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The purpose of this paper is to conceive the concept of inter-industry creative collaboration; a unique kind of cooperation between business partners from diverse industries. It investigates the motivations that encourage their creation and identifies a method to evaluate consumers’ attitudes towards this kind of partnership. The study analyses consumer-based brand equity and links them to inter-industry creative collaborations within the luxury fashion industry.

Research was conducted using a comparative case design, which was qualitative in nature. Four cases were selected purposively. The data were obtained using semi-structured interviews with industry informants and consumer focus groups. Transcripts were thematically analysed according to common categories identified in the literature to enable cross-case conclusions to be drawn.

The research proposes the existence of a direct relationship between the consumer-based brand equity effects and consumers’ attitudes towards inter-industry creative collaborations. This research not only proves the existence of the stated relationship but also generates a theoretical framework that specifically analyses inter-industry creative collaboration involving luxury fashion brands.

The usage of convenience sampling limited consumer participants to individuals who considered themselves luxury fashion consumers. In addition, the findings are limited to London, UK and cannot be generalised outside the examined cases. That said, the research provides a useful starting point for further empirical research to test the validity and reliability of the model outside of the stated cases.

The proposed theoretical framework serves as a practical guide for luxury managers to assess the planning and execution of inter-industry creative collaborations conducted by their brands.

The research makes a contribution to brand management literature by creating a connection between four topics of academic research: motivations of inter-industry creative collaborations; consumer-based brand equity; consumers’ attitudes towards inter-industry creative collaborations; and the creative and emotional elements of luxury fashion.

The purpose of this paper is to identify the needs and receptiveness of the creative industry sectors, in particular small and micro businesses, in respect of the adoption and development of degree apprenticeships. In addition, the paper aims to identify employers' barriers to entry into such programmes.

Due to the lack of knowledge of degree apprenticeships, an ‘explain and respond’ method was adopted, where a comprehensive explanation of degree apprenticeships and the process for delivery was given to respondents. This enabled them to ask questions and give informed and knowledgeable response to interview questions.

Participants in this research were generally positive about the integration and adoption of degree apprenticeships into their businesses. However, they suggest that the rigid procedure set by the Institute for Apprenticeships makes embarking on the process of developing standards and adopting degree apprenticeships difficult, time-consuming and impracticable for businesses of their size and in these sectors. This has implications for addressing skills shortages and diversity that stands to endanger the continued success of the creative industries.

Little research has been conducted into the viability of degree apprenticeships for creative industries, particularly non-levy paying small and micro businesses.

The purpose of this paper is to examine the challenges of older self-employed workers in the creative industries and ways of dealing with these challenges. This is important in the light of the aging population and the increase in entrepreneurship among older workers.

In total, 43 older self-employed creatives in the Netherlands were interviewed by telephone. Once the data were transcribed, content analysis was conducted.

The findings reveal that older self-employed creatives are often forced into self-employment, experiencing a vicious circle that pushes them away from the creative industries. They have to deal with multiple identities. Successful older self-employed creatives dealt with these challenges by creating synergies between their identities, focussing on their strengths and using their existing networks. They also stressed the transferability of their skills and knowledge.

Older self-employed creatives have to deal with some specific challenges. Although these challenges are difficult to deal with, some successful strategies emerged.

Older self-employed creatives are an under-researched group of workers. Other industries can learn from the success stories of older entrepreneurs in the creative industries.

The rise of creative economy has been the subject of considerable interest in the recent literature. Despite the growing effort to investigate entrepreneurship in creative industries, little work has been done to scrutinize the relationship between individual attributes of creative entrepreneurs and the new venture outcomes. Prior research shows that entrepreneurial creativity and opportunity recognition are the major determinants of entrepreneurs’ behavioral posture in the new venture process. Therefore, this study aims to explore the typology of creative entrepreneurs’ attitude to new venture creation using entrepreneurial creativity and opportunity recognition to categorize entrepreneurs in creative industries.

A sample of 291 entrepreneurs in creative industries of Taiwan and cluster analysis was used to categorize the research data.

The results identify four types of creative entrepreneurs, namely “creative constructionist”, “creative opportunist”, “creative designer” and “creative producer”. To better understand the role of creative entrepreneurs in affecting new venture success, the career outcomes perceived by entrepreneurs were compared between different categories. Results suggest that entrepreneurs who are categorized as “creative constructionist” have better career success in firm’s creative performance, personal career achievement, social reputation, entrepreneurial satisfaction and entrepreneurial happiness. Moreover, findings also suggest that constructionist type of creative entrepreneurs have the lowest intention to quit the entrepreneurial career.

This paper confirms that entrepreneurial creativity and opportunity recognition complement each other to accomplish entrepreneurs’ career success. Its findings shed light on entrepreneurs’ attribute typology as well as how the typology is linked to entrepreneurial career success in creative industries. Theoretical contributions and practical implications are discussed.

This paper seeks to report on the current state and attitudes towards Enterprise Curriculum within higher education (HE) for the creative industries sector. It is based on preliminary findings from the Creative Enterprise Conference (2006) held at UCE Birmingham, which examined the role of HEs in developing future entrepreneurs in this important sector of the UK economy.

This paper explores issues related to enterprise curriculum development in HE through in‐depth qualitative analysis of plenary sessions, focused discussions and workshops. A number of stakeholders, including policy makers, academics, researchers and practitioners were invited to explore relevant issues appertaining to “creative enterprises” in the UK.

This paper presents a critical evaluation of the growing specialist literature, activity and research in creative industries, notably: research needs, paucity of pedagogical materials, characteristics of “creative entrepreneurs” as well as how, when, where and in what way should “creative” students be taught about entrepreneurship and self‐employment.

The study offers stakeholders a critical perspective on current attitudes and practices within creative industries. This paper offers interested parties an opportunity to consider and reflect on how HE can develop relevant curriculum and deliver enterprise education that is pertinent to students who intend to operate in this important sector of economic activity.

By capturing current attitudes and good practice in creative industries, this paper emphasises enterprise curriculum development and implementation in a relatively underdeveloped aspect of educational research. It makes tentative suggestions and recommendations on how HE and policy makers might respond to current and future enterprise education needs.

The purpose of this study is to determine whether personal assets or organizational investments from an intellectual capital perspective have an influence on employee commitment in the Taiwanese cultural creative industries.

This study used a cross‐level design to conduct a questionnaire survey. The research variables covered two levels: individual level (personal human capital and organizational commitment); and organizational level (organizational intellectual capital). The authors contacted 39 small and medium‐sized enterprises (SMEs) in Taiwan's cultural creative industries, requesting their participation in the study, and 27 managers and 86 employees in 27 cultural creative firms provided research information. The response rate was 69 percent for managers and 44 percent for employees, respectively.

The research results indicate that both personal human capital and organizational intellectual capital were antecedents of organizational commitment. For personal human capital, employees with higher levels of education are less committed to organizations. Tenured employees were found to be more committed to organizations. However, the authors did not find a significantly positive effect of personal age on commitment. In regard to organizational intellectual capital, the stocks of human capital and social capital increased organizational commitment. Interestingly, organizational capital reduced organizational commitment for employees in cultural creative industries.

To the authors' knowledge, this is the first study to examine the cross‐level antecedents of organizational commitment from an intellectual capital perspective. In addition, the authors provide some empirical evidence focusing on one emerging industry in Taiwan, i.e. cultural creative industries.

Because we lack a usable definition of the concept of style to inform research on the creative industries, this chapter takes a first step toward developing a style-based perspective on them. The use of style in disciplines where the study of creative industries occupies a notable position (sociology, anthropology, cultural studies, and management) is compared and contrasted with a series of related concepts (status, fashion, trend, genre, movement, and category). Style is defined as a durable, recognizable pattern of aesthetic choices. Propositions that relate style to an organization’s creative performance are formulated for two types of audience: insiders and outsiders.

The purpose of this paper is to evaluate the role of handicraft production units within creative cultural clusters (CCCs) and their impact on urban regeneration, particularly within the historical fabric of Isfahan. It aims to identify the key factors contributing to the development of CCCs and how these clusters, in turn, influence tourism development.

The research method of this study is based on a quantitative approach, using a researcher-devised questionnaire as the primary data collection instrument. The statistical population included 227 units of handicraft makers in the historical fabric of Isfahan. The data processing and analysis were performed using SPSS software.

Statistical analysis confirms the creative industries, spatial and socio-cultural indices significantly impact tourism, with means of 14.19, 19.07 and 15.11. Clustering, cultural resources and tourism are key to CCCs growth, while innovation and cultural identity have less effect. CCCs enhance Isfahan’s historical fabric, improving urban space attractiveness and fostering social ties. Handicraft clusters around Naqsh-e Jahan square notably influence the economy and cultural identity, with shop placement reflecting the city’s character.

The originality of this research lies in its analysis of how handicraft production within CCCs contributes to urban regeneration and tourism in Isfahan, with a novel focus on the socio-cultural and economic impacts of these clusters in a historical context.

The main purpose of this chapter is to discuss the design and development of creative ventures and activities in tourism-related industries. This chapter also aims to provide prospective entrepreneurs with practical guidance to pursue business opportunities and manage creative tourism business.

Literature review was conducted on main conceptual issues and practical aspects of entrepreneurship and creative tourism business. These issues have been illustrated by case studies from the business world.

This chapter outlines and highlights the main components/segments of the creative tourism, the profile of entrepreneurs in this industry, the main elements of creative tourism experiences, as well as the requirements and expectations of creative tourists.

This chapter is explorative in nature based on a literature review and case studies. It takes an entrepreneurial perspective and approach.

An in-depth understanding the concept of creative tourism and its implementation is really useful in designing, managing and marketing the appropriate offering of experience opportunities in the creative tourism business. Therefore, to provide high-quality offering and memorable experiences in this field, prospective entrepreneurs should fully understand and apprehend the characteristics, the requirements and expectations of creative tourists.

This chapter analyses conceptual frameworks and presents practical examples of business ventures through case study development. In doing so, it provides a better understanding of the entrepreneurship in the field of creative tourism.

This paper aims to marry Michael Porter’s industrial cluster theory of traded and local clusters to Richard Florida’s occupational approach of creative and routine workers to gain a better understanding of the process of economic development.

Combining these two approaches, four major industrial-occupational categories are identified. The shares of US employment in each – creative-in-traded, creative-in-local, routine-in-traded and routine-in-local – are calculated, and a correlation analysis is used to examine the relationship of each to regional economic development indicators.

Economic growth and development is positively related to employment in the creative-in-traded category. While metros with a higher share of creative-in-traded employment enjoy higher wages and incomes overall, these benefits are not experienced by all worker categories. The share of creative-in-traded employment is also positively and significantly associated with higher inequality. After accounting for higher median housing costs, routine workers in both traded and local industries are found to be relatively worse off in metros with high shares of creative-in-traded employment, on average.

This work points to the imperative for the US Government and industry to upgrade routine jobs, which make up the majority of all employment, by increasing the creative content of this work.

The research is among the first to systematically marry the industry and occupational approaches to clusters and economic development.