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Today we have to face the challenge of competing in a globalized world for scarce goods, such as residents in general, and in particular for those with talents, the so‐called “creative class”. This class is the driving force for economic growth, so winning the competition for these individuals is one of the main tasks for cities and regions today. However, to face this challenge using place marketing and city branding, we have to understand the needs and preferences of this target group. The purpose of this paper is to address these issues.

In a field study (n=1,258) the basic needs and preferences of the creative class were analyzed. The creative class with the non‐creative class were compared using a univariate analysis of variance (ANOVA).

Structural differences were found for the ratings of the importance of different needs for the creative class and the non‐creative class. Consequences for creative class theory are discussed.

It may not be possible to generalize the results found in this German sample to a sample with a different cultural background without further intercultural comparisons. Furthermore, the focus was on four basic factors of city evaluation, not on specific needs for single subgroups. Further research questions are identified and discussed.

The creative class as a target group is very popular in place marketing. This paper discusses the needs and preference structure of this target group and the need for a more precise definition of the creative class.

In the seemingly perpetual battle among cities to secure economic growth, one strategy has gained increasing credence of late: luring the Creative Class. The argument, promulgated by Professor of Economic Development Richard Florida (2002a, pp. 4–5), suggests that human creativity is now the “decisive source of competitive advantage” and cities can thrive by tapping and harnessing such creativity. The primary ingredients in this sweeping recipe for urban success are a group of young, mobile, diverse, ‘creative’ professionals, who constitute a social class of their own, according to Florida's popular book, The Rise of the Creative Class (2002). This Creative Class – if cities can attract and retain it – operates as its own economic machine, producing jobs, enhancing productivity, and increasing the overall well being of the city, Florida argues. From an urban economic development perspective, the role of the city is to create the conditions in which this Creative Class and associated industries can flourish.

The purpose of this paper is to share how a professional service firm transposed Richard Florida’s “Creative Class” concept from the urban environment into a corporate one for the purpose of organisational change. The validity of Florida’s concept is not here reviewed; rather, the paper is a case study on how his theory – that talent, technology and tolerance compose the high-value triptych driving a city’s growth and attractiveness – can be appropriated by HR to trigger profound changes in corporate governance and culture.

The paper provides a return on experience of a project that was implemented at Mazars, an international mid-cap of 20,000 people in 86 countries, over the course of one year. Approximately, 50 individuals participated in the initiative, lead by the firm’s HR leadership team, which used an under the radar approach based on a revamped version of Owen’s Open Space Technology. From an academic perspective, the approach is inspired by Argyris’ action science, and more specifically a derivation of the “double loop learning” where the initial intent of the research might be modified by intermediary findings.

The paper offers a model for identifying the members of the “creative class” in a corporate environment and a tested approach for integrating the “creative class” into the exclusive and institutional exercise of setting strategy. The cumulative effect of this “unofficial” operation is the creation of unique thought leadership and projects, some of which have now been officially adopted in the four-year strategic plan and institutionalized in the new governance system, results difficult to achieve through conventional approaches.

The case study, which is still in progress, has been implemented in a non-conventional organisation in a very specific industry.

To the authors’ knowledge, this is the first application of Richard Florida’s urban renewal theory in the corporate environment. This is an example of innovative HR management responding quickly and effectively to the digital, disrupted business landscape. It is designed in the modern managerial spirit of test-and-learn, structured as an agile initiative in an open-source world. It provides a prototype to be replicated and tested in other environments.

The purpose of this paper is to present a case study of the creative class of Curaçao, which is a small Caribbean island coping with globalisation. The paper will contribute to the development of a framework for the discussion of the Creative Economy.

The paper contributes to the development of a framework for understanding the Creative Economy. This framework is then applied to the case of Curaçao. After analysis, conclusions are drawn.

In Curaçao there are many conditions present which support the development and creation of the creative class or attract it from other locations. On the other hand, policies should be put in place to retain the creative class. The theories and methods relating to the creative class are not yet fully developed.

The paper contributes to a framework for understanding the Creative Economy of small Caribbean islands.

Since Richard Florida’s book The Rise of the Creative Class published in 2000, our attention has been drawn towards a peculiar characteristic of the cities where such a creative class thrives, and that is tolerance. We intend to explore in this paper whether one can use Hofstede’s “Uncertainty Avoidance” dimension to ponder if societies that are “Uncertainty avoidant” can provide a nurturing soil for a creative class to emerge within their bosom. To discuss this question, we examine the case of the Province of Québec (Canada) and most specifically, that of the city of Montréal, a city that has been dubbed by many observers as a creative city. In other words, our question is can a creative class thrive in a city that is located in an “Uncertainty avoidant” cultural and political unit?

Th purpose of this paper is to represent the role of social capital for the knowledge management system (KMS) in the kind of literature which is related to the topics in the creative industry.

This paper uses conceptual and literature study with empirical quantitative and qualitative investigation to validate. As some literature states that KMS is an organizational process and tool for acquisition, conversion, application and protection of existing knowledge as a way to use, develop and manage it which comes from internal and external organizations.

Literature shows that for some organizations, knowledge is gained through research and development (R&D) of the internal organization. In contrast, the creative industry requires knowledge that is derived from social capital such as social environment and community. The social environment and community (social capital) will provide knowledge that is required for the existence of the creative industry in producing the creative product that may represent the social context in which the creative industry exists. This study uses a meta-analysis as a tool of analysis to classify previous research and studies regarding the roles of social capital for KMS in the creative industry that were used as the cornerstone of the research.

Studies in the creative industry previously show that knowledge is a collaboration of tacit knowledge and explicit knowledge which is gained from various the creative classes within the industry. As a renewable resource-based industry, creativity, skill and talent are resources that are used to be commercialized to gain wealth for not only big industries but also for micro, small and medium economies (UMKM) that mostly done by communities, to create employment through the exploitation of intellectual property. Therefore, the creative industry can be meant as a knowledge-based industry that requires the application of KMS in its operation.

This chapter provides the results of the motivations and the profile of the creative tourist. Results originate from the major studies done worldwide, concerned with the different types of activities. This analysis is essential to design new products based on Creative Tourism and sustainability. Also, because at an international level, including South Europe, the profile of the creative tourist has not been characterised, especially the one that visits medium-sized cities and rural areas. This chapter intends to answer the following questions: Who is the participant in Creative Tourism activities? Is he/she mainly domestic or an international tourist? Why does this type of tourist participate in these creative experiences? What type of information sources do these tourists use to find the experiences in which he/she participates? This chapter uses primary and secondary data. The secondary data follow a content analysis approach of activities offered by Airbnb Experiences Platform. Regarding the primary data, 595 questionnaires applied in 45 creative experiences in the Northern region of mainland Portugal were analysed. The creative experiences were divided into seven categories: ‘creative festivals’, ‘nature and creativity’, ‘photography workshop’, ‘gastronomy experience’, ‘industrial experience’, ‘technology and creativity’ and ‘art and crafts’. The methods used were quantitative in nature. The questionnaire used consisted of 31 closed questions aimed at the profile and the motivations of the creative experience participants. Descriptive statistical analysis was used. The main results showed that participants in the seven categories of Creative Tourism experiences have relatively large differences in terms of demographic and socio-economic characteristics. These differences were also evident in their motivations for participating in Creative Tourism experiences.

The purpose of this paper is to draw on concepts from the creative economy literature to present a proposal for conceptualizing the creative industries from the perspective of the ideas underlying the concepts of industrial districts and the triple helix. The analysis lays out the foundations with a review of the literature on the creative economy and builds upon them with the terminology of creative industries and industrial districts.

The analysis lays out the foundations with a review of the literature on the creative economy and builds upon them with the terminology of creative industries and industrial districts. A three-dimensional representation is developed, from a perspective in which the three dimensions comprise university, creative industries and government, combined with seven underlying factors that define the archetypal framework from the perspective of the creative economy of the region's handcrafts.

Working from the principal of an analysis of underlying factors, the paper presents an ethnographic study of the potentials and obstacles present in the handcrafts sector and delineates the work that remains to be done to enable construction of a creative economy.

A prominent possibility based on the ethnographic study of the potentials listed, the creative economy of the handicraft sector is underexplored in the Amazon. Based on the Amazon heritage of the people in the Alto Solimões region, future prospects such as establishment of guilds, clusters and internationalization of production in a tourism association represent sui generis potentials for the economic development of the Alto Solimões region of the Brazilian Amazon.

This paper develops a new model of policy development for the creative industries in a transitional economy setting. These sectors could potentially make a significant contribution to the continuing growth of the Vietnamese economy; however, they are currently held back by a lack of policies designed to support them

The paper uses data collected from a mixed-methods study of the creative and cultural sectors in Vietnam. The paper combines quantitative results from a mapping project with ethnographic observations and several qualitative interviews to identify the policy needs of the sector.

The paper develops the INCITE model of policy development composed of four parts: education and human resources, infrastructure, intellectual property rights and freedom of speech.

The paper contributes to our understanding of the kinds of policies needed to support the creative industries by exploring their development in an economy transitioning from a state planned economy to a market-driven one.