Labour’s First 100 Days: A Mixed Start — With Hope on the Horizon
As Labour passes its 100-day milestone, the new government has managed to generate significant conversation. But for Britain’s creative industries, particularly fashion, the pace of change has been slow; the mood however in the creative sector—fashion included—remains of cautious optimism. Labour’s new government has made strides, with initiatives like the Employment Rights Bill and policies on housing and transport reform, but the creative industries still await more direct action. While the groundwork has been laid, there are critical gaps that need addressing if the sector is to fully thrive in the coming years.
Early Achievements—But for Whom?
Labour's first 100 days have not been devoid of action. Rachel Reeves, the Chancellor, tackled a £22bn gap in the country’s finances, halting a number of costly infrastructure projects. Meanwhile, Ed Miliband moved swiftly to remove the ban on onshore wind power and establish Great British Energy—an ambitious initiative geared towards greening the UK’s economy. On the transport front, the Labour government passed a rail nationalisation bill, signalling a new era for public transport. Similarly, housing minister Matthew Pennycook initiated renters' reforms, addressing issues like no-fault evictions.
But while these early moves signal progress, the creative industries have remained somewhat peripheral to Labour’s attention. With the workers' rights reforms being welcomed broadly, they still fall short of addressing the unique and immediate needs of the fashion and creative sectors. The challenges for these industries—especially in light of Brexit—have been left largely unaddressed.
Employment Rights Bill: A Game-Changer for Creatives?
Labour’s Employment Rights Bill is one of the key pillars of their reform agenda. Touted as the most comprehensive update to UK employment law in decades, it promises significant benefits for those in precarious employment—many of whom populate the creative and fashion industries. From day-one rights for sick pay, maternity leave, and unfair dismissal protections to the end of exploitative zero-hours contracts, the bill introduces measures that could reshape working conditions in the sector.
The fashion industry, in particular, stands to benefit from the legislation’s potential to stabilise working conditions. 84% of workers on zero-hours contracts, for example, would prefer guaranteed hours, according to TUC research. With zero-hours contracts prevalent in fashion retail and production roles, this reform could help fashion professionals enjoy more predictable and secure incomes. However, the delay in full implementation until 2026 leaves freelancers and part-time workers wondering if these promises are, for now, only on paper.
Moreover, the fire-and-rehire practices that have plagued the gig economy will finally be addressed. For creatives juggling multiple gigs, this marks a step towards fairness, offering greater security. Yet, practical challenges remain. Will these protections actually be enforced? Or will loopholes emerge, allowing businesses to sidestep reforms, leaving the creative workforce vulnerable?
The introduction of statutory sick pay from day one is a welcome move. Fashion workers, especially freelancers, face erratic incomes, and the inability to earn when ill is a significant concern. This reform could bring much-needed financial relief. Similarly, parental and bereavement leave available from day one will positively impact working parents in the creative sector, who often struggle to balance family and professional life.
Practical Limitations of the Bill
Not all of Labour’s proposals have been received with unanimous praise. The statutory probation periods, intended to provide businesses flexibility in assessing new hires, have caused concern within creative industries, where short-term contracts dominate. Will probation periods allow employers to sidestep day-one protections? Could this measure, meant to offer flexibility, perpetuate the insecurity it claims to solve?
Labour’s promise to make flexible working the default unless an employer can prove otherwise is a step in the right direction for the creative sector. Designers, stylists, and creative freelancers often rely on flexible working patterns. Enshrining this into law may make it easier for professionals to strike the work-life balance they need. However, questions remain about how these new rights will be enforced, particularly in industries as fluid as fashion.
The Brexit Conundrum Still Overshadows the Sector
For all its early momentum, Labour has yet to fully tackle the Brexit-induced challenges facing the creative industries. The fashion sector, in particular, has suffered due to restricted movement, trade barriers, and a reduced pool of talent. Exports of clothing and footwear sold to EU countries continue to plummet, with many designers, suppliers, and creative professionals hampered by cumbersome customs regulations.
Fashion’s reliance on international mobility is not just a luxury but a necessity. Designers need access to European markets for production, collaboration, and trade. While Labour has voiced intentions to reset relations with the EU, more needs to be done to alleviate the burdens on creatives who depend on a seamless flow of goods and talent.
Without specific sector-driven policies to facilitate international mobility and ease trade restrictions, the industry will continue to face significant challenges. Labour must make good on its promises to support Britain’s world-renowned creative sector and implement targeted reforms that address these post-Brexit hurdles.
Fashion is a global industry, thriving on international collaboration and mobility. Whether showcasing at Paris Fashion Week or working with suppliers in Italy, the creative sector needs unrestricted access to Europe. Labour’s initial forays into repairing UK-EU relations are promising, but the lack of sector-specific policies is holding the industry back from reaching its full potential.
A Recent Win for Film—A Positive Signal for Creatives?
Last week’s announcement of a tax relief boost for independent film productions is a glimmer of hope for the wider creative industries. Confirmed just days before Labour’s 100-day milestone, this new Independent Film Tax Credit will provide a 53% tax relief for productions costing up to £15 million. This could be a game-changer for Britain’s independent filmmakers, with the potential to generate jobs, attract international co-productions, and drive significant economic growth.
While this announcement specifically benefits the film industry, it serves as a positive sign for other creative sectors, including fashion. If the government can support filmmakers in this way, there is hope that similar targeted relief could be on the horizon for the fashion industry, which is grappling with its own set of financial challenges.
The tax credit not only highlights Labour’s commitment to fostering homegrown talent but also signals that the government understands the creative industries’ potential to drive cultural and economic growth. As Chancellor Rachel Reeves said, “The creative industries are a crucial part of our economy,” and the hope now is that this support will soon extend more fully to fashion and other creative sectors.
Looking Ahead: Time for Decisive Action
Labour’s first 100 days have been a step in the right direction, but for fashion and the wider creative industries, much work remains to be done. The next 100 days will be crucial in determining whether Labour can deliver on its promises. Will the government finally address the specific needs of creatives, or will the sector continue to grapple with the challenges left in Brexit’s wake?
The government’s recent boost for independent filmmakers offers a glimmer of hope. Here’s to keeping spirits high in the fashion industry and other creative sectors as we push for the targeted policies and reforms needed to help British creativity flourish once again. The road ahead is long, but with Labour’s continued focus, the creative industries might just find their place at the heart of Britain’s economic recovery.