The Handbook of Creative Regions, edited by Rafael Boix-Domènech together with Luciana Lazzeretti and published by the prestigious Edward Elgar Publishing, stands out as an essential reference for understanding one of the most elusive and, at the same time, most fertile concepts in contemporary regional economics: the creative region. Conceived as an ambitious and genuinely collective project, the volume goes far beyond a mere compilation of dispersed research, offering instead an integrated and multidimensional framework capable of organising decades of academic debate, empirical evidence and policy experimentation.

One of the book’s most distinctive features is its deliberate effort to move beyond easy metaphors. In contrast to the overuse of the notion of the “creative city”, the Handbook shifts the analytical focus towards a variety of regional scales—metropolitan, polycentric, rural and transnational—and demonstrates that creativity is not an abstract attribute but a phenomenon deeply embedded in productive structures, historical trajectories, institutions and social relations. Readers will find both a rigorous genealogy of the concept and a critical examination of its light and dark sides: from positive effects on innovation, productivity and well-being to the risks of inequality, precariousness and territorial polarisation.

Within this broader framework, the strong presence of the Econcult research group is particularly noteworthy. Its contributions cut across the volume in a substantive and coherent manner, reflecting a mature and consistent research agenda. The intellectual leadership of Rafael Boix as editor is central. Beyond coordinating the book, he authors key chapters that structure its global narrative, especially those devoted to the worldwide geography of creative regions and to the conceptualisation of the phenomenon. His work combines empirical ambition—drawing on global datasets and innovative methodological approaches—with conceptual clarity, avoiding both parochialism and empty generalisations.

Pau Rausell contributes a fundamental chapter on the methodological challenges involved in defining and measuring creativity at the regional level. His analysis functions as an epistemological compass for the volume, emphasising that creativity is simultaneously an economic, social and symbolic resource, and that any policy strategy built upon it requires conceptual rigour, appropriate indicators and a contextualised interpretation of results. The chapter engages critically with dominant narratives and provides tools for a more responsible and analytically sound use of the concept.

The international scope of the Handbook is further strengthened by the contribution of Chuan Li, co-author of the chapter on creative regions in China. This work moves decisively beyond Eurocentric perspectives and shows how creativity unfolds within a markedly different institutional, territorial and political context, characterised by sharp urban–rural disparities and an active state strategy. The implicit comparison with other regional models enriches the overall analytical framework of the book.

Fernando Álvarez provides a robust analysis of the economic effects of cultural and creative industries at the global scale, employing international input–output models. This chapter is directly derived from his recently defended doctoral thesis, a fact that is reflected in its methodological sophistication and its uncommon empirical ambition. His contribution helps to disentangle, on the basis of data, the promise of creativity as an engine of economic development from overly triumphalist simplifications, offering a comparative foundation to understand when, where and why creative specialisation generates higher value added.

In turn, Jordi Sanjuán broadens the focus towards an increasingly central issue: the relationship between creativity and regional well-being. His chapter is likewise grounded in the results of his recently completed doctoral thesis and stands out for the application of advanced causal analysis methods to the study of territorial well-being. His findings reinforce the idea that the impact of creative industries extends beyond economic growth, affecting—albeit unevenly—dimensions such as education, housing, health and life satisfaction, reminding us that territories function as complex systems rather than as mere aggregates of isolated indicators.

Overall, the Handbook of Creative Regions is not simply an exhaustive manual, but a work that invites a more sophisticated way of thinking about the role of creativity in territorial development. The contributions by Econcult also resonate with the group’s well-established body of previous research in cultural economics and economic geography, including work on the measurement and territorial effects of creative industries, regional productivity, urban resilience and the spatial inequalities associated with creativity. The substantial presence of Econcult scholars, under the editorial leadership of Rafael Boix and with the strong backing of Edward Elgar Publishing, reinforces the internal coherence of the volume and highlights the group’s ability to position itself at the core of international debates on cultural economics and regional studies. The result is a demanding, critical and stimulating book, destined to become a lasting reference for both academic research and the design of creativity-based public policies.