Artistic creative social entrepreneurs and business model innovation

Abstract

Purpose From the perspective of role identity theory, the purpose of this paper is to explain how an artistic creative entrepreneur has set up and operates a business that incorporates a component of social responsibility into the business model. Design/methodology/approach An explanatory case study approach was followed in analysing the case of Alenka Repic, the founder and creative director of the company Kaaita, which operates from Slovenia. Data were collected through documentation and interviews and content analysis was used to analyse the data. Findings Kaaita has adopted an innovative and socially responsible business model as an artistic creative enterprise. The case study firstly introduces Kaaita and its innovative business model. Thereafter, it describes and discusses the defining roles of Alenka Repic as an entrepreneur and how these roles have shaped what Kaaita does and how it operates. Research limitations/implications This explanatory case study has presented the unique case of an artistic creative social entrepreneur, and the innovative business model that has been adopted. However, because only one case has been presented here, it is recommended that additional case studies be conducted. It is also recommended that additional research be conducted in the area of sustainable business model innovation. Practical implications The case illustrates how a more deliberate consideration of their role identity could assist entrepreneurs in aligning their personal values and beliefs with how they create, operate and develop their enterprise. It also serves as a reminder to both scholars and aspiring entrepreneurs that the essence of entrepreneurship is to have the passion and courage to be innovative and disruptive and that educators should focus on cultivating skills that are related to identifying and exploiting opportunities for innovative disruption. Originality/value The study draws on role identity theory to gain insight into the roles that are exercised in developing an innovative business model that combines diverse types of entrepreneurship.

Towards Systematic Sustainable Business Model Innovation: What Can We Learn from Business Model Innovation

“…The stream also provides the relevant capabilities for SBMI. Some examples are legitimizing activities with stakeholders [10,92]; influencing supply-chain leaders to create adequate supply networks for embracing the new SBM paradigm [79,93]; searching to understand supply network tensions, conflicting interests [94], and complementary synergies to improve collaborative innovation performance; educating customers on new paradigms [95] such as sufficiency-driven SBM [68]; SBMI teams' adoption of tools and practices [83]; and change management [14,96]. Table A1 in the Appendix A provides a clear definition of each of the antecedent's key concepts, the supporting publications, and the deepness of investigation of each element.…”

“…The SBMI literature also emphasizes the relevance of leadership's vision [96], values, and beliefs [9,83]. As the literature has few large companies' and incumbents' cases featuring a high level of sustainability-oriented entrepreneurship, the relationship between leaders' sustainability orientation on the one side, and business processes and capabilities on the other, could be less straightforward when moving into larger organizations, as there are larger vested interests and more complex hierarchies and relationships.…”

Profiting from innovation in the aftermath of an economic crisis

“…Besides multiple first-order innovations, an innovation-based approach underscores the need for transforming these activities by means of second-order innovation, i.e. reconfiguring and realigning innovation management activities (Lichtenthaler, 2016;Ladd, 2018;Conway and Hemphill, 2019;Pearse and Peterlin, 2019). This dynamic renewal of a firm's innovation management is often overlooked and not proficiently managed even in firms that have systematic innovation processes (Lichtenthaler, 2016).…”

Artist jewelry designer entrepreneurship: does it only glitter or is it also gold?

“…Prior studies have considered artists as cultural icons (Scarpaci et al, 2018) and as entrepreneurial subjects who are involved in deliberate entrepreneurial practice (Pasquinelli and Sjöholm, 2015). Moreover, artists are actively engaged in "developing, nurturing and promoting themselves as recognizable products in the competitive cultural sphere" (Fillis, 2014;Kapferer, 2012Kapferer, , 2014Pearse and Peterlin, 2019;Schroeder, 2005). While art is regarded as a strategic branding tool for luxury brands (Jelinek, 2018) and successful artists have been equated with brand managers (Schroeder, 2005), it is worthwhile to investigate the designer jewelry entrepreneur's branding process and the associated practices (Dumont and Ots, 2020).…”