The rise of the creative economy

In recent years, the creative economy has emerged in global reports and forums, from digital content to fashion, film, design, games or music. The creative force is becoming a new growth engine, attracting tens of billions of dollars in investment and millions of young workers.

Content creators operate like small businesses.

From “cultural niche” to new economic driver

The latest data shows that the era of the creative force has truly taken shape and become clear. The report “The Future of the Creative Economy 2025” conducted by the digital music company Epidemic Sound (Sweden), which surveyed 3,000 content creators in the UK and the US, shows that 98% of participants have set creative or business goals for the coming year; 95% choose a model of building direct relationships with audiences instead of relying entirely on intermediary platforms. This reflects a shift from a hobby-based activity to operating like a small business, in which creators must simultaneously do content strategy, build brands, manage communities and optimize revenue.

Technology is a key driver of this professionalization. According to the report, 91% of creatives have integrated artificial intelligence (AI) into their workflow; 40% said AI saves time, while 46% said AI inspires new ideas.

Sound and music also prove to be incredibly important for digital content. 94% of creators say music is a key factor in engaging viewers, and 97% say they actively tailor their audio strategy to fit their personal brand style.

On the market side, businesses are also restructuring their media strategies to catch up with the rise of the creative force. A report by the Interactive Advertising Bureau (IAB) noted that advertising spending on the creative economy in the US increased from 13.9 billion USD in 2021 to 29.5 billion USD in 2024 and is forecast to reach 37 billion USD in 2025, a growth rate four times faster than the entire media industry. Nearly 48% of advertisers consider marketing through content creators a “must-have” channel, second only to social media and paid search advertising.

According to the IAB, the role of creators is no longer limited to creating brand awareness. 43% of businesses use creator marketing to build their brand, 41% to reach new audiences, 35% to build credibility, and 32% to drive sales.

“Leveraging the creative economy to connect with customers is no longer an experiment, it is essential,” said David Cohen, CEO of IAB.

At the national level, many developing economies are also witnessing rapid expansion. According to the Indonesian news agency ANTARA, the country’s creative industry will contribute about 1,500 trillion rupiah ($90.1 billion) to GDP, create more than 26.5 million jobs and reach $12.9 billion in exports in the first half of 2025 alone. The Indonesian government sees this as a new growth pillar, capable of promoting inclusive employment and expanding the middle class.

In Africa, figures from the Botho Market Research Group show that the continent’s creative industry is worth around $31 billion, and could reach $50 billion and create 20 million jobs by 2030 if infrastructure, training and policy support are provided. Yet more than 70% of creators are still unable to bring their products to international markets, 75% have virtually no e-commerce skills, and only 12 of 55 countries have developed a creative industry development strategy.

Turn opportunities into sustainable growth

The rapid rise of the creative economy brings many opportunities but also poses many challenges, from infrastructure, skills, finance to performance measurement. Many studies show that the current support ecosystem is quite fragmented. According to the IAB, the creative economy is operating in an environment with too many different cooperation models, small budgets and inconsistent reporting standards. About a third of businesses consider finding the right content creator to be the biggest challenge, while personal reputation and audience suitability are the two top criteria.

From a technology perspective, although 75% of advertisers have used or intend to use AI in content creator marketing, 95% are still concerned that AI may reduce the human connection, the core value that makes creative content attractive. This forces both businesses and creators to balance automation and authenticity in their products.

In developing economies, the challenge lies mainly in capital and training. Indonesia is a prime example, with the government proposing a collateral-free microfinance model for creatives. The model is based on the actual cash flow of borrowers, accompanied by training and incubation programs and flexible interest rates through digital platforms. “It is time for us to have an inclusive financial model for creatives,” said Coordinating Minister Abdul Muhaimin Iskandar.

In Africa, design centers and incubators such as the Ananse Center for Design (Nigeria) or the Africa Creative Alliance help connect creative skills to real-world ecosystems from business administration, cash flow management to e-commerce and digital marketing. At the same time, development funds are also increasing support for this sector. The Tony Elumelu Foundation (Nigeria) said it has supported more than 21,000 entrepreneurs, disbursed over $100 million and created nearly 1.5 million jobs.

The creative economy is emerging as a new economic and social force, and to develop sustainably, this sector needs serious investment in finance, training, digital infrastructure and effective measurement systems.

Hong Nhung

Source: https://daidoanket.vn/su-troi-day-cua-kinh-te-sang-tao.html