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The focus of this chapter lies in exploring the views Greek Higher Education academics delivering marketing modules in state universities hold with regard to how they conceptualise ‘creativity’; it also examines whether and how academics incorporate teaching creativity in their curriculum and professional practices. Various concepts and contexts pertaining to creativity in education are introduced, emphasising creativity enhancement through marketing teaching and learning. Although educators recognise the critical role of creativity, the methods to enable the cultivation of students’ creativity remain elusive. In the light of these matters, a qualitative approach has been adopted with online structured interviews, which led to the formation of a thematic map through NVivo; the reflexive thematic analysis applied resulted in five final themes, entailing nine sub-themes, which in turn reveal the core patterns and Greek marketing academics’ perceptions on teaching creativity, along with their instructional practices and the challenges they face in this endeavour.

The purpose of this paper is to examine the antecedents of project creativity in international marketing teams. The proposed framework includes both proximal (characteristics that impact the everyday functioning of the team) and distal (characteristics associated with the team's organizations that are relatively remote to the everyday functioning of the team) factors as antecedents of project creativity. Specifically, the authors investigate the influence of three proximal factors, namely, collaboration with foreign counterparts, autonomy, and international experience as well as two distal factors, namely, organizational encouragement and innovative organizational culture.

Data were collected from 156 executives from publicly traded firms in the manufacturing sector in South Korea and tested using hierarchical regression.

Collaboration with foreign counterparts and autonomy exert direct positive influence on project creativity. International experience exerts a curvilinear relationship such that low and high levels of international experience positively influence project creativity, whereas moderate international experience negatively influences project creativity. In addition, whereas the relationship between organizational encouragement and project creativity was supported, the relationship between innovative culture and project creativity was not.

Despite the importance afforded to international marketing teams and creativity in marketing research and practice, little attention has focussed on project creativity in international marketing teams. This study represents an initial effort toward filling the void and identifying certain proximal and distal factors as relevant antecedents of project creativity in international marketing teams. In addition, deviating from extant studies on creativity, this study highlights a curvilinear relationship between international experience and creativity.

The phenomenon of creativity spans research topics across Marketing and Consumer Behavior. Interest in, and research on, creativity has grown over the past several decades. With this heightened attention comes the question of how best to conceptualize and measure creativity. This question is addressed by reviewing the conceptualizations and measures used in the psychological study of creativity. From this review, we build a framework by which to analyze papers from the Journal of Consumer Research and the Journal of Marketing Research. Based upon this analysis, we provide recommendations and best practices for future research. Of particular importance, we recommend the use of convergent problem-solving tasks in combination with ratings of novelty and usefulness reported separately. Such measures allow one to distinguish between instances of effective-creativity (when an idea is both novel and useful) and instances of quasi-creativity (when an idea is novel but lacks usefulness). The importance of the framework to research and analysis beyond the experimental paradigm is discussed.

This research aims to investigate effect of consumer creativity on their evaluations of brands. Consumers’ creative participation is often used by online retailers as a promotional tool nowadays. The authors propose that consumer creativity exerts a positive impact on brand attitudes by affecting their attitudes toward the creative activity itself. Furthermore, consumer creativity moderates the effect of consumers’ perceived level of fit on their acceptance of brand extensions, such that creative consumers will show a higher level of acceptance of distant brand extensions.

The authors test their hypotheses in three laboratory experiments. Study 1 examines the effect of consumer creativity on brand evaluations. Study 2 explores the moderating effect of consumer creativity on perceived level of fit on acceptance of brand extensions. Study 3 replicates the authors findings in Studies 1 and 2 using a better representative sample and a different type of creative task.

Study 1 finds that consumer creativity results in a positive attitude toward brand; this effect is mediated by attitude toward the creative activity. Study 2 shows that creativity leads to a greater level of brand acceptance when the brand extension has a low fit with the focal brand. Study 3 further provides evidence of proposed effects using a different type of creative task with a more representative sample.

In the experiments, this study examined three types of online creative marketing communication activities. Future research could examine other types of consumer creative activities so as to enhance the generalizability of the findings.

Our results provide important implications for firms that intend to exploit the promises of online creativity-themed marketing communications. First, because consumers’ attitudes toward the focal brand hinge on their attitudes toward the creative activity, it is important that firms design their creativity-themed activities carefully, so that they are attractive to the users. Second, firms can exploit the creativity edge by launching new brand extensions that target creative consumers. This effect is even more pronounced when the brand extension exhibits a low fit with the focal brand. These guidelines suggest that firms’ investments in online creativity-themed marketing communications can pay off in terms of improved consumers’ attitudes toward the firms’ brands and brand extensions.

This research makes several theoretical contributions. First, the authors explore the important role of creativity in the context of brand attitudes and brand extensions. This study adds to extant consumer creativity literature by documenting the consequences of consumer creativity in terms of positive outcomes for firms. Second, by examining the mediating effect of attitude toward the creativity task, the authors broaden the scope of attitude-toward-the-site and attitude-toward-the-sponsorship-event research to the online marketing communications setting. Third, by showing that consumer creativity can facilitate the acceptance of distant brand extensions, this study also enriches extant brand extension literature.

The purpose of this paper is to examine the significance of some barriers in Saudi organizations from the perspectives of marketing executives.

A range of contemporary literature is presented to help define the term “organizational creativity,” and describe “barriers to creativity” from the marketing executives' perspective within the organizational culture of Saudi Arabia.

Self‐confidence and task achievement are the most significant barriers to the creativity of marketing executives in Saudi Arabia.

This paper is primarily based on a survey questionnaire, the contents of which were derived from previous studies on this subject or related themes. The barriers to creativity surveyed in this study were identified by Osborn. They were grouped into six constructs: self‐confidence; need for conformity and risk taking; use of the abstract; use of systematic analysis; task achievement and physic1al environment.

Throughout this paper the concept of “barriers to creativity” was explored. The results indicated that self‐confidence is considered a slightly higher barrier to creativity among Saudi executives compared to non‐Saudis who rate task achievement higher. To improve self‐confidence among executives, both Saudi and non‐Saudi organizations must improve positive behavioral elements such as optimism, passion, and self‐image and minimize negative behavior elements such as sarcasms, destructive criticism, status consciousness and fear of evaluation.

The celebrated Osborn model is used to identify the creativity barriers among organizations from the perspective of marketing executives. This paper concludes that creativity is an important issue for any organization to survive and excel, and knowing the barriers that diminish creativity is an essential step towards the objective of creating a culture of creativity within an organization in the Saudi Arabian context.

The purpose of this paper is to map advertising agency practitioners' mental models of creativity.

A total of 30 in-depth interviews among top-level advertising agency executives (creative, account and planning directors) were conducted. Design and data analysis followed the grounded theory paradigm of qualitative research.

Complementing earlier studies in advertising creativity, a multi-dimensional system of practitioner mental models was discovered. Substantive models depict agency professionals' core understanding of advertising creativity and its dialectical structure. Developmental models conceptualise the intrapersonal acquisition of creative skill as well as the social context in which advertising creativity is generated. Effectiveness models introduce native explanations for the market effectiveness of creativity. Interrelationships between the identified models are presented in detail.

Understanding the mental models of advertising executives enriches the literature on the production side of marketing culture.

Shared understandings of mental models between advertising agencies and client brand management teams have the promise of reducing agency-client conflict.

The study's contribution is threefold: it provides an integrated view on advertising practitioners' multifaceted mental models about creativity (an area that has received little prior research attention); it models these mental models in their dynamic interaction, going beyond previous accounts that looked at topical areas in creativity in relative isolation; it redresses an imbalance in marketing theory between the production and consumption contexts of marketplace culture formation.

The clean beauty phenomenon is gaining momentum and beauty brands are getting creative with on-pack sustainability claims. With the increasing focus on sustainability from both brands and consumers, sustainability communication has the potential to raise the profile of sustainable production and consumption. Further attention is needed on the creative approach behind on-pack sustainability marketing communications as companies no longer focus on single eco labels but instead use a bundle of claims to advertise their commitment to sustainability which finds consumers confused and brands open to accusations of greenwashing. This chapter explores on-pack sustainability communications in the beauty industry through the lenses of creative marketing communications which need to be both original and appropriate. This study contributes to the longstanding debate on the role of sustainability claims in marketing communications and addresses the role of on-pack sustainability claims design and creativity.

Previous work by the author has focused on examining the limitations of the marketing concept and its associated frameworks, processes and prescriptions focusing on a planned, strategic, linear, lower risk future for the firm. Emerging research has shown that such frameworks are now dated, despite being continually taught at business schools. Recent research at the interface between Marketing and Entrepreneurship has shown that, as a result of the inadequacies identified, there is hope for the entrepreneurial marketer (practitioner and academician alike) through the generation of alternative perspectives, and ultimately the formation of competing paradigms of marketing enquiry. Small firm marketing research shows that theories of networking, creativity, opportunity recognition and word of mouth marketing are much more valid in terms of their explanation and understanding of how such a firm behaves, rather than to endeavour to fit the square pegs of traditional marketing theory into the dynamic holes of the smaller firm operating environment. Drawing on alternative methodologies from outside the realms of marketing, this paper presents some thoughts on the merits of embracing the philosophy of researchers and practitioners in the arts and other creative fields in order to reach a more valid understanding of smaller firm behaviour.

The role of creativity in marketing has great importance. In this chapter, the authors discuss the role of creativity in the sports context. The authors discuss creativity and then move onto the various contexts in sports that could be covered. This looks at the worlds of traditional and extreme sports along with a brief exploration of the burgeoning area of esports. The authors then draw from some creative principles that are worth keeping in mind before moving onto future areas that could be covered. The authors hope that this will be useful for practitioners and researchers who are interested in not just creativity, but also the exciting opportunities in sports. In short, the authors hope this provides inspiration for those wishing to explore these areas further. Creativity is a powerful thing, and sport is an area full of potential. As such, the authors believe that these two are a pairing worth exploring more.