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In commercial applications the somewhat passive notion of marketing research is increasingly being superseded by the more active idea of consumer insight. In advertising this subtle change of emphasis is captured in the evolution of the account planning role and the associated “philosophy” of creative advertising development. The account planner is ostensibly responsible not only for commissioning and/or conducting advertising and consumer research, she or he is also responsible for integrating the resulting consumer insights into the creative advertising development process. Account planners deploy their consumer insights to act as “midwives” to creativity in the sense that they are responsible for persuading creative staff to take research‐derived consumer insights on board. This paper draws on recent depth interviews with advertising professionals and previously published research to explore the process of integrating research‐based insights into creative advertising development. The overall aim is to further elaborate the tasks and effectiveness of the account planner.

This chapter explores some examples of good and not-so-good practices implemented worldwide, especially in Southern Europe, in Creative Tourism activities developed by entrepreneurs. The case studies used in the present chapter are located either in urban territories, small cities or rural areas. The global market introduces some difficulties in achieving good practices, highlighting the need to improve solid partnerships. The support from private and public sectors to institutions and enterprises developing creative tourism activities is analysed. Administrative and economic difficulties are also considered, and some proposals for the future survival of institutions and enterprises. In a global market, the definition of clusters is playing an increasing role in the survival of local and regional economies. In the tourism market, where seasonality is also a significant problem with difficult resolution, creating clusters can also be a great tool to contradict this. However, the success of implementing clusters in the tourism market depends on strong leadership and in-depth monitoring of results planned to be achieved. The present chapter considers clustering in Creative Tourism and the difficulties of implementing it in South Europe. Cultural and organisational issues are highlighted, as well as the need to construct thematic clusters that feature the needs of tourists.

This paper aims to investigate empirically whether creative industries are boosting the economic performance of the ASEAN countries (Malaysia, Indonesia, Singapore, Thailand, Vietnam and Brunei Darussalam) during the Coronavirus disease (COVID-19) pandemic.

This paper applied a random effect and fixed effect estimation approach to investigate the impact of creative industries’ development (government expenditure on education, export of creative industries, trade openness, innovation index, sukuk issuances) on the economic performance spanning from 2010 to 2020.

The economic performance was proxied by two dependent variables, namely, the gross domestic product and the Misery Index. On top of containment and vaccination measures, the findings demonstrated that creative industries are enhancing economic growth in Association of Southeast Asian Nations (ASEAN) countries, supported by the significant role of the sukuk market as a vital contributor to economic growth.

This study is unique because it provides novel and empirical results of the creative industries’ development on economic performance in the ASEAN countries before and during the COVID-19 pandemic.

Considering the urgency of creativity development in the higher education system, this article justifies an effective model of creativity management for students and teachers at universities. The model is based on an empirical assessment of the difference between the creativity potential and its actual level. The data was taken from the managing factors playing an important role in the development of creative potential. The study was carried out in Kazakhstan.

The method of surveying 872 teachers and 944 students in Kazakhstan quantified the levels of actual creativity of students and their potential, as well as the gap between the two parameters. The authors identified the nature of the influence of the creativity development factors, contributing to the achievement of the creativity potential of teachers/students.

The gap between the levels of actual and potential creativity at universities for both teachers and students was found to be one of the main factors governing the creativity management in the education system. The main problems hindering the efficient management of actual and potential creativity at education institutions are personal and institutional factors.

The results are based on a limited sample of respondents, taking into account the higher education system in Kazakhstan.

Assessment and justification can be useful in determining the unused creative abilities of students and teachers in the process of developing creativity within the educational process.

The value of this study lies in an empirical assessment of the difference between actual creativity and creativity potential in the higher education system as an object of pedagogical management, as well as a deterministic hierarchy of causal factors of this gap. These results are valuable in the aspect that, when developing an effective management strategy, influencing these factors, in particular the institutional factor of the educational process, it is possible to increase the potential for the development of creativity of students and professors of higher educational establishments. Besides, a very useful scientific result in the framework of the development of this topic is the establishment of the primacy of ensuring the development of the creativity potential of teachers in the process of managing the development of students' creativity.

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.

Bandung city had constructed new facilities in urban areas or supplemented existing facilities to create a city branding of music-design-culinary. This paper aims to assess their potential as new tourist areas for urban. This study very little research explicitly to discuss new phenomena tourism from urban areas that raise the image of three branding concepts at once.

Qualitative research more emphasized meaning and process analysis. Data analysis was carried out by looking at the status of an urban community, an object and a set of conditions in the thought system or current cases. The supporting data analysis technique used in this research is spatial analysis overlay is one of the basic ways to create spatial relationships between music, design and culinary by processing the result SWOT analysis factor.

Three forms of brand imaging development can ultimately lift new changes in strengthening relationships for building a good image of the tourism city with visitors.

For developing a new branding that can be implemented, the actors necessary to identify and assess internal and external factors policy for further formulation development of tourism city strategy. These articles very few research to explore discuss new phenomena in urban tourism that raise the image of three branding concepts at once. The present work was a modest effort to fill this gap literature with uses a compilation of research findings separately from city branding in various cities used as a conceptual basis and a comparative analysis is then conducted of three schemes.

The purpose of this paper is to build up an evaluation framework for selecting creative industries into the new cultural creativity centre in Tainan city, Taiwan.

This study applies the Analytic Hierarchy Process (AHP) method to evaluate the creative industries for the introduction and development in the new cultural creativity centre in Taiwan. Then, a sensitivity analysis is carried out to determine the critical factors that affected the priority of the alternatives.

In the seven evaluation criteria, “market potential” has the highest weight, followed by “regional development” and “culture improvement”. In the six industries, creative lifestyle, crafts, and creative design are the three most favourable industries chosen for the introduction and development in the new centre.

One possible limitation is the selection of experts in the research design. Although the participants selected in our study are experienced in the development of the cultural creativity centre and are across several disciplines, the representative of group members is still a critical issue.

The application of the model provides an avenue for government policy makers and researchers to deal effectively with the industry selection issue.

The model developed in this paper is a useful decision‐making tool for solving the selection problem of creative industries.

This study aims to propose resident-based brand equity models on green, creative and smart development themes through a multi-sample telephone survey on Hong Kong residents (n = 751).

This research adopted a quantitative approach with a round of questionnaire-based survey carried out anonymously on adult citizens who have stayed in Hong Kong for more than one year. Telephone survey was performed by a professional survey research centre with trained interviewers between May and July 2022.

The study identifies the magnitude of these city brand equity attributes and reconfigured their composition under separate samples of Hong Kong residents. The results reveal the relatively stronger brand equity for developing Hong Kong as a smart city brand compared with green and creative branding.

The research findings might carry a major limitation of varied interpretations and stereotypes of each city theme (green, creative and smart) by local residents. To minimize the expected bias, two core questions were added to provide respondents with information on each theme before the main survey questions. The questions’ wording was also simplified to ensure the constraint and inconsistency of layman effect.

The common attributes across the themes, including distinctiveness, uniqueness, confidence, positive image, liveability, long-term residence, feature familiarity and top-of-mind, indicate the most prominent aspects of brand equity formation and enhancement. Since urban sustainability does not follow a single path of strategies and infrastructure development, city brand process should also follow a selective approach, which clearly identifies a multiplicity of local interests that could create the best outcomes and the strongest brand equity for the city.

The factor allocation and regression analysis elucidate different configurations of the determining factors with a three-factor model for green city brand equity and two-factor models for the other ones. The findings encore some previous studies supporting the differentiation between common attributes and distinctive attributes, and the overlapping approach to unleash the strongest integration of attributes of brand equity.

This paper aims to investigate the European and Latin America urban cultural policies that could enhance cultural and creative sustainable tourism products development.

The methodological framework is based on a comparative case study regarding the importance, dynamics and policies associated to cultural and creative tourism in four Ibero-American cities, namely, Brasilia, Buenos Aires, Lisbon and Madrid.

This exploratory analysis underlines the growing importance of cultural and creative tourism in the four capital cities. On one hand, cities reveal different tourism impacts and, on the other hand, they are associated to different cultural and creative sector structures. Cities cultural and creative performance put in evidence that sustainable cities index, global talent competitiveness index and cultural and creative cities monitor, tend to position Madrid in the first place followed by, Lisbon, Buenos Aires and Brasilia.

In general, and despite the importance of space in the creative process, there is little research on the geography of the creative industries and there is a lack of cross-country comparative studies so that it is difficult to assess the particularities of each model of creativity.

Cities could enhance more efforts in investing, not only in the traditional cultural infrastructures but also on the new forms of culture, new technologies, new makers, new audiences based on their attributes, activities and labels, in a framework of urban sustainable policies based on “innovation,” “inclusiveness” and “interconnectivity.”

The originality of the paper lies in the comparative analysis of four cities based on cultural and creative sector and tourism interconnections. Simultaneously, it lies in an exploratory model application.

The combination of mobile devices and innovative tools offers new possibilities for the development of a community of practice for design makers. Mobile learning has become an essential method that design makers should adopt. The main content of this study is to explore the characteristics of learning behaviors and learning needs of creative design makers' group in forming a community of practice in the era of mobile learning.

This study conducted questionnaire research on the potentially associated or directly associated population of design makers. The process of the study also combined observational and interview studies to compensate for the lack of questionnaire research.

Based on the support of mobile learning technology, design makers share and co-create to achieve individual development and evolution of learning organizations, and produce creative value. Design-maker communities of practice form common communities in the framework of informal organizations to support continuous individual learning. Convergent interests or concerns in making things, real-world contexts based on makerspaces and hands-on practice based on real projects are the basis for forming design-maker communities of practice. A variety of open-source hardware, software and platforms that can support mobile learning are important for the development of design-maker communities of practice. The design-maker community of practice needs group factors, activity development, physical and technical resources, spatial support and institutional norms to enhance learning behaviors and satisfy learning needs.

The discovery and construction of these associated factors can help creative design practitioners form a lasting and virtuous organizational development. This study facilitates the formation of a social network for learning and knowledge sharing among design-maker communities of practice. It enhances the innovation ability and enthusiasm of design makers according to the population characteristics and learning needs of design makers. This study also facilitates the generation of a positive adaptive maker culture and maker spirit within design maker organizations.