Index
Aesthetics and Style in Strategy
ISBN: 978-1-80043-237-6, eISBN: 978-1-80043-236-9
ISSN: 0742-3322
Publication date: 9 November 2020
This content is currently only available as a PDF
Citation
(2020), "Index", Cattani, G., Ferriani, S., Godart, F. and Sgourev, S.V. (Ed.) Aesthetics and Style in Strategy (Advances in Strategic Management, Vol. 42), Emerald Publishing Limited, Leeds, pp. 275-279. https://doi.org/10.1108/S0742-332220200000042010
Publisher
:Emerald Publishing Limited
Copyright © 2021 Emerald Publishing Limited.
INDEX
Activity, 106
Aesthetic(s), 173
code complexity, 59, 64
dimension, 22
innovation, 141–142, 147–148, 165
Aesthetization process, 3
Ambivalence, 230–231
Analysis, 143–144
Annual model, 147
Apple, 158
Art dealers or artists, 53
Artistic capitalism, 3
Autobiographies, 144–145
Baseline model, 129
Beatport. com
, 28
Biographies, 144–145
Blonde Salad blog, 134–135
Case(s), 143
Categorization, 202
Category spanning, 49–50
CC Fashion Week, 233–234
Celebrity CEO, 157
City Government, 238–239
Coda, 95–96
Codes, 50, 70
complexity, 50–52
Coherent-style typologies, 21, 25
Colour(s), 27
theory, 21, 34
Communication, individual intensity of, 105–107
Competition, 200–201
Competitive advantage, 19–20
Competitor products, 200–201
Complexity, 50
Conformity, 230–231
Conspicuous consumption, 83
Conspicuousness, 83–84
Consumer evaluations and implicit comparisons, 202–204
social attention and evaluation, 203
style and evaluation, 202–203
stylistic similarity and social attention, 203–204
Contemporary art, 103
Conventionality, 121, 126–127
Core city (CC), 229
Core–periphery, 103
Craftsmanship, 124
Creative industries, 25–26, 51, 142
Creative innovators, 42
Creative personalities, 20
Critic(s), 104, 108–109, 111, 173, 179
distance, 183–185
as gatekeepers in diffusion of style, 177–180
implications, limitations and future research, 191–193
method, 181–186
reactivity and peer influence in stylistic innovation, 180–181
results, 187–191
reviews, 185–186
style and stylistic dynamics, 174–177
Cross-industry aesthetic innovation, 166
Cultural
aestheticism in, 4
continuity, 176
hybridization, 3
industries, 142
innovation, 230–231
mediators, 178–179
Design, 141–142, 175
Differentiation, 230–231
Digimind, 80–81
Digital market, 121
Discogs
, 28
DJ-oriented marketplace, 28
Double edge of legitimation, 228–229
Elaboration of content, 106–107
Electronic music, 26
Embeddedness, 55, 69
Enclothed cognition, 94
Encoding–decoding process, 50–52
Entrepreneurial pitches, 135
Entrepreneurship scholarship, 122
Entry timing, 200–202
Environmental embeddedness, 237–238
Ethnography, 233
Etsy, 123–124
Evaluation, 200
Evangelical aesthetic innovation, 143, 159
Extensiveness of content, 106–107
Fashion, 80, 163, 227–228
game, 172–173
gatekeepers, 174
industry, 173
observers, 177
Fashion Weeks, 181–182
two tiers of, 232–233
Footwear, 79–80
Fordism, 145–146
Front-row VIPs, 242–243
Gatekeepers, 172–174, 179
General Motors (GM), 143
Generalizability, 71–72
Geography, 228–229, 247–248
Global value chain analysis, 228
Government funding, 238
Grand Prix d’Horlogerie de Genéve
, 57–58
Heeled status-enhancement hypothesis, 79, 85
Heels, 79, 82
High-value sponsors, 240
Ideal-typical styles of leadership, 102–103
Imperfect imitation, 228–229
Inertia, 176
Innovation, 230
Institutionalized aesthetic innovation
contributions, 161–166
limitations, 160–161
methodological approach, 144–145
Starbucks and fresh new brew, 150–155
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
strategic aesthetic innovation, 145–149
Integrator, 104, 108–109, 111
Jobs, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Activity
, 106
Aesthetic(s)
, 173
code complexity
, 59, 64
dimension
, 22
innovation
, 141–142, 147–148, 165
Aesthetization process
, 3
Ambivalence
, 230–231
Analysis
, 143–144
Annual model
, 147
Apple
, 158
Art dealers or artists
, 53
Artistic capitalism
, 3
Autobiographies
, 144–145
Baseline model
, 129
Beatport. com
, 28
Biographies
, 144–145
Blonde Salad blog
, 134–135
Case(s), 143
Categorization, 202
Category spanning, 49–50
CC Fashion Week, 233–234
Celebrity CEO, 157
City Government, 238–239
Coda, 95–96
Codes, 50, 70
complexity, 50–52
Coherent-style typologies, 21, 25
Colour(s), 27
theory, 21, 34
Communication, individual intensity of, 105–107
Competition, 200–201
Competitive advantage, 19–20
Competitor products, 200–201
Complexity, 50
Conformity, 230–231
Conspicuous consumption, 83
Conspicuousness, 83–84
Consumer evaluations and implicit comparisons, 202–204
social attention and evaluation, 203
style and evaluation, 202–203
stylistic similarity and social attention, 203–204
Contemporary art, 103
Conventionality, 121, 126–127
Core city (CC), 229
Core–periphery, 103
Craftsmanship, 124
Creative industries, 25–26, 51, 142
Creative innovators, 42
Creative personalities, 20
Critic(s), 104, 108–109, 111, 173, 179
distance, 183–185
as gatekeepers in diffusion of style, 177–180
implications, limitations and future research, 191–193
method, 181–186
reactivity and peer influence in stylistic innovation, 180–181
results, 187–191
reviews, 185–186
style and stylistic dynamics, 174–177
Cross-industry aesthetic innovation, 166
Cultural
aestheticism in, 4
continuity, 176
hybridization, 3
industries, 142
innovation, 230–231
mediators, 178–179
Design, 141–142, 175
Differentiation, 230–231
Digimind, 80–81
Digital market, 121
Discogs
, 28
DJ-oriented marketplace, 28
Double edge of legitimation, 228–229
Elaboration of content, 106–107
Electronic music, 26
Embeddedness, 55, 69
Enclothed cognition, 94
Encoding–decoding process, 50–52
Entrepreneurial pitches, 135
Entrepreneurship scholarship, 122
Entry timing, 200–202
Environmental embeddedness, 237–238
Ethnography, 233
Etsy, 123–124
Evaluation, 200
Evangelical aesthetic innovation, 143, 159
Extensiveness of content, 106–107
Fashion, 80, 163, 227–228
game, 172–173
gatekeepers, 174
industry, 173
observers, 177
Fashion Weeks, 181–182
two tiers of, 232–233
Footwear, 79–80
Fordism, 145–146
Front-row VIPs, 242–243
Gatekeepers, 172–174, 179
General Motors (GM), 143
Generalizability, 71–72
Geography, 228–229, 247–248
Global value chain analysis, 228
Government funding, 238
Grand Prix d’Horlogerie de Genéve
, 57–58
Heeled status-enhancement hypothesis, 79, 85
Heels, 79, 82
High-value sponsors, 240
Ideal-typical styles of leadership, 102–103
Imperfect imitation, 228–229
Inertia, 176
Innovation, 230
Institutionalized aesthetic innovation
contributions, 161–166
limitations, 160–161
methodological approach, 144–145
Starbucks and fresh new brew, 150–155
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
strategic aesthetic innovation, 145–149
Integrator, 104, 108–109, 111
Jobs, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Case(s)
, 143
Categorization
, 202
Category spanning
, 49–50
CC Fashion Week
, 233–234
Celebrity CEO
, 157
City Government
, 238–239
Coda
, 95–96
Codes
, 50, 70
complexity
, 50–52
Coherent-style typologies
, 21, 25
Colour(s)
, 27
theory
, 21, 34
Communication, individual intensity of
, 105–107
Competition
, 200–201
Competitive advantage
, 19–20
Competitor products
, 200–201
Complexity
, 50
Conformity
, 230–231
Conspicuous consumption
, 83
Conspicuousness
, 83–84
Consumer evaluations and implicit comparisons
, 202–204
social attention and evaluation
, 203
style and evaluation
, 202–203
stylistic similarity and social attention
, 203–204
Contemporary art
, 103
Conventionality
, 121, 126–127
Core city (CC)
, 229
Core–periphery
, 103
Craftsmanship
, 124
Creative industries
, 25–26, 51, 142
Creative innovators
, 42
Creative personalities
, 20
Critic(s)
, 104, 108–109, 111, 173, 179
distance
, 183–185
as gatekeepers in diffusion of style
, 177–180
implications, limitations and future research
, 191–193
method
, 181–186
reactivity and peer influence in stylistic innovation
, 180–181
results
, 187–191
reviews
, 185–186
style and stylistic dynamics
, 174–177
Cross-industry aesthetic innovation
, 166
Cultural
aestheticism in
, 4
continuity
, 176
hybridization
, 3
industries
, 142
innovation
, 230–231
mediators
, 178–179
Design
, 141–142, 175
Differentiation
, 230–231
Digimind
, 80–81
Digital market
, 121
Discogs
, 28
DJ-oriented marketplace
, 28
Double edge of legitimation
, 228–229
Elaboration of content, 106–107
Electronic music, 26
Embeddedness, 55, 69
Enclothed cognition, 94
Encoding–decoding process, 50–52
Entrepreneurial pitches, 135
Entrepreneurship scholarship, 122
Entry timing, 200–202
Environmental embeddedness, 237–238
Ethnography, 233
Etsy, 123–124
Evaluation, 200
Evangelical aesthetic innovation, 143, 159
Extensiveness of content, 106–107
Fashion, 80, 163, 227–228
game, 172–173
gatekeepers, 174
industry, 173
observers, 177
Fashion Weeks, 181–182
two tiers of, 232–233
Footwear, 79–80
Fordism, 145–146
Front-row VIPs, 242–243
Gatekeepers, 172–174, 179
General Motors (GM), 143
Generalizability, 71–72
Geography, 228–229, 247–248
Global value chain analysis, 228
Government funding, 238
Grand Prix d’Horlogerie de Genéve
, 57–58
Heeled status-enhancement hypothesis, 79, 85
Heels, 79, 82
High-value sponsors, 240
Ideal-typical styles of leadership, 102–103
Imperfect imitation, 228–229
Inertia, 176
Innovation, 230
Institutionalized aesthetic innovation
contributions, 161–166
limitations, 160–161
methodological approach, 144–145
Starbucks and fresh new brew, 150–155
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
strategic aesthetic innovation, 145–149
Integrator, 104, 108–109, 111
Jobs, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Elaboration of content
, 106–107
Electronic music
, 26
Embeddedness
, 55, 69
Enclothed cognition
, 94
Encoding–decoding process
, 50–52
Entrepreneurial pitches
, 135
Entrepreneurship scholarship
, 122
Entry timing
, 200–202
Environmental embeddedness
, 237–238
Ethnography
, 233
Etsy
, 123–124
Evaluation
, 200
Evangelical aesthetic innovation
, 143, 159
Extensiveness of content
, 106–107
Fashion
, 80, 163, 227–228
game
, 172–173
gatekeepers
, 174
industry
, 173
observers
, 177
Fashion Weeks
, 181–182
two tiers of
, 232–233
Footwear
, 79–80
Fordism
, 145–146
Front-row VIPs
, 242–243
Gatekeepers, 172–174, 179
General Motors (GM), 143
Generalizability, 71–72
Geography, 228–229, 247–248
Global value chain analysis, 228
Government funding, 238
Grand Prix d’Horlogerie de Genéve
, 57–58
Heeled status-enhancement hypothesis, 79, 85
Heels, 79, 82
High-value sponsors, 240
Ideal-typical styles of leadership, 102–103
Imperfect imitation, 228–229
Inertia, 176
Innovation, 230
Institutionalized aesthetic innovation
contributions, 161–166
limitations, 160–161
methodological approach, 144–145
Starbucks and fresh new brew, 150–155
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
strategic aesthetic innovation, 145–149
Integrator, 104, 108–109, 111
Jobs, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Gatekeepers
, 172–174, 179
General Motors (GM)
, 143
Generalizability
, 71–72
Geography
, 228–229, 247–248
Global value chain analysis
, 228
Government funding
, 238
Grand Prix d’Horlogerie de Genéve
, 57–58
Heeled status-enhancement hypothesis
, 79, 85
Heels
, 79, 82
High-value sponsors
, 240
Ideal-typical styles of leadership, 102–103
Imperfect imitation, 228–229
Inertia, 176
Innovation, 230
Institutionalized aesthetic innovation
contributions, 161–166
limitations, 160–161
methodological approach, 144–145
Starbucks and fresh new brew, 150–155
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
strategic aesthetic innovation, 145–149
Integrator, 104, 108–109, 111
Jobs, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Ideal-typical styles of leadership
, 102–103
Imperfect imitation
, 228–229
Inertia
, 176
Innovation
, 230
Institutionalized aesthetic innovation
contributions
, 161–166
limitations
, 160–161
methodological approach
, 144–145
Starbucks and fresh new brew
, 150–155
Steve jobs as high priest–evangelical aesthetic innovation
, 155–159
strategic aesthetic innovation
, 145–149
Integrator
, 104, 108–109, 111
Jobs
, 143, 156
‘Kit of Parts’ store design model, 150–151
Kroeber’s methodology, 176
Language expectancy theory, 122
Latent Dirichlet Allocation topic models, 123
Laypersons, 52–53
evaluation of product range code complexities, 53–54
Leadership styles, 6, 101–102, 108–109
Legitimacy
mediator, 239
sources and signals of, 234
‘Legitimate distinctiveness’, 121
Legitimation, 230–231, 246–247
Local audience, 242–246
front-row VIPs, 242–243
general audience ticket sales, 243–244
performance challenges, 244–246
Luxury watchmaking, 51–52
contributions and implications, 70–71
control variables, 60–64
data and methodology, 56–68
dependent variables, 57–58
generalizability and future research, 71–72
independent variables, 58–60
research setting, 55–56
results and analysis, 64–68
theory, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
‘Kit of Parts’ store design model
, 150–151
Kroeber’s methodology
, 176
Language expectancy theory
, 122
Latent Dirichlet Allocation topic models
, 123
Laypersons
, 52–53
evaluation of product range code complexities
, 53–54
Leadership styles
, 6, 101–102, 108–109
Legitimacy
mediator
, 239
sources and signals of
, 234
‘Legitimate distinctiveness’
, 121
Legitimation
, 230–231, 246–247
Local audience
, 242–246
front-row VIPs
, 242–243
general audience ticket sales
, 243–244
performance challenges
, 244–246
Luxury watchmaking
, 51–52
contributions and implications
, 70–71
control variables
, 60–64
data and methodology
, 56–68
dependent variables
, 57–58
generalizability and future research
, 71–72
independent variables
, 58–60
research setting
, 55–56
results and analysis
, 64–68
theory
, 52–55
Matching, 69
Media, 239–240
Metropolitan coffee shops, 152–153
Motion Picture Association of America ratings (MPAA ratings), 210
Motivation, 69
Movie industry, 205
Multimodal lens, 143–144
Multiparty evaluation, 51–53
Narrative(s), 1, 6, 121–122
conventionality, 126–127
style, 120, 122
topic modelling approach to investigating, 123
Negative binomial regression, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Matching
, 69
Media
, 239–240
Metropolitan coffee shops
, 152–153
Motion Picture Association of America ratings (MPAA ratings)
, 210
Motivation
, 69
Movie industry
, 205
Multimodal lens
, 143–144
Multiparty evaluation
, 51–53
Narrative(s)
, 1, 6, 121–122
conventionality
, 126–127
style
, 120, 122
topic modelling approach to investigating
, 123
Negative binomial regression
, 129
OLS statistical model, 206–207
One-way ANOVA, 86–87
Online digital platforms, 135
Online movie evaluations, 201
changes in demand and composition of consumers, 214–217
data, 205–206
empirical strategy, 207
evaluation in markets, 201–204
main analyses, 210–212
model, 206–207
research setting, 204–205
supplementary analyses and robustness checks, 212–217
temporary or persistent effects, 212–214
variables, 207–210
Optimal distinctiveness, 163
ORA software, 106–107
Organization(al)
complexity, 51–52
culture, 8–9
identities, 6
level, 8
practices, 2
scholars, 22, 102
style, 21
Organizer, 104
Pathways, 143
Peacekeeper. See Integrator
Persistence, 106
Photographers, 51
Pinault-Printemps-Redoute (PPR), 181
Poisson model, 129
‘Pop Art’ movement, 3
Positioning choices, 200–201
Power, 78–79, 89–90
in social hierarchies, 84–85
Professional(s), 52–53
evaluation of product range code complexities, 54–55
movie critics, 207
schemas, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
OLS statistical model
, 206–207
One-way ANOVA
, 86–87
Online digital platforms
, 135
Online movie evaluations
, 201
changes in demand and composition of consumers
, 214–217
data
, 205–206
empirical strategy
, 207
evaluation in markets
, 201–204
main analyses
, 210–212
model
, 206–207
research setting
, 204–205
supplementary analyses and robustness checks
, 212–217
temporary or persistent effects
, 212–214
variables
, 207–210
Optimal distinctiveness
, 163
ORA software
, 106–107
Organization(al)
complexity
, 51–52
culture
, 8–9
identities
, 6
level
, 8
practices
, 2
scholars
, 22, 102
style
, 21
Organizer
, 104
Pathways
, 143
Peacekeeper. See Integrator
Persistence
, 106
Photographers
, 51
Pinault-Printemps-Redoute (PPR)
, 181
Poisson model
, 129
‘Pop Art’ movement
, 3
Positioning choices
, 200–201
Power
, 78–79, 89–90
in social hierarchies
, 84–85
Professional(s)
, 52–53
evaluation of product range code complexities
, 54–55
movie critics
, 207
schemas
, 54
Rankings, 202, 204
Ratings, 205, 210
Reader, 121
Redundancy, 106
Robust estimators, 129
Romantic relationships, 83
Semantic network analysis, 106–107
Semi-peripheral city (SPC), 228–229
data analysis, 237–238
data collection, 235–237
semi-peripheral foundations for compromised symbolic content, 238–246
setting and methods, 233–238
SPC Fashion Week, 234–236, 242–243
strategic balance and legitimation, 230–231
stratification of place, 232–233
Semi-peripheral geography, 229
Seminal aesthetic innovation, 143
Semiotic function, 21
Shoe style, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie), 200
Signaling, 78
Simplexity, 70–71
Small groups, 101–103
Social attention and evaluation, 203–204
Social embeddedness, 52
Social network
analysis, 105–106
positions, 107
Social sequence analysis (SSA), 134
Socio-semantic network analysis, 102–103
case description and data, 103–105
contributions to semantic content, 107–113
method, 105–107
results, 107–113
Sound dimension, 27–28
analytical manipulation, 28–29
Sponsors, 240–242
Starbucks, 143, 150, 155
Status, 78–79, 83–84
in social hierarchies, 84–85
status–power transfer hypothesis, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation, 155–159
Storytelling, 6, 121
Strategic aesthetic innovation, 143, 145, 149, 159–160
Strategic balance, 230–231, 246–247
Strategic decision, 142
Strategy, 21
Stratification of place, 232–233
Style, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style, 28–29
analytical manipulation of visual dimension of style, 29–30
change, 177
control variables, 31–34
impact of critical feedback on, 187–191
data, 28
dependent variables, 30–31
distance, 185
empirical setting and hypotheses, 25–28
and evaluation, 202–203
independent variables, 31
instrumental use of, 5–6
leadership, 10
managerial scholarship, 4–5
multi-dimensional, socially situated, semiotic, 22–25
in practice, 27–28
progression across time, 187
results, 34
statistical methods, 30
strategic implications, 20
technology, 11–12
typologies, 19–22, 24–25
value creation, 9–10
Stylistic choice, 78
heels, 79–82
limitations and future research, 95
power and shoe style, 89–90
results, 87–88, 91, 93
shoe style, 86, 88, 90, 93
status and conspicuousness, 83–84
theoretical contributions, 93–94
Stylistic dynamics, 174–177
Stylistic innovation, reactivity and peer influence in, 180–181
Stylistic practice, 23
Stylistic similarity, 203–204
‘Swiss made’ label, 58
Symbolic goods, 174–175
Systems theory, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Rankings
, 202, 204
Ratings
, 205, 210
Reader
, 121
Redundancy
, 106
Robust estimators
, 129
Romantic relationships
, 83
Semantic network analysis
, 106–107
Semi-peripheral city (SPC)
, 228–229
data analysis
, 237–238
data collection
, 235–237
semi-peripheral foundations for compromised symbolic content
, 238–246
setting and methods
, 233–238
SPC Fashion Week
, 234–236, 242–243
strategic balance and legitimation
, 230–231
stratification of place
, 232–233
Semi-peripheral geography
, 229
Seminal aesthetic innovation
, 143
Semiotic function
, 21
Shoe style
, 86, 88–90, 93
Shoot ‘Em Up (action/adventure movie)
, 200
Signaling
, 78
Simplexity
, 70–71
Small groups
, 101–103
Social attention and evaluation
, 203–204
Social embeddedness
, 52
Social network
analysis
, 105–106
positions
, 107
Social sequence analysis (SSA)
, 134
Socio-semantic network analysis
, 102–103
case description and data
, 103–105
contributions to semantic content
, 107–113
method
, 105–107
results
, 107–113
Sound dimension
, 27–28
analytical manipulation
, 28–29
Sponsors
, 240–242
Starbucks
, 143, 150, 155
Status
, 78–79, 83–84
in social hierarchies
, 84–85
status–power transfer hypothesis
, 79, 85
Steve jobs as high priest–evangelical aesthetic innovation
, 155–159
Storytelling
, 6, 121
Strategic aesthetic innovation
, 143, 145, 149, 159–160
Strategic balance
, 230–231, 246–247
Strategic decision
, 142
Strategy
, 21
Stratification of place
, 232–233
Style
, 10, 20, 23, 120–122, 172, 174, 177, 227–228
analytical manipulation of sound dimension of style
, 28–29
analytical manipulation of visual dimension of style
, 29–30
change
, 177
control variables
, 31–34
impact of critical feedback on
, 187–191
data
, 28
dependent variables
, 30–31
distance
, 185
empirical setting and hypotheses
, 25–28
and evaluation
, 202–203
independent variables
, 31
instrumental use of
, 5–6
leadership
, 10
managerial scholarship
, 4–5
multi-dimensional, socially situated, semiotic
, 22–25
in practice
, 27–28
progression across time
, 187
results
, 34
statistical methods
, 30
strategic implications
, 20
technology
, 11–12
typologies
, 19–22, 24–25
value creation
, 9–10
Stylistic choice
, 78
heels
, 79–82
limitations and future research
, 95
power and shoe style
, 89–90
results
, 87–88, 91, 93
shoe style
, 86, 88, 90, 93
status and conspicuousness
, 83–84
theoretical contributions
, 93–94
Stylistic dynamics
, 174–177
Stylistic innovation, reactivity and peer influence in
, 180–181
Stylistic practice
, 23
Stylistic similarity
, 203–204
‘Swiss made’ label
, 58
Symbolic goods
, 174–175
Systems theory
, 176
Technological
code complexity, 60, 64
traits, 55
Textual fingerprinting, 120
Third-party evaluations, 200
Time series analysis, 176
Topic modelling approach, 121
empirical application, 123–127
example data, 123–124
to investigating narrative style, 123
model specification, 129
narratives and style, 121–122
results, 124–126
results, 129–132
variables, 127–129
‘Trickle down’ theory, 177–178
Two-way ANOVA, 91
Typological coherence, 24
Université Libre de Bruxelles (ULB), 57–58
Urban spaces, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Technological
code complexity
, 60, 64
traits
, 55
Textual fingerprinting
, 120
Third-party evaluations
, 200
Time series analysis
, 176
Topic modelling approach
, 121
empirical application
, 123–127
example data
, 123–124
to investigating narrative style
, 123
model specification
, 129
narratives and style
, 121–122
results
, 124–126
results
, 129–132
variables
, 127–129
‘Trickle down’ theory
, 177–178
Two-way ANOVA
, 91
Typological coherence
, 24
Université Libre de Bruxelles (ULB)
, 57–58
Urban spaces
, 103
Variance inflation factors (VIFs), 129
Visual dimension, 27–28
analytical manipulation, 29–30
Web-scraping methods, 124
Within-category dynamics, 70
Wristwatch Annual catalogue, 56–57
Variance inflation factors (VIFs)
, 129
Visual dimension
, 27–28
analytical manipulation
, 29–30
Web-scraping methods
, 124
Within-category dynamics
, 70
Wristwatch Annual catalogue
, 56–57
- Prelims
- The Aesthetic Turn in Strategy: Creating Value with Style
- Part I Stylistic Production
- Style Typologies and Competitive Advantage
- Aesthetic and Technological Complexity in Luxury Watchmaking
- From Style to Status and to Power: When and Why Do Stylistic Choices in Footwear Make Women Feel and Act Powerful?
- Content or Connections? Socio-Semantic Analysis of Leaders' Communication Styles in a Creative Collective
- Tell Me Your Story and I Will Tell Your Sales: A Topic Model Analysis of Narrative Style and Firm Performance on Etsy
- Part II Stylistic Evaluation
- A Rising Tide Lifts all Boats: The Origins of Institutionalized Aesthetic Innovation
- Changing Style in Style-changing Industries: The Role of Critics as Gatekeepers in High-end Fashion
- Does Stylistic Similarity to Popular Competitors Affect Consumer Evaluations of Quality? Evidence from Online Movie Evaluations
- Strategic Balance or Imperfect Imitation? Style and Legitimation Challenges in a Semi-peripheral City
- Part III Reflections on Style
- Reflections on Style and Strategy: An Interview with Candace Jones
- Reflections on Style and Strategy: An Interview with Gianni Lorenzoni
- Reflections on Style and Strategy: An Interview with Virginia Postrel
- Reflections on Style and Strategy: An Interview with Davide Ravasi
- Reflections on Style and Strategy: An Interview with Antonio Strati
- Index