Matching Items (9)
Filtering by
- All Subjects: Fashion
- Creators: Ostrom, Amy
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Aventure is the newest contemporary luxury men and women’s apparel and accessories boutique in Arizona. The boutique will be located in Downtown Scottsdale, specifically in McKellips Plaza conveniently located near Scottsdale Fashion Square. Aventure is the first of its kind in the Phoenix Metropolitan Area, providing Millennial fashion fanatics with a destination that fills the empty void in the city’s growing fashion scene. At Aventure, we bridge the gap between pop culture, streetwear, and high-fashion. Through our mantra ‘Redefining the Luxury Retail Experience,’ we aim is to promote expression of one’s self to the fullest extent through style.
‘Aventure,’ which means “experience” or “adventure” in French, defines this upscale boutique and its essence of inclusion. This store does not aim to be your traditional retailer; instead, Aventure aims to build a community within and around the store for individuals with similar styles and passion for fashion. At the moment, the city of Scottsdale (and the Metro Phoenix area as a whole) does not have its own identity in the fashion world. There is no reason why Metro Phoenix cannot, with time, become more recognized in the global fashion community. With an array of exclusive luxury merchandise and an urban atmosphere, Aventure aims to pioneer the Valley’s establishment on the national high-end fashion scene.
The boutique is a result of the vision of its founder Ahmed Imam. Ahmed is a graduating Honors student at Arizona State Univeristy’s W.P. Carey School of Business, pursuing concurrent degrees in Finance and Business Entrepreneurship. Having been passionate about fashion for as long as he can remember, Ahmed will leverage his connections to the industry and excellent understanding of the Metro Phoenix market to turn Aventure into a hallmark of the community. Through his professional experience and educational background, Ahmed also brings the necessary knowledge and skills to the table to effectively run a startup.
The retail industry is experiencing steady growth, with the luxury goods sector expected to perform very well in the coming years. Using market-based sales forecasting, Aventure is estimated to break even by the third year of operations. Sales are expected to grow 20 percent after Year 1, and grow 5 percent thereafter. Net operating income of $83,643 is estimated in Year 1, growing to $141,351 by the end of Year 3. Overall, total startup expenses are estimated to be $206,574, made up of investments from owners and a term loan from Bank of America. The owner investment will be used to cover capital equipment, location, and administrative expenses. These include furniture, equipment, machinery, rent, utility, legal and accounting fees, prepaid insurance, and other expenses. The majority of the term loan will be used to finance opening inventory and advertising expenses, with the rest going towards cash on the balance sheet to ensure liquidity.
‘Aventure,’ which means “experience” or “adventure” in French, defines this upscale boutique and its essence of inclusion. This store does not aim to be your traditional retailer; instead, Aventure aims to build a community within and around the store for individuals with similar styles and passion for fashion. At the moment, the city of Scottsdale (and the Metro Phoenix area as a whole) does not have its own identity in the fashion world. There is no reason why Metro Phoenix cannot, with time, become more recognized in the global fashion community. With an array of exclusive luxury merchandise and an urban atmosphere, Aventure aims to pioneer the Valley’s establishment on the national high-end fashion scene.
The boutique is a result of the vision of its founder Ahmed Imam. Ahmed is a graduating Honors student at Arizona State Univeristy’s W.P. Carey School of Business, pursuing concurrent degrees in Finance and Business Entrepreneurship. Having been passionate about fashion for as long as he can remember, Ahmed will leverage his connections to the industry and excellent understanding of the Metro Phoenix market to turn Aventure into a hallmark of the community. Through his professional experience and educational background, Ahmed also brings the necessary knowledge and skills to the table to effectively run a startup.
The retail industry is experiencing steady growth, with the luxury goods sector expected to perform very well in the coming years. Using market-based sales forecasting, Aventure is estimated to break even by the third year of operations. Sales are expected to grow 20 percent after Year 1, and grow 5 percent thereafter. Net operating income of $83,643 is estimated in Year 1, growing to $141,351 by the end of Year 3. Overall, total startup expenses are estimated to be $206,574, made up of investments from owners and a term loan from Bank of America. The owner investment will be used to cover capital equipment, location, and administrative expenses. These include furniture, equipment, machinery, rent, utility, legal and accounting fees, prepaid insurance, and other expenses. The majority of the term loan will be used to finance opening inventory and advertising expenses, with the rest going towards cash on the balance sheet to ensure liquidity.
ContributorsImam, Ahmed Mohamed (Author) / Ostrom, Amy (Thesis director) / Schlacter, John (Committee member) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
The purpose of this thesis is to examine the effects of digital on the fashion industry. In order to accomplish this, we must first examine the fashion industry, as well as the emerging digital space, and how these two industries are rapidly colliding. Fashion, an industry that has been around since the early 1800s in the United States (Fashion History: The American System for Fashion, 2009), is being forced to pivot, and change its traditional practices, in order to remain relevant in a world heavily influenced by the Internet and consumer preferences. The largest changes taking place within fashion include the power of various industry influencers, including designers, magazines, retailers and lifestyle bloggers, and the rise of blogging as a fashion news source. Although designers, magazines and retailers still have significant clout within the industry, bloggers are becoming a force to be reckoned with, adding a new variable to the industry.
Meanwhile, digital is still being defined, as countless people work to determine best practices and reconcile the unending amount of information available into something that can be used. Trends in digital include the concept of new media, blogging, social media and new channels of media. Overall, we are seeing a shift to user-‐ generated content, available all the time, and a proliferation of content being created and published on the Web.
Some of the ways these two industries are colliding include the rise of lifestyle bloggers, developments and usage of technology, an abundance of new e-‐commerce models, and finally, a shift in the ways consumers curate and discover products online.
Predictions for the future include a more streamlined and user-‐friendly process for search and product discovery online, increase in social commerce and personalization of products, and finally, a return to brick and mortar shopping, but with an improved, experiential model. These trends will affect industry stakeholders dramatically, and so necessary actions for these stakeholders are also discussed, such as allocating more resources to content generation and e-‐commerce, giving consumers the ability to personalize, and improving their physical shopping experiences to provide something valuable and entertaining.
Meanwhile, digital is still being defined, as countless people work to determine best practices and reconcile the unending amount of information available into something that can be used. Trends in digital include the concept of new media, blogging, social media and new channels of media. Overall, we are seeing a shift to user-‐ generated content, available all the time, and a proliferation of content being created and published on the Web.
Some of the ways these two industries are colliding include the rise of lifestyle bloggers, developments and usage of technology, an abundance of new e-‐commerce models, and finally, a shift in the ways consumers curate and discover products online.
Predictions for the future include a more streamlined and user-‐friendly process for search and product discovery online, increase in social commerce and personalization of products, and finally, a return to brick and mortar shopping, but with an improved, experiential model. These trends will affect industry stakeholders dramatically, and so necessary actions for these stakeholders are also discussed, such as allocating more resources to content generation and e-‐commerce, giving consumers the ability to personalize, and improving their physical shopping experiences to provide something valuable and entertaining.
ContributorsLose', Jenna Elizabeth (Author) / Ostrom, Amy (Thesis director) / Giles, Bret (Committee member) / Boonlorn, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor)
Created2013-05
Description
Abstract Hope and Dreams: Insight into Autism Art Benefit Exhibition Megan H. Tollefson Hope and Dreams: Insight into Autism was a social outreach project benefiting autism research in the Phoenix Valley via an art exhibition. Autism is a widely discussed disorder that affects more than 1.5 million people in the United States. It has had a significant personal impact on my life, as I have two cousins with the disorder, as well as o the lives of millions of others. The project aimed to educate the public on autism, support families dealing with the disorder, and raise funds for essential research to better understand, treat, and prevent autism. The variety of paintings in the exhibition was meant to be representative of the many facets of autism while inspiring hope for viewers. The project also intended to advocate the arts as a viable method for communicating for collective community pulse in the face of increasing autism prevalence. The project process hoped to speak as a visual, social and most importantly, a human commentary on the current state of autism in America. My artwork was selected as the winner for the Sally A. McKenna memorial exhibition for spring 2008, and the exhibition took place in the Step Gallery in the heart of Tempe. The paintings I created and the marketing for the event allowed me to create a meaningful thesis project and combine my interest in business and the arts. I was also able to donate several thousand dollars and one of the paintings to the Southwest Autism Research and Resource Center.
ContributorsTollefson, Megan (Author) / Schoebel, Henry (Thesis director) / Ostrom, Amy (Committee member) / Minonich, Lyndsey (Committee member) / Barrett, The Honors College (Contributor)
Created2008-05
Description
Streetwear is a category of fashion that has evolved from being a niche style of dress influenced by American counter cultures, into a formidable industry. Over time, Streetwear has become a culture in itself whose members are critical of inauthentic brands and commercialization. Streetwear brands have the need to be perceived as authentic, exclusive, and being connected to celebrity to survive in the industry long-term. Additionally, as the industry grows larger, the marketplace has become increasingly saturated. This can be attributed to how easy it is to create a fledgling streetwear brand due to advances in garment production technology and streetwear's roots in low-cost clothing. Streetwear brands need to differentiate themselves in an effective manner to stand out to consumers in the saturated streetwear market. Primary research conducted via a survey administered to streetwear consumers was done to learn more about the effectiveness of popular tactics and marketplace events streetwear brands use to differentiate themselves. Secondary research was done in literature on the topics of creativity and energized differentiation. Research by Gerzema and Lebar presented in their book The Brand Bubble on the topic of energized differentiation is reviewed and applied to streetwear brands. This thesis will discuss the key elements brands need to have to be successful in the streetwear industry. Along with this, it will also look at the effectiveness of specific tactics bands can execute to effectively differentiate themselves in the saturated industry and the important role creativity plays in their success.
ContributorsGriblin, Austin W. (Author) / Ostrom, Amy (Thesis director) / Samper, Adriana (Committee member) / Department of Marketing (Contributor) / Herberger Institute for Design and the Arts (Contributor) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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
Abstract
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
ContributorsBosmeny, Mackenzie Lauren (Author) / Ostrom, Amy (Thesis director) / Montoya, Detra (Committee member) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
The Westward Ho is a historical landmark of Phoenix. Once an architectural experimental design redefining luxury accommodations in the 1920s, the Westward Ho attracted former Hollywood icons and political leaders for several decades until it closed its doors in the early 1970s. Now categorized as a low income subsidized living residence, many diverse yet high-risk groups of people currently call the establishment "home." While considered home to most, a Needs and Assets Assessment survey conducted by Arizona State University students and professionals exposed that the residents feel disconnected from each other as well as from the external greater Phoenix community. From the survey, it was discovered that 50% of interviewees have been clinically diagnosed with a mental illness and 50% have less than two friendly contacts outside the Westward Ho. Their health and social needs are not being met by the current conditions and operations of the Westward Ho. Results like these as well as other in-depth research of the city of Phoenix including demographics and local business feedback provided a supportive framework for the development of the recommendations. Two recommendations were proposed using a business model framework in order to describe a rationale for generating value to the consumers. One recommendation suggested renovating the Westward Ho in order to become a boutique hotel, which would attract consumers locally and nationally. While an opportunity to attract new interests to the city of Phoenix, it would be a great investment that could be adversely unfavorable to the residents considering their physical and mental vulnerabilities. Another recommendation is to use a currently unused but visually ornate room (Kachina Lounge) in the Westward Ho to start a community center. No other space in Phoenix competes with its historical charm and uniqueness. After conducting a cost/benefit analysis, the community center creates, delivers and captures the most value with less risk. The residents have the ability to build an internal community by working together to handle low skill operations of the community center, and the Phoenix community has the opportunity to breach the once unfamiliar doors of the Westward Ho. With community and city council support, the Westward Ho could become a center for social change while awaking cultural awareness.
ContributorsJohnson, Ashia Sydney (Author) / Peck, Sidnee (Thesis director) / Ostrom, Amy (Committee member) / Burgess, John (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Department of Supply Chain Management (Contributor) / W. P. Carey School of Business (Contributor) / Department of Psychology (Contributor)
Created2013-05
Description
In looking at the world of fashion, it is hard to miss the many rental platforms that have become staples in the industry. While the business model makes sense for many consumers, it also feeds on many consumer trends and developing ideals. The driving purpose of this thesis is to better understand the success of rental platforms, to see what components of the industry are most important to the success of a rental company, and ultimately determine if rental will have a future in the next generation of fashion. The following research explores the fashion industry, rental’s place in that industry, and whether this new business model is here for the long haul. This research will prove vital in understanding the success of this new industry and the most important components that make up a successful rental business. Through this research it was found that the pillars of marketing, especially a deep understanding of consumers, and supply chain, have proven to be the most interesting aspects of the rental industry’s success. Specifically, the components of inventory management, transparency, consumer research, and pricing were found to be the most vital to any rental platform’s success.
ContributorsGeorge, Jessica Marie (Author) / Ostrom, Amy (Thesis director) / Davila, Eddie (Committee member) / Dean, W.P. Carey School of Business (Contributor) / Department of Supply Chain Management (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
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