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AbstractThis paper nuances our understanding of the ongoing transition within the North American music industry. It extends the existing analysis of the so‐called "MP3 Crisis" by exploring the ways in which digital technologies have challenged the entrenched power of the major record labels. In particular, new insights are offered based on interviews with music industry executives who have been active in shaping the industry's response to illegal file sharing. The paper also uses interview data from musicians to investigate the implications of restructuring at the macroscale on creative talent at the microscale. As such, it documents the structures and spatial dynamics of digitally driven independent music production in Canada for the first time.

Introduction / Brian J. Hracs, Roberta Comunian, Lauren England -- Promoting the Film Industry in Kenya: State Support versus Entrepreneurial Innovation / Robin Steedman -- Making a living through and for Visual Artists in East Africa / Andrew Burton, Lilian Nabulime, Robert Newbery, Paul Richter, Anthony Tibaingana, Andrea Wilkinson -- Financing Creative Industries in Kenya: Challenges, Opportunities and the Case of HEVA / Wakiuru Njunga, Roberta Comunian, Brian J. Hracs and Denderah Rickmers -- Creative Coworking in Nigeria: emerging trends, opportunities and future scenarios / Damilola Adegoke and Roberta Comunian -- Coworking, gender and development: The case of Tribe XX Lab / Lauren England, Emalohi Iruobe and Roberta Comunian -- Ahead of Policy? Creative Hubs in East African Cities / Ayeta Anne Wangusa, Roberta Comunian and Brian J. Hracs -- Rural Cultural and Creative Industry Clustering: The Sarah Baartman District, South Africa / Fiona Drummond and Jen Snowball -- The Cultural Centre of GugaS'thebe as a Transformative Creative Space / -- Irma Booyens, Ndipiwe Mkuzo and Marco Brent Morgan -- Conclusions / Lauren England, Brian J. Hracs and Roberta Comunian

Introduction / Roberta Comunian, Brian J. Hracs, Lauren England -- Creative higher education in Nigeria and the case of University of Lagos / Vincent Obia, Lauren England, Roberta Comunian and Duro Oni -- Collaborations for creative arts higher education delivery in Ghana: A case of the University of Cape Coast / Madinatu Bello -- Fashion Designers and education in Nairobi: challenges and opportunities / -- Lauren England, Ogake Mosomi, Roberta Comunian and Brian J. Hracs -- Uganda film and television: Creative skills development and skills gap for the sector / Roberta Comunian and Gershom Kimera -- Importance of arts and culture in community development in Nigeria: The place of the Councils for Arts and Culture / Duro Oni, Cornelius Onyekaba and Husseini Shaibu -- The historical evolution of the cultural and creative economy in Mahikeng, South Africa: Implications for contemporary policy / James Drummond and Fiona Drummond -- Finance for creative and cultural industries in Africa / Yemisi Mokuolu, Victoria Isabelle Kay, Claudia Mari̹a Velilla-Zuloaga -- Developing the handicraft sector in South Africa: the role of policy / Oluwayemisi Adebola Abisuga-Oyekunle , Lauren England and Roberta Comunian -- Conclusions / Roberta Comunian, Brian J. Hracs, Lauren England.

In the report The State of Fashion 2017, written by Business of Fashion and the McKinsey Institute (2016), industry executives used three words to describe the current state of the fashion industry: uncertain, changing and challenging. Indeed, the fashion industry is undergoing dramatic transformations, from digitization and the rise of 'see now, buy now' fashions, to brands redefining the function and timing of fashion weeks, and increasing levels of global integration and competition (Crewe 2017). As such, the fashion industry has been recognized as a valuable lens through which to explore significant and ongoing changes to the production, curation and consumption of goods, services, and experiences (Brydges et al. 2014; Brydges 2017; D'Ovidio 2015; Hracs et al. 2013; Lavanga 2018; McRobbie 2016; Pratt et al. 2012). Drawing inspiration from this stream of scholarship, we organized four sessions titled Trending Now: The Changing Geographies of Fashion in the Digital Age at the Royal Geographical Society and Institute of British Geographers (RGS-IBG) conference in London, 30 August – 1 September 2017. In these sessions, researchers and practitioners from a wide range of locations and disciplines – including fashion studies, media studies, cultural economics, business and geography – came together to share research related to the structures, labour dynamics, spaces, value propositions and practices of the contemporary fashion industry. While a range of issues were discussed, the sessions were connected by an overarching theme. Namely, the extent to which power in the fashion industry is expanding or consolidating. While there is a prominent discourse that states that structures, systems and spaces within the global fashion industry have been (and will continue to be) disrupted by new actors, technologies, practices and cities, we collectively questioned whether the fashion industry has really entered an era of democratization, or if established power structures remain entrenched. Through empirical case studies from a variety of geographic contexts – from India to Italy – about different actors and activities within the industry, each presentation contributed new evidence and perspectives to this debate. The discussion below distils some of the key themes that emerged.

Creative splintering and structural change in Leicester, UK / Rachel Granger -- Technology as a source for creativity : insights from the Swiss fashion industry / Judith Nyfeler -- Spatial processes of translation : how coworking diffused from urban to rural environments. The case of Cowocat in Catalonia, Spain / Ignasi Capdevila.