Fashioning an elite entrepreneurial identity via the endorsement of gendered, designer dress codes and artefacts of success

Abstract

Despite the recent proliferation of articles on entrepreneurial identity in the last decade, little consideration has been given to the semiotics and aesthetics of how such identity formation is operationalised via the adoption of artefacts of success and sartorial signifiers of such success to construct, fashion and influence such identities. Using semiotic analysis techniques this article explores the deliberate fashioning of gendered elite entrepreneurial identities in the blogs of an American entrepreneur and influencer Jana Arnold. Visual data was collected and analysed to illustrate the processes involved. The findings indicate that the possession of branded clothing and artefacts, combined with their physical appearance can lead to the formation of a distinctive ‘aesthetic capital’ which confers a visual legitimacy which can be commodified as a commercialised identity. The findings also suggest that the juxtaposition of selective dress, props and settings combine to create a form of branded, elitist expressiveness conveyed via the presentation of designer fashion, branded artefacts and high value marques and products. Collectively these can coalesce to form an authenticated entrepreneurial identity for those entrepreneurs who can afford to buy and maintain the monetised identity.

Tracing networked images of gendered entrepreneurship online

“…Through this empirical project, we address the theoretical question: How do networks of commercial images online produce gendered entrepreneurs? Our research thus extends the line of enquiry examining media representations of gender in organizations (Jernberg et al., 2020; Nadin et al., 2020) and of entrepreneurship in particular (Smith, 2021).…”

“…There has long been concern that representations of entrepreneurship normalize men and masculinity such that women, and many men, fail to meet the gendered entrepreneurial ideal (Giazitzoglu & Down, 2017; Smith, 2021). Moreover, media portrayals of women's entrepreneurship have been found to reinforce gender stereotypes, focus on appearance (Achtenhagen & Welter, 2011), and highlight image as instrumental in securing entrepreneurial identity (Pritchard et al., 2019).…”

“…Certainly, when considering male entrepreneurs, visual analyses have often focused on high‐profile examples (Boje & Smith, 2010). For example, Smith (2021), used semiotic analysis of visual and textual data from an online blog to explore how elite male entrepreneurial identities are operationalized through aesthetic artifacts of success.…”

“…Thus, while there is a useful line of enquiry developing regarding the visualization of entrepreneurship, this has separated the examination of men and women, focused on particular image sites and on celebrity or self‐identified entrepreneurs. Indeed, despite recent examinations of visual representations (Banet‐Weiser, 2018; Pritchard et al., 2019; Smith, 2021; Swan, 2017), there is a need for visual research that attends to both masculinity and femininity (Marlow & Martinez Dy, 2018); while also broadening the types of imagery examined. Here we focus on commercial images, a term which encompasses stock or library images, along with images that might be professionally produced or commercially sourced for a variety of purposes (Machin, 2004; Thurlow et al., 2020).…”

“…Nevertheless, as we explore further below, research has usefully progressed understandings of the visual in entrepreneurship, principally in relation to postfeminist aesthetics (Swan, 2017); situated both femininity and masculinity as relevant to female entrepreneurs (Lewis et al., 2022) and broadened the range of contexts under consideration (Ahl & Marlow, 2018). However, despite recent examinations of visual representations (Banet‐Weiser, 2018; Pritchard et al., 2019; Smith, 2021; Swan, 2017), there is a need for further research which attends to both entrepreneurial masculinities and femininities (Marlow & Martinez Dy, 2018) while reflecting contemporary concerns with imagery online (Aiello & Parry, 2020). To extend this line of enquiry, we review visual representations of both men and women entrepreneurs, unpacking the range of masculine and feminine performances, and propose how connected networks of images shape understandings of the gendered entrepreneur.…”