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Although there is increasing evidence that the creative industries are essential to national economic growth as well as social and cultural well‐being, creative graduates often find it difficult to become established professionally. This study aims to investigate the value of career management competence and intrinsic career motivations (as elements of “protean career orientation”) in predicting positive graduate outcomes.

Self‐report surveys were administered to 208 creative industries graduates from two Australian universities at two points in time: at course completion, and one year later.

The paper finds that individual career management competence and intrinsic work motivations, measured at course completion, were significant predictors of early career success, using both subjective and objective measures, measured one year later.

This study suggests that an emphasis on student development beyond the traditional “key” employability skills may well be worthwhile. The paper also suggests a broad learning and teaching approach by which universities can encourage the development of student career identity, and thus engender student intrinsic career motivations and career self management skills and behaviours.

This is one of the first studies to demonstrate empirically a link between a particular set of skills and graduate outcomes. In addition, it provides insights into the role of student career motivations in positive transitions to the world of work in the creative industries.

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.

The purpose of this paper is to examine the relationship between entrepreneurial orientation, innovation capacity, and firm performance in the creative industries context.

The paper uses a survey‐based empirical analysis.

Innovation capacity mediates the relationship between entrepreneurial orientation and two different measures of firm performance in the creative industries.

These results suggest that success in the creative industries requires significant alignment between the entrepreneurial management and creative capabilities of the firm. Firms must identify unique opportunities to exploit that will foster and best leverage their creative competencies.

In addition to providing initial insight on the relationship between entrepreneurial action, innovative capacity, and performance with the creative industries, the paper also is one of the first on the creative industries to focus on firm‐level strategy.

States that the idea of grouping a number of cultural, commercial and industrial activities together under the banner of the “creative industries” is relatively new but it has already been the focus of considerable interest, discussion and policy making within the UK. Acknowledges that the government has been keen to promote the creative industries as a major success story and a key element in the knowledge economy. Looks at what is seen to constitute the creative industries, reviews some of the evidence about their contribution to the economy and outlines some of the management challenges and the support and promotion initiatives associated with these 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.

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.

The purpose of this paper is to investigate the role of intersectoriality within the cultural, creative and tourism industries in Italian local development.

The research design builds on the literature on culture-led development and adapts the established body of empirical research on industrial districts to tourism and cultural development. The quantitative analysis of intersectoral specialization and the clustering of cultural, creative and tourism industries in Italian local labour systems (LLSs) combines specialization indexes with principal component analysis and cluster analysis.

About 50 per cent of Italian LLSs specialize in the economy of culture and tourism, mostly in material culture, although tourism has the highest level of specialization. There are three main patterns of agglomeration and clustering. The largest cluster is that of the cultural heritage and content and information industries, which coincides with the systems of medium-sized and large cities, followed by systems of tourism monoculture. The smallest is made up of material culture, typically made-in-Italy sectors. The tourism and material culture industries are monocultures – where tourism agglomerates, but material culture does not.

The analytical approach is quantitative and based on Istat’s Industry and Trade (2012) data set. Further studies are needed on the interaction between agglomerated specialized industries.

This paper contributes to the theoretical and political debate on the value generation and innovation potential of culture and creativity, and bridges the knowledge domains of local development and managerial studies. Novel statistical evidence on intersectoral specialization and the clustering of the cultural, creative and tourism sectors in Italy at the inter-municipal level is provided. This study helps to identify an Italian model of the economy of culture and tourism.

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.