The programme of European capitals of culture initiated in 1985 is considered one of the most popular policies of the European Union. Each year, it gives the opportunity to two European cities to organise a large-scale event lasting all year long, with the objective to stimulate its local cultural sphere by the erection of new buildings, establishment of new international partnerships and by hosting multiple events. Through the repetition of this event each year and the evolution of the European Union from the 1980s the programme has evolved to change in order to integrate newer European policies, and developed trends regarding its implementation. This thesis, by focusing on two cases with obvious differences in size, location and history, delve into the strategies employed to conduct successfully a European capital of culture. Therefore, the thesis is conducted on the two cases of Marseille-Provence 2013 and Pilsen 2015. By analysing the initial design of these cultural capitals made in the documents submitted during their application process, as well as documents produced after the cultural, the research illustrates these trends by finding out the commonalities and differences found in both cultural capitals. The study conducted found that the cultural capitals in both cases noticed great similarities in the manner the programme is implemented in each city. Flagship constructions are influenced by similar trends in city-making, such as R. Florida's theory of the creative class. Similar motifs to design cultural events are found in the two cultural capitals such as the usage of local history, or the integration of minorities. The main differences appeared in the content itself of the cultural year, due to historical, political and cultural idiosyncrasies which resulted in a different programme in each cultural capital.The programme of European capitals of culture initiated in 1985 is considered one of the most popular policies of the European Union. Each year, it gives the opportunity to two European cities to organise a large-scale event lasting all year long, with the objective to stimulate its local cultural sphere by the erection of new buildings, establishment of new international partnerships and by hosting multiple events. Through the repetition of this event each year and the evolution of the European Union from the 1980s the programme has evolved to change in order to integrate newer European policies, and developed trends regarding its implementation. This thesis, by focusing on two cases with obvious differences in size, location and history, delve into the strategies employed to conduct successfully a European capital of culture. Therefore, the thesis is conducted on the two cases of Marseille-Provence 2013 and Pilsen 2015. By analysing the initial design of these cultural capitals made in the documents submitted during their application process, as well as documents produced after the cultural, the research illustrates these trends by finding out the commonalities and differences found in both cultural capitals. The study conducted found that the cultural capitals in both cases noticed great similarities in the manner the programme is implemented in each city. Flagship constructions are influenced by similar trends in city-making, such as R. Florida's theory of the creative class. Similar motifs to design cultural events are found in the two cultural capitals such as the usage of local history, or the integration of minorities. The main differences appeared in the content itself of the cultural year, due to historical, political and cultural idiosyncrasies which resulted in a different programme in each cultural capital.