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This paper aims to investigate how producers of biodynamic and sustainable wine portray their brand identity online.

The study uses an inductive approach to qualitative content analysis of wine producers’ websites. The authors use a theoretical starting point based on the categorizations literature related to institutional scripts and identity projection.

Producers adopt identity templates similar to the provenance and glory templates established in extant research. They demonstrate templates of community, quality, spirituality and sustainability, but there is a break in the templates, and they adopt a pseudo-rationalist template, avoiding detailed descriptions of practices and underpinning philosophy, leaving any references to them opaque and ambiguous. This may be due to concerns over scientific skepticism or spiritual suspicion, or anticipation of a lack of consumer knowledge.

The geographical location of the sample poses limitations to the results of the study. However, the study provides an examination of the nuances of self-categorization as it relates to identity projection, prompting further investigation into its positive and negative potential.

Research on the connection between quality perceptions and experience and credence attributes suggests producers should do more to emphasize the philosophy underpinning biodynamics.

The study contributes to research on marketing for inherently sustainable producers who may suffer potential negative reactions in general and biodynamic wine producers in particular. This study provides nuance to the understanding of negative reactions to novel and innovative wine production practices.

We examine how the organizational identity of established firms affects their strategic outcomes during the emergence phase of a new market. Drawing on cognitive theories of analogical learning, we build theory about how the established identities of producers influence the fluency with which consumers make sense of novel products, and hence affect valuations. We illustrate this theory through an empirical study of consumer evaluations of de alio entrants during the emergence of the digital camera industry.

With growing interest in the penalties associated with straddling market categories, it is important to develop a stock of evidence about the relative importance of consideration and valuation penalties in different empirical settings. In this chapter, we isolate the possible adverse implications for currently kosher Israeli wine producers that were established as non-kosher producers. Our analysis suggests that crossing the kosher categorical boundary exposes these producers to experience-based penalties that are reflected in lower product quality ratings. However, we find no evidence of additional penalties associated either with consideration (i.e., market access) or with the possession of a convoluted organizational identity.

In current research on market categories, hybridity (i.e., the association of organizations and/or the products they offer with multiple category memberships) represents an important issue with many practical implications, especially for project-based forms of organizations. This chapter explores the evolution of hybridity and the conditions under which different kinds of project-based organizations develop hybrid projects. By studying the feature film industry in the United States from 1920 until 1970, this chapter contrasts the current perspective based on status-organizing processes and suggests that hybridity is a population-level process that can be interpreted as the result of the construction and interplay of different identities, and on the dynamic of the identity dimensions employed by different actors in such effort. The chapter shows that the development and construction of the identity of a temporary organization is different from other types of organizations, and is linked to identification processes both at the organizational level, with the company or with specific individuals in key roles, and at the institutional/collective level, with pure (single-category) and hybrid (multi-category) genres. This chapter highlights the mutual interactions and constraints between these two levels in different life stages of the film industry.

Consecration represents the most definitive form of legitimation in every cultural field. Complementing previous research focused on individual, contextual, and structural conditions underpinning consecration, this paper takes a sequence analytical perspective and explores whether diverse creative trajectories are more frequently associated with consecration. We introduce the notion of signature style and the pace of category spanning as key features for consecration. We argue that a consecrated signature style is just as likely to result from a producer’s adherence to a specific style over time or from a consistent (and fast-paced) category-spanning creative trajectory. The resulting identity will be specialist in the first case, eclectic in the second. We analyze the stylistic trajectories of 863 electronic music artists and find robust support to our hypothesis. The analysis is corroborated by further exploratory findings that identify intriguing questions for future research. By examining the organization of creative journeys in the career of cultural producers, this paper emphasizes the importance of considering the unfolding and rhythm of creativity over time. This temporal perspective sheds new light on the dynamics of distinctiveness and consecration in cultural fields.

The purpose of this paper is to examine how business ecosystems evolve, what is the identity of business ecosystem and is the ecosystem identity static or dynamics. To understand the above questions, this paper is conducted on stone carving clusters in India.

The author engaged the ethnographic approach in this study. To sample stone carving clusters of India, the author followed the snowball sampling method. Further, the author did collect the information by informal personal discussions, focus group discussions and participant observations. Furthermore, the thematic analysis and interpretative phenomenological analysis were applied to process the data. The validity and reliability of the method was ascertained by testing the credibility, dependability, confirmability and transferability.

The author found that the business ecosystem of stone carving was dynamic, and it was transformed from the buyer-driven ecosystem to the supplier-driven ecosystem. The identities of the early stage business ecosystem and the late stage ecosystem were analyzed through product, network and information flow. The author developed a structural framework to conceptualize the identity domain of the business ecosystem and the author named it as “nature-conduct-performance model.” Also, the author conceptualized the identity evolution, the influence of social system on business ecosystem identity, and identity-based conflicts and identity-based cooperation in the stone carving business ecosystem.

This study is making additional theoretical contribution in conceptualize the business ecosystem from the identity construct.

The concept of a “category” and the social process of “categorization” occupy a crucial place in current theories of organizations. In this introductory chapter to Research in the Sociology of Organization's volume on Categories in Markets: Origins and Evolution, we review published work in various streams of research and find that studies of organizational forms and identities, institutional logics, collective action frames, and product conceptual systems have key commonalities and predictable differences.

The purpose of this study is to understand the business ecosystem through the “identity” construct. “Identity” is a well-researched subject in sociology and psychology but as a construct, its application is limited in management and organization studies, especially in the ecosystem context. This study used “identity” to examine the management and organization of stone carving microenterprise clusters in India.

The examination followed classical grounded theory approach for data collection and data analysis. Data collection was made by a mixture of focus group discussions, informal discussions, personal observations, etc., and it followed a series of thematic analysis under the qualitative technique. Further, a structured questionnaire was used to collect information, and the data analysis was done through structural equation modelling and confirmatory factor analysis.

The study identified and established ten identities of the producers, two identities of the suppliers and two identities of the customers. There were identity-interlinkages within each stakeholder, and among the stakeholders, creating a solid, static and rigid ecosystem for ages.

This paper made a new and significant contribution to the literature on the business ecosystem.

Purpose – This study is intended to extend scholarship on the management of organizations by examining the long-term performance of orphaned products.

Design/methodology/approach – This study uses the historical context of the 1929 stock market crash and the Great Depression to examine the long-run appeal (performance) of orphaned products – products from start-ups that fail soon after production. I use this setting to determine how factors within the purview of management, as well as the role of changing tastes, affect the appeal of music from short-lived start-ups founded in 1929 and 1933.

Findings/originality/value – I find that while the evolution of tastes has a substantial effect beyond the control of a firm's managers, a start-up's decision-makers were able to positively influence the long-run appeal of music when they (a) recorded tunes with new artists and (b) were able to create an early big hit with the tune. These results demonstrate how and why, even with cultural producers in one of the greatest economic disasters in U.S. history, managerial decisions were meaningful for product performance. Finally, I show that the effect of being a start-up on the long-run appeal of a tune is time-varying such that being a start-up in 1929 or 1933 does not harm a tune's appeal until after World War II. These final analyses point to further ways in which strategy, history, and sociology might combine to further scholarship on the management of organizations.

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.