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Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

This article explores memory work and storytelling as an organising tool through family histories, offering theoretical and methodological implications and extending existing conceptualisations of memory work as a feminist method. This approach is termed as impressionist memory work.

To illustrate impressionistic memory work in action, the article presents two family histories set during Second World War and invite the reader to engage in the “undoing” of these stories and dominant ways of knowing through storytelling. This method challenges the taken-for-granted roles, plots and detail of family histories to uncover the obscured or silenced stories within, together with feminine, affective and embodied subjectivities, marginalisation and social inequalities.

This study argues that impressionistic memory work as a feminist method can challenge the silencing and gendering of experiences in co-constructed and co-interpreted narratives (both formal and informal ones).

This study shows that engagement with impressionistic memory work can challenge taken-for-granted stories with prominent male actors and masculine narratives to reveal the female actors and feminine narratives within. This approach will offer a more inclusive perspective on family histories and deeper engagement with the marginalised or neglected actors and aspects of our histories.

Prior research has drawn from entrepreneurial practice to conceptualize a variety of discreet narrative types. Research has also demonstrated that narratives are a practical and useful tool for entrepreneurs in many stages of the entrepreneurial process. This paper proposes a new narrative, shared narrative, and a conceptual model for how entrepreneurs might build such a narrative that is strategic in nature.

First, the authors review the types of narrative and introduce shared narrative as an account that narrativizes both the entrepreneur and relevant stakeholders. Then, integrating theoretical concepts from constitutive rhetoric and value co-creation, the authors introduce a conceptual framework as a three-stage process guide for entrepreneurs to build shared narratives for strategic stakeholder engagement. Leveraging the power of shared roles and salient values as the key to pre-story building process, the intended audience of the story (i.e. consumer, investor) is present from the inception of the story and integral to its success.

The authors assert that entrepreneurs need to adopt a shared narrative approach for strategic purposes. Further, the development of a shared narrative begins at the pre-story process of co-creation, focused on identifying the roles and values entrepreneurs share with their various stakeholders. Incorporating these shared roles and salient values into the entrepreneurial narrative will result in a narrative that is compelling, authentic and adaptable to different stages of the entrepreneurial process and for multiple stakeholder audiences. Post-story, this authentic narrative will result in higher levels of engagement from both the audience and the entrepreneur in the form of reciprocal action.

This paper proposes a new narrative and provides a structured process to support entrepreneurs in building shared narratives for strategic engagement with a wide range of stakeholders.

Eating disorders (EDs) remain a major health concern, and their incidence has further increased since the COVID-19 pandemic. Given the equally increasing demands on treatments and service provision and the high levels of relapse post-treatment, it is important that research explore novel and innovative interventions that can further support recovery for individuals with EDs. There is growing evidence that arts interventions are beneficial for recovery from EDs. This study aims to evaluate the feasibility of conducting a stand-up comedy course to support ED recovery.

The study used a qualitative interview study design to evaluate the recovery benefits of participating in stand-up comedy workshops for a pilot group of people in recovery from EDs (n = 10).

The comedy intervention was well-attended and had high acceptability and feasibility. For most individuals, participating in the course had a positive impact, including promoting personal recovery (PR) outcomes across all five elements of the CHIME framework. Unique assets of the course included providing participants with an opportunity to distance themselves from everyday worries of living with an ED; the opportunity to cognitively reframe situations by making them the object of humour; and providing a safe space to (re-)build a positive sense of self.

This is the first study, to the best of the authors’ knowledge, that evaluates stand-up comedy workshops for ED recovery and further demonstrates the potential of arts interventions and the relevance of PR frameworks in this field.