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Because we lack a usable definition of the concept of style to inform research on the creative industries, this chapter takes a first step toward developing a style-based perspective on them. The use of style in disciplines where the study of creative industries occupies a notable position (sociology, anthropology, cultural studies, and management) is compared and contrasted with a series of related concepts (status, fashion, trend, genre, movement, and category). Style is defined as a durable, recognizable pattern of aesthetic choices. Propositions that relate style to an organization’s creative performance are formulated for two types of audience: insiders and outsiders.

This work addresses how consumer perceptions of quality may be influenced by the composition of competition. I develop a theoretical framework that explains how consumer evaluations of quality can be negatively impacted by a product's stylistic similarity to popular competitors. These issues are examined empirically using more than 75,000 online consumer evaluations, from the evaluation aggregator Rotten Tomatoes, of 123 feature films released in the United States during 2007. Results suggest that during a movie's opening week, movies that are stylistically similar to the top-performing box office movie are evaluated less favorably. Additional analyses indicate that this negative effect may persist in later periods due to social conformity pressures, and that there is reduced demand for those movies that are stylistically similar to the top box office performer. This article contributes to the broader literature in strategic management by depicting how stylistic features of competitors can affect consumer behaviour and perceptions of quality in markets. This work also suggests managerial implications for entry-timing decisions and positioning choices.

The conception of markets as interfaces connecting semi-autonomous systems of producers and customers has led to an extensive use of social network analysis. So far, the network focus has been on connections among people, paying less attention to the crucial role played by connections between cultural elements (e.g., concepts, representations, ideas) in the way markets are formed and sustained. Such connections constitute “semantic networks” and are the focus of the present article. We attend to them by developing a network view of the cultural dimension of markets and apply it in an empirical setting where culture plays a crucial role – luxury watchmaking – to illustrate the impact of market semantic networks on a major outcome: price.

Drawing on sociolinguistics, this chapter proposes an encoding–decoding perspective on evaluation, conceptualizing codes as interpretive schemas that are encoded by firms and decoded by audiences. A key element in this process is code complexity, denoting combinations of interdependent elements. We demonstrate that the evaluation of code complexity depends on the type of audience (professionals and laypersons) and the type of complexity (technological and aesthetic). We analyze the attribution of awards by professionals and the public in luxury watchmaking, featuring three mechanisms: the social embeddedness of audiences, their motivation for evaluation and supply-and-demand matching. The results attest to significant differences in the evaluation of technological and aesthetic code complexity by professionals and laypersons. There is a premium attributed to aesthetic code complexity by professionals and a premium attributed to technological complexity by laypersons. Finding the right type and level of code complexity to pursue in their offerings is a key strategic challenge for producers.

Status constitutes a core research concept across the social sciences. However, its definition is still contested, and questions persist about its consequences. We begin with a flexible, provisional definition: status is a relational asset possessed by social actors insofar as they are highly regarded by highly regarded others. Using this definition as a backdrop, we develop a fourfold typology based on how status is used as an asset and from where it is derived. The typology allows us to explore the implications of considering status as either a quality signal or a good and of viewing status-conferring ties as either deference-based or dominance-based. We then consider the implications of our framework for the generation of novelty. Although status has been connected to many social and economic outcomes, because of competing predictions in the literature – the generation of novelty has been linked to all regions of the status distribution – we sketch intuitions for future research on the status–novelty linkage. We also work toward greater conceptual clarity by comparing and contrasting status with selected related concepts: quality, reputation, and legitimacy. We conclude with considerations for future research, including cautionary remarks regarding network-analytic measurement in light of the definition we propose.

The concept of style is gaining momentum in organizational research. Focussing on its implications for strategy, this paper presents a conceptual and methodological framework to make the notion of style operational and applicable to both research and practice. Style is defined here as a combinatorial, socially situated and semiotic device that can be organized into typologies – recurrent combinations of stylistic dimensions exerting a normative and semiotic function within and across contexts. The empirical analysis, situated in the field of electronic music, considers the music genres and the colour dimension of artists' appearance as components of their style. Results show how coherent style typologies normatively dominate the field and how non-conformist but coherent typologies correspond to superior creative performance. Operating as unifying device, style can transform varied and potentially confounding traits into distinctiveness and shed light on competitive market dynamics that cannot be fully explained via other theoretical constructs.

In small group settings, is it the position in social networks or the content of communication that constitutes a leader? Studies focussing on the content suggest that leadership consists in creating and promoting meanings, whereas studies focussing on the connections stress that it is the network position that ‘makes a leader’. These two dimensions of leadership communication style have not been compared yet. To fill this gap, this chapter applies an emerging approach – socio-semantic network analysis – to jointly consider the content of, and the connections, in leaders' communication. Using a multisource dataset, we empirically study the social network positions (social network analysis) and the content of communication (semantic network analysis) of three leaders in a creative collective. Our findings reveal that different styles of leadership make diverse use of the content and the connections in a small group. The academic and practical implications are outlined.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.

How do cultural organizations handle the competing demands of isomorphism and differentiation? Strategic balance theory is a promising point of departure. Proponents argue that while isomorphism contributes to legitimacy, differentiation minimizes competition through innovation or niche control. However, most research has focused on successful cases of optimal performance in core or world cities. I introduce data from three seasons (250+ hours) of ethnographic research on fashion weeks in both a core city and semi-peripheral city. I find that geography acts as a structural barrier to competition: while semi-peripheral producers pursue some standards of fashion capitals in world cities, they cannot compete on the basis of style. Rather than optimizing through strategic balance, cultural organizations embrace a double edge of legitimation. Their sub-optimal vision of organizational survival cultivates legitimacy from available but symbolically polluting sources. Imperfect imitation is suggested instead as a viable legitimation strategy. I call for more attention to semi-peripheral geography and imperfect imitation in culture industry research.