestyle Complex

2)      Design and Crafts Workspace Centre

3)      Scale Up Accommodation

 

c)     Major Showcasing Facilities

 

1)      Fashion and Clothing Marketing and Design Brokerage Centre

2)      Speciality Retailing

3)      “Affordable” Business Design Centre

4)      Cultural Visitor Attractions

 

7.2.   Supporting Initiatives

 

c)            Specialist Business Management

d)           Job Retention and Workforce Skills Upgrading

e)            Youth and Creative Social Inclusion

f)             Network and Trade Association Development

g)           Public and Private Sector Vacation Property Portfolios

h)           Spatial Development Framework

i)              Sectorial Brand Building of the Swathe

j)              Fashion and Clothing Marketing and Design Brokerage Service

k)            Links to Other Creative Hubs

l)              Opportunities for Direct Sales to the Public

m)         Retention of Best Practice SRB Community and Business Programmes

 

 

 

8.    Project Structure

 

The proposed structure is as follows:

 

1)            Creative Partnership Board – to ensure the representation of key agencies and that the emerging strategy and detailed implementation plans are subject to collective scrutiny (to include Local Authorities, private developers, business support organisations and Higher Education)

 

2)            Steering Group – to finalise the overall delivery programme and project structure; to develop a co-ordinated implementation strategy; and to monitor the progress and impact of specific projects

 

3)            Specialist Project Teams – to implement detailed plans around specific workstreams

 

4)            Reference Group(s) – to ensure the engagement of all local stakeholder organisations (likely to be a ‘virtual’ group, linked via an e-network)

 

 

9.    Next Steps

 

It is recommended that the LDA approve the following as an outline plan:

 

1)            Agree the proposal and project structure in principle

 

2)            Establish a shadow structure to facilitate further preparatory work, including:

 

a)      Prepare a business directory of local creative industries in the Swathe, together with details of current operation and future plans

 

b)      Identify and include best practice from other successful creative areas into above strategic proposals

 

c)      Complete detailed consultation work with local business agencies about the range of opportunities presented within the Campus proposal

 

d)      Undertake detailed development plans for:

·         Kings Cross media and related lifestyle complex

·         Fashion and clothing marketing and design brokerage Centre

·         Speciality retailing and social enterprise

·         External funding opportunities

 

e)      Finalise the strategic plan and business plan

 

3)            Sign off the final project

 

4)            Establish the formal project structure shown in section 9 above

 

5)            Arrange stakeholder conferences to raise the profile of the Creative Business Campus

 

 

 

CONCLUSIONS

 

A major opportunity has been identified to establish a major economic driver for this part of inner North London. If successful, it will, together with planned development and regeneration proposals, propel the transformation of the area into one of the most prosperous, dynamic and vibrant sub-regions of London. It will do this not only in a way which creates wealth per se, but which includes all members of the local community in the new prosperity and self-fulfilment, which the Creative Business Campus strategy will bring about.

 

 

A programme of proposed projects and supporting initiatives has been defined. It is now for the local stakeholders in the creative and cultural community to take this forward, taking advantage of the resources, expertise and guidance of the London Development Agency.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

APPENDIX 1

 

Creative Business Support Development Focus Group

 

Objectives

 

·               To share with local business current research findings on creative industry development needs and opportunities in the Kings Cross, Arsenal and FinsburyPark area.

 

·               To identify key areas of support which will assist existing creative businesses within the area to grow and develop.

 

·               To identify the wider role the proposed Creative Business Campus should play in the growth of the creative sector within inner North London.

 

Workshop Programme

4.30 p.m.	Guests Arrive Tea/Coffee/Drinks
5.00 p.m.	Introduction, Welcome & Background to Fashionworks/ITN’s Research for the LDA	Doreen Adusei 21st CENTURY ARTS
5.10 p.m.	Aims of the Development Workshop
5.15 p.m.	Presentation:    Opportunities for Development of Creative Industries in Kings Cross, Arsenal and FinsburyPark	Martin Ebbs ANCER SPA
	Summary of key findings from current ANCER SPA research	Martin Ebbs ANCER SPA
5.25	Briefing on Break Out Discussions	Martin Ebbs ANCER SPA
5.30	Break Out Group Discussions
	Workshop participants assemble into sub-groups, based on broad industry groupings
	§          Media, Design and Performing Arts
	§          Fashion & Lifestyle
	Key items for discussion for each sector group:
	1.       What are the advantages and attractions of inner North London for business within this sector?
	2.       What barriers to businesses within this sector face to their growth and development within this area?
	3.       What forms of support would have the greatest impact on the growth and development of this sector if delivered locally, e.g.: ·         industry/market specific    -business advice and support? ·         networking? ·         business accommodation? ·         showcasing and marketing of products and skills? ·         skills development?
	4.       What types of complementary businesses is it useful to network with for the purposes of business development within this sector?
6.30 p.m.	Comfort Break
6.35 p.m.	Plenary Feedback Session Feedback on findings from each broad sector group 7 – 8 comments per group
7.05 p.m.	Summary of Issues Identified
7.10 p.m.	Briefing on Next Step in Development of the Local Hubs.
7.15 p.m.	Depart

 

 

IN ATTENDANCE

 

Name	Organisation
Doreen Adusei	Fashionworks
Ralph Bernstein	Fashionworks
Martin Ebbs	Ancer Spa (London & South East) Ltd
Pip McCredie	Ancer spa (London & South East) Ltd
Sumita Dutta	Islington Training Network
Kate Clarkson	Kate Clarkson
Cedric Whilby	Fishing Rod Experience
Renato Termenim	CSM Printer/Fashion (New Designer)
Patrick Lee Yow	Lecturer, University of the Arts (Central St. Martins)
Dominic Ong	Squirky Limited
Spike Hill	Fulcrum
Alison Lewy	Skin Solutions
Claire Stevens	Quantom
Mike Ward	Kikass/DOLL/Equator
Dom Harris	Dominic Harris
Richie Wynells	Molton Rock Productions
Dolores Bingham	Artist
Paul Caister	The PoorSchool
Stephanie Lipton	Salsa Fusion
Jewel	‘Stylist/Journalist’, ‘Pop’ and ‘Face’ magazines
Davide Fermiger Taylor Glasby	Disorder Magazine/Eat Me Media Disorder Magazine/Eat Me Media
Zowie Broach	Boudicca Design Company
Sian Evans	Sian Evans Jewellery
Samson Soboye	Fashion/Retailer
Don McCollin	McCollin & Bryant
Alexis Johnson	Head of Education, Institute of Contemporary Arts

 

 

PROGRAMME OF DISCUSSION

 

 

The attendees were split into two groups:  one group comprised those representing the fashion and related lifestyle industries; the other group comprised those from media, the performing arts, digital, film, TV and visual arts.

 

Each group discussed the following questions, 1 – 4, and 5 and 6 have been added subsequently to cover other comments made by the groups:

 

1.            What are the advantages and attractions of inner North London for business within this sector?

 

2.            What barriers do businesses within this sector face to their growth and development within this area?

 

3.            What forms of support would have the greatest impact on the growth and development of this sector if delivered locally, e.g.:

 

a)      industry/market specific business advice and support?

b)      networking?

c)      business accommodation?

d)      showcasing and marketing of products and skills?

e)      skills development?

 

4.            What types of complementary businesses are useful to network with for the purposes of business development within this sector?

 

5.            Other comments made with regard to the concept of creating a creative hub in the area.

 

6.            General comments.

 

APPENDIX 2

 

Summary of Issues Raised

 

1.            What are the advantages and attractions of Inner North London for business within this sector?

 

·               The location is ideal for communication with the whole of London and

      Transport links are good.

 

·               There is a wealth of existing creative businesses of all kinds in the swathe and surrounding areas.  “The people coming together can make it happen”.

 

·               Proximity to sources of specialist staff, especially freelance staff.

 

·               Location convenient to markets, students, users.

 

·               Proximity to supplier clusters.

 

·               Drama schools nearby and also agents and casting directors.

 

·               Big artist community here.

 

·               There are opportunities to turn run down shops into exciting creative retail centres, with the help of the local Councils, e.g.

Seven Sisters Road

, where shops are empty and could be made available at peppercorn rents.  (An excellent example is in

Cross Street

, which, over the last 21 years has been completely transformed into a lively, creative area).

 

·               There is an existing flow of people, both creative and ‘captive audience/consumer’ in an area which is readily accessible to Central London, other UK towns and cities and overseas visitors.  This core ingredient for a lively, entrepreneurial and successful creative revolution already exists.

 

2.            What barriers do businesses within this sector face to their growth and development within this area?

 

Several members of the fashion group presented the view that London seemed to have become anti-creative.  The industry was a tough one to be in, with low and erratic earnings and high Inner London costs.  It was difficult to park and run cars and access was often difficult.

 

The main barriers described by the groups were not to do with the swathe itself, but were more related to the characteristics of creative sector people and their businesses.  Most of these points, it was acknowledged by them, could also be seen as strengths, as they were indications of the propensity of the creative sector for risk-taking, signs of their skills and creative gifts and evidence of exciting creative and business opportunities to be grasped as the new focus on creativity is developed and promoted.

 

·               Creative people like to maintain individuality within their own businesses.  They find it difficult to share with others.

 

·               Established businesses are not good at networking because of time constraints. (“Creative people have big egos and are unable to communicate with each other”).

 

 

 

 

 

·               Can be anarchistic, which also is indicative of new ideas and revolutionary idealism (“anarchists must challenge conventional thinking”).

 

·               It was felt that creative people could be “terrible” people to do business with, as they were “not good at business”.  This, however, would be a positive reason for creating a centre in the area where business advice would be readily available.

 

3.            What forms of support would have the greatest impact on the growth and development of this sector if delivered locally:

 

3.1    Industry/Market Specific Business Advice and Support

 

·               A group of specialists should be available to be called upon to give individual, highly tailored advice, as and when needed, and money should be channelled into paying them. 

 

Advisers should be people who have “been there and done it themselves”.

The man in the grey suit must understand and be willing to accept the specific requirements of the creative sector and the individual organisations within it.  There cannot be one rule and one direction for all the businesses.  They cannot fit the same business patterns as other types of business and distinctive business advice and support will be required for each specialist area and each business within it.

 

·               It was felt that entrepreneurial people would always get through and develop their ideas, but proper business advice and support could provide a short cut to success.

 

·               Mentorship and coaching was thought to be very valuable.  Designers do not think outside the box on certain aspects, for example, finance.  Help on this would be invaluable.

 

·               A man in a suit was felt to be a good accessory (for holding the hand of a creative business applicant applying to a bank for a loan or to the Government or other body for a grant).

 

·               Spitalfields Small Business Association/ELSA, the Westbourne Studios and IEA could be considered a successful hub, where all tenants are part of a business hub.  All tenants have a computer, etc., and good business support is available.

 

3.2        Networking

 

·               Many creative business operators were cautious about networking:

 

a)      Because of the risk of stolen ideas, although many felt that it was worth running this risk in order to receive new ideas themselves and to find out what was available in terms of materials, specialist production machinery or ideas.

 

b)      Because they felt that what they were doing was what they wanted to do and they were happy to carry on doing it in relative isolation.

 

·               Most people, however, felt that networking was essential for survival and growth and development and that it also gave them a more interesting and useful ‘vision’.

 

·               It was important to network with showcases internationally, e.g. The Milky Way.  Then, when people were in London they would come and visit the area.

 

 

 

 

3.3    Business Accommodation

 

·               Everyone agreed that it was not necessary to pour a lot of money into sophisticated buildings.  Designers would deal with the upkeep and appearance of a hub building.

 

·               Safety of tenure and affordable rent were thought to be the most important requirements.  Fixed location rent, with assistance from the Government up to a certain profit point, at which time the subsidy should stop.  It could be run by a co-operative with a property law adviser available to give tenancy advice.

 

·               Shared facilities were not popular.

 

·               There should be fixed studio spaces with security, in which to leave collections or equipment.

 

3.3        Showcasing and Marketing of Products and Skills

 

·               A multi-functional space was essential, to include a presentation area, videoconferencing facility, exhibition areas and power point presentation facilities.

 

·               Performance space would need a minimum of 300 people capacity.

 

·               There is always a need for producers to screen their films, or DVDs (Mr Young/Dalane Lee) – feature houses.

 

·               Good PR required to broadcast what is going on:  make a video, get on the radio, produce a publication showing who’s doing exhibitions; give details of films that have been made, music, festivals, opportunities, courses, based on the locale.  An excellent web site will be important.

 

·               A festival would raise the profile of the hub/cluster.

 

·               Showcasing needs to relate to Central London, to show what London designers can do.

 

·               Show space needs mainstream commercial sector as an anchor.  Tenants to let space on a subsidised basis.

 

·               Kings Cross and Islington could be prime areas for showcasing (depending on the industry and the time of year).

 

3.4       Skills Development

 

·               Several people felt that the money to be spent on this project should be largely concentrated on existing young businesses that have shown talent, drive and excellence.  Graduates and start-ups obviously required affordable facilities, training and other support, but this centre should be a centre of excellence and must be for top quality people and products.

 

·               The centre must incorporate saleability of products and ideas with skills development.

 

 

 

4.      What types of complementary businesses are useful to network with for the purposes of business development within the sector?

 

·               Not necessarily designers or creative businesses, but with “creative thinkers”.

 

·               Some debate took place on the merits/prejudices of providing designs/working with large corporations.  Expertise from lateral thinking designer/business advisers should be available within the proposed centre to help creative businesses to handle effectively relationships with the larger organisations to prevent their designs being ‘diluted’ and cheapened.

 

5.      Comments on the introduction of a creative hub within the swathe area

 

The word ‘hub’ to describe the proposed centre for creative businesses was unanimously rejected, and substitute words were ‘campus’, suggesting wider and further reaching activities, or cluster, which suggests many operations.

 

Initially, within the fashion group, there was a slightly negative reaction to the creation of such a centre.  It was felt that there had been previous examples of centres being set up to support the creative industries, e.g. The Truman Brewery, and that these had not worked. The Nottingham Fashion Centre tried to identify the needs of creative industries but had gone by the board. The groups were dubious that the centre could really identify the multifarious needs of the creative sector and pay for all the up to date equipment, facilities and support required. It was felt that those in charge of the funds would constrain any such venture from developing organically and effectively. 

 

However, as the probable reasons for the failures of such enterprises were discussed and ideas put forward for the best method of pursuing this idea were mooted, a far more positive and enthusiastic reaction was evident, although it was agreed that careful analysis of needs and well thought-out plans for funds would be required.

 

·               The group were not confident that the issues raised at the focus group would be taken forward to the LDA and it was agreed that the views of those participating must be taken forward, as stated, to those who should listen, that is, the London Development Agency and others in control of taking the project forward.

 

·               “There is no magic in small dreams” was quoted to illustrate the views of the majority that, if this campus/cluster were to go forward, it must be a true centre of excellence, promoting the highest quality in design and creation and it primary purpose must be to champion creative thought, quality and innovation.

 

·               The campus/cluster must be run by a ‘creative professional’ with management skills. The centre would only be as effective, innovative and successful as those running it.  These people, together with their skills in bringing the right people together, will be its main strengths.

 

·               If this venture proved to be successful it could effectively influence UK design, in stores and businesses and put London in the forefront of international creativity and design.

 

·               It must be vibrant and fashionable.  This makes people feel good about themselves and will attract visitors to the campus/cluster.

 

 

·               This centre would be about feeding off each other and about confidence building.  It would also be about dissemination of ideas plus best practice to a wider business audience.

 

·               It was felt that the best way to approach the development of the centre was to build from a base and work outwards.  Things begin to happen and then need help to develop:  the organic approach.  There is a distinction between theory and practice so an empirical, rather than theoretical approach is necessary.

 

·               Start by providing plenty of space.  Space is a key requirement.

 

·               A venue is needed for film fashion, performing art, good gigs at cheap prices and for all ages.  Westbourne Studios is a good example of where the community is allowed in to share the facilities.

 

·               Kings Cross would be the communicative and communication sub-hub.

 

·               FinsburyPark and Arsenal can be very creative and community centred.

 

·               Animation has to be clustered.

 

·               It is desirable to have somewhere where people already have an association and somewhere that has a flow of people, for example,

Cork Street

.

 

·               Whatever happens, this project must be sustainable and must not be allowed to fizzle out.  Continuing support is essential.

 

·               Video links will be required to hook up with customers and partners abroad.

 

·               St. Pancras would be a good area for this development.

 

·               Part of the administration of the campus should include a small group of experts who understand business, but the centre must primarily be run by experienced creative people.

 

·               There is a need for somewhere for people to come and network and to meet people whom they would not normally meet.

 

·               Hubs can be inward focusing, cliquey and can encourage stigmatisation. This one must provide a bridge across London and reach out internationally.

 

·               It would help to go to an existing operation in London and see how it has developed, e.g. Spitalfields and Hoxton.

 

·               This is an ideal opportunity to challenge the way in which things are done.

 

·               As a centre of excellence it should not select people because they are black or Asian.  Social inclusion is so often taken to extremes and, whilst it must be taken into consideration, it should not end up by promoting mediocrity.

 

·               Diversity is imperative within the centre.

 

·               Network members must be means tested or meet certain criteria so as not to abuse.

 

 

6.      General Comments

 

·               It is creativity and risk taking that makes this sector so exciting and so necessary.

 

·               Creative people who have established themselves are, by definition strong people, who are not afraid to tackle new ideas.  They will have had to ensure and survive difficulties along the way.  Creativity and entrepreneurial talent will survive, whatever happens, and these are the qualities that must be sought in tenants for the new centre.

 

·               The designers felt that too much mediocrity and lack of talent is allowed to filter through to the catwalk.  This may be an opportunity to try to resolve this.

 

·               This would be an opportunity to “pull our disparate weight in a collective way”.

 

·               Having a visitor centre facility provides an opportunity to be in touch with the buying public at the creation and design stages.

 

·               The comment was made that investment is needed in machinery.  The cost of fabrics in the UK is far too high and more good manufacturing centres are needed (there is no-one in the UK who can manufacture good leather goods, for instance).

 

 

 

 

 

 

 

 

 

 

 

APPENDIX 3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Overview of the Kings Cross, Arsenal and Finsbury Park Regeneration Areas covered by the Swathe.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

APPENDIX 4

 

 

Glossary of Terms

 

 

The Swathe	The geographical area comprising Kings Cross, Arsenal and Finsbury Park, Holloway Road and Caledonian Road, subject to major transformation and regeneration proposals.
Hub	The mechanism which will drive development of the creative industries in the local area through support on developing creativity and talent, entrepreneurship, showcasing and affordable business accommodation.
Creative Hub	As per “hub” above
Creative and Cultural Industries	The SIC sub-sectors defined by DCMS as making up the creative industries.  ·      Advertising ·      Architecture ·      The Art and Antiques Market ·      Crafts ·      Design ·      Designer Fashion ·      Film and Video ·      Interactive Leisure Software ·      Music ·      The Performing Arts ·      Publishing ·      Software and Computer Services ·      Television and Radio
A1	The area alongside the A1 highway subject to regeneration proposals by Islington Council
LSC	Learning and Skills Council
21st Century Arts	Vision of a Creative Hub by Fashionworks
Creative Business Campus	The term used in this report to describe the proposed activity of a “hub” in the Swathe area.

 

 

 

 

APPENDIX 5

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CONTACT DETAILS

 

 

For further information, or full report please contact:

 

Doreen Adusei – MDes (RCA)

Fashionworks

64 Essex Road

London N1 8LR

 

Tel: 0207 704 9747

e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

 

London Development Agency

Central and South Area Team

Devon House

58-60 St. Katherines Way

London E1W 1JX

 

Tel: 020 7680 2000

 

 

 

 

 

27^th May 2004