Consumption field driven entrepreneurship (CFDE)

Abstract

Purpose This study aims to explore how membership (initially as a consumer) in a given field shapes individuals’ entrepreneurial journey. Design/methodology/approach The research context is cultural and creative industries and, in particular, the independent (indie) music field in which unstructured interviews were conducted with nascent and established cultural entrepreneurs. Findings The authors introduce and justify their theoretical framework of consumption field driven entrepreneurship (CFDE) that captures the tripartite process via which the informants make the transition from indie music consumers to entrepreneurs by developing field-specific illusio, enacting entrepreneurial habitus and acquiring legitimacy via symbolic capital accumulation within the indie music field. The authors further illustrate how these entrepreneurs adopt paradoxical logics, aesthetics and ethos of the indie music field by moving in-between its authentic and commercial discourses to orchestrate their entrepreneurial journey. Research limitations/implications This study holds several theoretical implications for entrepreneurship-oriented research. First is highlighted the importance of non-financial resources (i.e. cultural and social capital) in individuals’ entrepreneurial journey. Second, this study illustrates the importance of consumption activities in the process of gaining entrepreneurial legitimation within a specific field. Finally, this study contributes to consumption-driven entrepreneurship research by offering a detailed description of individuals’ consumption-driven entrepreneurial journey. Practical implications This study provides some initial practical implications for entrepreneurs within the cultural and creative industries. The authors illustrate how membership in a field (initially as a consumer) might turn into a source of skills, competences and community for entrepreneurs by mobilising and converting different forms of non-material and material field-specific capital. To acquire entrepreneurial legitimation, nascent entrepreneurs should gain symbolic capital through approval, recognition and credit from members of the indie music field. Also, entrepreneurs can acquire symbolic capital and gain entrepreneurial legitimation by either “fitting in” or “standing out” from the existing logics of the field. Originality/value This study contributes to the growing body of literature that examines entrepreneurship fuelled by consumption practices and passions with our theoretical framework of CFDE which outlines the transition from indie music consumers to indie music entrepreneurs.

Is It Because I Can or Because of Who I Am? The Moderating Effect of Entrepreneurs’ Social Identity on Entrepreneurial Self-Efficacys' - Entrepreneurial Intention Relationship

“…They intend to give to a group they toughly identify with and define success as delivering value to their community (Ko & Kim, 2020). Communitarians enact their identity by creating an entrepreneurial venture as they realize the products, they had designed for themselves are of interest to fellow community members (Daskalopoulou & Skandalis, 2019). Consequently, we hypothesize the following: Hypothesis 2b: Communitarian social identity influences positively entrepreneurial intention.…”

“…Communitarians consider themselves as entrepreneurs as long as they receive positive feedback and support form their fellow community members (Gruber & MacMillan, 2017) Daskalopoulou & Skandalis (2019) state that the relationship between consumer membership in a field and, the skills, competences, and community an entrepreneur has influence how communitarian entrepreneurs convert forms of non-material and material capital to create businesses. Communitarians identify with the worldview of their community and engage in consumption activities in the process of gaining entrepreneurial legitimation within a specific field.…”

Expanding Research Horizons: use of online interviews in Consumer Culture Theory

“…On the other hand, during the process, the vast majority of studies consider that using DTIC to perform interviews is a factor that reflects the context of the phenomenon or the investigated consumption practices (Dolbec & Fischer, 2015;Oakes et al, 2014). Likewise, several works are dedicated to exploring territorially dispersed phenomena, demanding that access to respondents is, at some level via electronic contact, to, for example, schedule a possible face-to-face meeting (Daskalopoulou & Skandalis, 2019;Emontspool & Georgi, 2016). Another very common type of work observed were those investigating phenomena that exist exclusively in the virtual context (Kozinets et al, 2016;Viswanathan & Sreekumar, 2019).…”

“…In turn, narrative studies (Bradshaw & Dholakia, 2012;Daskalopoulou & Skandalis, 2019;Figueiredo & Uncles, 2014;Jones et al, 2020;Viotto et al, 2021) use the method exclusively in their studies (Level 1). The narrative studies that we observed considered online interviews equivalent to face-to-face meetings in terms of wealth, but mainly allow interviewers and interviewees to conduct a process that is often long, from the comfort of their own homes.…”

“…Studies that deal with phenomena linked to marketplace cultures (Alhashem et al, 2021;Berge, 2017;Corciolani, 2014;Daskalopoulou & Skandalis, 2019;Dessart et al, 2016;Feiereisen et al, 2020;Figueiredo &) Scaraboto, 2016;Gamble, 2019;Gordon-Wilson, 2021;Goulart Sztejnberg & Giovanardi, 2017;Harwood & Garry, 2010;Koponen & Mustonen, 2020;Oakes et al, 2014;Philip et al, 2015;Podoshen et al ., 2014;Reid & Duffy, 2018;Scarabot, 2015;Scarborough & McCoy, 2016;Turunen & Pöyry, 2019) use DTIC to investigate phenomena that work exclusively online, or a large part of consumer relations are established virtually. Mainly dealing with collective consumption relationships (i.e., branded virtual communities, consumer subcultures), the works explore how the context of the Web has modified these relationships.…”