CREATIVE CLASS
The "creative class" is a term coined by economist and social scientist Richard Florida, which refers to a segment of the workforce primarily involved in creative and knowledge-intensive industries, including professions such as technology, design, arts, culture, entertainment, media, research, and more.
In the books The Rise of the Creative Class, and How It Transforms Work, Leisure and Everyday Life (2002) and Cities and the Creative Class (2005), Richard Florida deals with the global social, economic and cultural changes that lead to the formation of "creative classes"; as well as with the connection between the economic success of cities, the demographic composition of their population and their general characteristics.
The creative class includes members of professions that operate with cultural symbols and create original, new products in research and development, software industry, design, cultural industries and art in the traditional sense, and financial and consulting services. Although the creative class's primary definition is professional, according to Florida, they also share a creative ethos and a specific lifestyle characterised by "openness to diversity of all kinds" and "the pursuit of superior quality experiences."
What connects Florida's research to the concept and practice of creative cities is his insight that members of the creative class are not equally distributed in geographic space, but instead cluster in those cities and regions that provide them with amenities and experiences of superior quality, which are open to social and cultural diversity and which enable them to express themselves as creative persons.
These are, in Florida's advertising formulation, prosperous cities (like San Francisco, Seattle or Boston in the USA) characterised by the three "Ts": technology, talent and tolerance". Drawing on research on the link between human capital and economic development and extending it in new directions, Florida points out that these three conditions are necessary but that each is insufficient on its own - and that in order to attract creative people, generate innovation and stimulate economic development requires that cities possess all three characteristics.
According to Florida, in a knowledge-driven economy, cities that successfully attract and retain creative talents are better positioned to compete on a global scale. They can also benefit from a "talent magnet" effect. When skilled professionals settle in a region, they can attract further investment, businesses, and talent, creating a positive feedback loop for economic growth.
The concept and policies of the creative class also faced harsh criticism. Critics argue that attributing urban revitalisation and economic growth solely to the creative class oversimplifies the complex process of urban development. Factors such as infrastructure, governance, social services, and historical context also play significant roles. The creative class approach tends to focus primarily on creative and knowledge-intensive industries, neglecting other essential sectors of the economy, such as manufacturing, healthcare, agriculture, and more. These sectors also contribute significantly to economic development and community well-being, but they may not fit within the traditional definition of the creative class. One of the most significant criticisms of the creative class concept is its potential to exacerbate socioeconomic inequality. As cities and regions focus on attracting creative professionals, property values and living costs can increase, leading to the displacement of existing residents and the loss of affordable housing. Furthermore, the creative class approach tends to place a strong emphasis on urban centres as the primary locations for creativity and innovation. This can lead to a neglect of rural areas and smaller towns, which may also have unique forms of creativity, innovation, and economic potential. (MP, PC)