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This chapter examines emerging theoretical approaches and thematic aspects of creative and cultural entrepreneurship and the significant societal and economic contributions of creative firms. It reviews the concepts and definitions essential to examining creative industry entrepreneurship. The authors then provide framing for this exceptional collection of chapters in Volume 1 (of 2) and discuss existing research approaches from surveys and small-scale qualitative studies. Then, the chapter’s overview showcases the range of international research included in three sections: conceptual reflections on creative and cultural entrepreneurship, resilience and adaptation of creative and cultural enterprises, and insights into creative subsectors. Finally, the chapter proposes a research agenda for developing the field further, addressing methodological gaps (longitudinal studies and cluster research), emerging thematics (rural creative industries and creative placemaking) and sector studies (game and film industries).

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

Creative labor in the perfume industry can be identified as perfumers or perfume designers who have spent years in the industry either with formal education or firsthand practice and have developed their skills. They are skilled in matching various fragrances and work with the client's framework to produce perfumes. This chapter analyzes the literature about creative labor's living conditions and aspirations, focusing on the perfume industry and its role in producing perfumes. Perfumery is looked at from a creative and artistic perspective, and the prerequisites of becoming a successful perfumer are analyzed. In an industry where talent plays a crucial role in one's success, perfumers are identified as those who work with large brands to produce perfumes for the masses or cater to specific individuals. Bespoke perfumers such as Sylvaine Delacourte and Jean-Claude Ellena have a lot more flexibility and autonomy in their work because of their superior level of skill. They can charge soaring prices for their work. Whereas other creative workers in creative projects have to undergo a long collaborative process where they are required to work within the framework provided by their clientele to launch a new perfume product. Previous literature by Richard Florida and Brian Moeran about the creative class has been used to identify the characteristics of creative labor in the perfume industry. The creative process in perfumery in terms of high-end luxury products and mass production products is discussed. Manufacturing of perfumes today is primarily industrial, and the role of perfumers in the high-end prestige market and mass market in terms of their creativity is analyzed. Additionally, the top perfumers’ style of work and the creative process involved in making perfumes are discussed.

Kenya leads East Africa in creative goods export and enjoys high internet penetration. Therefore, identifying pathways, missed opportunities for accelerating job creation and development in the sector and strategies for mitigating youth-related challenges are essential. This paper therefore aims to examine the effects of digital media and the cultural and creative industry (CCI) on youth employment and economic development.

The document review and analysis data came from 45 scientific and 23 grey literature articles. While the lack of primary data is a study limitation, secondary data were drawn from the United Nations Conference on Trade and Development Statistics and the 2016–2022 entertainment and media outlook analysis. Microsoft Excel 2021 for Windows was used to analyze quantitative data and generate results.

Since the CCI sector is characterized by limited financial opportunities, low youth participation in the labor force and weak policy frameworks, success in the industry requires key pathways. These include investment in digital-led innovations, developing innovative models, building partnerships with the private sector, strategic investment by government in the potential creative industry sub-sectors and identifying successful scaling-up models.

Information gathered through this study is crucial to counter the youth unemployment challenge and strategy identification, which could be used in skills and capabilities development in the potential creative economy. Future researchers must explore how to apply the proposed creative capacity theoretical lens to inform research in the sector.

The purpose of this paper is to explore and clarify the relationship between creative developments and the concepts of place and placemaking.

This paper systematically reviews scholarly literature on the relationship between creative developments and the concepts of place, and critically analyzes the extent to which creative developments acknowledge different aspects of place.

The findings demonstrate that the relationship between creative development and place is multifaceted, and combines physical, cultural and social aspects of place. However, the literature also calls for the greater valuation of particular facets of place, including the daily experiences of communities and local cultural producers, alongside symbolic and imagined aspects of place, all of which inform either positive or negative perceptions of urban form. In addition, the authors argue that the cultural value of the creative industries needs to be better acknowledged in creative developments, implying support for a range of cultural practitioners.

The authors argue that embracing a more holistic understanding of place in creative development has the potential to minimize the negative impacts sometimes associated with such developments (like gentrification and social displacement) while generating greater social and cultural benefits to people and place. The study findings raise questions that frame a critical research agenda for creative-led developments and creative placemaking in this context.

By examining the broader relationship between creative developments and place and identifying areas neglected by researchers, this research contributes to an articulation of “creative placemaking” that moves creative city policy toward enhancing community development.

In spite of controversies in academia, various nations around the world have been propounding the importance of cultural and creative industries (CCIs) as the driving force in economic growth and development strategies. Accordingly, this research aims to understand how these industries could contribute to forming a cultural and creative policy scheme in an urban context that is structured based on local cultural assets.

The case analysis of Rasht city, a UNESCO Creative City, assesses the planning policies from the national to the regional level to determine the cultural policy planning platform of Creative Rasht in four phases of urban cultural resources, municipal objectives, festival urban branding and the role of stakeholders, which are fashioned by the integrated cultural identity and sustainable city. This is followed by semi-structured interviews with experts and young researchers in the field of culture-led urban regeneration to evaluate different phases of the policy planning process.

By means of the qualitative method and ethnographic research, this paper argues that managerial regulations for local cultural industries contribute not only to the reinforcement of cultural resources but also to urban cultural sustainable development.

Building on empirical research, this paper attempts to argue the significant role of local CCIs alongside social values in creating a creative city platform, given the necessity for an urban cultural platform in Iran. It also emphasises the importance of local communities’ participation in the decision-making process and awareness-raising among different groups of stakeholders.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

The rise of the coronavirus disease 2019 (COVID-19) pandemic has enabled researchers and industry professionals to reinvent their strategies for basic economic understanding. Two years after the outbreak of the pandemic, businesses are now trying to adapt to the impact it has brought, hoping to receive support as it did in the past. However, before this feat can be accomplished, it is imperative to understand the recovery hurdles created by the pandemic. This research aims to fill the literature gaps by examining the challenges during recovery within the creative small and medium-sized enterprise (SME) industry, as there are few relevant studies that focus on this field.

Through a methodical bibliometric literature review and network analysis, the paper intends to critically explore relevant recovery challenges within the field while providing answers to the appropriate research questions. A total of 43 articles were selected for an in-depth review. Using the analysis from the selected articles as a guide, a framework was developed to address the recovery challenges alongside the recommended propositions.

The findings from this paper suggest that a lack of synergy among four major categories (governmental, supply chain, organizational and stakeholders) contributes to recovery challenges within the field of research.

The review also offers clarification in understanding the current and upcoming trends within the creative industry, SMEs and COVID-19. This paper can thus help researchers, industry practitioners and managers discover and analyze the recovery challenges brought about by the COVID-19 pandemic.

This study aims at investigating creative labor and its production process in late capitalism. With technological convergence and digitalization, there emerged an information society and information economy. In the processes and procedures of this era, conditions and climate of working areas and labor processes directly based on innovation and creativity have undergone radical transformations. Also, it has become indispensable to scrutinize the concepts such as immaterial labor, autonomy, and subjectivity. So, this study focuses on Turkish freelance illustrators to highlight their production, autonomy, and value in transformed time and space. It aims to establish a better understanding of the Turkish freelancer illustrators’ valorization of labor and economic insecurity in the digital era of creative industries by using the techniques of open-ended questions and online semi-structured interviews with 12 freelance illustrators. Therefore, this study traces the question of how the working processes and work ethos of digital career fields in the creative industry are evaluated from the perspective of illustrators. It cannot be overlooked that this new working ethos allows them to work as self-employed, offering through non-contractual relationships, and non-standard contracts with the clients which give them more flexibility and autonomy as an artist to plan their own creative production processes. It is also clear that illustrators who adapted themselves to produce in a transformed time–space are aware of the difficulty in measuring and valorizing the value of the creative and emotional labor they put to work. In such a case, it can be said that illustrators, who see themselves as both an employer and employee at the same time, position themselves beyond the distinctions of blue collar and gray collar and blur the boundaries in organizational hierarchies.