PurposeThis conceptual paper examines the notion of CEO brands and the problems that arise if they are misaligned with company brands. Previous research examines product, company and people brands and implications for senior executives and organizations, but there is no theoretical framework for CEO brand stewardship. This research aims to fill the gap.Design/methodology/approachThe marketing literature is examined to identify differences between products and people as brands, and the potential for CEO brands to enhance corporate brand equity. Based on an application of existing branding concepts to CEOs, a conceptual model of CEO brands is developed to include an analysis of the relationships between its constituent parts.FindingsCEO brands can be legitimately considered as brands, and existing brand conceptualisations can be applied to CEOs as long as some particularities are accounted for. CEO brands are influenced by their personality and their role as managers, and organisations need to constantly monitor CEO brand reputation as well as communicate its positioning. A successful CEO branding enhances perceived brand value and creates value for organisations.Research limitations/implicationsThis research informs brand managers and strategists about brand equity creation. Monitoring stakeholder perceptions of CEOs can enhance rather than detract from corporate brand value. As it showed that people and CEOs can be legitimately considered as brands, the concept of branding needs to be extended to embrace people and CEO brands.Practical implicationsFor business practice, this research informs about the differences and similarities between traditional product brands and CEO brands. Particularly it informs that organisations should consider that the CEO brand personifies to stakeholders what the organisation stands for, for example, when hiring a new CEO.Originality/valueThis research provides a new conceptual model on the previously under‐researched area of CEO branding. The insights into CEO brands provide the basis for empirical research into relationships between brand identity, reputation, position and equity, with implications for personal fame and company fortune.
This critical review of the literature on female entrepreneurship problematizes the metanarrative of economic growth and the mechanisms through which it both operates and is maintained. Central to this is the axiomatic ‘underperformance hypothesis’, which states that ‘all else being equal, female entrepreneurs tend to be less successful than their male counterparts in terms of conventional economic performance measures’ (Du Rietz and Henrekson (2000, p. 1). As an axiom, the truth of the ‘underperformance hypothesis’ is taken for granted, and thus it invisibly serves as a starting point, delimiter and interpretive lens for analysis in this field. While it remains invisible, the hypothesis will continue to reproduce the differences between male and female entrepreneurs, and thus the subordination of women to men in the realm of entrepreneurship. The review illustrates how, by associating females with underperformance, the persistent influence of the metanarrative of economic growth has been masked and the image of the female entrepreneur as problematic and inferior to her male counterpart has been reinforced. The authors argue that a postmodern feminist epistemology will destabilize both the metanarrative of economic growth, and the axiomatic ‘underperformance hypothesis’ it supports, thus opening up space for a heterogeneous understanding of (female) entrepreneurship. By questioning accepted knowledge about female entrepreneurs, the review sets the platform for the exploration of new research questions and a broad agenda for future research. Such an agenda is crucial in order to move future research beyond the pervasive influence of the metanarrative of economic growth and its attendant underperformance hypothesis.
The relationship between music, the self/identity, and consumption is significant and widely acknowledged, yet it remains under-researched. To further our understanding of the symbolic consumption of music, this study evaluates the usefulness of Larsen, Lawson, and Todd's (2009) conceptual framework of the consumption of music as self-representation, and presents a revised framework. Twenty-two individuals provided data, including in-depth interviews and participant diaries. The resulting framework details the cognitive and communicative processes involved in the symbolic consumption of music. It is based on an evaluation of the level and acceptability of congruency between the image of the music and the self-concept, both of which are socially situated. Identity is expressed through a variety of consumption rituals, which allow the individual to 'own' or 'possess' the associated meanings. The framework demonstrates that music is a rich and important site of symbolic consumption, and could also be used in contexts other than music to describe symbolic consumption.
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