Search results

Personal branding becomes a new in-demand skill for all professionals today. To be well-known helps to achieve success in the networked business environment. Personal relationships and a good reputation in the reality of network economy help young artists and art designers move up the career ladder. This paper aims to discuss a problem of artists who often find it difficult to define their artistic and self-distinction identities. The concept of personal brand and branding seems quite irrelevant, especially in reference to their own selves. People usually associate branding with marketing, which in our minds is usually the same as “pushy” and aggressive sales practices. Their find problematic to promote themselves. The purpose of this paper is to highlight that, based on existing theories, artistic identity creation in connection with the skill of personal branding is crucial for personal success in the profession of today’s young artists and art designers.

The study was conducted based on the data originally collected among artists, designers, architecture professionals and students. The data have been analyzed with the equal structural equation modeling method.

This paper presents empirical evidence that if artists view themselves as personal brands, it affects their personal performance in a positive way.

Authors claim that a teaching curriculum for young adult artists should include a personal branding program, to help them find and support their artistic identity and express their personal values and self-brand distinction, and leverage them to build their professional career.

This is one of the first studies to quantify the self-brand performance of young art designers as a benefit of being self-brand oriented.

Creative entrepreneurship has contributed to economic development of regions and countries and have become models for the countries in the Western world. Jewelry designer entrepreneurs are one of the contributors toward creative economy for their role in economic prosperity. This article aims to investigate brand-building efforts of jewelry designer entrepreneurs. This study also aims to explore how jewelry designer entrepreneurs develop and communicate brand narrative, and how brand backstories confer value to jewelry.

This study used a qualitative approach. Semi-structured in-depth interviews were conducted with seven Portuguese designer jewelry.

The study identified seven themes to reflect the brand narratives of the Portuguese jewelry designer entrepreneurs: designer artists considered the importance of international recognition; designer jewelry uses the ontological metaphor to connect emotionally; designer jewelry making a jewelry piece that is fluid and organic; limited association with fashion; distinctive brand communication; fair pricing strategy; and identifying self as artistic worker. The study also shows that jewelry designer entrepreneurs adopt a distinctive brand communication tactics to connect emotionally with imagine customers.

This study proposes a general and managerial guide to boost personal brand jewelry designer entrepreneurs through brand narratives.

This study bridges an academia gap on personal branding, exploring how jewelry designer entrepreneurs develop and communicate brand narrative and brand backstories adding value to the jewelry industry.

This study aims to explore visual artists’ image needs and the obstacles they face in meeting them.

The visual artists, participating in the study, included painters, graphic designers, textile designers, architects and sculptors who were faculty members in two oldest art institutions of Pakistan. A total of 20 face-to-face interviews representing four participants from each visual artists group were conducted. The textual data were analyzed thematically, using NVIVO 12 software.

Results showed that under-study visual artists need images mainly for academic purposes (teaching, assignments, etc.) and for professional and research purposes. However, they require images quite often, as a majority of the respondents told that they need images on daily basis.

The study findings provide an insight for information science professionals, system designers and image librarians regarding visual artists’ image using behavior.

As the researchers could not find any such study in local context, and a very few globally, therefore, this study may serve as a baseline for further research in this area.

This study aims to understand the lasting relationship between luxury fashion and art. The purpose of the paper is to explore whether the application of art, the cooperation with artists, the implementation of experiential strategies focusing on retail spaces and shows embedded in the strategic concept of a luxury brand lead to a competitive advantage and to a sustained value creation for luxury brands.

Based on the literature, the strategic role of art and the importance of experiential marketing for the value creation of European luxury fashion brands was explored through empirical data collection, consisting of 26 semi-structured in-depth interviews. The gained data have been analysed through a thematic analysis approach and triangulated to avoid bias.

The exploratory study revealed that when art is applied as a strategic tool, it is of relevance to achieve an authentic fit to the brand. When integrating art consistently and authentically within the whole value chain system, it leads to a higher brand equity.

The paper provides a guide for both academics and marketers as theoretical frameworks are examined, analysed and future recommendations are given, which are suited to be applied within the brand management principles.

The outcome contributes to a wider delineation regarding the future of luxury brands. The study reveals novel viewpoints concerning the integration of arts in luxury brand marketing and adds to existing literature.

States that, in the industrial context, change needs rigorous control, and product design and development, which are crucial to innovation, need rigorous management. Defines design management as the specific management of the design resources in any business. Suggests, by looking at several case studies, that the importance of design management in product development should be given serious consideration. Concludes that, by paying the correct amount of attention to managing the design of new products, the best option for beating overseas competitors is being used.

Most knowledge‐related initiatives underlying the much‐vaunted discourse on knowledge management tend to lionise recursive, using activities (i.e. documenting, sharing and measuring knowledge, etc.) at the expense of making and innovative using activities (such as inventing, innovating and designing). An over‐emphasis on recursive use of codified knowledge can stifle entrepreneurial creativity. In discussing the tension between making and using skills, the paper draws on case study material derived from a rapidly expanding firm where the implementation of the intranet is considered as a “creativity killer”, an infrastructure that supports recursive using activities. Employees remained faithful to their informal, social networks, referred to as “community of practice”, as the principal mode of sharing and developing knowledge. One of the main implications of the study is that firms that mainly rely on activities of making – a characteristic of firms that are in their initial and expanding phases – should put premium on a collaborative infrastructure that promotes making activities.

The purpose of this paper is to reflect on the stages in the development of creative activity considering the distinctive features of all stages and the modes of dynamics of the development of a creative person.

The paper analyses scientific investigations and pedagogical experiences in order to develop the model for the formation of creative activity of artists‐visual art teachers in the context of sustainable development.

The investigations of scientific literature on pedagogy, psychology, philosophy, as well as the analysis of pedagogical practice allow us to recognize that the formation of creative activity is comprised of several stages. These stages are closely connected with a creative process and depend on a person's artistic talents and abilities.

The development of creative activity is a very complicated process that takes place over whole period of life and depends on social, material and mental factors. Each personality goes through this process in an individual pace and manner. Further, investigations will be carried into a more profound analysis of the suggested system, the determinations of its development dynamics in connection with all mentioned above components in the context of sustainable development.

This paper is generalizing information of theoretical and empirical research.

To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design.

A progressive series of empirical studies looking at ready‐to‐wear clothing design has been undertaken; in situ observation, semi‐structured interviews and constrained and semi‐constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed, as in the fashion industry, not just a case study of a single individual or company.

Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning.

This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design‐led clothing companies.

This is the first of two papers in which the design theories underlining the work of contemporary European and Japanese fashion designers are explored. In this paper, four general, major influential factors are discussed; specifically, the historical factor, the aesthetic factor, the cultural factor and the marketing factor. In order to investigate the underlying design theories of European fashion designers, two European fashion designers with international reputations are discussed, namely, Christian Lacroix and Karl Lagerfeld. These design theories are contrasted with those of two Japanese designers, Issey Miyake and Rei Kawakubo. The images of their customers, sources of inspiration, and possible underlying design theories are analysed with reference to their contemporary work.

Why should businesses invest in the arts? Why ‘sing for your supper’ when you can earn much more by coding? In an era when artificial intelligence (AI) is forecast to eliminate millions of jobs, many educators and policy-makers advocate scientific, technology, engineering and mathematics (STEM) education as the solution to future unemployment. They envision a workforce of diligent coders who automate everything, including their own jobs. While useful for finding tech jobs today, this myopic approach ignores the coming ‘Cambrian explosion’ of content and services that are being catalysed by exponential technologies. In Silicon Valley, virtual reality (VR) and augmented reality are already being applied to surgery, warehousing, retailing, architecture, construction, cars, therapy and concerts. Top VR managers and developers come from the social sciences and humanities, which provide the analytical and social skills for understanding customers and identifying new use cases and business models. STEM alone cannot answer the complex ethical and policy issues facing businesses: companies need employees with ‘soft skills’ who can integrate STEM with the arts (STEAM). In Silicon Valley today, the most challenging jobs are going to people who can offer practical answers to bottom-line questions about the value of social, cultural and artistic soft skills. What is the value of the arts for business growth? What can businesses learn from the creative industries? How can return on investment in the arts be measured? How will STEAM and exponential technologies enable new business models? How can STEAM education prepare people for the AI era?