The urban order has fashioned a new grammar. In literal terms, the theories of the creative class, creative economy and creative city function as a unit that is both descriptive and prescriptive; they have the advantage of taking into account the utility of culture in urban production. However, they convey a version of creativity that is limited to a productive economic dimension and negates all other possible definitions of creativity. This article proposes to comparatively analyze the theories of Richard Florida (content analysis) and how they have been received in Geneva (direct and participative observation). By examining different policies inspired by this theoretical corpus, we will see how reducing creativity to mere productivity has turned energies into productive strengths.