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Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.

This paper identifies benchmarks in relation to brand management practices in the creative industry. Based on the findings of three case studies we propose an empirical framework explaining the interrelationships among five employee management practices, individual/team creativity and corporate brand building. We conclude that creative organisations need to recognise their employees’ creative output as their key asset towards successful brand building and hence should aim to provide their employees with the appropriate environment for enhancing creativity in their work.

The purpose of this paper is to help answer “To what degree can creative employees be encouraged or motivated to align with a leader's creative vision and what issues may be faced along the way?” The management and communication of vision in relation to the organisational brand within the creative industries can face many unique challenges.

As much of the existing creativity literature at an organisational level is not empirically based, a rigorous, inductive and exploratory case study approach was employed to explore emergent issues relating to the management and communication of the brand within creative small to medium‐sized organisations. Recent research attempts to uncover the link between organisational creativity and the brand are reviewed. The inductive case study approach undertaken is discussed. This incorporates interviews and thematic analysis with the aid of various qualitative data software packages.

The inductively generated themes uncover interrelating issues of relevance to owners and managers relating to: vision and alignment; creative growth; creative evaluation and rewards. The themes also help to draw attention to some of the potential barriers to achieving a desired or effective creative brand.

It can be argued that by taking an exploratory and inductive approach, a wide number of potential effects on creativity and the ensuing brand have been identified. Practitioners within the creative industries can potentially benefit from the observations because they are empirically based rather than being purely theoretical, and focus on both employees and clients. These also appear to go beyond the themes identified within previous studies within these same creative industry sectors. The investigation and reflections may act as a useful starting‐point for further research into the formation and management of a creative brand.

The study aims to understand how practicing organizational performance evaluation (OPE) is related to the performance paradox (tensions between creative freedom and survival challenges) in “evaluation-hesitant” cultural and creative industries (CCI) organizations.

Mixed methods research, consisting of moderation analyses and unstructured expert interviews.

A conceptual model is developed to explain how creative freedom and survival challenges affect OPE in “evaluation-hesitant” CCI organizations.

The authors bring a new understanding to the factors that contribute to evaluation-hesitance in CCI. The paper contributes to discussing both the theory of paradox and flow theory in explaining the relations between OPE, creative freedom and survival challenges.

The goal of this study was to empirically determine whether creative capital can be distinguished at the firm level and to determine what role external labour plays in enhancing firm-level creative capital.

This study was conducted using a qualitative design. Interviews were held with eight managers knowledgeable on HR implementation and the use of creativity within their firms.

Creative capital was identified on the organizational level. The use made and roles given to external labour, in the form of contract and project-based employees as well as consultants and specialists for core activities, are important aspects in enhancing firm-level creative capital. We also found support for the claim that the use of labour market intermediaries in involving external labour differs between organizations with low and high levels of creative capital. Further, the findings indicate that more use is made of external labour in highly creative capital organizations when they are operating in dynamic environments.

Given out sample limitations, future research should develop a study design that allows our findings to be generalized to a larger population, including a focus on specific distinguishing departments within organizations.

Organizations can enhance their innovation performance through using firm-level creative capital, using external labour to acquire and retain the KSAOs needed.

The study is highly original and adds value to existing theory as it is the first to explore the relationship between external labour and firm-level creative capital.

One of the problems we face in the transition from an industrial society to a global knowledge economy is the need for a new breed of leaders and a new understanding of leadership. Creativity in organizations is traditionally considered to be the domain of the R&D department, and design and marketing functions. The consequences of this way of thinking are that creativity, innovation and the implementation of innovation have not been a part of everyday life throughout an organization, but rather things that are the responsibility of a few people often located in departments far away from the “front line.” It is the front line that is in daily contact with users/customers, and which, in the knowledge society, will become increasingly important. The purpose of this paper is to discuss how we can develop a new type of leadership in the knowledge economy. The authors suggest that the necessary conditions for this new type of leadership, which is refered to here as “innovation leadership”, are developed in a holistic model which includes the following elements: entrepreneurial action, innovative leadership, creative energy fields within the organization, high‐tech wealth creation and innovation as a business process.

The authors' perspective here is that of a holistic integrated model where leadership and administration coordinate and balance each other, promoting creativity, innovation, productivity and change. The methodology used is conceptual research, where an analytical model is discussed.

For the established policy in enterprises and other social systems it is important to open up to fields of contagion, cutting down parts of the forest and allowing the principle of the order of succession to reign freely. In established enterprises it is important to: uncover creative energy fields; identify innovation leaders; spread contagion by cutting down areas of the forest where you want the principle of the order of succession to apply; and ensure that you have active spreaders of contagious new creative energy fields in the enterprise.

If one freely interprets Hamel, then in order to promote the development of relational competence, 80 percent of the resources involved in high‐tech wealth creation should be allocated to innovation culture, and 20 percent to performance culture. Hamel says that innovation culture is constituted by “passion, creativity, initiative”. The most important aspect of innovation culture is not so much developing many new ideas and patents, but rather converting these ideas to profit for the company; the motto “from idea to invoice” springs to mind here. However, in most companies it is perhaps the performance culture rather than the innovation culture that is given priority.

The social implications can be stated by citing Hamel, who outlines five important lessons that need to be followed: go to the root of any problem; build what is new on new ground; commit to revolutionary goals, but reach the goals by taking small steps; evaluate continuously, but do not paralyse the system with analysis and quarterly results; and be persevering.

To the authors' knowledge, few authors (if any), have related systemic thinking (cybernetics) to the new leaders we need in the global economy.

The under‐representation of entrepreneurial women, or women leaders, in the higher levels of organisations is an increasingly debated issue. Comments in the media regarding the lack of women in senior management positions in the creative industries have attracted much attention, both for and against. Despite opposing viewpoints there is little doubt that this is an issue that requires investigation. However, understanding the under‐representation of women in senior management, leadership and ownership roles has been problematic due to a lack of “hard data”. The purpose of this paper is to provide a quantitative understanding of the under‐representation of female leaders in the UK's creative and cultural industries. Based on a study completed by TBR for the Cultural Leadership Programme (CLP) it presents baseline data and groundbreaking analysis to understand gendered leadership in organisations.

The study for CLP established a quantitative evidence base to benchmark the number of women in leadership in the creative and cultural industries. This was possible by utilising a unique data resource, TCR, which enabled detailed analysis of gendered management structures in creative and cultural organisations. We use this evidence base to further understand gender diversity in organisational leadership positions and the characteristics of different leadership styles.

The study generated unique understanding regarding gendered leadership within the creative and cultural industries. It identified that there are 32,800 female and 82,450 male leaders in the creative and cultural industries and despite there being a comparatively high proportion of all‐female managed organisations, there are half the number of female executives per organisation compared to the UK average.

A trend of polarisation of all female and all male led organisations was identified over the last 25 years, which was reflected in recognition of distinct female and male leadership styles. The study proves some assumptions about the leadership approach of men and women and identifies characteristics similar to the transactional and transformational styles described in Women at the Top by Holden and McCarthy. Unless this trend is reversed, it is likely to become increasingly important for women and men to develop skills in both transactional and transformational leadership styles.

The paper provides a new examination of the balance of male and female leadership in organisations and significantly furthers debate about the under‐representation of women in leadership. It provides “hard‐data” to inform future dialogue regarding entrepreneurial women and further investigates the lack of women in leadership.

The purpose of this paper is to explore the role of and the management of creative individuals in organizations.

The paper integrates concepts including a range of recently published (1995‐2006) theoretical works in the creative culture, creativity, and innovation literature.

The paper provides information and action approaches to marketers to aid them in harnessing creative talent within their organizations. Relevant literature shows that communities may be magnets that attract or repel creative individuals. Organizations can engineer themselves to become attractive to creatives. If marketers are skillful in managing creative individuals, the organization may enjoy increased competitiveness.

The theoretical concepts that form the foundation of the paper appear to have a significant application to consumer marketing but have not been tested empirically.

The study explores a global effect that has implications for the nature and scope of marketing orientation performance.

This paper describes the nature and application of creativity and creative culture to marketing. While most literature has concentrated on the city or community level, the paper provides a perspective that may help to nurture the creativity of individuals within an organization. It offers the potential of increasing marketing competitiveness by allowing firms to maximize their creativity as a competitive tool.