Woman in love, artist or entrepreneur? The edifying, mystifying life of Coco Chanel

Riot, Elen

doi:10.1108/sbr-12-2012-0054

Cited by 9 publications

(15 citation statements)

References 29 publications

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“…This study considers images, forms and presence as a conceptual frame work to help us better understand issues of female entrepreneurship and in doing so addresses the neglected issue of semiotics and semiotic analysis (Chandler, 2001: Riot, 2013 in gender research (See table 2 in the methodology section for a more detailed explanation of the framework). Indeed, during the past decade there has been an elevated research interest into the role of myth and metaphor in the social construction of entrepreneurship and entrepreneurial narrative (Drakopolou-Dodd, 2002;Nicholson & Anderson, 2005).…”

mentioning

confidence: 99%

Images, forms and presence outside and beyond the pink ghetto

Smith

2014

Gender in Management: An International Journal

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Purpose – The purpose of this study is to consider entrepreneurial imagery that sheds light on differing and emerging patterns of female entrepreneurial identity which illustrate shifts in the locus of power that challenge masculine hegemony and power structures. As a concept, power has an image component, and shifts in power are often conveyed by subtle changes in the cultural semiotic. Globally, images of female-entrepreneurship are socially constructed using stereotypes which are often pejorative. The semiotics of gendered identity as a complex issue is difficult to measure, assess and understand. Gender has its own semiotic codes, and, universally, images of female-entrepreneurship are socially constructed using pejorative stereotypes. Entrepreneurial imagery can shed light on differing and emerging patterns of female-entrepreneurial identity illustrating shifts in the locus of power that challenge masculine hegemony and power structures. Artefacts, images and semiotics construct alternative gendered social constructs of the entrepreneur to the heroic alpha-male. The imagery associated with the female-entrepreneur is either said to be invisible, or associated with “Pinkness” and the “Pink Ghetto”. Therefore, images, forms and presence associated with gendered entrepreneurial identities have been explored. Design/methodology/approach – One hundred images of female-entrepreneurship were analysed semiotically using photo-montage techniques to identify common stereotypical representations, archetypes and themes. The resultant conceptual typology highlights the existence of near universal, archetypal gendered entrepreneurial stereotypes including the Business Woman; the Matriarch; the Diva; and the Pink-Ghetto Girl. Findings – Although the results are subjective and open to interpretation, they illustrate that the contemporary female-entrepreneur, unlike their male counterparts, is not forced to adopt the persona of the “conforming non-conformist” because they have more options available to them to construct an entrepreneurial identity. Research limitations/implications – This study extends research into entrepreneurial identity by considering visual imagery associated with socially constructed stereotypes. In looking beyond images associated with the “Pink-Ghetto” the author challenges stereotypical representations of the appearance of female-entrepreneurs, what they look like and how they are perceived. Originality/value – This study widens knowledge about entrepreneurship as a socio-economic phenomenon via images forming part of enterprising identity, a physical manifestation of nebulas phenomena acting as “visual metaphors” shaping expected constructs.

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confidence: 99%

Images, forms and presence outside and beyond the pink ghetto

Smith

2014

Gender in Management: An International Journal

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“…As Herrera (2002) (Riot, 2013, p. 298) in which she was sent away to an orphanage, and worked as a seamstress Chanel leveraged her relationships with influential actors in the society -wealthy elites and celebrated artists -to spread her style and obtain recognition (Cattani et al, 2016, p. 123; also see Riot, 2013 resources or competencies, identity capital is rooted in communities, institutions and the larger base of consumers, peers and other gatekeepers, with individuals having limited control over quality and amount.…”

Section: Authenticity Workmentioning

confidence: 99%

Identity as career capital: enhancing employability in the creative industries and beyond

Mao¹,

Shen²

2020

CDI

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Purpose The purpose of this paper is to broaden the conversation about the link between identity and employability by investigating how identity can function as a type of career capital. Drawing on Bourdieu’s (1990) theory of practice and Côté’s (2016) identity capital model, the authors introduce the concept of identity capitalization and elaborate on the career practices people engage in to convert identity into career capital based on studies of careers in the creative industries. Design/methodology/approach The conceptual development is based on an examination of studies of careers in the creative industries. The authors move beyond a single idiosyncratic occupational setting and offer insights about how individuals acquire, accumulate and deploy identity capital in response to varying occupational demands and institutional norms. Findings The authors identify three patterns of work – display work, authenticity work and personation work – that creative professionals use to harness identity as career capital to enhance their employability. The authors find that both the demand for authenticity and the existence of social inequalities in the creative industries present challenges for the acquisition, accumulation and deployment of identity capital. Originality/value The ability to harness one’s identity for career capital has become increasingly important for career actors in the face of a challenging labor market. This paper provides a conceptual understanding of the process of identity capitalization and presents concrete career practices in real-world settings. It also offers practical advice for individuals wishing to capitalize on their identity to maximize career opportunities.

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“…There is a developing application of visual research to unpack the ‘way representations are constructed’ (Riot, 2013: 283) in entrepreneurial research. This builds on a significant body of research examining how images impact our understandings of work (Bell et al, 2014).…”

Section: Using Visual Research To Explore Aesthetic Labour and Entrepreneurial Successmentioning

confidence: 99%

“…Our empirical focus on the visual reflects this aesthetic concern. Building on an emerging body of visual research in both entrepreneurship and gender studies (Duffy and Hund, 2015; Riot, 2013; Swan, 2017), as well as interest in how entrepreneurship is culturally represented (Swail et al, 2014), we aim to advance understandings of constructions of female entrepreneurs. Developing the contribution of existing academic analyses, we utilised photo-elicitation with 58 post-graduate students to explore responses to images associated with EBarbie.…”

Section: Introductionmentioning

confidence: 99%

Aesthetic labouring and the female entrepreneur: ‘Entrepreneurship that wouldn’t chip your nails’

Pritchard

Davey²,

Cooper

2019

International Small Business Journal: Researching Entrepreneurs

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Recognising significant interrelations between neoliberal and postfeminist discourses, we advance understandings of constructions of female entrepreneurs by unpacking their visual representation and exploring the role of aesthetic labour. Given the impact of contemporary media, we focus on key images integral to the marketing of Mattel's Entrepreneur Barbie as a postfeminist 'cultural motif' (Duffy et al., 2017: 262) and investigate how these representations of female entrepreneurship are consumed. First, we highlight the practical demands and emotional risks of the aesthetic labour required to achieve such postfeminist glamour. Second, links between conventional femininity and entrepreneurial success are both celebrated and challenged, highlighting perceived limits to achievement. Finally, we unpack understandings of the relations between entrepreneurialism and aesthetic labour to move beyond assumptions of the instrumental power of the makeover. Our findings thus, enrich understandings of the consumption of postfeminist images of entrepreneurs.

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Woman in love, artist or entrepreneur? The edifying, mystifying life of Coco Chanel

Cited by 9 publications

References 29 publications

Images, forms and presence outside and beyond the pink ghetto

Images, forms and presence outside and beyond the pink ghetto

Identity as career capital: enhancing employability in the creative industries and beyond

Aesthetic labouring and the female entrepreneur: ‘Entrepreneurship that wouldn’t chip your nails’

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