White paper on creativity - ebla center

Chapter 4They may collaborate simultaneouslywith several car manufacturers,supplying them with integrated servicesbut at the same time operate asindependententrepreneurs,strengthening their own individualbrands and making products in thesame sector (special car models,components, bodywork) or in verydistant sectors from their specialisationbut in some ways complementary tothe original (accessories, clothing,eyewear, etc.). It is up to the designersto choose the distribution channel forthe commercialisation of theseproducts with their own brands. Thisstrategy generates mutual benefits forthe manufacturer-designers and themanufacturing companies with whichthey collaborate because their brandsare reciprocally reinforced.There is another kind of relationshipbetween entrepreneurs and designers –the model of the anonymous creators– in which the contribution ofdesigners remains “unsigned”. Theywork on the basis of temporary orcontinuous contracts withmanufacturing and/or marketingcompanies which, however, are theonly ones to label their brand on theend product. The low visibility of thedesigner’s original contribution makesthis figure weaker contractually andeasily replaceable. This has negativerepercussions both in terms ofremuneration and job security.Depending on the sector, the extent ofthe production chain, and the scale ofproduction of items with a high designcomponent, we can also identifyanother model in which the designactivity is stimulated and driven by theproduct marketing company ratherthan the manufacturers. This modelmay be described as distributiondrivendesign and can be divided intotwo different cases.In the first case the distributor simplyselect a designers’ and/ormanufacturing company’s creation inorder to market it in their own networkof showrooms. The products selectedwill have the distributor’s brand andpossibly that of the designer (this iswhat, for example, the internationalfurniture chain store Habitat does).In the second case, the distributors playa more active role in designing theproduct by proposing an idea to bedeveloped by designers, who may beoutsourced or hired temporarily by thecompany. In this case, the designers areless independent because they will haveto develop an idea initially suggested bythe distributors, who, because theywork in closer contact with the public,believe they can anticipate consumertrends better than people involved inthe production process. Once theproject has been developed with thedesigners, the distributors turn to themanufacturers and ask them to includethe product in their production plans,usually on a large scale. Examples ofthis phenomenon are the furniture andhome furnishings for companies likeIkea, Carrefour and Emmelunga. Inthis case we are talking aboutindustrial-scale design. This kind ofrelationship can give young designers aWHITE PAPER ON CREATIVITY 103