Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
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- All Subjects: Fashion
- Creators: Gray, Nancy
Description
This paper is rooted in the field of business, with an emphasis on entrepreneurship in the fashion industry. The questions we tried to answer were the following: What are factors of success for current fashion brands? What is important to our target market when shopping? How can we deliver these attributes to our target market? How can we use our findings to create a fashion brand? First, we conducted in-depth external analysis about existing retailers including, Forever 21, Zara and Brandy Melville. After doing so, we created brand molecules and learned about other people's perceptions in relation to these existing brands. Next, using our own qualitative and quantitative research, we sought to understand the many gaps in the overall shopping experience for college students and young working professionals. Our research revealed many common themes and trends that we will integrate into our proposed business plan in efforts to fill the gaps. Through our data analysis, common trends included how our demographic learns about new fashion trends, statement pieces versus mix-and-match basics, online shopping versus in-store shopping, price sensitivity of our target market, and lastly, the quality of customer service and the store's return policy. After our extensive research and data analysis, we began to construct our brand. We propose a new business model that targets our fashion-forward consumer with a memorable shopping experience that delivers high-quality and trendiness to their wardrobe. Using the elements and trends we identified, combined with our own vision, we combined them into one brand, The Capsule Collection. ur brand will feature high-quality, reasonably priced basics ranging from everyday casual to business casual. We will have store locations in cities where there are many young working professionals, and target them through social media advertising. Our store will feature an open layout with clean and minimalistic displays, keeping everything in neutral tones and accented with plants. The goal of The Capsule Collection is to make shopping as easy and exciting as possible, and focus entirely on the customer's experience.
ContributorsMeyyappan, Rathna (Co-author) / Aggarwal, Payal (Co-author) / Gray, Nancy (Thesis director) / Samper, Adriana (Committee member) / Department of Marketing (Contributor) / Department of Information Systems (Contributor) / Department of Supply Chain Management (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This thesis explores the current relationship between high fashion and the advancements and changes in technology that have catapulted the industry into a potentially dangerous level. It is simple for one to identify fashion as a booming industry; however, upon further inquiry, it becomes clear that the pace of the fashion industry is unsustainable as the demands and expectations that the current consumer has for high fashion brands grow unproportional with the standard rate of the industry. In 2016, the fashion industry reached $2.4 trillion in total value, placing it as the seventh largest economy in the world (Amed, 2016), but these numbers are as fickle as a fashion trend. The fear and talk of the current state of fashion is that this will stagnate and even drop off, due to multiple factors. The shift to the "see now/buy now" platform (CFDA, 2016), a marked reliance on social media "influencers" in order to determine success (Friedman, 2016), and the commercialization of creative directors attributing to the high turnover rate at brands (Prigent, 2016) may lead one to conclude the technology is positively affecting the fashion industry. However, these factors ought lead one to conclude that high fashion is moving at an unsustainable pace, one which will result in long-term detriments to the seemingly unshakable industry and remove high fashion off its current pedestal. Over the past few years, a larger consumer base motivated growth in sales numbers, but in 2016, sales growth was at 2-3% with predictions of stagnation to come for the upcoming years (Amed, 2016). This thesis will look at if the high fashion industry itself has become "trendy" and where the current peak of the industry will lead for the future.
ContributorsGur-Arie, Hannah Esther (Author) / Gray, Nancy (Thesis director) / Ostrom, Amy (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This creative is established in the field of business, with an emphasis on fashion, art, and<br/>the creation of a body-positive exhibit. Using qualitative research from experts on fashion<br/>curation, we seek to create, curate and pitch a fashion exhibit. Using the information we gather<br/>from experts from two different museums, we will create a new age exhibit that pushes the<br/>boundaries of fashion as art through our theme of body positivity.
ContributorsGulinson, Chloe (Co-author) / Palmer, Jacqueline (Co-author) / Gray, Nancy (Thesis director) / Leslie, Bush (Committee member) / School of Art (Contributor) / Department of Marketing (Contributor) / The Design School (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
As I stare at my closet overflowing with a variety of beloved and colorful garments, I
think about how big of an impact just one of those pieces made in the world before it ended up
in my possession. A tiny spaghetti-strap tank top – bought from my local Goodwill for two dollars, originally purchased at H&M for eight – reminds me that although this square foot of
material might seem minute, it and the thousands of replicas manufactured along with it still
add to the carbon footprint of the fashion industry. Plain and simple – fashion comes at a cost,
whether fashionistas like to be privy to that truth or not. This truth launched an exploration of
my own fashion sense and work to uncover ways to make a difference, birthing ‘K’.
My intention stemmed from my love for clothes, a love rooted in some of my earliest
memories of my mothers’ fashion sense. I found it interesting that for her, and for myself, every
occasion seemed to call for a certain type of dress; occasions like school, church, vacations,
musicals, and nights out on the town to name a few. Not everyone abided by the rules of fashion
that seemed to be so important to me at a young age - no white pants after Labor Day kinds of
things – but, for me, these unspoken rules of dress carried true. Now, as an adult balancing
school, work, and social activity, I like to observe how my peers, coworkers, and friends present
their own sense of style.
After getting a job at a local resale store called Buffalo Exchange, the concept of fast
fashion and the ensuing lack of sustainability fueling it became a concern of interest. Thinking
about the styles of those around me, each completely unique to the wearer but similar in regard
to the individual pieces, struck me that people today are uninformed about the consequences of
their shopping habits. In reality, every consumer partakes in the fashion market in some sense,
meaning that every person feeds into the growing issues associated with fast fashion and similar
business, or join the conversation about sustainable fashion.
Taking my love for resale, a love birthed from ethical sourcing and the giddiness of
finding a good treasure after a big hunt, and partnering my creative skillset for fashion design, I
took on a big project to see for myself what people’s perceptions about resale are and how I
could be a part of the conversation. I began this line thinking about how my unique style always
seems to amass compliments from people liking just how different my items are. I figured that
taking my keen eye for aesthetics and using that to make resale items more desirable, I’d be able
to tap into a market that hardly acknowledges its own existence.
think about how big of an impact just one of those pieces made in the world before it ended up
in my possession. A tiny spaghetti-strap tank top – bought from my local Goodwill for two dollars, originally purchased at H&M for eight – reminds me that although this square foot of
material might seem minute, it and the thousands of replicas manufactured along with it still
add to the carbon footprint of the fashion industry. Plain and simple – fashion comes at a cost,
whether fashionistas like to be privy to that truth or not. This truth launched an exploration of
my own fashion sense and work to uncover ways to make a difference, birthing ‘K’.
My intention stemmed from my love for clothes, a love rooted in some of my earliest
memories of my mothers’ fashion sense. I found it interesting that for her, and for myself, every
occasion seemed to call for a certain type of dress; occasions like school, church, vacations,
musicals, and nights out on the town to name a few. Not everyone abided by the rules of fashion
that seemed to be so important to me at a young age - no white pants after Labor Day kinds of
things – but, for me, these unspoken rules of dress carried true. Now, as an adult balancing
school, work, and social activity, I like to observe how my peers, coworkers, and friends present
their own sense of style.
After getting a job at a local resale store called Buffalo Exchange, the concept of fast
fashion and the ensuing lack of sustainability fueling it became a concern of interest. Thinking
about the styles of those around me, each completely unique to the wearer but similar in regard
to the individual pieces, struck me that people today are uninformed about the consequences of
their shopping habits. In reality, every consumer partakes in the fashion market in some sense,
meaning that every person feeds into the growing issues associated with fast fashion and similar
business, or join the conversation about sustainable fashion.
Taking my love for resale, a love birthed from ethical sourcing and the giddiness of
finding a good treasure after a big hunt, and partnering my creative skillset for fashion design, I
took on a big project to see for myself what people’s perceptions about resale are and how I
could be a part of the conversation. I began this line thinking about how my unique style always
seems to amass compliments from people liking just how different my items are. I figured that
taking my keen eye for aesthetics and using that to make resale items more desirable, I’d be able
to tap into a market that hardly acknowledges its own existence.
ContributorsMickelsen, Karsten Raye (Author) / Gray, Nancy (Thesis director) / Lisjak, Monika (Committee member) / Department of Marketing (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The goal of this research study is to examine the nature and effects of social media marketing and the role it has played towards driving Gen Z into the luxury fashion industry. In addition, qualitative exploration focused on uncovering the reason behind why this market chooses to purchase luxury products and investigated the relationship between social media influencers, luxury brands, and their consumers.
Through 12 qualitative research interviews, five key insights were suggested from the results of the study: people buy luxury to fit in or stand out in social groups, social media marketing portrays a false reality, social media has contributed to the rise of Gen Z consumers in luxury fashion, social media has normalized owning luxury products, and social media has caused lowered self esteem and social pressure amongst Gen Z. These insights can be explained through a triangular framework, making up a marketing ecosystem involving the brand, the social media influencer, and the consumer. These three roles work together to buy and sell goods from one another. If one of the players fails to do their role, the relationships fall apart.
Given phones and apps are highly personal items often only used by one individual, understanding and comparing the ads and images one user is exposed to versus another can be very tricky. Recently, the Federal Trade Commission has increased regulations over native advertisements when viewers became unable to decipher ad from reality. Gen Z’s may inadvertently compare themselves to influencers, ultimately causing lowered self esteem when they cannot possess or achieve the lifestyle of these individuals. These insights are important to help understand how to negate the negative effects of social media marketing and propel companies to be more transparent in their marketing initiatives to reduce social pressure and poor mental health amongst Gen Z. Luxury brands could utilize more explicit differentiators on paid advertisements compared to editorial material to make audiences more knowledgeable of the type of content they are viewing. In addition, society should change the way people perceive online content and have more open discussions surrounding the ethics of native advertising and decipection social media posts may cause. The way young users interact and process social media posts is very complex. Investigating this topic is important to prevent the possible underlying repercussions of social media and help marketers best cater toward this market in an open, ethical fashion.
This study concludes with managerial applications and directions for further research. Businesses should prepare to face increasing guidelines regarding native advertising. These guidelines may include requirements to have explicit markings on branded content and binding contracts with social media influencers. To work around these restrictions, the future of luxury fashion indicates that direct to consumer strategies are on the rise. Video livestream retail and social commerce are already taking the Chinese market by storm and it's only a matter of time before American brands will be forced to adapt to keep up with changing trends in the marketplace. DTC brands benefit from having a direct channel to the consumer without interpretation or the need for intermediaries. Given this research primarily focuses on the links between the brand to influencer and influencer to consumer, future exploration could focus on the channel between the brand and consumer through direct selling. Going forward, brands may prefer to interact with their customers directly, without the use of an influencer, to help establish a close relationship with their audience through a seamless customer journey.
ContributorsElton, Eila (Author) / Ostrom, Amy (Thesis director) / Gray, Nancy (Committee member) / Bush, Leslie (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / The Design School (Contributor)
Created2022-05