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This paper concerns the pivotal role that entrepreneurial universities can play in developing knowledge transfer and translation processes tailored to the cultural ecosystem.

The paper examines IncubiAmo Cultura, an innovative project that aims to mentor potential entrepreneurs and offer incubation and acceleration for cultural start-ups. The research methodology is based on action research and theory building from cases. An interventionist approach has been adopted, as one of the authors is also the founder of the ongoing project.

The in-depth collection of first-hand information on this pilot project has allowed the authors to formulate an analytical reflection and generate the design of a knowledge translation model driven by an entrepreneurial university that manifests itself through the creation of cultural and creative start-ups.

This article offers an original contribution to scholarship by offering a conceptual model for knowledge translation in cultural ecosystems. Common values (i.e. social, cultural, ethical and aesthetic ones) emerge as the basis on which to build open innovation and knowledge circulation.

For local policymakers, this study provides a clue to understand the need for both an integrated vision of knowledge translation and policies that aim to make an impact at the cultural ecosystem level. For entrepreneurial university governance, our investigation offers suggestions on the design and implementation of knowledge translation processes that fit with the specificity of the cultural ecosystem. For practitioners in the cultural field, a change of mindset is required to combine resources, energies and knowledge.

This work fills several gaps in the literature, as research generally concerns knowledge transfer from entrepreneurial universities to the market with regard to high-tech sectors. In contrast, the cultural sector is often neglected, despite its importance in the renewal and development of a territory.

The purpose of this paper is to further theorize the concept of the “sustainable temporary store” and explore benefits and challenges for slow fashion retailers using temporary stores to promote a new value proposition and develop a business model.

The theoretical part combines the findings from marketing and human geography literature to theorize pop-up retailing from the slow fashion SME perspective. The empirical part uses a critical case study and a qualitative method approach (primary sources, half standardized interviews, ethnographic observation).

The study provides theoretical insights into five success criteria for the “sustainable temporary store” across geographies. Empirical findings allow for further conclusions about challenges in regards to spatial requirements and business modeling for slow fashion retail entrepreneurs in the Netherlands.

Limitations of the study are the geographical scope of exiting literature on the global north and the restricted sample size. However, by selecting a critical case, careful geographically restricted generalizations can be made.

The study provides useful information for slow fashion entrepreneurs who want to use cheap temporary space to develop their retail business model.

The results show that there is placemaking value (social value creation) in temporary slow fashion retailing.

The study provides a relevant contribution to the theory of pop-up retailing and more precisely to the concept of the “sustainable temporary store.” It also delivers a replicable empirical research design for other geographies.

The purpose of this paper is to investigate how digital creative graduates develop new businesses on graduating from university, and how their creative, business and personal lives interact until their nascent ventures fail financially.

Seven digital creative nascent graduate entrepreneurs were followed for up to five years. Although independently assessed as having promise of business success, they were young and lacked business experience. They were followed through six-monthly semi-structured interviews which investigated their business, creative and personal development. The interviews were transcribed and key statements manually coded and extracted for analysis to identify issues, tipping points and outcomes.

The primary contribution is the finding that, despite a promising beginning and very generous start-up support, all seven nascent ventures failed financially and most were closed down in favour of employment, particularly when personal issues such as parenthood sharpened the need for stable levels of income. The graduates demonstrated weaknesses in their commercial skills, especially selling (human capital) and insufficient utilization of networks (social capital) so that in the mainly mature low entry-barrier markets they were entering they were at a disadvantage from the outset. The research has also demonstrated the value of a real-time longitudinal qualitative approach to investigating businesses from business start-up to eventual exit.

The insights gained have practical implications for start-up and survival support for creative graduate businesses, as well as raising issues about the effectiveness of postgraduate entrepreneurship education and cultural policy relating to this economically important sub-sector.

The longitudinal approach has brought new insights and indicates several areas where more research would be valuable, especially in dealing with the consequences of unsuccessful nascent business ventures.

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 purpose of this paper is to respond to the call by McMullen and Dimov (2013) for a clearer understanding of entrepreneurial journeys by investigating the entrepreneurial capitals and micro-processes of seven young early stage entrepreneurs who all exited their businesses within 3 years of start-up.

The authors analysed empirical data from concurrent in-depth interviews which generated rich longitudinal case studies. Theory-building then led to a proposed “Longitudinal Dynamic Process Framework” of entrepreneurial goals, processes and capitals.

The framework builds on prior studies by integrating entrepreneurial processes and decisions into two feedback loops based on continuous review and learning. It thereby enhances understanding of the dynamics of new business development and unfolds the early stage ventures entrepreneurs' business exits.

The findings are based on a small purposive sample. However, the main implication for research and theory is showing how the entrepreneurial capitals are dynamic and influenced by entrepreneurs' environment, and also separating entrepreneurs' personal issues from their business issues.

The findings challenge some assumptions of policymakers and offer new insights for practitioners and early stage entrepreneurs. These include having more realistic case-studies of the entrepreneurial journey, recognizing the need to be agile and tenacious to cope with challenges, understanding how capitals can interact in complementary ways and that entrepreneurial processes can be used to leverage them at appropriate stages of the start-ups.

The concurrent longitudinal analysis and theory-building complements extant cross-sectional studies by identifying and analysing the detailed processes of actual business start-ups and exits. The proposed framework thereby adds coherence to earlier studies and helps to explain early stage entrepreneurial development, transformation of capitals and business exit.

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.

This paper aims to better understand how to lead toward creativity in virtual work in a start-up context.

The study investigates the participants’ experiences about the learning challenges in leadership toward creativity in virtual work in a start-up company and the meanings attributed to their experiences, and the measures they see to meet those challenges. The data have been gathered on a Finnish partnership start-up company through interviews capturing peoples’ personal perspectives and experiences. This study uses a qualitative research study approach to better understand leadership toward creativity in virtual work in a start-up.

The results underline the importance of co-creative and assertive coaching leadership in a start-up to foster creativity and create new shared value. Key persons’ multiliteracy skills and lobbying are means to manage social and physical distances in virtual work.

The study suggests collaborative coaching leadership and assertiveness for start-ups to minimize mistakes in virtual work. Practitioners must unlearn old courses of action to learn to operate in a start-up environment and utilize information and communication technology in a smart way.

The paper gives empirical evidence in a start-up context about combining leadership and creativity within the virtual work research.

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.

Given limited research about how artisans become integrated into tourism, the purpose of this paper is to investigate the emergence of artisan entrepreneur–mediators who link artisans to tourism in rural areas and small cities in Portugal. Using social embeddedness as a conceptual framework, this paper views artisan entrepreneur–mediators as existing within an entrepreneurial ecosystem. The paper investigates their role within this ecosystem and how social networks influence the artisan entrepreneur–mediators’ roles in connecting artisans to creative tourism.

The paper is based on new (2017 and 2018) empirical evidence developed through two rounds of semi-structured interviews of five artisan entrepreneur–mediators.

This paper finds that artisan entrepreneur–mediators in rural areas or small cities take on multiple roles as networking agents who organize and offer creative tourism experiences, providing the missing link between artisans and tourists. An analysis of the nuances of the operations of these artisan entrepreneur–mediators suggests that high levels of social embeddedness within local rural communities are important in order for these neo-rural entrepreneurs to attain their goals.

Originality lies in the identification of a gap in artisan entrepreneurship literature in a rural context. It is the first time that a critical analysis of artisan entrepreneur–mediators who facilitate the link between artisans and tourism is carried out in terms of social embeddedness, their roles and connections to creative tourism, and types of community engagement.

This paper aims to investigate the factors that influenced seven graduates in the creative and digital industries to start their own businesses in Barnsley, South Yorkshire, UK – an area with lack of employing establishments and locally registered businesses.

Questionnaires and semi‐structured interviews identified the constraining and enabling factors graduates may encounter when attempting to start a business, and explored the impact of support provided.

Perceived constraining factors were: lack of general business knowledge, contradictory advisory support from external agencies, lack of sector‐specific mentors, lack of finance, and experience of familial entrepreneurship. Perceived enabling factors were: co‐mentoring from business partners, course content, financial gain, creativity and innovative ideas, control and risk taking, and the overarching package of support. Linkages between internal and external support could be improved.

The study provided insights into constraints and enablers to self‐employment for a small cohort of recent graduates looking to start‐up in the creative and digital industries. Further studies are required to explore the suggested effect of the “creative identity”, and of sector‐specific family entrepreneurial background.

The support provided by universities can facilitate the transition from early stage ideas to actual graduate business start‐up. Issues such as provision of specialist advice and links with external parallel and follow‐on support need to be considered.

University start‐up units provide an important contribution to the development of graduate entrepreneurs and their role in the growth of national and global economy. Suggestions for improvements in performance, such as closer links with external business development agencies and support providers, are discussed.