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The purpose of the paper is to describe the attempt of a family champagne house to redefine its business organization as a family in a large family of families. This choice involves defining their activities as entrepreneuring in a specific time and space that all actors experience as their sensible reality. To describe the whole process, the authors call this ensemble a “chronotope,” including the same space and time as part of a common story. The authors assess this narrative strategy in reference to both past conflict in the champagne business and to the present crisis caused by the pandemic in addition to a series of social, economic and environmental changes in the environment.

The design of the paper corresponds to the case of a champagne family house in its environment with a longitudinal, processual approach of the family business venture before and especially after its sale and buyback by the family. The authors use Bakhtin to insist on the fictional nature of the account of most events as most protagonists adopt different perspectives. The Taittinger family, at the head of the trade house, creates a story that fits in all these perspectives and makes sense to overcome key issues in the business.

Our findings illustrate the role of the chronotope as a way to broaden the scope of inter- and intra-family relations. This concept also shows the importance of shared experiences, stories and crafted practices to sustain collective work and the meaning associated with the result of this work, in this case, champagne wine. The authors also show the different styles of chronotopes and their role in binding together actors in relation to the transformation of their activities.

The research limitations are of two kinds. The first limitation comes from the choice to focus on the Taittinger family house, as it tends to focus the analysis on their point of view. The second limitation is due to the persistence of the pandemic situation that makes it difficult to test the chronotope idea as it is quite recent. Because of the current pandemic, it is complicated to anticipate what the future could look like and therefore, to imagine the future dimension of the chronotope. To overcome this limit, the authors suggest different scenario that leaves open different possibilities.

The practical implications of this paper could be to see how family business entrepreneurs may benefit from designing their strategy as a rich personal fiction in reference to a chronotope instead of referring to storytelling, communication and brand management or even competition strictly speaking. In turbulent times and to face grand challenges, long-term collaborations require stronger ties and imagination without leaving out emotions. Yet the entrepreneurs may become a victim of their own fictions if stakeholders perceive contradictions or if they were to dislike the new episodes the family invents.

The social implications of this case study show the role of business relations built on fiction reflecting strong ties and shared processes such as entrepreneuring in the world of heritage goods where sustainability and endurance matter. This perspective insists on a shared story and it contrasts with more discontinued approaches based on disruptive innovation, opportunism and competitiveness in turbulent times. The chronotope does not ineluctably evolve in different ways, making actors’ perspective shrink, expand or exile. Family entrepreneuring may actively influence this transformation and they may also be framed by it.

The originality of the paper comes from the description of a family business in its environment as a chronotope. Reflecting how related actors in a business field like champagne co-construct a representation, the authors looked for a concept that would accurately reflect this vision, researchers chose the concept of “chronotope,” borrowing from narrative approaches. This approach is transdisciplinary. It is also an attempt to bring researchers at work closer to what actors in the field experiment with and find inspiration in.

We explore how NGO’s local entrepreneurial initiatives to empower women entrepreneurs can compensate for weak state policies for women in a context of male-dominated socio-cultural norms.

We use the case of a local entrepreneurial initiative launched in the Atlas region of Morocco, the Empowering Women in the Atlas Initiative (EWA). We collected data through 51 semi-structured interviews of women entrepreneurs in three cooperatives which exploit the natural resources of their region to establish a social venture. Our data are longitudinal as they were collected at two time periods: before and after the initiative.

The findings of this study suggest that local entrepreneurial initiatives can have a significant impact on rural women entrepreneurs’ empowerment. The improved perception of empowerment has not only helped them develop capacities to leverage the business opportunities linked to the natural resources of their region, but it has also increased their status and role within their family and community.

We make recommendations for policymakers to encourage this type of initiative to compensate for the absence of supporting policies geared toward women.

Our study is one of the first to look at empowerment as a policy instrument to develop women entrepreneurial activities in rural areas of developing countries. Our paper uses a unique hierarchical perspective and a multidimensional framework for analyzing social cooperative ventures and rural women entrepreneurs’ empowerment. Our paper unravels interesting insights for women entrepreneurs’ narration strategies.

Designing digital artifacts is not a linear, straightforward process. This is particularly true when applying a user-centered design approach, or co-design, with users who are unable to participate in the design process. Although the reduced participation of a particular user group may harm the end result, the literature on solving this issue is sparse. In this article, proxy design is outlined as a method for involving a user group as proxy users to speak on behalf of a group that is difficult to reach. The article investigates the following research question: How can roleplaying be embedded in co-design to engage users as proxies on behalf of those who are unable to represent themselves?

The article presents a design ethnography spanning three years at a cancer rehabilitation clinic, where digital artifacts were designed to be used collaboratively by nurses and patients. The empirical data were analyzed using content analysis and consisted of 20 observation days at the clinic, six proxy design workshops, 21 telephone consultations between patients and nurses, and log data from the digital artifact.

The article shows that simulated consultations, with nurses roleplaying as proxies for patients ignited and initiated the design process and enabled an efficient in-depth understanding of patients. Moreover, the article reveals how proxy design as a method further expanded the design. The study findings illustrate: (1) proxy design as a method for initiating design, (2) proxy design as an embedded element in co-design and (3) six design guidelines that should be considered when engaging in proxy design.

The main contribution is the conceptualization of proxy design as a method that can ignite and initiate the co-design process when important users are unreachable, vulnerable or unable to represent themselves in the co-design process. More specifically, based on the empirical findings from a design ethnography that involved nurses as proxy users speaking on behalf of patients, the article shows that roleplaying in proxy design is a fitting way of initiating the design process, outlining proxy design as an embedded element of co-design.