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Steve Hennessy describes how two mental health arts organisations collaborated to put on a series of performances in Southwark with the direct aim of influencing mental health service delivery in the borough. The project has received the wholehearted support of the local NHS mental health trust and is a very good example of partnership working between the statutory sector and service user led groups.

Formed in Bristol in 1997, the Stepping Out Theatre Company has produced a wide range of work on mental health themes and is open to people who have used mental health services and their allies. Development worker Steve Hennessy describes how the group developed, its unique ethos, and some lessons it may have to offer those working in the wider field of the arts and mental health.

The purpose of this paper is to reach beyond existing research into the mental health benefits of arts-based or educational opportunities, to discover the particular impact on members’ recovery processes of being part of a committed, long-term troupe or community – specifically focussing on specialist theatre companies.

Following a literature review investigating the growing number of theatre troupes for mental health service users, qualitative research was conducted into one such company. In-depth qualitative interviews were conducted with six company members. Thematic analysis of interview transcripts was then cross-checked and enriched through a group interview with six other members.

Two overarching themes emerged: the importance of “being known” within the company (key sub-themes included “intuitive democracy” and the “paradox of reliability”), and the ways in which individuals “branched out” from this secure basis into artistic, professional and voluntary roles, while remaining company members.

The findings from this small-scale study, while not necessarily generalisable to other long-term communities of care and learning with a “troupe” or “team” structure, would provide valuable starting points for a larger-scale investigation.

If generalisable, institutions in the mental health and educational worlds should place more emphasis on developing and resourcing long-term models of support.

The specialist theatre company model contrasts with prevalent individualised, time-limited services for those experiencing mental ill health.

The study provides compelling narrative evidence to amplify understanding of how “connectedness” is experienced within a troupe, and may enable individuals with mental illnesses to progress further in their recovery journey.

Focuses on Apple Computer's launch of iTunes and iPod as a way to give Wintel users a relationship with Apple. Deals with issues of brand equity, corporate and brand goal setting, target selection, and matching product and service characteristics with goals and targets. Also allows for a discussion of channel partners, their interests, and their impact on the likely success or failure of a strategy.

The purpose of this paper is to present a case study describing the progress that is being made in one city in England to increase access to Care Act 2014 assessments and personal budgets among people with experiences of homelessness and multiple exclusion.

A case study employing a “study group” to describe and reflect on local development work.

The authors focus on the “systems change” activity that was undertaken by one voluntary sector partnership project to address issues of referral and access to adult social care. This included the development of a “Multiple Needs Toolkit” designed to support voluntary sector workers to communicate more effectively with adult social care around the application of the new Care Act 2014 eligibility thresholds. The authors discuss the role of “persistent advocacy” in increasing access to assessments and also the limitations of this as regard the potential for poorer joint working.

Throughout, the authors draw on the “ambiguity-conflict” model of policy implementation to assess if the learning from this single case study might be applied elsewhere.

There has been considerable discussion concerning the resource dependency theory of strategy but relatively little qualitative, empirical research has been conducted on the proposed models. Using the value chain as the conceptual framework, the research aims to show how organisations, in this case small and medium‐sized wineries, use their resources and how they access other resources by using strategic alliances. The article also aims to discuss the influence that their resources and capabilities have had on their ability to develop sustainable competitive advantage and superior performance.

This exploratory research looks at four medium‐sized New Zealand wineries (between 200,000 and 2 million litres) and six small ones (under 200,000 litres), of which six have over‐performed and four have under‐performed the industry. Semi‐structured interviews were used to develop an understanding of how the wineries organised their alliances along the value and how they accessed resources which were not available internally.

The wineries have engaged in strategic alliances, rather than structural ties, at various stages of the value chain, to gain access to scarce resources and capabilities. There is clear evidence that the over‐performers have had access to adequate resources, which has led to sustainable competitive advantage and superior performance.

Only one industry is examined and wider research is necessary, both of a qualitative and quantitative nature.

The research provides empirical support for the resource dependency theory and extends the understanding of its significance for small and medium enterprises.

This paper offers insights into the consumption motives and purchasing behaviour of that market segment in Taiwan against the background of increasing consumption of luxury fashion brands by young female consumers in Asian countries.

Analysis of data collected using face-to-face semi-structured interviews with 23 fashion-conscious females aged 18-32 years was completed and new empirical insights are offered.

The study found a high level of involvement in the world of luxury fashion retailing. Asian consumers devoured media commentary, drew inspiration from female celebrities and treated information-seeking and discussion of luxury fashion brands with friends as a serious and enjoyable pursuit. The social status conferred by expensive fashion wear motivated them to spend on luxury brands even if their discretionary income was limited. Potential guilt in so doing was assuaged by rationalising that the quality was good and the purchase would be long lasting. Marketers targeting this valuable segment should communicate appeals to an aspirational lifestyle in traditional and social media, effective at reaching young women.

The study reported in this paper contributes to the limited published research into the luxury-marketing sector in Asia by examining the buying behaviour of female Strawberry Generation consumers in Taiwan. It is the first to research and investigate the meanings attached to luxury by these individuals in the collectivist culture of Taiwan, as well as their motivations, and the factors influencing their purchase of luxury fashions. The study thus contributes with new knowledge to the buying of luxury fashion products by young female Taiwanese consumers, which may be extended to other collectivist cultures in Asia.

Addresses an area which has been neglected in the international retailing literature; the internationalisation of the fashion designer’s brand. Initial exploratory research revealed that there were 114 international fashion design houses competing for a global market of around £24 billion. Further research by postal questionnaire to entrants into the UK market, in addition to semi‐structured interviews with European and US designers, confirmed that this market was buoyant, fuelled by the development of diffusion lines for the mass market. Identifies four stages of market development: wholesale channels to department stores; the creation of ready‐to‐wear flagships; large diffusion flagships; the opening of stores in provincial cities. In order to acquire capital to enable this expansion, over 60 per cent of all fashion designers are now public limited companies. Even then franchising of stages 3 and 4, diffusion line development, is often franchised to third parties with the designer maintaining control over the product and its brand image. Between 20‐30 per cent of gross margin is spent on advertising support to create global campaigns to enhance brand image in foreign markets. However, there is increasing tension between the desire to be exclusive yet becoming involved in product line extensions and widespread distribution which could ultimately dilute the brand’s value.