The relation between creative activities and the cities in which they are concentrated is that of mutual influence and dependence. This kind of dynamics is well described by the concept of the creative field by Scott (2006, 2008, 2010, 2014). According to this concept, there is a shared relational context among creative actors in a given place, as well as between them and the local socio-economic-institutional context. Consequently, the economic profile and innovation capacity of a city are determined by the main sectors based there. In this paper, I discuss the role of the creative field in developing the relation between the city of Berlin and creative actors of the fashion design sector, as well as elements of the creative field that are considered relevant by fashion designers in their creative work. This perspective allows the underscoring of some relevant drivers that have made Berlin one of the most relevant places for fashion design in Germany and the whole of Europe. This research has been supported by administrative data from the period 1990-2015, along with personal interviews in the fashion design sector. Shown are not only the existing relations between the urban context and the creative activities of designers, but also how the development of the creative field of the city might be influenced. Consequently, the creative work of fashion designers and their location decisions have to be considered in relation to the creative field as a dynamic combination of variable elements that influence, and are influenced by, each other.

Fashion design plays a significant role in Berlin's creative industries and for its start-up scene. Berlin has the highest concentration of designers in Germany, most of them working in small start-ups, while the spatial organisation of their production is stretched from the local level to the global network of fashion events, showing different entrepreneurial strategies within the production process. Different spatial structures of the production organisation are identifiable through which it is possible to discuss the role of Berlin in the production network of fashion designers and the kinds of relations holding between the city, designers, and their production network.

It has been shown that the German housing market, instead of not being financialized, has followed a different trajectory that has led to the current phase of financialization, characterized by the booming housing market (especially in the main urban areas) and the recent entrance in the market of private investors. This literature review shows that, while most of the studies available so far focus on specific cities, companies or practices (such as the acquisition of public housing stocks), a comprehensive analysis of the major private investor typology (listed real estate companies), their investment strategies and their effects is missing.

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Die Produktionsformen in der Modebranche und die damit verbundenen räumlichen Konstruktionen entwickeln sich aus einem Netzwerk ökonomischer und sozialer Beziehungen. Am Beispiel von Berliner Modedesign-Unternehmen untersucht Marco Copercini diese Produktionsnetzwerke im Hinblick auf ihren urbanen sozialräumlichen Kontext. Dieser wird als ein kreatives Feld begriffen, auf das sich die Akteure des Modedesigns in ihren Vernetzungs- und Produktionsaktivitäten beziehen. Die Studie zeigt: Die Kombinationsmöglichkeiten der Beziehungen zwischen den Produktionsnetzwerken bieten vielfältige Perspektiven - insbesondere für kleine und mittelgroße Unternehmen, die die Berliner Modebranche bevölkern.