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The creative and cultural industries form an important part of many urban economies, and the fashion industries are one of the exemplar creative industries. Because fashion is based on intangibles such as branding and reputation, it tends to have a two-way relationship with cities: urban areas market themselves through their fashion industry, while the fashion industry draws heavily on the representation of place. In this paper we investigate this interlinked relationship between the fashion industry and place in four of the major cities of global fashion – London, New York, Milan and Paris – using data from the social media platform Twitter. To do this, we draw upon a variety of computer-aided text analysis techniques – including cluster, correspondence and specificity analyses – to examine almost 100,000 tweets collected during the Spring–Summer fashion weeks of February and March 2018. We find considerable diversity in how these cities are represented. Milan and Paris are seen in terms of national fashion houses, artisanal production and traditional institutions such as galleries and exhibitions. New York is focused on media and entertainment, independent designers and a ‘buzzy’ social life. London is portrayed in the most diverse ways, with events, shopping, education, social movements, political issues and the royal family all prominent. In each case, the historical legacy and built environment form important parts of the city’s image. However, there is considerable diversity in representation. We argue that social media allow a more democratic view of the way cities are represented than other methodologies.

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The notion of creative clusters has become the focus of a growing number of policy initiatives aimed at revitalising economies by means of creativity. However, despite their prominence in policy discourse, creative clusters are still a 'fuzzy' concept, defined and treated differently in different strands of research. To address these disparities, this paper presents a systematic literature review of creative cluster research (CCR), with the aim of: 1) exploring the state of the art in the field, 2) pointing out some important limitations, and 3) outlining a future research agenda. A total of 355 articles published between 1986 and 2019 were analysed, drawing upon a combination of manual coding, bibliometric analysis, and text mining techniques. This multimethod approach allowed us to provide both a meta-analysis of CCR and an exploration of its thematic content. In so doing, our paper contributes to a comprehensive understanding of how creative clusters have been studied over time, both broadly and in relation to different creative sectors and geographical contexts. Moreover, through the identification of research gaps and boundaries of knowledge in the field, it points to key methodological and conceptual development issues to be addressed in future studies.