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Are consumers tired of standing out? This study probes whether or not fast fashion understands the implicit behavior of their customers while dressing up or down. Retailers tend to market their more ready-to-wear (dress-down) fashion product in an approach that allows the customer to customize the outfits to become easily “me-self,” through a big selection of accessories for men and women such as hats, glasses, and scarves. Versus the dress-up look that echoes with conforming to social norms. Today marketers seem to misunderstand the tendency that when one dresses down they often seek to blend in more with the environment rather than display their own personality through fashion. The study extends the literature through explicating the process of picture introspection and member check using confirmatory personal introspection (CPI). Even though when one dresses down you would expect more individuality, according to the findings the subject sample was also more inclined to blend in society and stand out less. In the dress-up look there was a strong call for displaying features of a powerful and strong individuality.

To cope with the complexity of modern retail stores and personal time constraints, shoppers must be selective in processing information. During a typical shopping trip, they visit only a fraction of a store’s departments and categories, examine a small subset of the available products, and often make selections in just a few seconds. New research techniques can help marketers understand how customers allocate their attention and assess the impact of in-store factors on shopper behavior. This chapter summarizes studies using observational research, virtual reality simulations, and eye tracking to identify the drivers of shopper attention, product engagement, and purchase conversion. These include shopper goals; product assortment, package appearance, price, and merchandising; shelf space allocation, organization, and adjacencies; and salesperson interaction. The research reveals that small changes in a product’s appearance and presentation can have a powerful impact on consideration and choice.

Socially responsible investing (SRI) funds depart from mainstream finance by incorporating environmental, social, and governance considerations, but their success varies across regions. By using a historical comparative case design, we identify an empirically puzzling phenomenon in China: despite an initially favorable resource environment and the presence of socially skilled institutional entrepreneurs, SRI wanes over time in Hong Kong but survives in Mainland China where initial resource endowments and actors’ social skills were inferior. By comparing four periods of SRI development, we reveal how state sustainable development policies, a change in the institutional context, led unintentionally to a shared orientation and a public pool of resources, which sustained the SRI niche. Our paper contributes to research on market emergence, institutional change, and cultural entrepreneurship.

Unlike Joss Whedon's cult series Buffy the Vampire Slayer (1997–2003), Angel (1999–2004) and Firefly (2002–2003), Dollhouse (2009–2010) is largely considered to be both a critical and commercial failure. Dollhouse is often dismissed as Whedon's worst television series, with critics citing their discomfort and disgust in watching hero Echo's (Eliza Dushku) repeated exploitation. Unlike other popular acclaimed TV series featuring a female action hero like Xena: Warrior Princess (1995–2001), Alias (2002–2006) and Nikita (2010–2013), the hero of Dollhouse is not empowered from the series' outset, but rather she slowly comes to her power and agency due to various traumatic and violent experiences. This chapter argues that Dollhouse stages a reworking of the cinematic female action hero figure by delaying empowerment and forcing the audience to linger in the hero's lack of agency. Dollhouse enables an unpacking of the female action hero popularised in films like Terminator 2: Judgement Day (1991), Long Kiss Goodnight (1996), The Fifth Element (1997) and the Alien franchise (1979, 1986, 1992, 1997). By exposing the mechanics of hero-creation, Dollhouse forces viewers to consider how heroes are made and who is exploited in the process. As such, this chapter considers Dollhouse as an intervention into the female action hero film and television cycle through an analysis of how the series adheres to and subverts the tropes of the cycle.