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This chapter considers the importation of brand images, a key concept in marketing studies, within anthropological approaches to culture and consumption. It does so through examining modes of cultural valuation toward “Made in China” products on the part of consumers. Following theoretical lines recently established by anthropologists in the study of culture, commodification, and consumption in global settings, and their emphasis upon culture as a label for goods, it also brings into the discussion issues in geopolitics and ethnicity, especially from the viewpoint of ethnographic evidence collected in France and Nepal. “Made in China” products are enmeshed in complex, intermingling, and conflicting imaginations of the Other, brand images, and are associated with the underlying social logic of consumption or avoidance of consumption, often paradoxical, but intelligible in both broad-ranging and local contexts.

This chapter examines the selling practices of street vendors at a popular weekend market in Washington, DC. I discuss the role of social and moral norms in vendors' behavior toward one another, customers, and their work. Vendor success in this marketplace over the long term is influenced not only by their products and sales skills, but also by their understanding and acceptance of an ethical framework partly shaped by stories they tell about each other. As such, this study illustrates the embedded nature of sellers in marketplaces, as opposed to theoretical notions of how abstract individuals are supposed to act in a decontextualized “market.” Furthermore, stories that arise from encounters between vendors and customers add value to the products people buy. Objects in this marketplace, then, gain value not only through the interaction of supply and demand, but also through buyer and seller interaction, which provides a narrative base for future communication.

The Christian Churches have lost a great amount of their attraction in many European countries over the last century. Since the 1960s, ties to the Churches have been relaxed and approval for their central beliefs and standards has declined.

This is a problem, since the Christian churches are essential agents of fundamental values, such as solidarity and charity that foster the cohesion of a community. Christian faith communities are committed to preserving these values.

If we imagine the Church as a company, from a design perspective the question arises of what stories and images of the Church could revive its values? What could be a convincing set of contemporary visual items of the Christian Churches?

With the creative methods of design thinking some alternative approaches for visual communication of Christian Churches in the age of social media have been developed in a workshop with various representatives of Christian Churches.

Two creative methods were the focus of the workshop, Rummaging and PaperPoint. These methods were selected for refining the strategic concept with the goal to develop solutions for a new way of visual storytelling.

The first strategy is the definition of ‘core values’ and transition to today and the second strategy is change of perspective, refining the concept for the new way of visual storytelling.

The results show that design thinking can be used to bring about creative results even from participants without a professional advertising background.

Purpose: This paper adopts a practice-oriented approach to address gaps in existing knowledge of the significance of cultural producers’ and intermediaries’ practices of taste for the construction and organization of markets. Using the example of the cultural field of “natural” wine, I propose how taste operates as a logic of practice, generating market actions in relation to the aesthetic regime of provenance.

Methodology/approach: The paper sets out the conceptual relationship between aesthetic regimes and practices of taste. The discussion draws from interpretive research on natural wine producers and cultural intermediaries involving 40 interviews with natural wine makers, retailers, sommeliers, and writers based in New York, Western Australia, the Champagne region, and the Cape Winelands.

Findings: Three dimensions of how taste is translated into action are examined: as a device of division, which establishes a fuzzy logic of resemblance; as a device of operation, which provides an intuitive platform for shaping the means of production; and as a device of coordination, which enables an embedded experience of trust.

Originality/value: The paper’s discussion of dispositions, affect, intuition, and pattern identification provide new insights into the translation of taste into action, and the macro-organization of markets. I argue for attention to how cultural producers and cultural intermediaries are mobilized through their habitual sense of taste, shifting the focus away from consumers to those whose market actions are largely self- and peer-referential. This is important for understanding processes of market development and value construction.

This chapter examines the commercial handicrafts market from Bali, Indonesia to the United States. Using ethnographic examples gathered from research among handicrafts producers, fair trade activists and handicrafts distributors I explore the influence of intermediaries (buyers, distributors, designers) in determining the cultural and economic value of ethnic handicrafts sold in the international marketplace. Over the past two decades, the village of Tegallalang has diversified its crafts industry to specialize in the mass-production of non-Balinese “ethnic art” (e.g., Native American dreamcatchers, Moroccan furniture, and African masks). While Balinese view the global handicrafts market as an opportunity to pursue cosmopolitan, modern, and middle-class identities, this chapter discusses how non-Balinese intermediaries regularly engage in forms of cultural capital that assert their dominance over handicrafts producers in the global South. The work of a Balinese fair trade organization is also examined in this chapter, and their efforts to redirect consumer attention away from the ethnocentric categories of authenticity and tradition and instead focus on workers’ rights and fair compensation.

The revival of the modern craft beer industry has been attributed to people rediscovering their tastes for authentic and hand-crafted products from small, local and independent firms – notable in many sectors ranging from food and alcohol products to textile and furniture. While one of the grounding principles of the craft beer sector has been serving the local community, some brewers started to explore growth opportunities beyond their national borders. Some did so by pure excitement and prestige of sending their beers overseas; others sensed that their domestic markets were becoming flooded by other craft beer brands or ‘craft-washed’ beers from large beer companies. This chapter explores two sides of this going-international story – its promise and perils. The promise of international growth represents the fulfilment of the entrepreneurial mission, the opportunity to collaborate on a global level or the result of positive country reputation. While the perils of crossborder venturing are formed by country-level differences (rules, values and culture), the author brings to the fore that the socially constructed and fluid definition of craft beer forms unique constraints. The author particularly explores how the sector’s cultural boundaries and competition for authenticity with large beer companies act as liabilities during internationalisation. This chapter contributes to the extant literature on firm internationalisation by focussing on a unique dataset of internationalising craft breweries from four small open economies (Australia, New Zealand, Denmark and the Czech Republic). In that sense, it also provides valuable insights to practitioners and the general public.

Purpose – This chapter asks what we should make of the gift exchanges that take place between workers and their managers on the floor of a massive offshore manufacturing unit in South India. Such exchanges appear anomalous in the ethnography of global manufacturing yet here they underpinned the organisation of hyper-intensive production processes.

Findings – Following diverse acts of giving, this chapter shows how these transactions constituted the performative and relational grounds on which workers came to know themselves and sought to shape the world around them. In doing so it extends the anthropology of work and labour by showing that acts of giving are integral to global commodity production.