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This chapter explores how department stores came at the end of the 19th century to be at the origin of what is now called “fashion tourism.” Contributing to a new “geography of commerce,” it highlights the role of the space of the department store both as a place of conspicuous fashion consumption and tourism. Further, it demonstrates how Parisian department stores helped consolidate Paris's place as the capital of fashion and luxury. Far from being only places to buy the latest in fashion, the latter became indeed a symbol as quintessentially Parisian as the Eiffel Tower and as necessary to visit for the “Paris experience.”

This chapter investigates the importance of fashion houses in the progressive redefinition of tourism geography within a metropolitan context. The purpose is to highlight how these brands manage both to integrate marginal urban areas into the tourist circuits and to co-construct market-oriented heritage policies. Through the case of Fendi Roma and the EUR district (Rome, Italy), this chapter explores their degrees of involvement in the processes of requalification and estheticization of peripheral urban areas. The study found that the involvement of the luxury brand in Roman urban governance is symptomatic of evolutions in the political strategies pursued by public actors in their relations with private investors.

This chapter explores the potential of social media in the context of festivals and shows how web platforms can better inform event managers’ understanding of how a festival’s social atmosphere (i.e. the socialscape) can be extended online and beyond the actual periods of the staging of a festival. This is possible as social media can help to build an online environment that favours social identification and user engagement. To illustrate such a mechanism, the chapter presents a multi-method analysis of Fotografia Europea, a photography festival held in Reggio Emilia, Italy. Results show the potential of a coordinated web and social media strategy for enhancing the festival’s atmosphere in terms of social identification and engagement.

This chapter is focused in a methodological frame to study the practices of entrepreneurial agents and the startups in nontechnological sectors in the middle-income countries. The startup of ideas involves three phases that comprise the first life cycle of a possible company considering too sociocultural aspects as external factors implied in the creation, prototype, and entry to markets. In Latin America, the type of risks experienced by companies in their early stages of life and incubation are not known in a timely manner. The lack of information on entrepreneurship and its agents in countries such as Mexico also inhibits visualization of heterogeneity of contexts to business development, and how some regions are more propensity to boost startups than others, in different sectorial and branches of knowledge. Mexico like rest countries in Latin America has a high percentage of SMEs focused in sectors that are innovative but not are participating in the last technological waves. For this reason, it is necessary to know how these agents prepare, manage, and apply entrepreneurship in accordance with institutional, technological, and sociocultural dispositions to structure their experiences and make more vigorous the territorial entrepreneurial. Small and medium businesses are building new paths taking advantage of territorial and cultural opportunities. Applying the framework proposed in the last part of this chapter is presented a case of study of an entrepreneur oriented to craft brewer production in Tijuana, Mexico.

The chapter is concerned with the policy led by Paris and London towards the visual artists during the XXth century up to the present day. It examines in detail the evolution of the political system developed in France – as Paris was the center of artistic culture – from philanthropic initiatives, the “cités d’artistes,” to the introduction of painters and sculptors in social lodgings in the 1920s by the City of Paris. This impulse was supported by the Ministry of Culture. The expression of welfare state promoting artists in Paris is opposed to the emergence of “arts infrastructure” in the former industrial buildings of London through various artists’ associations, such as Space and Acme. From an historical research and a sociological analysis concentrated on Paris and its suburbs, our fieldwork, we studied an emblematic example, Montmarte-aux-artists, located in the 18th arrondissement the evolution of the welfare politics concerning artists’ studios in the urban renovation of Paris up to the present day. In contrast, the social support concerning the artists living in London is opposite and the effects on the urban area are different. Our research is inspired from the School of Chicago methodology. The main results of our research underline how the introduction of artists’ studios in social lodgings reveals an utopian dimension linked to the artist. So, the artist is considered as a singular inhabitant who can encourage the empowerment in the social housings or who can contribute to the phenomenon of gentrification in an area. However, the utopian role given to the artists is limited to the social and political system.

City identity is a distinct form of collective identity based on the perceived uniqueness and meanings of place, rather than group category and membership. A city’s identity is constructed over time through architecture, which involves three sign systems – material, visual, and rhetorical – and multiple institutional actors to communicate the city’s distinctiveness and identity. We compare Barcelona and Boston to examine the identity and meaning created and communicated by different groups of professionals, such as architects, city planners, international guide book writers, and local cultural critics, who perform the semiotic work of ­constructing city identity.

In current research on market categories, hybridity (i.e., the association of organizations and/or the products they offer with multiple category memberships) represents an important issue with many practical implications, especially for project-based forms of organizations. This chapter explores the evolution of hybridity and the conditions under which different kinds of project-based organizations develop hybrid projects. By studying the feature film industry in the United States from 1920 until 1970, this chapter contrasts the current perspective based on status-organizing processes and suggests that hybridity is a population-level process that can be interpreted as the result of the construction and interplay of different identities, and on the dynamic of the identity dimensions employed by different actors in such effort. The chapter shows that the development and construction of the identity of a temporary organization is different from other types of organizations, and is linked to identification processes both at the organizational level, with the company or with specific individuals in key roles, and at the institutional/collective level, with pure (single-category) and hybrid (multi-category) genres. This chapter highlights the mutual interactions and constraints between these two levels in different life stages of the film industry.