Candace Jones is the Chair of Global CreativeEnterprise at the University of Edinburgh Business School, UK. She is co-editorof The Oxford Handbook of Creative Industries and is on the EditorialReview Boards of Academy of ManagementReview, Journal of Professions and Organization, Organization Science and Organization Studies.Massimo Maoret is AssistantProfessor at IESE Business School, USA, and a Marie Curie Fellow of theEuropean Commission. His work has appeared in multiple prestigious academicjournals, including OrganizationScience, the StrategicManagement Journal, Advances inStrategic Management and the Proceedings of the Academy of Management.

• Introduction; Candace Jones and Massimo Maoret 1. Brokerage Styles and Interaction Rituals in Creative Projects: Towards an Interactionist Perspective on Brokerage; Santi Furnari and Marianna Rolbina 2. Creative Leadership for Social Innovation; Silviya Svejenova and Lærke Christiansen  3. Strange Bedfellows: Art and Finance or the Monet-ization of Art; Stoyan Sgourev 4. Why is style not in fashion? Using the concept of "style" to understand the creative industries; Frédéric Godart  5. The Social Structure of Consecration in Cultural Fields: The Influence of Status, Social Distance and Positive Ties in Audience-Candidate Evaluative Processes; Erik Aadland, Gino Cattani and Simone Ferriani  6. Institutionalizing Authenticity in the Digitized World of Music; Noah Askin and Joeri Mol  7. Ambiguity and the Longevity of Creative Industries: The Case of Swing through the Lens of Interdisciplinary Collaboration; Sonia Coman-Ernstoff and Damon Phillips  8. Not the usual suspects: Default expectations and the strategic use of categories; Amandine Ody-Brazier Afterword: The Creative Industries - Arts and Materiality Redux; Paul Hirsch and Kartikeya Bajpai

This volume brings together 10 essays by management and other scholars from Europe and the US, who examine social structural and categorical aspects that impact creative industries, focusing on the production and evaluation of creative products in architecture, art markets, advertising, music, and the wine industry. They discuss broker styles in interactions with others in creative projects, creative leadership processes for social impact, how investors impact the art world, the concept of style and how styles impact evaluations of an organization’s creative performance, the influence of status and social distance in evaluative processes in advertising, the role of authenticity and algorithms in digitized music, category longevity in the area of swing music, and default expectations about champagne producers. The book is based on the Creative Industries conference held in July 2016 in Edinburgh, Scotland.