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The current political landscape is in turmoil and brands are joining the narrative. The wave of brands displaying their stands toward sociopolitical issues is growing. To achieve their objectives, Brands are turning to brand activism as a strategy. It is a signal of the brand’s engagement and alignment with a chosen sociopolitical cause. Hence, they are using their sociopolitical positioning to differentiate themselves from competitors in the marketplace. Consequently, Brands aim at attracting consumers who are aligned with the same sociopolitical cause, brands seek to convey legitimacy alongside their activism efforts. Using a quantitative approach through Structural Equation Modeling (SEM), the present research is focused on the underlying mechanism guiding the influence of perceived brand legitimacy on consumer-brand engagement, purchase intentions, and consumer-based brand equity. Henceforth, we demonstrate empirically that the perception of brand legitimacy does have positive effects on the dependent variables. Our research model exhibits the moderating effects of three additional factors, such as psychological distance, consumer-cause fit, and internal locus of control.

International audience; Big data knowledge-driven offerings are changing innovation practices for marketing organizations. Although B2C companies are coping with this digitalized-centered innovation reality, it remains a major concern for B2B industries, and, to date, little research studied digital marketing capabilities for innovation purpose. This study explores the concept of data-driven innovation capability within the marketing perspective. We conducted a systematic literature review of 40 scientific papers followed by qualitative research of 10 one-to-one interviews of C-level executives and managers. The analysis provides a first theoretical marketing anchoring definition of data-driven innovation capability and highlights a three-step construction process capability, market-oriented and fueled by dynamic process re-engineering.

International audience; Brands grow older and continuously need to adjust their positioning, with consequences on the way they look. Brand managers collaborate with designers and often expects them to show both the longevity and the modernity of the brand. While this paradoxical request is well-known of practitioners, there is little research about the way this redesign process happens. The present research is exploratory and focuses on the way designers and marketers practice the redesign of existing FMGC brands. Mixing experts interviews, content analysis, and a large survey of professionals, the research suggests the existence of 5 prototypical situations of redesign with their corresponding design practices. Suggestions for further extension of this on-going research are formulated for discussion.; Les marques vieillissent et ont continuellement besoin de retravailler leur positionnement, ce qui a des conséquences sur leur design visuel. Les managers de marque collaborent avec des designers et attendent souvent d’eux qu’ils puissent visuellement concilier la longévité et la modernité de la marque. Alors que cette demande paradoxale est bien connue des praticiens, il y a peu de recherche sur la manière dont le processus de redesign se passe. Notre recherche est exploratoire et s’intéresse à la manière dont les designers et les marketeurs pratiquent le redesign des marques de grande consommation. Mobilisant des entretiens d’experts, de l’analyse de contenu et une enquête par questionnaire de professionnels, la recherche suggère qu’il existe 5 situations de redesign prototypiques avec des pratiques de design correspondantes. Des suggestions sont formulées pour l’extension de cette recherche en cours.

Creativity is an important concept discussed in different managerial disciplines. It has mainly been dealt with at the individual level. Scholarly interest in team creativity or organizational creativity, is fairly recent in the literature, and the literature provides scarcely any guidance on creativity in inter-organizational processes. Yet, inter-organizational creativity is increasingly important for companies on B2B markets that transform into network or ecosystem structures. This conceptual paper aims to answer the following two research questions: (1) How can the phenomenon of inter-organizational creativity be characterized from a multi-level perspective outside the classical boundaries of organizations? (2) What is the relationship between network creativity and other forms of creativity? Building on both the literature on creativity as well as on business markets, we first assess various perspectives of creativity. We then define and discuss the term “network creativity” as a multilevel and boundary-spanning framing process. Finally, we propose a model that summarizes our thinking.

International audience; The expanding digitalization of the innovation activity is of major concern for B2B industries. While management research is paying increased attention to this new data-driven innovation paradigm for firm specified operational purposes, little research has explained the phenomenon from the marketing organizational perspective. Given the essential role played by B2B marketing department in new products and services development, one may wonder how it can strategically shift its innovation capability to become data-centric. This study is aimed at describing how to build a data-driven innovation capability for B2B marketing organizations, by identifying its components and underlying processes. Based on 10 semi-structured interviews of B2B marketing directors, consultants, sales managers and CEO, the analysis sheds light to a market-oriented and dynamic capability, through the identification of a threestep construction process and four continued renewal capabilities reconfigurations.

International audience

International audience; What is design? Under the single term of design, there are a multiplicity of paradigms linking design to innovation in the academic literature, such as design thinking, design-driven innovation or design management. Distinctions between design thinking, design-driven innovation and design management are however still unclear. This paper’s objective is to open the black box of design in innovation. It contributes to theoretically refining and distinguishing the design paradigms used in innovation management. This paper proposes a framework that characterizes each paradigm. While design thinking is a method, design management is a process and design-driven is a strategy. Yet, this framework reveals that there is a definite overlap between design thinking and design management and between design-driven innovation and design management, while there is no theoretical overlap between design thinking and design-driven innovation. This paper brings a conceptual clarification of these paradigms while helping managers better consider how to use design.

International audience

International audience; While research dedicated to brand activism (BA) is growing, we still do not know how consumers perceive BA and how it influences their relationships with brands. This exploratory research aims at understanding the perception and reactions of consumers towards BA campaigns through a dual perspective-cognitive and affective. First, it contributes to better delineate the construct of BA from closely related constructs. Second, based on an AOL projective technique on two BA campaigns, this study reveals the potential role of psychological distance in consumer's perception of the brand's efforts in supporting a cause. From an affective viewpoint, brands gain legitimacy through BA, however, consumers could have potential feelings of scepticism towards inconsistent BA campaigns. From a cognitive perspective, this study displays dual incentives (collective and individual) for brands to adopt BA as a strategy, and the likely role of BA as a starting point for political changes.

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International audience; Creativity is an important concept discussed in different managerial disciplines. It has mainly been dealt with at the individual level. Interest in team creativity, or organizational creativity, is fairly recent in the literature, and the literature provides scarcely any guidance on creativity in inter-organizational processes. Yet, interorganizational creativity is increasingly important for companies on B2B markets that transform into network or ecosystem structures. This conceptual paper aims to answer the following two research questions: (1) How can the phenomenon of interorganizational creativity be characterized from a multi-level perspective outside the classical boundaries of organizations? (2) Which mechanisms can be employed to govern such a networked and multilevel form of creativity? Building on both the literature on creativity as well as on business markets, we first assess various perspectives of creativity when the concept is extended beyond the narrow meaning of ‘individual creativity’ to propose and define the term “network creativity” as a multilevel and boundary-spanning framing process. Second, this paper assesses various governance types and discusses how they may apply in a network creativity context. From a managerial perspective, this paper offers a new theoretical tool to capture and assess an emerging contemporaneous and complex B2B phenomenon.

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International audience

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International audience; Marketing often cooperates with external design in the new product development (NPD) process. While this relationship is crucial for NPD success and is a typical case of interorganizational collaboration between a business‐oriented function (marketing) and a creative partner (external design), a comprehensive understanding of this relationship remains lacking. As the NPD field evolves to open systems that have changed concepts like functional integration into interorganizational integration, this study contributes to NPD literature by developing an integrated conceptual framework leading to a model of drivers and pathways of NPD success in the marketing‐external design relationship. Building on the literature on NPD, design management and relationship marketing, and on nine dyadic case studies from the luxury fragrance and cosmetics industry, a content analysis was conducted, enriched by a crisp‐set qualitative comparative analysis (QCA). This research confirms several NPD success drivers suggested in the literature and reveals three new drivers: source of design expertise, designer brand commitment, and number of NPD stages involving designer. The first new driver (source of design expertise) impacts the relationship process, which then impacts NPD success, while the other two drivers (designer brand commitment and number of NPD stages involving designer) directly influence NPD success. The article also identifies the pathways of NPD success, showing that contact authority and designer brand commitment are necessary conditions for NPD success, especially when combined with a high number of NPD stages involving designer or a previous relationship. The results also indicate that pathways of NPD success may differ according to the source of design expertise. From a managerial perspective, this study provides recommendations to managers to select the right design partner and choose from a range of drivers and pathways to devise more effective ways to work with external designers, thereby leading to NPD success.

International audience

International audience; Several studies indicate that collaboration between brands and external design agencies can increase new product’s innovativeness. Yet, few researchers investigated the influence of the interaction between branding and design agencies on the level of product innovativeness, limiting the understanding of the creation of competitive advantages for companies. Our study is addressing this gap using the concept of brand innovation capital. Based on a sample of 103 new products built using the historical approach, a partial least square analysis was used. Results reveal that the higher the brand innovation capital, the higher the product innovativeness and that the characteristics of the design agency and its relationship with the brand moderate this link: the impact of the brand’s innovation capital is positively moderated by the design agencies innovation orientation but negatively moderated by the existence of a previous relationship between the brand and the external design agencies.

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