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This examination of the social processes that inform cultural production asks how tastes are formed, transmitted, embedded, and reproduced across generations. These questions are explored through a study of William Morris, his working methods and products, and their impact on the decorative arts in Victorian Britain and beyond. Through the exercise of cultural leadership, Morris gave physical expression to the ideals and sentiments of Romanticism, and this in turn gave rise to a community of taste reaching across class boundaries and generations. Morrisian products and designs, through the agency of his disciples, became institutionally embedded, emblematic of refinement and good taste. A process model of taste formation is deployed to explore the economic and social dynamics at work in the Morris case and more generally.

Managerial revolutions�-�which witness the appropriation of corporate power by professional managers�-�come in different shapes and sizes. This article builds upon existing critiques of Chandler's universal theory of the managerial revolution through reference to the French national business system, arguing that the concept of the managerial revolution is best understood within specific cultural contexts, elite ideologies and national business systems. It demonstrates, through the inclusion of original data, and a business historical case study, that the French model of capitalism is distinguished by continuing links between the state and business, by the density of its corporate networks, and the large number of elite actors with experience of working in an executive capacity in both the public and private sectors, in stark contrast to the UK.Elites, French National Business System, Managerial Revolution, Networks, State-Business Relations,

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