Developing a Sustainable Cultural Brand for Tourist Cities: Insights from Cultural Managers and the Gen Z Community in Brașov, Romania

Abstract

This article explores the challenge of developing a sustainable cultural brand for cities that are primarily perceived as tourist destinations. While major urban hubs like Berlin (DE), Edinburgh (UK), and Lisbon (PT) have successfully transitioned from being known mainly for tourism to becoming recognized cultural destinations, the process behind this transformation remains underexplored, especially when it comes to mid-sized cities. How does a town move beyond its touristic image to build a lasting cultural identity? What strategies enable this shift, and what role do different stakeholders play? Focusing on the Romanian city of Brașov, a scenic destination in Transylvania mostly known for its natural environment and medieval architecture, the paper addresses this gap by investigating how a cultural brand can be developed through strategic marketing efforts. Using an integrated approach that combines two qualitative studies and one quantitative analysis, the research provides new insights into (i) cultural marketing strategies that can enhance Brașov’s city brand; (ii) stakeholder perspectives on developing Brașov’s cultural identity; and (iii) the role of Generation Z, whose influence on urban cultural branding has, so far, been minimally researched, in shaping the cultural future of cities, particularly Brașov. Some of the findings highlight key areas for developing Brașov’s cultural brand, including expanding nightlife activities, introducing more contemporary and year-round themed festivals, and tailoring promotional efforts to the short attention spans of the “TikTok generation”. Participants emphasized the need for a more diverse range of cultural events, including experimental and niche performances, alongside stronger educational initiatives to encourage long-term engagement by involving schools and universities. The results offer actionable insights for policymakers, urban planners, and cultural leaders seeking to develop a city brand centered around culture, focusing on long-term identity and community engagement rather than solely on tourism.

1. Introduction and Background

Traditionally, cities have marketed themselves based on iconic landmarks and tourist activities. However, this approach often overlooks the deeper, more nuanced aspects of urban identity. After all, Paris is not just about the Eiffel Tower; it is the city of Hemingway’s cafés. It is the glittering light that awakened Impressionism and the ghosts of the French Revolution whispering along the Seine. In this sense, integrating a cultural dimension into a tourist-focused city brand reflects an evolution in city branding strategies.

Building a city brand is an ongoing process requiring adaptability to changing circumstances [1]. In the present day, we are witnessing a progressive phase in urban branding, where multiple stakeholders co-create the complex and dynamic brands of cities [2,3]. This perspective highlights the evolving landscape of city branding as a response to contemporary challenges and the extensive use of digital technologies, particularly social media platforms. By capitalizing on the participatory nature of social media channels, cities have the opportunity to influence online communities, thereby enhancing the exposure of their brand. The integration of social media into city branding strategies marks a significant paradigm shift. Social networks reinvent how cities communicate, engage, and define their identities in the digital age [4,5]. When using platforms like TikTok [6], Facebook, Instagram [7], Twitter (X), YouTube, or LinkedIn (for economic and professional branding), municipalities can reach diverse audiences and attract investments. Through the phenomenon of electronic word of mouth (e-WOM), cities can increase their visibility without investing significant resources in traditional advertising, as people tend to trust recommendations and experiences from other users [5]. Policymakers should take into account that “a place brand is a network of associations in the place consumers’ mind based on the visual, verbal, and behavioral expression of a place and its stakeholders” [8].

But what are the benefits of building a cultural city brand? An image based on arts and culture highlights the unique character of a place, encompassing its history, heritage, arts, gastronomy, local community, and traditions [9]. Culture is not merely a tourist product but a fundamental driver of urban development, contributing to economic vitality, social cohesion, and overall quality of life [10]. The shift can allow cities to connect with a broader audience, attracting not only tourists but also investors, skilled workers, and new residents seeking and wanting to contribute to an authentic urban experience.

Several key benefits motivate cities to embrace cultural branding. To begin with, it strengthens a sense of place and belonging; in other words, it builds place attachment [11,12] among residents and visitors. By celebrating local culture and heritage, cities cultivate civic pride and community bonds. Secondly, a cultural brand offers a more sustainable and resilient approach to urban development.

Unlike tourism, which can be susceptible to economic fluctuations and external shocks, culture is an intrinsic asset that can drive long-term economic growth and social progress. For instance, cities like Bilbao, Spain, transformed themselves from industrial centers to cultural hubs by investing in iconic cultural institutions like the Guggenheim Museum, attracting both tourists and new industries [13]. This strategy created a ripple effect, revitalizing the city’s economy and enhancing its global image. Similarly, Glasgow, Scotland, has successfully used its rich musical heritage and vibrant arts scene to reposition itself as a cultural destination, moving beyond its industrial past [14]. This approach aligns with the growing trend of experiential tourism [15], where travelers seek authentic and meaningful experiences. Cities like Berlin, Germany, have embraced their complex history and growing arts scene to create a distinctive cultural brand. A vibrant cultural scene has a greater potential to shape a positive perception [16], one that “stays in the minds” of visitors and can build long-term connections [17]. This focus on culture allows cities to better manage their tourism flows, avoiding over-tourism [18].

Incorporating sustainability principles into branding strategies to promote eco-friendly practices and responsible urban growth is another key element in shaping a contemporary city image [19,20]. Recent studies highlight a sustainable urban development model, where art and culture serve as “clean energies” [21]. Responsible tourism, wellness and health, authenticity, cultural events, and creative industries are among the features considered most relevant in future destination branding [22]. Developing brand awareness around intangible cultural heritage is key to sustainable city branding, as it attracts cultural tourism and supports local economies [23]. Several scholars [24,25] have emphasized the importance of authenticity in branding and suggested cultural strategies for building a city image, such as architectural landmarks and associating a city with a personality or megaevents.

Some principles of cultural branding overlap with the Cittaslow movement [26], as both tendencies prioritize local identity and sustainable development. Thus, urban centers can promote “slow living” by integrating cultural elements and green initiatives [20]. Cities like Copenhagen; Reykjavik, Iceland [27]; or Ljubljana, Europe’s green capital in 2016 [28], have successfully managed to reinvent their brand incorporating both eco-consciousness and cultural initiatives.

As worldwide tourism is expanding at a fast pace, a re-evaluation of the impact on local communities becomes mandatory [29]. Yet, few studies address the specific challenge of growing a city’s image from a tourist destination to a cultural hub that represents the local heritage and values. This shift requires a more holistic branding approach, one that moves beyond surface-level attractions and embraces the deeper cultural narratives of a place.

This article tries to fill the gap by focusing on the strategies required to strengthen the cultural brand of Brașov, Romania, a city that is predominantly known for its tourism but can explore its cultural potential.

Another aspect the authors would like to underpin is that urban research has long prioritized global megacities, benefiting from significant investment and notoriety [30,31]. Places like New York, London, or Amsterdam dominate studies on cultural branding and creative economies, with perspectives that may not translate to smaller urban contexts [32]. We tried to address this research imbalance by focusing on a mid-sized city in Eastern Europe. The article aims to create a framework for cultural growth, despite operating on a different scale than global urban hubs.

Drawing on three studies, namely three focus group interviews on potential cultural marketing strategies, in-depth interviews with local cultural leaders, and quantitative analysis of Generation Z’s role, this paper investigates the current city brand of Brașov and identifies strategic directions for developing its cultural brand. The research stands out by consolidating three distinct perspectives on the same subject within a unified paper.

Located in central Romania within the Transylvania region, Brașov is characterized by its mountain landscapes and historical heritage. Founded in the 13th century, the city’s legacy is reflected in its well-preserved medieval architecture and the lasting influence of Saxon settlers. These features have shaped Brașov’s reputation as a popular tourist destination in Eastern Europe. However, as urban development strategies increasingly prioritize sustainability and cultural identity [33], there is a growing potential for Brașov to evolve beyond its established tourist brand.

Over the past decade, Brașov has implemented several strategies to develop its city brand. The municipality has prioritized infrastructure modernization, such as the building of Brașov Airport and the development of sustainable public transportation, including electric buses and bicycle lanes. Moreover, Brașov has committed to achieving climate neutrality by 2030 through renewable energy integration and green transportation. A notable initiative was the city’s bid for the European Capital of Culture 2021, which was followed by increased public funding for art and culture projects. Despite these advancements, the city’s branding remains heavily tourism-oriented. Marketing strategies are centered around foreign tourist fairs participation or digital campaigns that promote the city’s natural landscape and architecture [34]. Although efforts have been made to develop a cultural strategy for the city, there is no comprehensive framework in place for Brașov’s cultural operators and stakeholders. This lack of structure inhibits coordinated action and the integration of cultural initiatives into the city’s broader development goals.

By aligning sustainability with a cultural brand narrative, Brașov can build an image of a forward-thinking urban center. “Upgrading” the city from a tourist postcard to a vibrant cultural town would attract sustainability-conscious visitors while supporting the growth of the creative industries.

The following section of the paper details the objectives of the study and the methodology used, describing the three research approaches: the focus group study exploring cultural marketing strategies, in-depth interviews investigating how Brașov’s cultural brand can be built, and the quantitative survey analyzing the influence of Generation Z on the city’s cultural branding. The results of these studies are discussed in the next stage, where strategic insights for Brașov’s cultural brand development are outlined.

The article is divided into seven sections: introduction and background, research objectives, materials and methods, findings, discussions, limitations and potential areas for further research, and conclusions.

2. Research Objectives

The first qualitative research, titled “Developing the City Brand of Brașov through Cultural Marketing Strategies”, aimed to analyze the perceptions of Brașov’s youth regarding the local cultural landscape, including the effectiveness of communication efforts in this sector. To achieve this, three focus group interviews were conducted in January 2024 based on the following objectives:

2.1. Research Objectives for the First Study

(1st Study-O1) To determine the general perception of the target audience regarding the image of Brașov;

(1st Study-O2) To evaluate how strongly this image is connected to cultural events and culture overall;

(1st Study-O3) To explore the target audience’s views on ways to improve Brașov’s cultural offer;

(1st Study-O4) To gather the target audience’s opinions on strategies to enhance the promotion of culture and cultural events in Brașov.

The second study consisted of 11 individual in-depth interviews with artists, cultural managers, organizers of artistic activities, and members of cultural NGOs who have significant work experience in the city of Brașov. The main purpose of this research was to gather the opinions of stakeholders in the cultural sphere regarding the current cultural brand of Brașov and its future development directions. The interviews were structured around five main discussion topics. These topics addressed the following objectives:

2.2. Research Objectives for the Second Study

(2nd Study-O1) To investigate the perceptions of cultural operators regarding Brașov’s current city brand;

(2nd Study-O2) To explore respondents’ views on the city’s cultural framework, including its infrastructure and cultural vibrancy;

(2nd Study-O3) To evaluate how the city’s context, including the relationship with local authorities, facilitates the organization of cultural events and how it supports the growth of the cultural sector in general;

(2nd Study-O4) To identify the main challenges faced by cultural operators that impact the development of a positive cultural brand for the city;

(2nd Study-O5) To gather the opinions of cultural operators on how Brașov’s cultural brand can be further developed.

Following the two studies, the need arose for additional in-depth research targeting Brașov’s youth to complement the data obtained from group interviews, as well as to investigate Generation Z’s current and potential involvement in Brașov’s cultural life. Members of Gen Z grew up in a digital era, deeply influenced by technology and the Internet [35], which gives them certain traits that are distinct from those of previous generations, some dependent on technology [36]. Additionally, the identity of this generation has been shaped by climate change, a shifting financial landscape, and the COVID-19 pandemic. Representatives of this generation, also known as “Gen Zers”, “post-Millennials”, or “iGen” [37], have developed in an increasingly interconnected world, benefiting from the use of a single currency within the EU and the freedom of movement across member states in Europe.

The authors deemed the exploration of Generation Z’s perspective in a study on Brașov’s cultural potential to be highly relevant, particularly given the central role this population segment will play in the city’s future, both as residents and as professionals across various fields. Brașov’s ability to retain its young talent is closely linked to its cultural vibrancy. Many cities worldwide face the challenge of “brain drain”, where young, educated individuals move to larger cultural hubs in search of more dynamic opportunities [38]. If Brașov aims to establish itself as an attractive city for creative professionals and young entrepreneurs, it must develop a cultural offer that aligns with their expectations.

A quantitative study was undertaken, which gathered valid answers from 600 Gen Z representatives living in the city. The objectives were formulated as follows:

2.3. Research Objectives for the Third Study

(3rd Study-O1): Investigating the opinions of Generation Z youth about Brașov’s current brand and ranking the city’s brand dimensions.

(3rd Study-O2): Studying how Generation Z youth relate to cultural events in Brașov and culture in general.

(3rd Study-O3): Assessing the extent to which Gen Z youth in Brașov is open to new technologies in art and culture (new media art, AI, VR, AR).

(3rd Study-O4): Determining the extent to which the target audience is willing to engage in the cultural field in the future.

(3rd Study-O5): Understanding the opinion of Gen Z youth regarding the influence of education on participating in cultural events.

3. Materials and Methods

3.1. Methodology Used for the First Study: Focus Group Interviews

The first qualitative research, titled “Developing the City Brand of Brașov through Cultural Marketing Strategies”, focused on analyzing the perceptions of Brașov’s youth towards the local cultural landscape. It also examined the effectiveness of communication efforts within this sector.

The research involved 22 young people aged between 19 and 21, including 6 males and 16 females. Participation was voluntary, and considering the selection criteria (students over 18 years old who had been living in Brașov for at least one year), all registered participants were deemed eligible. Based on their availability, three focus group interviews were conducted: two with six participants each and one with ten participants. Each of the three focus groups was audio–video recorded, and relevant information was transcribed and coded for further analysis.

The interview guide included both open-ended and closed-ended questions, with the latter featuring “yes” or “no” answer options. Additionally, two projective research techniques were employed. The first, City Persona, asked participants: “If Brașov were a person, how would you describe their personality? How old would they be, how would they spend their day, and what hobbies and passions would they have?” The second technique was a collage-based vision board exercise titled “Brașov, My Ideal City”. For this activity, participants were divided into teams of 5–6 people and provided with various materials (A3 white sheets, books, magazines, glue, markers) to collaboratively create a collage on the given theme using words, images, drawings, and symbols.

The projective techniques, such as the City Persona and vision board collage, were employed to encourage creative, in-depth responses from participants, revealing associations and perceptions about Brașov’s cultural identity. These methods are widely used in qualitative research, particularly in branding and consumer psychology, to capture attitudes and emotional connections that traditional survey questions might not uncover.

The City Persona exercise aimed to explore how young people personify Brașov, uncovering the identity traits they associate with the city. This approach is rooted in brand personality theory [39], which suggests that places, like brands, can be described using human-like traits. Understanding how respondents “humanize” Brașov provides insights into the emotional and symbolic meanings they attach to the city’s cultural landscape.

Similarly, the collage-based vision board technique draws from projective and visual research methods [40,41], which are effective in exploring abstract concepts like identity and cultural branding. By allowing participants to construct a visual representation of their ideal city, this method helps identify key cultural elements they value, offering a more holistic view of Brașov’s perceived cultural strengths and gaps.

After completing the collages, a group discussion followed, focusing on the elements each team chose for their vision boards. Each focus group interview lasted approximately 150 min. The analysis was carried out both horizontally and vertically after performing data coding, where key concepts were identified.

The following hypotheses were formulated before conducting the three group interviews:

• The majority of respondents associate Brașov with tourism and the natural environment.
• The majority of interviewed students do not associate Brașov’s city brand with cultural events.
• Most respondents are not familiar with the city’s cultural offerings.
• The target audience believes that the local cultural offer is insufficient.
• The majority of young people think that cultural events in Brașov are insufficiently promoted.

3.2. Methodology Employed for the Second Study: In-Depth Interviews

The second research work was based on responses from eleven cultural operators, collected through semi-structured individual interviews conducted via video conference (one interview) and face-to-face (ten interviews). The interviewer used a guide with predefined questions and discussion topics, ensuring coverage of all important subjects. Flexibility was essential, allowing the interviewer to deviate from the established questions to explore responses in greater depth, adapting the interview to the specific context of each participant. The questions were open-ended, enabling detailed and nuanced answers, while the dynamic interaction allowed for follow-up or clarifying questions.

The researcher aimed for a diverse profile of respondents to capture a wide range of perspectives on the development of a cultural brand for the city. Thus, the interviewees’ profiles included a variety of roles, from new media artists and educational trainers to cultural entrepreneurs and organizers of major local festivals. All the participants have either managed or are currently organizing cultural events in the city of Brașov.

Table 1. Characteristics of cultural operators participating in the qualitative in-depth interviews.

No.	ID Code	Age	Gender	Specific Fields of Activity
1	Subject 1	35–45	M	Book industry, cultural event organization
2	Subject 2	35–45	F	Educational trainer, event organizer, visual artist
3	Subject 3	35–45	M	Cultural entrepreneur
4	Subject 4	35–45	F	Festival organizer
5	Subject 5	35–45	F	Festival organizer, film industry, editor
6	Subject 6	35–45	F	Cultural event organizer, communication expert
7	Subject 7	35–45	F	Artistic event organizer, art curator
8	Subject 8	25–35	F	Artist, event organizer
9	Subject 9	35–45	F	Editor, cultural manager, cultural journalist
10	Subject 10	35–45	F	Organizer of gastronomic events
11	Subject 11	35–45	M	Event organizer, educational trainer

provides an overview of the characteristics of the cultural operators who participated in this research.

Ten out of eleven respondents fall within the 35–45 age group, with one respondent in the 25–35 range, all of whom are experienced professionals in the cultural and artistic field. The participants have significant work experience not only in Brașov but also abroad and in other Romanian cities, which often allowed them to compare the local artistic environment with examples from outside the city.

Participants were selected through a direct approach by the researcher, with the primary criterion being substantial experience—at least 7 years—in organizing cultural events. The individual interviews took place between February and June 2024 and lasted between 120 and 180 min.

Before the interviews, the following working hypotheses were defined:

• The majority of cultural operators believe that Brașov’s cultural brand is currently represented by the natural environment, the Old Town, and mountain activities. This hypothesis was formulated based on the results of qualitative research through group interviews.
• A large portion of respondents consider the local cultural infrastructure to be insufficient.
• The main issue faced by cultural operators in Brașov is the lack of consistent and predictable funding.
• Some event organizers do not believe that Brașov has a cultural brand.

3.3. Methodology for the Third Study: Quantitative Analysis

The following quantitative research aimed to determine the role of Generation Z in building a cultural brand for the city of Brașov.

The focus was set on the 18–27 age group within Generation Z, as these young individuals are transitioning into adulthood and entering the labor market. Some participants in this study are socially and culturally active, influencing the city’s dynamics. Others contribute to the local economy through innovative ideas and entrepreneurial initiatives. Moreover, Generation Z exerts considerable influence in the online environment, and their feedback can facilitate the effective promotion of Brașov on social media platforms, strengthening the city’s reputation at the national and even international levels. Characterized by unique traits and a reduced attention span of just 8 s [42], this generation requires marketing strategies specifically tailored to their needs and preferences. A key element in marketing to Gen Z is leveraging influencers. Influencers are defined as individuals who have built a reputation for their knowledge and expertise in a particular field [43]. They regularly post on their preferred social media channels and attract a large, enthusiastic, and engaged following that pays close attention to their opinions.

To better understand how Generation Z youth perceive and value the cultural brand of a city like Brașov, the following quantitative research focuses on five major objectives. To achieve these, a series of specific questions were formulated (

Table 2. Research objectives and corresponding questionnaire questions for the third quantitative study.

Objective	Questions Asked in the Questionnaire
Objective 1: Investigating the opinions of Generation Z youth about Brașov’s current brand and ranking the city’s brand dimensions.	(a) Do you feel attached to the city of Brașov? (b) Which element from the list do you associate most with the city of Brașov? (Options: architecture, natural environment, artistic/cultural event offerings, economic opportunities, mountain sports, people)
Objective 2: Studying how Generation Z youth relate to cultural events in Brașov and culture in general.	(c) How often do you attend cultural events in Brașov? (d) What are the main reasons you don’t attend cultural-artistic events in Brașov more often? (e) Do you think there are enough opportunities for young people to participate in cultural events in Brașov?
Objective 3: Assessing the extent to which Generation Z youth in Brașov are open to new technologies in art and culture (AI, VR, AR).	(f) Are you involved in creating artistic content (even at an amateur level)? (g) To what extent are you familiar with the following concepts? (Options: NFT, new media art, AI—Artificial Intelligence, VR—Virtual Reality, AR—Augmented Reality).
Objective 4: Determining the extent to which the target audience youth are willing to engage in the cultural field in the future.	(h) Would you be interested in getting involved in the cultural sector in the future?
Objective 5: Understanding Generation Z youth’s opinion about the influence of education on participating in cultural events.	(i) To what extent do you feel your high school/college/master’s education promotes participation in artistic/cultural events? (Scale: 1 = “not at all” to 5 = “to a very large extent”).

).

The questions addressed to Generation Z are significant for shaping Brașov’s branding strategy, as they offer insight into how young people perceive and engage with the city. Understanding their sense of attachment and what they associate most with Brașov, whether it is nature, architecture, culture, or economic opportunities, helps define the city’s identity and highlight areas for improvement. Participation of Gen Z in cultural events, or lack thereof, reveals potential barriers like insufficient promotion or limited variety of events. Exploring the young generation’s involvement in artistic creation and their familiarity with modern concepts such as NFTs, AI, and VR can guide the city’s future cultural initiatives. Additionally, understanding whether education encourages cultural participation and if young people see themselves contributing to Brașov’s cultural scene in the future is important for long-term development strategies. These perspectives are needed in order to build Brașov’s cultural brand and align it with the expectations of the next generation.

In correlation with the established objectives, the following hypotheses were defined:

H1. 

The attachment level of Generation Z to the city of Brașov is moderate.

H2. 

The majority of the target audience associates the city of Brașov with its architecture and natural environment.

H3. 

Over 50% of subjects attend cultural events in Brașov at least once every two to three months.

H4. 

Over two-thirds of Generation Z youth do not attend cultural events in Brașov more often, mainly due to lack of information.

H5. 

Over 70% of Generation Z youth believe that the cultural–artistic environment is important for their education and development.

H6. 

Over 50% of young people believe there are not enough cultural opportunities in Brașov.

H7. 

At least 50% of Generation Z youth produce cultural content at least at an amateur level.

H8. 

Modern concepts in art (NFT, New Media Art, AI, VR, AR) are known, on average, to a large extent by Generation Z youth in Brașov.

H9. 

Less than 50% of Generation Z youth in Brașov are interested in becoming involved in the cultural field in the future.

H10. 

Over 50% of the responding youth believe that their education contributes to their participation in cultural events.

4. Findings

4.1. Results for the First Qualitative Study (Focus Groups)

The first objective of the research, namely understanding the general perception of the target audience regarding the image of Brașov, was achieved through the analysis of data obtained from responses to the open-ended questions: “What aspects of Brașov make you feel proud of living here?” and “In your opinion, what is the current brand of Brașov?” This information was further supported by data collected through the projective techniques of “City Persona” and collage.

The responses to the first two questions revealed that the target audience associates Brașov’s image with several key aspects, the dominant dimensions being the natural environment, the historic city center with its old buildings, and the local people (described as “warm, gentle, calm, and peaceful”). Other dimensions mentioned include lighter traffic compared to other cities and sports activities. The first formulated hypothesis—“The majority of respondents associate Brașov with tourism and the natural environment” is partially validated. The analysis of the results showed that young people primarily associate the city with its natural environment. Tourism is not a dimension that frequently appears in the interviewees’ discourse, except for a few small exceptions related to traffic and congestion, which are attributed to tourists.

Regarding the city’s current image, most young respondents felt that Brașov lacks a well-defined brand. Some associated the phrase “green city” with Brașov, while others linked it to broader themes such as “Transylvania”, “Dracula”, and “Bran”.

The next interview stage was applying the first projective technique. The results are centralized in

Table 3. Responses provided by participants using the “City Persona” projective technique. Question: “If Brașov were a person, how would you describe its personality? How old would it be, how would it spend its day, and what passions and hobbies would it have?”.

Respondent	Response
Subject 1	“Brașov is 35–40 years old but continues to grow younger, like in the movie Benjamin Button. With each passing year, it develops more and more, becomes environmentally friendly, and allows easy and safe travel anywhere. Compared to other cities, Brașov is green.”
Subject 2	“Brașov is a young person between 25 and 35 years old, calm, peaceful, friendly, yet fun and full of life. It loves traveling, attending parties, taking nature walks, and is the soul of the group.”
Subject 3	“An older person, around 70 years old, considering the old town center and historical buildings, like the Black Church, which has a rich history. These give me the feeling of an older person. They spend the day outdoors hiking, walking in parks, climbing mountains (like Tampa or the Snail Hill), visiting museums, bookstores, and reading during their free time.”
Subject 4	“My Brașov is 30–40 years old, a calm person but occasionally bursts out (I thought of the traffic). It’s a tall person because we are surrounded by mountains. They care about the future and the well-being of others, have a large family, and take care of it. They love nature, are open-minded, eager to evolve, intelligent, and know what they want but need guidance to achieve it.”
Subject 5	“A young, active person under 30 who loves traveling, exploring the mountains (Postăvaru, Tampa), and skiing. They enjoy photography, discovering new perspectives of places, and are a foodie because the city offers traditional and delicious cuisine.”
Subject 6	“A man, around 30–40 years old, charismatic, gentle, patient, and enthusiastic. I imagine them in a suit, taking nature walks and photographing landscapes during their free time.”
Subject 7	“Brașov would be an older person, over 70 years old, full of historical stories. A gentle person eager to help, whether it’s solving a historical or cultural question. They help you find friends. Their main activities include outdoor hikes, park walks, skiing, and visiting museums.”
Subject 8	“A young, active person under 30 who loves traveling, hiking, exploring Tampa and Postăvaru, skiing, and capturing the most beautiful places and architectural angles through photography.”
Subject 9	“A calm personality oriented toward a healthy lifestyle. About 45 years old, with hobbies like hiking, climbing, and skiing.”
Subject 10	“Calm, clean, green-haired. I imagine them around 60 years old.”
Subject 11	“A person under 50, neither old nor young, averaging the city’s history and lifestyle. A person who always dresses warmly.”
Subject 12	“My Brașov would be 35–40 years old, a family-oriented individual who enjoys outdoor walks.”
Subject 13	“I thought of a younger, active, clean person, full of energy and many ideas.”
Subject 14	“If Brașov were a person, it would be 30 years old and take many nature walks.”
Subject 15	“A person around 35–40 years old, seeking peace and nature walks, engaging in recreational activities.”
Subject 16	“A 35-year-old person, strong and calm, practicing sports and various winter activities.”
Subject 17	“A 30-year-old man, wise, quiet, reflective, creative. His passions include reading, hiking, and cinema.”
Subject 18	“A person aged 35–40 who desires to create beautiful things. They enjoy hiking and running in nature, have a strong character, a balanced lifestyle, and can achieve anything they set their mind to.”
Subject 19	“To me, Brașov would be 30 years old because, although it is a historical city, it continues to develop and feels younger with each passing year. Throughout the day, it goes hiking, strives for continuous development, and leads a healthy lifestyle. It’s an empathetic person, eager to evolve, and a bit of a psychologist for the nation since people come here to relax and recharge.”
Subject 20	“To me, the city is a 65-year-old lady. I see her as a grandmother waiting for you at home, offering you the best she has. She is warm and sociable, telling stories about history and the old days, like how Brașov’s center used to be. On a typical day, she watches the sunrise, cooks for her grandchildren, then goes downtown for tea and a stroll under Tampa to admire nature.”
Subject 21	“A 70-year-old gentleman who hikes on Tampa and reads. This reflects the city’s historical air and atmosphere.”
Subject 22	“Brașov is a 30-year-old man, stable, physically active, passionate about history, a bright-faced person who enjoys helping others, reads and studies extensively, and is culturally developed.”

.

From the analysis of the responses based on the research objectives, several relevant aspects emerge. The character of Brașov is associated with a youthful and ever-evolving character, imagined either as a “man” or a “gentleman” by some, while others associate it with an elderly woman around 60 years old; its traits range from always dressing warmly due to the local climate to wearing a business suit, being “bright-faced”, “tall”, or having “green hair”, reflecting both its natural surroundings and its environmental focus. Additionally, the Brașov brand reflects a welcoming community spirit, highlighting its cultural richness and the residents’ strong family values. This stage of the analysis confirms that the people of Brașov are an integral and positive part of the image that young respondents have of the city they live in, thus representing an important dimension of the perceived city brand.

By analyzing this section of the portrait in relationship to the second objective of the research—determining the extent to which the image of the city is correlated with cultural elements—it is observed (

Table 4. Cultural aspects highlighted through the City Persona projective technique.

Respondent	Hobbies/Leisure Activities: Cultural Aspects
Respondent 3	“...visits museums, bookstores, reads in their free time.”
Respondent 4	“...an open person who wants to grow and evolve.”
Respondent 5	“...enjoys photography, finding new perspectives on places. A gourmand.”
Respondent 6	“...photographs landscapes.”
Respondent 7	“...visits museums.”
Respondent 8	“...takes photographs.”
Respondent 17	“...hobbies include reading and cinematography.”
Respondent 19	“...would like to develop continuously.”
Respondent 20	“...tells stories about history and the past, like what Brașov’s center used to be like.”
Respondent 21	“...reads.”
Respondent 22	“...passionate about history, reads and studies extensively.” Also described as “...a person very culturally developed.”

Source of Table: Responses provided by the target audience during group interviews.

) that the descriptions of 12 out of the 22 respondents include cultural aspects.

Specifically, in the hobbies/leisure activities section, three respondents mentioned reading, three mentioned photography, one mentioned cinematography, and another three referred to personal growth/continuous development. Other cultural aspects highlighted through the applied projective technique include “visits museums”, “visits bookstores”, “tells stories about history”, “passionate about history, [...], studies a lot”.

In total, 50% of the individual descriptions of the Brașov character/persona incorporate cultural aspects in the “hobbies/leisure activities” section and the “personality traits” section (in one case). Although more than half of the respondents used cultural elements for the description, these elements represent only a small part of the overall portrait (only one respondent mentioned that the Brașov character is “a very culturally developed person”).

4.1.1. Data Analysis Resulting from the Application of the Second Projective Technique: Thematic Collage “Brașov, My Ideal City”

The next projective technique applied was the collage, where each of the four working teams created a Vision Board. The theme given was “Brașov, My Ideal City”, and participants were divided into teams of 5–6 people. The participants were provided with various materials from the focus group organizers (an A3 white sheet, seven books from the National Geographic Travel series, local travel magazines, glue, markers) to create a collage on the given theme, using words, images, drawings, and symbols. Thus, each group had access to a wide range of photos and text, as well as the possibility to draw or write their own texts.

The analysis of the collages was carried out in three stages. Initially, each collage was studied individually, and all components added by the participants during the interviews were identified. At this stage, photographs, text elements, and other materials (drawings, symbols, cutouts) were “inventoried”. Then, an analysis was performed on the overall composition and how the elements in the collage were associated, as well as the connection between the collages created by all four teams. Finally, conclusions were drawn regarding the most important aspects related to the perception of the city (about the desired brand of Brașov), with a focus on how cultural aspects were integrated into the vision board in order to uncover perspectives on the role of culture in the ideal image of the city.

4.1.2. Individual Study of the Collages Made by the Teams

In the first group interview, all six respondents together created a single collage, which is represented in Figure 1.

Team 1’s collage includes a total of 19 images (including graphic elements) and three categories of text components. The word “Brașov”, written in capital letters, reminiscent of the letters near the Tâmpa peak, serves as the central point of the composition. The viewer’s attention then shifts to the phrases “The most visited city in Romania”, “A fairytale city”, “The Green City”, and the text “Be in the center”, which is the slogan of the Transilvania University of Brașov.

The collage predominantly focuses on details related to the natural environment and outdoor activities, with only four photographs referencing the cultural environment (a museum interior, an image taken during a concert, and two photos of old buildings of architectural value). Therefore, cultural elements are present only to a small extent in Team 1’s collage.

In the second group interview, 10 participants were divided into two teams, each with 5 participants. Two collages were created, represented in Figure 2 and Figure 3.

The second team’s collage includes a total of 11 images, three categories of text components, and three additional standalone elements. The word Brașov, written in uppercase letters reminiscent of the letters near Tâmpa Peak, serves as the focal point of the composition. The viewer’s attention is then drawn to the phrase “Art and Scandal”, with the team justifying the use of the word “scandal” by associating it with “critique” and “debate”.

The cultural elements in the second team’s collage include the phrases “Art and Scandal” and “Protect Masterpieces”, the word “Gourmet” placed above an image of a restaurant, and five photographs: a museum scene, an image of a dancing female figure, a painting, a nighttime urban landscape with historic buildings, and the Royal Liver Building in Liverpool. The phrase “Colorful and Vibrant” reflects the desire of young people for a more dynamic city, a sentiment also echoed in responses to open-ended questions during the group interviews. The lack of activities in the city after 10 p.m. and the concentration of events during the summer season highlight the need for a livelier and more energetic urban environment.

In conclusion, the second collage incorporates cultural details to a considerable extent. These are present both in the photographs (6 out of 11 images, including the gastronomic dimension) and in the text elements.

The third team’s collage includes 11 photographs, 10 text elements, and 6 additional elements. Similarly to the other collages, the word Brașov in uppercase letters, reminiscent of the iconic letters on Mount Tâmpa, serves as the focal point. Attention is then directed toward a group of text cutouts, including the word “Curaj” (Courage) and several labeled boxes promoting activities and leisure opportunities in Brașov, such as “Try: Green Bikes”, “Try: Helicopter Skiing”, and “Try: On the Slopes”.

Cultural details include a close-up of a dish (a nod to local gastronomy), a photograph of traditional dancing in an urban setting, an image of a castle in a natural environment (interpreted as referencing Brașov’s central architecture), and a photograph of a child in flamenco attire against a wooden door backdrop. Despite these inclusions, cultural elements are relatively minimal, with the collage predominantly focusing on natural landscapes and outdoor sports/activities.

During the third group interview, consisting of six participants, the final collage was created, as shown in Figure 4.

The collage created by the fourth team includes 15 images, 10 text elements, and 2 additional components (drawings by participants and a volunteer card). It is the only collage in the series that does not feature the city’s name written in uppercase letters; instead, the centerpiece is a photograph of a person climbing. The other 14 images appear to be randomly distributed across the work and reference various fields: museums, nature, Dracula, urban landscapes, and gastronomy.

This collage incorporates the most cultural elements among the four collages (an image of the interior of a Gothic church, the interior of a museum building, three gastronomy-related images, a representation of Dracula, a statue of Scottish poet Robert Burns against the background of a public square, neo-Gothic buildings, an image of the “Casa Mița Biciclista” building in Bucharest, and phrases like “History and Culture”, “Food and Drink”, “I’m Old, Sir! (I.L. Caragiale)”, and texts such as “A Good Book” and “National Gallery”). Additionally, a volunteer card from a street event in Brașov featuring the event’s logo and the text “Volunteer”, placed above the uppercase word “Empathy”, reflects the expressed desire of young people to participate in cultural (and other) events as volunteers.

As a result of applying the thematic collage technique “Brașov, My Ideal City”, four major themes were identified, which can be associated with the city’s brand as it is currently perceived by the target audience. These dimensions, which address the first objective of the research (understanding the target audience’s general perception of Brașov’s image), are as follows: (i) the natural environment and mountain activities, (ii) culture (including gastronomy) and recreational activities in the arts, (iii) green city development strategies (with a focus on sustainable transport and recycling), and (iv) other sports activities (particularly football, hockey, and boxing).

By combining responses from all techniques, it can be concluded that the image of Brașov, as perceived by young people living here, is primarily associated with its natural environment. Other significant brand dimensions include its people, the historic center, green development strategies, local culture (including gastronomy), and sports activities. While young people primarily associate Brașov with its natural environment, tourism did not prominently emerge in their responses, except for occasional mentions of traffic and congestion linked to tourists.

The second objective, determining the extent to which the identified image is linked to cultural events and culture in general, was addressed using the same methods as the first objective (open-ended questions, City Persona, and collage techniques).

Open-ended responses showed that all participants agreed that Brașov could be called a “cultural city”. However, none spontaneously associated brand attributes with the cultural domain (or cultural–artistic landmarks) when asked to name elements they are proud of or that define Brașov’s brand, apart from its old architecture and historical buildings. The “City Persona” technique revealed some correlation between the target audience’s perception of Brașov and the cultural sphere. However, respondents’ descriptions continued to emphasize the natural environment and, to a lesser extent, its people. This indicates room to strengthen the association between Brașov’s image and cultural elements.

Through the collage technique, it was observed that arts and culture play an important role in defining an ideal city brand for Brașov. Therefore, the current level of association between Brașov’s image and cultural events or culture, in general, is moderate. A positive aspect is that arts and culture are viewed as key dimensions of Brașov’s future development, forming part of the vision of an ideal city. While some respondents (not the majority) included culture as an important dimension of the city’s image, the spontaneous association of Brașov’s brand with cultural events was limited. The second hypothesis of the research—“The majority of the interviewed students do not associate the brand of Brașov with cultural events”—is thus confirmed.

The third objective, identifying the target group’s perception of the city’s cultural offerings, was addressed through two open-ended questions: “What cultural places or activities in your city do you enjoy the most?” and “How would you describe the cultural event offerings in Brașov?” Respondents identified a range of cultural events, from major festivals (“Massif Festival”) to rock concerts and unique activities such as vintage car exhibitions.

Most young people are familiar with major events and have participated in some. However, smaller-scale events (e.g., book launches, jazz concerts, performances at the Multicultural Center of Transylvania University, or art exhibitions) are less known or attended by respondents. Therefore, the hypothesis that a large part of the respondents are not familiar with the city’s cultural offering is partially validated.

Regarding cultural events, most participants in the focus groups perceived Brașov’s cultural offer in the moderate-to-sufficient range.

The analysis of the responses in this section also invalidated the hypothesis, according to which “the target audience believes that the local cultural offering is insufficient”. The majority of the respondents in the focus group interviews considered that Brașov has an average or sufficient cultural offering.

The respondents’ opinion on ways to improve Brașov’s cultural offer (the third objective of the qualitative research) was explored through three open-ended questions: “What types of cultural events would you like to see more frequently in Brașov?” “If you could change one thing about your city to make it more culturally attractive, what would it be?” “Thinking about foreign cities you have visited, what cultural aspect or event would you like to see in Brașov?”

The analysis of responses revealed several cultural aspects that young participants in the focus groups would change to make the city more culturally appealing. These include hosting events or activities after 10 p.m., as most respondents felt that Brașov lacks nightlife, offering more “updated” or contemporary events, increasing the number of festivals aligned with the city’s spirit (vintage, gothic, rustic), and organizing more events outside the summer season. Suggested events include outdoor movie nights, dance events, carnival/masquerade-style parties, stand-up comedy shows, pop concerts, urban music festivals, food fairs, historical reenactment festivals, theater performances, and team puzzle-solving meetups.

The final research objective, gathering the target group’s opinion on strategies to improve the promotion of culture and cultural events in Brașov, was addressed through the analysis of responses in the last two sections of questions, which focused on promoting the city’s cultural offerings. The interviewed young people identified the biggest challenges in promoting cultural events as the need to capture the attention of the “TikTok generation” within the first three seconds, poorly targeted campaigns, inappropriate communication channels (e.g., Facebook, which is geared towards an older demographic), and a lack of dedicated staff in cultural organizations to handle promotion.

According to respondents, event communication should primarily take place on TikTok (especially through the official TikTok account of Brașov City Hall, followed by most students in the focus groups) and Instagram. Other suggested channels include YouTube promotion, ads on streaming platforms, posters in bus stations or buses, and radio.

All participants in the focus groups felt that Brașov’s events were insufficiently promoted, confirming the last hypothesis formulated for the study. Furthermore, in most cases, young people stated that they attended events by chance, learning about them while passing through areas where the events were happening.

4.2. Results of the In-Depth Interviews

The first objective of the research, investigating the perceptions of cultural operators regarding Brașov’s current brand, was achieved through four open-ended questions: “If you were to associate the city of Brașov with a single economic domain, which would it be?” “What are three words/expressions you think could describe the city’s current brand?” “Are there any events, traditions, or buildings in Brașov that you consider essential to the city’s brand?”.

An analysis of the responses revealed that tourism is the predominant economic sector associated with the city of Brașov. Some respondents felt Brașov lacks a well-defined brand. However, spontaneous expressions describing the city included the following: “the most beautiful city in Romania” (with some of the respondents highlighting that this slogan should be more grounded in reality), “green city”, “nature”, “Tâmpa” (the mountain which offers a natural backdrop to the city) “Sfatului Square”, “multicultural”, and “conservative”. The cultural actors identified a total of eight events they consider to be relevant to the city’s brand and a few historical buildings (including the Black Church, the Citadel, and the city’s old Defense Towers).

The first hypothesis was partially confirmed, as the natural environment, the Old Town, and mountain activities are indeed significant dimensions of the image identified throughout the in-depth interviews. The cultural operators highlighted a number of other elements associated with the city’s brand, ranging from gastronomy to iconic buildings and traditions specific to Brașov.

The second objective—exploring respondents’ opinions about the city’s cultural framework (infrastructure and cultural vitality)—was addressed through five questions: “What is your general opinion about Brașov’s cultural infrastructure (museums, creative hubs, spaces for cultural events, heritage buildings and sites, facilities and technologies supporting cultural industries)?” “Name three places in Brașov where you have organized events. How would you evaluate your experiences in terms of available infrastructure? What could be improved for similar future projects in these spaces?” “How would you rate the cultural dynamism/vitality in the city (number of events per year, seasonal distribution, degree of centralization, etc.)?” “How would you describe the audience for cultural events in Brașov?”

Respondents noted that while the city’s geographic position provides clear advantages (e.g., attracting foreign tourists), there are not enough spaces for events, and accessing existing ones is often hindered by bureaucratic obstacles. Most participants observed improvements in communication with funding authorities and increased transparency in cultural funding in recent years. However, operators still feel they lack logistical support for activities. Another challenge highlighted by event organizers in Brașov is difficulty attracting participants to activities and building audience loyalty despite some well-established annual events supported by the local community. In conclusion, the degree to which the city’s context facilitates the organization of cultural events and the development of the cultural–creative sphere is considered moderate. Overall, this section confirmed the second hypothesis, which stated that local cultural infrastructure is insufficient and could be improved.

The fourth objective of the research was addressed by analyzing responses to the question: “What do you think are the main challenges faced by cultural operators in Brașov?” Throughout the discussions, participants frequently highlighted the negative aspects of planning and implementing projects, painting a complex picture of the shortcomings faced by local cultural organizations. The most pressing issues included insufficient funding and lack of expertise in accessing funds (thus confirming the third hypothesis), lack of qualified personnel, bureaucratic hurdles in accessing spaces, lack of logistical support from authorities for organizing events, overall poor communication with local authorities, absence of a cohesive community of artists, lack of an art faculty in the city to bridge the generational gap between vocational high school students and adult artists who move to Brașov, a general preference for mainstream events and lack of courage in organizing niche events, an inexperienced and hard-to-loyalize audience.

The final objective—gathering opinions on how Brașov’s cultural brand can be developed—was explored through four questions: “How would you rate the promotion of Brașov’s city brand in general?” “What do you consider to be the current directions in which Brașov’s city brand is developing? To what extent do you see culture as an integral part of brand development?” “How do you think Brașov’s cultural brand can be developed?”

The analysis of responses confirmed the hypothesis that most event organizers do not believe Brașov has a cultural brand. Instead, the city’s image is associated with dimensions such as its natural environment, ecological/green development, and the architecture of the historic center.

While culture is part of the city brand, it does not occupy a primary position. Regarding how this cultural image could be built over time, several solutions were suggested, including focusing on a specific theme (e.g., gastronomy), emphasizing multiculturalism, diversifying cultural events, and adopting trends from outside the city. Other strategies mentioned included education in schools to foster an appreciation for cultural events and collaborations with cities outside Brașov, both nationally and internationally.

4.3. Results of the Quantitative Study

The first question in the section exploring Generation Z’s opinions on Brașov’s perceived image focused on their level of attachment to the city. When asked “Do you feel attached to the city of Brașov?” 546 respondents (91%) answered Yes, 36 young people (6%) answered No, and 18 people (3%) answered I don’t know. The strong sense of place attachment among young people in Brașov was an unexpected result of this study. The analysis of the responses revealed that hypothesis H1, “The attachment level of Generation Z to the city of Brașov is moderate”, is disproven, as young people show a high level of attachment to the city.

The second question in the questionnaire, “Which element from the list do you most associate with the city of Brașov?” included the following response options: architecture, natural environment, artistic/cultural events, economic opportunities, mountain sports, and people. This question was based on the previous focus group analysis and aimed to rank the top city brand dimensions perceived by Generation Z for Brașov.

Indeed, based on the frequency analysis in IBM SPSS Statistic 26, regarding the factors most associated with the image of Brașov among the city’s Gen Z representatives, the natural environment and architecture were the most common responses. The “natural environment” option received 258 mentions (43% of all valid responses), while the “architecture” option was mentioned 231 times (38.5%). In addition, 51 respondents (8.5%) primarily associate Brașov with its local people. Mountain sports/sporting events and economic opportunities (including job offers) were recognized as key aspects of the city’s image by 24 and 15 respondents, accounting for 4% and 2.5% of the total valid responses, respectively. Only 3.5% of respondents selected the cultural events option, with just 21 subjects choosing this factor within the analyzed sample.

Thus, hypothesis H2 is confirmed, as the target audience most associates Brașov with the natural environment and architecture (Figure 5).

The next question aimed to investigate the cultural event participation behavior among Generation Z in Brașov. The analysis of cultural event participation frequency in Brașov for the sample studied (

Table 5. The frequency of Gen Z participation in cultural events in Brașov.

	Frequency	Percentage	Cumulative Percentage
More than once a month	162	27.0	27.0
Once every two–three months	159	26.5	53.5
Less than once every two–three months	222	37.0	90.5
I don’t attend cultural events	57	9.5	100.0
Total	600	100.0

Table source: SPSS data processing.

) showed that 27% of respondents attend artistic activities more than once a month. Another significant group, 26.5%, participates once every two to three months, indicating a steady but moderate interest. However, the largest group, 37% of respondents, participates less frequently than once every two to three months, suggesting there may be barriers to participation. Additionally, 9.5% of respondents do not attend cultural events at all, pointing to potential obstacles such as lack of interest or information.

Hypothesis H3, according to which over 50% of the subjects analyzed participate in cultural events in Brașov at least once every two to three months, is confirmed. A total of 53.5% of the respondents indicated that they fall within this interval.

The following question (“What are the main reasons you don’t attend cultural-artistic events in Brașov more often?”) aimed to investigate these participation barriers, as well as how they can be overcome (

Table 6. Reasons why Gen Z does not attend cultural events in Brașov more often.

	Number of Responses	Percentage (%)
I do not receive information about cultural events in the city	138	23.0
I am more of a consumer of other types of events/activities (e.g., sports, video games)	60	10.0
My schedule is already very busy	195	32.5
I am influenced by the fact that my friends usually do not attend such events	108	18.0
I would like to attend events, but the tickets are too expensive	54	9.0
I would like to participate in cultural/artistic activities, but I do not feel that the events in the city are for me	42	7.0
Others	3	0.5
Total	600	100.0

). The majority of respondents, 32.5% of the total (195 responses), identified a busy schedule as the main barrier to participating in events. The next important reason, mentioned by 23.0% of respondents (138 responses), is the lack of information. The influence of friends who do not attend such events was noted by 18.0% of respondents (108 responses). Another 10.0% (60 responses) prefer other types of activities, such as sports or video games, while 9.0% (54 responses) find entry tickets too expensive. A percentage of 7.0% of respondents feel that cultural events in the city are not for them. For hypothesis H4 to be confirmed, at least two-thirds of respondents (approximately 66.7%) should have mentioned lack of information as the main reason for not attending. Since only 23.0% of respondents indicated this reason, the hypothesis is invalidated. Additionally, statistical analysis revealed that the main barrier to non-participation is a very busy schedule, as indicated by 32% of respondents. Based on the analysis of the responses, to overcome barriers and encourage cultural event participation among Generation Z, more effective communication strategies are recommended. These should include flexible options for individuals with busy schedules, adjusted ticket prices to make events more accessible, and a diversified cultural offer to attract a wider range of interests and preferences.

The next question in the questionnaire aimed to survey the opinion of Generation Z youth regarding the perceived connection between the local cultural environment and its role in individual education and development. In total, 73% of respondents chose the response options “to a large extent” and “to a very large extent”, which confirms hypothesis H5, according to which over 70% of Generation Z youth participating in the survey consider the cultural–artistic environment important for their education and development.

The next question, “Do you think there are enough opportunities for young people to participate in cultural events in Brașov?” aimed to gather insights into how well cultural events are adapted to the needs and interests of the younger generation, an important factor in strengthening and promoting Brașov’s cultural brand. The majority of respondents, representing 48.0% of the total 600 participants, answered affirmatively, asserting that there are enough opportunities to participate in cultural events in Brașov. On the other hand, 30.0% of respondents disagreed, considering that there are not enough opportunities. Meanwhile, 22.0% of respondents indicated they did not know whether there were sufficient cultural events or not. The percentage of respondents who indicated that there are not enough cultural opportunities in Brașov is 30.0%. This percentage is below the 50% threshold, indicating that hypothesis H6 (Over 50% of young people believe there are not enough cultural opportunities in Brașov) was not confirmed.

To the question “Are you involved in creating artistic content (including at an amateur level)?” 518 respondents (86%) answered affirmatively, while 82 young people (16%) stated they were not involved. This confirms hypothesis H7.

The next inquiry explored Gen Z’s openness to adopting new technologies in arts and culture, assessing their familiarity with various concepts. For NFTs, 13% of respondents identified as experts or very familiar, while 43% were not familiar at all. Regarding New Media Art, 13.6% considered themselves experts or very familiar, and 37.3% stated that they were unaware of the concept. For AI, 26% of respondents were experts or very familiar, compared to 19.5% who were not familiar at all. VR saw the highest familiarity, with 47% of respondents stating being experts or very familiar and only 7.8% unfamiliar. Similarly, AR familiarity was notable, with 37.3% being experts or very familiar, while 18.2% were not familiar at all. These data suggest that, overall, respondents have a modest to moderate knowledge of modern art concepts, with the exception of Virtual Reality, where the average response indicates a higher level of familiarity. Therefore, hypothesis H8 (Modern concepts in art such as NFT, New Media Art, AI, VR, and AR are known, on average, to a large extent by Generation Z youth in Brașov) is invalidated.

The focus of the research further shifted to achieving Objective 4, namely determining the extent to which young people from the target audience are willing to engage in the cultural sector in the future. Out of a total of 600 respondents, 198 expressed a desire to work in the cultural sector, while 237 indicated their willingness to volunteer in organizing cultural events. In contrast, 105 respondents stated they would not work in this field, and 60 young people answered that they did not know whether or not they were willing to get involved in arts and culture. The percentages are presented in Figure 6.

The cumulative percentage of 72.5% for young people willing to engage in the artistic field disproves hypothesis H9, as it exceeds the 50% threshold initially set in the analysis.

Objective number 5, which aimed to gather the opinions of Generation Z regarding the influence of education on participation in cultural events, provides insights into the effectiveness of the local educational system in fostering cultural interest and engagement. Out of 600 respondents, 66 (11.0%) indicated that their education does not promote participation in cultural activities at all. A total of 144 young people (24.0%) felt that education promotes participation only to a small extent, while 150 respondents (25.0%) considered it to be promoted to a moderate extent. An equal number, 150 (25.0%), felt that their education promotes participation to a large extent, and 90 respondents (15.0%) indicated a very high level of promotion.

Overall, 89% of young people believe that their education contributes to cultural participation, even though 24% think this happens only to a small extent (Figure 7).

Therefore, hypothesis H10, according to which over 50% of the responding youth believe that their education contributes to their participation in cultural events, is confirmed.

5. Discussion

Drawing on the results of the three studies—the focus group on cultural marketing strategies, in-depth interviews with cultural professionals on brand development, and a quantitative analysis of Generation Z’s role—this paper explores the current city brand of Brașov and identifies strategic directions for developing its cultural brand.

To further support the analysis and provide a clear overview of the key findings,

Table 7. Results of focus group discussions.

Hypothesis	Validated/Invalidated
The majority of respondents associate Brașov with tourism and the natural environment.	Validated
The majority of interviewed students do not associate Brașov’s city brand with cultural events.	Validated
Most respondents are not familiar with the city’s cultural offerings.	Partially validated
The target audience believes that the local cultural offer is insufficient.	Validated
The majority of young people think that cultural events in Brașov are insufficiently promoted.	Validated

,

Table 8. Results from the in-depth interviews with cultural leaders in Brașov.

Hypothesis	Validated/Invalidated
The majority of cultural operators believe that Brașov’s cultural brand is currently represented by the natural environment, the Old Town, and mountain activities.	Validated
A large portion of respondents consider the local cultural infrastructure to be insufficient.	Validated
The main issue faced by cultural operators in Brașov is the lack of consistent and predictable funding.	Validated
Some event organizers do not believe that Brașov has a cultural brand.	Validated

and

Table 9. Findings from the quantitative research on Gen Z and the cultural environment in Brașov.

Hypothesis	Validated/Invalidated
The attachment level of Generation Z to the city of Brașov is moderate.	Invalidated
The majority of the target audience associates the city of Brașov with its architecture and natural environment.	Validated
Over 50% of subjects attend cultural events in Brașov at least once every two to three months.	Validated
Over two-thirds of Generation Z youth do not attend cultural events in Brașov more often, mainly due to lack of information.	Validated
Over 70% of Generation Z youth believe that the cultural-artistic environment is important for their education and development.	Validated
Over 50% of young people believe there are not enough cultural opportunities in Brașov.	Invalidated
At least 50% of Generation Z youth produce cultural content at least at an amateur level.	Validated
Modern concepts in art (NFT, New Media Art, AI, VR, AR) are known, on average, to a large extent by Generation Z youth in Brașov.	Invalidated
Less than 50% of Generation Z youth in Brașov are interested in becoming involved in the cultural field in the future.	Invalidated
Over 50% of the responding youth believe that their education contributes to their participation in cultural events.	Validated

summarize the validation of the hypotheses tested in each study. These tables serve as a reminder of the primary results and help contextualize the discussion that follows.

The results from the focus group analysis show that while the city’s image is primarily associated with its natural environment, historic architecture, and green development strategies, there is moderate recognition of its cultural potential. Although all participants agreed that Brașov can be considered a “cultural city”, spontaneous association of the city’s brand with cultural events or landmarks was limited, validating the hypothesis that culture is not a dominant perceived dimension of Brașov’s brand.

However, the collage exercise highlighted that arts and culture play a vital role in shaping an ideal future city brand for Brașov. This indicates an opportunity to strategically strengthen the cultural aspect of the city’s identity in future brand development.

Regarding the city’s cultural offer, while most respondents are aware of major events such as festivals and concerts, smaller-scale cultural activities remain underrepresented in the responses provided by the young people questioned. Most participants rated the offer as moderate to sufficient. Nonetheless, participants highlighted areas for improvement, such as the need for more nightlife activities, contemporary events, and year-round festivals, particularly with unique themes (e.g., vintage, gothic, rustic). The focus on niche and seasonal events provides an avenue for Brașov to diversify its cultural calendar and foster greater engagement from both locals and tourists.

To enhance cultural engagement, respondents emphasized the importance of tailored promotional strategies aimed at younger audiences. The primary communication channels identified were TikTok and Instagram, supported by creative outreach on platforms like YouTube and through traditional means such as posters and radio. Criticism of existing promotional efforts—perceived as poorly targeted and outdated—reinforces the need for improved marketing strategies to increase event visibility. This is particularly crucial for engaging the younger demographic, who are more active on digital platforms, emphasizing the importance of innovative digital campaigns that leverage storytelling and behind-the-scenes content to connect with the audience on a deeper level.

Overall, these findings underscore the opportunity to strengthen Brașov’s cultural brand by promoting its existing cultural assets more effectively and diversifying its cultural offer in line with the preferences of the younger generation. Developing a cohesive cultural identity with a clear focus on unique and appealing themes could significantly enhance the city’s visibility and attractiveness.

The second study revealed important insights regarding the perceptions of cultural operators about Brașov’s current brand and its potential cultural development. The analysis showed that tourism, the natural environment, and historic architecture are central to Brașov’s perceived brand, confirming the hypothesis that these elements form the core of its identity. Although some respondents believe the city lacks a well-defined brand, descriptive expressions such as “the most beautiful city in Romania”, “green city”, and “multicultural” frequently appeared in responses. Additionally, iconic landmarks, such as the Black Church, Sfatului Square, and the city’s old Defense Towers, along with significant local events, were seen as integral to Brașov’s brand identity. This provides a clear starting point for shaping a more cohesive cultural brand that emphasizes both the city’s natural beauty and its cultural heritage.

Regarding cultural infrastructure and vitality, participants acknowledged recent improvements in communication and funding transparency but noted significant challenges, such as insufficient event spaces, bureaucratic hurdles, and logistical issues. Despite Brașov’s advantageous geographic location and its ability to attract tourists, cultural operators expressed concerns about inadequate infrastructure and difficulties in audience engagement. These findings support the hypothesis that the city’s cultural infrastructure is underdeveloped and requires further enhancement. Improving the availability of venues, reducing bureaucratic obstacles, and increasing logistical support would better enable the city’s cultural community and facilitate the organization of events.

Cultural operators also identified several barriers to organizing events, including insufficient funding, lack of expertise in securing resources, and poor communication with local authorities. Additionally, the absence of an art faculty and a cohesive artist community was highlighted as a gap in fostering long-term cultural engagement. The lack of an art faculty in Brașov is a significant issue, as it limits the capacity to train future cultural leaders and artists. Establishing such an institution would not only provide formal training but could also serve as a hub for innovation, nurturing a new generation of cultural entrepreneurs. Moreover, fostering a more cohesive and collaborative artist community could encourage more experimental and niche events, helping to diversify the city’s cultural offerings.

When discussing strategies for developing Brașov’s cultural brand, most respondents agreed that culture currently occupies a secondary position in the city’s image. However, they proposed several pathways to strengthen the cultural dimension, including (i) focusing on distinctive themes, such as gastronomy or multiculturalism, that align with the city’s heritage and current trends, (ii) diversifying cultural events, with a consensus on the need for a broader range of cultural performances, including those that are more experimental or niche, (iii) enhancing educational Initiatives: educating the younger population about the value of cultural events from an early age could foster long-term engagement. Additionally, involving schools and universities in cultural programming could help cultivate a more informed and dedicated audience. Two more strategies include (iv) building partnerships with other cities, both nationally and internationally, to exchange cultural practices and broaden the city’s appeal. International collaborations could also include cultural exchanges, artist residencies, or joint festivals that showcase Brașov’s unique cultural offerings to a wider audience. Finally, integrating sustainability into the city’s cultural offer (v) could help reinforce Brașov’s green city brand. Hosting eco-friendly events, focusing on sustainability as a cultural theme, and promoting the city’s natural environment alongside its cultural events could appeal to both environmentally conscious tourists and locals.

The findings of the third study revealed several key insights into Generation Z’s perception of Brașov’s image and cultural engagement. A significant majority of respondents (91%) expressed a strong attachment to the city, highlighting a notable sense of place identity among young people. The most commonly associated elements with Brașov’s image were its natural environment (43%) and architecture (38.5%), followed by its people (8.5%) and, to a lesser extent, mountain sports (4%), economic opportunities (2.5%), and cultural events (3.5%). This validated the hypothesis that the majority of the target audience associates Brașov with its architecture and natural environment.

Regarding cultural participation, 27% of respondents attend artistic events more than once a month, while 37% participate less frequently than once every two to three months, indicating potential barriers. The main reasons for low participation were busy schedules (32.5%), lack of information (23%), and social influences (18%), along with preferences for other activities (10%), high ticket prices (9%), and a perception that events are not appealing to them (7%). Despite these barriers, nearly half (48%) believe there are enough cultural opportunities in the city. The fact that nearly half of respondents believe there are enough cultural opportunities suggests that the issue may not be a lack of events but rather inadequate promotion and accessibility. To address this, Brașov could improve event visibility through digital marketing, targeted social media campaigns, and student-focused outreach.

In terms of involvement in arts, 86% of respondents reported being engaged in creating artistic content. This strongly validates the hypothesis that at least 50% of Generation Z youth produce cultural content at least at an amateur level. Additionally, openness to adopting new technologies in arts and culture varied, with the highest familiarity reported for VR (47%) and AR (37.3%), while concepts like NFTs and New Media Art were less known.

Interest in future involvement in the cultural sector was high, with 198 respondents out of 600 expressing a desire to work in this field and 237 willing to volunteer in cultural events. Lastly, education plays an essential role, as 89% of respondents believe it encourages cultural participation to some degree, though only 15% rate its influence as very high. These data suggest that Brașov has a strong foundation for cultural engagement among Generation Z, with a significant portion interested in working or volunteering in the cultural sector. However, the fact that only 15% view education’s influence as very high indicates a gap in how cultural education is integrated into their learning experiences.

The findings from the quantitative research further emphasize the importance of strengthening communication strategies, diversifying the cultural offer, and enhancing educational efforts to better engage Generation Z in Brașov’s cultural landscape. Workshops, online resources, and hands-on experiences could help bridge the knowledge gap, particularly for concepts like NFTs and New Media Art, which show higher levels of unfamiliarity. Collaborations with schools, universities, and cultural organizations could foster greater interest and expertise. Showcasing practical applications of technologies like AI, AR, and VR in creative fields may further inspire Gen Z to explore their creative potential.

6. Research Limitations and Potential Areas for Further Investigation

6.1. Focus Group Studies

Focus group interviews served as an engaging and effective way to investigate young people’s perceptions of local cultural events and their association with city branding in Brașov. However, some limitations associated with this research method need to be addressed.

First, sample representativity is an important aspect when interpreting results. In focus group interviews, where the number of participants is relatively small compared to the diversity of the target population, there is a risk of underrepresenting certain perspectives or experiences. As a result, some voices may be overlooked or not adequately reflected in the research findings. We tried to partially address this limitation by conducting a quantitative study with 600 Gen Z representatives.

Additionally, group dynamics can influence how participants express their opinions and perceptions. Some individuals may be less willing to share their views or may be influenced by dominant opinions within the group.

Another major limitation is related to subjectivity and the interpretation of results. Young people’s perceptions of the local cultural environment are deeply shaped by personal experiences, cultural background, and other individual factors. Therefore, the researcher took this subjectivity into account to avoid overly broad generalizations.

Despite these limitations, the direct and spontaneous interaction between participants successfully facilitated the free exchange of ideas and opinions, generating innovative insights into how young people perceive cultural events in Brașov. Moreover, the discussions provided an opportunity to observe and analyze social interactions and group dynamics. This allowed the researcher to better understand how individual perceptions were influenced by participant interactions, identifying common thought patterns and trends within the group.

Since young people’s perception of the city’s cultural brand remains a broad and not fully explored subject, several potential research directions exist in this field. Some possible areas of study include (i) investigating how young people use technology and digital platforms to interact with their city’s cultural environment and identifying opportunities to strengthen the online cultural brand; (ii) exploring the city’s cultural diversity and how it can be reflected and promoted within the cultural brand; considering inclusion and representation of various ethnic, social, and cultural groups; (iii) analyzing young people’s cultural tourism experiences and identifying key factors that contribute to a positive and memorable experience.

6.2. In-Depth Interviews with Cultural Leaders in Brașov

Research based on in-depth interviews has some limitations that need to be considered when interpreting the results. First, the small number of respondents can affect the representativeness of the conclusions, as the views of local cultural operators and managers may not reflect the perspectives of all relevant stakeholders in Brașov’s cultural ecosystem.

Additionally, each participant’s personal experiences, interests, and professional roles influence their responses, which can lead to a higher degree of subjectivity. Another limitation is the qualitative nature of the interviews. While they provide valuable insights into participants’ perceptions, they do not allow for broad generalizations about all cultural leaders and organizers.

To address these limitations and strengthen the findings, future research could use complementary methods (for example, quantitative surveys with a larger sample of cultural actors, tourists, residents, and local authorities).

A comparative study with other similar cities in Romania or Europe would also be useful in identifying effective strategies for building a cultural city brand.

Additionally, analyzing the impact of current cultural branding strategies on public perception and local economic development using statistical data and performance metrics could offer valuable insights.

6.3. Quantitative Study on Gen Z and the Cultural Environment in Brașov

One limitation of this research is its focus on a specific demographic, Generation Z in Brașov. While valuable for understanding youth perspectives, this approach does not fully capture the broader population’s views on cultural branding and sustainability. This limitation was partially addressed by conducting in-depth interviews with cultural leaders who have a good understanding of the audience for cultural events in the city.

Secondly, the survey sample, though large, might not fully represent all segments of Generation Z in Brașov (such as young people from lower-income backgrounds or those not engaged in digital platforms).

The study focuses on the mid-sized European of Brașov. Factors such as the city’s tourism-driven economy, historical influences, and local cultural policies shape Generation Z’s perspectives in ways that differ from those in cities with a different context. All these must be taken into consideration when applying the findings to other urban centers.

To expand the research, several directions can be pursued. These include (i) broadening the sample to encompass a wider range of age groups, ensuring a broader view of cultural participation across different demographics in Brașov; (ii) conducting longitudinal studies to track changes in cultural engagement and attitudes over time, providing insights into generational shifts in cultural preferences; (iii) exploring the relationship between cultural participation and other socioeconomic factors, such as income, education, and geographic location, to better understand the barriers to engagement in cultural events; (iv) using mixed methods, combining quantitative surveys with qualitative interviews, to gain deeper insights into the motivations and challenges faced by young people when engaging with local cultural events; and (v) comparing the findings from Brașov with similar-sized cities across Romania and Europe.

7. Conclusions

In the present day, the integration of social media into city branding strategies marks a significant paradigm shift, reshaping how cities communicate and define their identities in the digital age [4,5]. Destination images are dynamically being built online [44], as Internet networks have completely redesigned the way people travel [45] and city brands are being continuously updated [46].

Adding a cultural dimension to a city brand not only strengthens a sense of place attachment [12] among residents but also brings forward deeper, more nuanced aspects of urban identity. By highlighting a city’s history, heritage, arts, gastronomy, local community, and traditions [9], a healthy and vibrant urban atmosphere is created that attracts both visitors and investors, ultimately improving the quality of life [10]. Moreover, a focus on culture allows cities to better manage their tourism flows, avoiding over-tourism and promoting more sustainable forms of tourism [18].

Incorporating sustainability principles into branding strategies has been a valuable trend in recent decades. Studies emphasize the role of art and culture, which are often referred to as “clean energies” [21], as drivers of sustainable urban development.

This article examines how Brașov, a town in Transylvania, central Romania, can transition from being primarily recognized as a tourist destination to establishing a more culturally driven identity. By integrating insights from three complementary studies—a focus group on cultural marketing strategies, in-depth interviews with cultural professionals regarding brand development, and a quantitative analysis of Generation Z’s influence—the paper sought to identify key strategic directions for enhancing Brașov’s cultural brand. The research is distinctive in its comprehensive approach, offering a unified analysis by consolidating diverse perspectives on the city’s brand development.

The purpose of the first study, consisting of three focus group interviews with young people aged 18–22 from Brașov, was to understand how the target audience perceives Brașov’s brand, particularly in relationship to cultural events, identify ways to improve the city’s cultural offer and explore strategies to better promote culture and cultural events in Brașov. The main findings revealed a city brand characterized by an attractive natural environment, historic architecture, and green development strategies, with a moderate recognition of its cultural potential. Participants highlighted areas for improvement, such as the need for more nightlife activities, contemporary events, and year-round festivals, particularly with unique themes (e.g., vintage, gothic, rustic), a focus on niche and seasonal events, as well as promotional efforts adapted to the “Tik-Tok generation”, with its short attention span to cultural news and event announcements.

The second study, consisting of 11 in-depth interviews with cultural operators, consolidated the idea of a tourist brand and brought forward several key strategies for enhancing the city’s cultural brand. Most respondents agreed that culture currently occupies a secondary position in the city’s image. They proposed several pathways to strengthen the cultural dimension of Brașov, including focusing on distinctive themes such as gastronomy or multiculturalism, which align with the city’s heritage and current trends. Another suggestion was diversifying cultural events, with a broad consensus on the need for a wider variety of cultural performances, including experimental and niche offerings. Enhancing educational initiatives by introducing younger audiences to the value of cultural events was also recommended in order to build long-term engagement. Involving schools and universities in cultural programming could help cultivate a more informed and dedicated audience. Additional strategies included building partnerships with other cities, both nationally and internationally, to exchange cultural practices and broaden the city’s appeal. These collaborations could encompass cultural exchanges, artist residencies, or joint festivals, showcasing Brașov’s unique cultural offerings to a wider audience. Finally, integrating sustainability into the city’s cultural offer could help reinforce Brașov’s green city brand. Hosting eco-friendly events, focusing on sustainability as a cultural theme, and promoting the city’s natural environment alongside its cultural events could appeal to both environmentally conscious tourists and locals.

The findings from the quantitative research (third study of this paper) further emphasize the importance of strengthening cultural communication strategies, diversifying the cultural offer, and enhancing educational efforts to better engage Generation Z in Brașov’s cultural landscape. The purpose of this study conducted on 600 Gen Z representatives was to better understand the opinions of the local youth regarding the cultural life of the city but also to assess the level of cultural literacy among a generation that will be the city’s economic core in a few years, as well as their potential of getting involved in the cultural sphere in the future, among others. One of the most surprising discoveries was that the significant majority of respondents (91%) expressed a strong attachment to the city. This highlights a strong sense of place identity among young people. In terms of involvement in arts, 86% of respondents reported being engaged in creating artistic content. Additionally, openness to adopting new technologies in arts and culture varied, with the highest familiarity reported for VR (47%) and AR (37.3%), while concepts like NFTs and New Media Art were less known. Interest in future involvement in the cultural sector was high, with 198 respondents out of 600 expressing a desire to work in this field and 237 willing to volunteer in cultural events. Lastly, education plays a crucial role, as 89% of respondents believe it fosters cultural participation to some degree, though only 15% rate its influence as very high.

Brașov’s current city brand aligns with broader theories of cultural city branding and sustainability but also highlights key gaps that need to be addressed. According to cultural branding theory, integrating arts, heritage, and local traditions into a city’s identity strengthens place attachment [47] and leads to a vibrant urban environment. However, findings from both focus groups and interviews with cultural leaders reveal that Brașov’s brand is predominantly associated with its natural environment and tourism rather than its cultural scene. This indicates a disconnect between the city’s cultural potential and its public perception. While cultural branding should ideally enhance a city’s sustainability by diversifying its attractions beyond mass tourism, Brașov’s limited recognition as a cultural hub suggests an underutilization of these branding strategies. Strengthening the visibility and accessibility of cultural events could help reposition the city’s identity toward a more balanced and sustainable urban brand.

For Brașov to transition from a predominantly tourist-oriented city to a cultural city, it must keep its existing historical assets and natural beauty as a foundation while actively investing in cultural strategies. This research provides a starting point in identifying key areas for development, such as expanding cultural infrastructure, empowering Brașov’s youth to be a part of the change, and enhancing cultural education, among others. By positioning culture as a core component of its identity and promoting collaboration between local authorities, cultural operators, and the community, Brașov can strengthen its cultural brand and achieve a more balanced image in order to attract investors, culture-driven tourists, as well as long term residents interested in positive urban transformations.

Urban research has long prioritized global megacities, benefiting from significant investment and notoriety [30,31]. Places like New York, London, or Amsterdam dominate studies on cultural branding and creative economies, with perspectives that may not translate to smaller urban contexts [32]. This research contributes to a growing but still insufficient body of knowledge on how mid-sized tourist cities can transition from being perceived primarily as sightseeing destinations to having a widely recognized cultural identity. Furthermore, the paper highlights the growing necessity for cities to tailor cultural promotion strategies to the evolving preferences of digital-native generations.

This research has several limitations that should be acknowledged. The focus group studies were effective in capturing in-depth perspectives on cultural events and city branding, yet sample representativity and group dynamics posed challenges. Some voices may have been underrepresented, and dominant opinions could have influenced discussions. Similarly, in-depth interviews with cultural leaders provided valuable expert insights but were limited by the small number of respondents and the subjective nature of qualitative analysis. While the results help contextualize the cultural environment in Brașov, they do not fully represent the diverse perspectives of all stakeholders (for example, tourists, mature age groups, local authorities). To enhance the reliability and generalizability of future research, a combination of qualitative and quantitative approaches should be employed, such as larger-scale surveys or comparative studies with other cities.

The quantitative study on Generation Z further contributes to understanding youth perspectives on cultural branding and sustainability in Brașov but also has its own constraints. The research is limited to a specific demographic, and while the survey sample is large, it may not fully capture all segments of Gen Z, particularly those from lower-income backgrounds or with limited digital access. Additionally, Brașov’s unique economic and historical context may shape cultural attitudes in ways that differ from other urban centers, limiting the study’s generalizability. Future research could address these gaps by conducting longitudinal studies to track changes in cultural engagement over time or exploring the relationship between cultural participation and other socioeconomic factors, such as income and education. Comparative analyses with other mid-sized European cities could also provide valuable insights into broader trends in cultural branding and youth engagement.

Despite these limitations, as cities worldwide seek to reinvent their cultural positioning in the face of digitalization, the insights from Brașov offer valuable perspectives on how municipalities can communicate cultural offerings in ways that resonate with younger audiences and cultural operators. A well-implemented cultural branding strategy should include effective communication and digital engagement. The findings indicate that a significant portion of Generation Z is involved in cultural production at an amateur level, yet many are unaware of local events or do not frequently attend them due to poor promotion. According to city branding theories, social media is a crucial tool for cultural engagement, especially when it comes to Gen Z [4]. If Brașov integrates digital strategies, such as targeted social media campaigns or influencer collaborations, it could bridge the gap between cultural offerings and audience engagement.

Last but not least, cultural leaders play a vital role in this transformation, as they can shape the cultural offer in order for it to appeal not only to visitors but also to local communities, developing engagement and pride.

This study on Brașov, a mid-sized city with a powerful tourist brand but an underdeveloped cultural image, provides a useful model for cities with similar contexts to enhance their brand and reposition themselves globally.