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Seizing long-term growth opportunities is both a key goal of and a challenge for companies at the same time. Saturated markets and shorter product lifecycles have changed market dynamics over the past decades, in such a way that competition on price or quality leadership has receded into the background. Instead, firms increasingly depend on the successful development of new business fields and strong brands to retain customers and spur growth. Thus, the two pillars of business development and brand management have become core strategic functions.
By focusing on innovation – a key dimension of business development – this book analyzes the interrelations between innovation and brand management and the ways in which both functions can benefit from each other. Innovations are considered crucial for building brand equity and revitalizing brand images in the long term, while vice versa, branding could facilitate consumer adoption of a newly launched innovative product or service. Since a brand is a first quality signal, it could act as a vehicle for consumers to reduce the risks and uncertainty associated with a novel product from a consumer's perspective and encourage product trial.
This book empirically investigates whether such interdependencies exist and how managers can make use of them to best leverage their company’s innovation and branding efforts. In particular, the author examines the interplay between innovation and brand management by analyzing (1) how innovations impact consumer attitudes towards the (parent) brand and its brand images, (2) how branding an innovation facilitates its market success, and (3) how building brand equity can serve as a buffer against impacts from adverse events such as a product scandal.
Its findings are highly relevant from a managerial and a theoretical perspective. They provide managers with guidance on two key aspects of business development and innovation management: One, how is innovation employed in order to best enhance a brand's equity (e.g., to revitalize its brand image)? Two, how to choose whether to leverage an existing brand or to develop a new brand in order to facilitate consumer adoption of a new innovation?
Parts without a whole?
(2015)
This explorative study gives a descriptive overview of what organizations do and experience when they say they practice design thinking. It looks at how the concept has been appropriated in organizations and also describes patterns of design thinking adoption. The authors use a mixed-method research design fed by two sources: questionnaire data and semi-structured personal expert interviews. The study proceeds in six parts: (1) design thinking¹s entry points into organizations; (2) understandings of the descriptor; (3) its fields of application and organizational localization; (4) its perceived impact; (5) reasons for its discontinuation or failure; and (6) attempts to measure its success. In conclusion the report challenges managers to be more conscious of their current design thinking practice. The authors suggest a co-evolution of the concept¹s introduction with innovation capability building and the respective changes in leadership approaches. It is argued that this might help in unfolding design thinking¹s hidden potentials as well as preventing unintended side-effects such as discontented teams or the dwindling authority of managers.
Culture-driven innovation
(2017)
This cumulative dissertation deals with the potential of underexplored cultural sources for innovation.
Nowadays, firms recognize an increasing demand for innovation to keep pace with an ever-growing dynamic worldwide competition. Knowledge is one of the most crucial sources and resource, while until now innovation has been foremost driven by technology. But since the last years, we have been witnessing a change from technology's role as a driver of innovation to an enabler of innovation. Innovative products and services increasingly differentiate through emotional qualities and user experience. These experiences are hard to grasp and require alignment in innovation management theory and practice.
This work cares about culture in a broader matter as a source for innovation. It investigates the requirements and fundamentals for "culture-driven innovation" by studying where and how to unlock cultural sources. The research questions are the following: What are cultural sources for knowledge and innovation? Where can one find cultural sources and how to tap into them?
The dissertation starts with an overview of its central terms and introduces cultural theories as an overarching frame to study cultural sources for innovation systematically. Here, knowledge is not understood as something an organization owns like a material resource, but it is seen as something created and taking place in practices. Such a practice theoretical lens inheres the rejection of the traditional economic depiction of the rational Homo Oeconomicus. Nevertheless, it also rejects the idea of the Homo Sociologicus about the strong impact of society and its values on individual actions. Practice theory approaches take account of both concepts by underscoring the dualism of individual (agency, micro-level) and structure (society, macro-level). Following this, organizations are no enclosed entities but embedded within their socio-cultural environment, which shapes them and is also shaped by them.
Then, the first article of this dissertation acknowledges a methodological stance of this dualism by discussing how mixed methods support an integrated approach to study the micro- and macro-level. The article focuses on networks (thus communities) as a central research unit within studies of entrepreneurship and innovation.
The second article contains a network analysis and depicts communities as central loci for cultural sources and knowledge. With data from the platform Meetup.com about events etc., the study explores which overarching communities and themes have been evolved in Berlin's start up and tech scene.
While the latter study was about where to find new cultural sources, the last article addresses how to unlock such knowledge sources. It develops the concept of a cultural absorptive capacity, that is the capability of organizations to open up towards cultural sources. Furthermore, the article points to the role of knowledge intermediaries in the early phases of knowledge acquisition. Two case studies on companies working with artists illustrate the roles of such intermediaries and how they support firms to gain knowledge from cultural sources.
Overall, this dissertation contributes to a better understanding of culture as a source for innovation from a theoretical, methodological, and practitioners' point of view. It provides basic research to unlock the potential of such new knowledge sources for companies - sources that so far have been neglected in innovation management.