Matching Items (74)
Description
The Garden is a series of seven looks which represent specific flowers. These representations are seen not only in their color ways, but also in their use of textured fabrics, bold silhouettes, and detailed embellishment techniques such as beading and covered buttons. My goal was to embody flowers, not to simply create garments with flowers on them. Instead, these garments ARE flowers. These forms are meant to call back to classic feminine shapes while giving them a modern twist in their asymmetry, fearless lines, and suggestiveness. They are a celebration of women and their connection with the delicate and powerful aspects of nature and their interactions with the human form.
ContributorsThomas, Veda "V" (Author) / Tevzadze, Irina (Thesis director) / Stephenson, Kathy (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2022-05
Description
This thesis focuses on the increasing emphasis on sustainability within the fashion industry and how brands, specifically H&M, can increase their market share through updating their in-store retail strategy. Seven common retail strategies are analyzed and recommendations in each area are made to enhance H&M’s emphasis on sustainability. To support these potential recommendations, two focus groups were conducted to evaluate some potential in-store marketing elements. Upon the conclusion of the focus group research, participant’s thoughts were taken into consideration to revise the recommended retail strategies. Overall, by implementing the recommended retail marketing strategies, H&M can incorporate their Conscious line more fully within their stores and promote their new sustainable focus to further their brand in the future.
ContributorsFoley, Jacqueline (Author) / Riker, Elise (Thesis director) / Schlacter, John (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Department of Finance (Contributor)
Created2022-12
Description
This exploration will delve into the intricate state of the fashion industry, examining how economic and social shifts during the pandemic era gave rise to unprecedented outcomes. From the highs of pre-pandemic opulence to the lows of economic uncertainties, the scrutiny will focus on the industry's metamorphosis. The post-pandemic fashion landscape is characterized not only by the aftermath of a global health crisis but also by the omnipresence of technology and the transformative influence of social media and consumers. Furthermore, the navigation will extend through the rise of TikTok and the vintage fashion revival, exploring its roots in consumerism, sustainability, and a collective consumer base. It is important to note COVID-19 as both a challenge to fashion and the mark of a new era. Through this exploration, the aim is to uncover not only the industry's response to adversity but also the beginning of a transformation that reflects a new era for fashion.
ContributorsPitti, Sanjana (Author) / Lee, Sanghak (Thesis director) / Feinberg, Cece (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / Department of Marketing (Contributor)
Created2024-05
Description
As a Journalism/Public Relations student minoring in Fashion, I have found myself interested in and surrounded by event production. As a member of the ASU student organization, The Chic Daily, I was beginning to see our production value decrease as we hosted our semesterly charity fashion show events. Factors playing a part in that included so many various items such as who was leading the production, how much time we had, venue conflicts, time conflicts, etc. I saw that our main problem was that two months was not enough time for full-time students to plan a quality, large-scale event, thus our student organization’s tradition needed to evolve into hosting a yearly non-profit fashion show instead. I also saw an opportunity for our events to be so much more than just a student-based event. For my Barrett, The Honors College Thesis, I created a public relations campaign to promote a fashion show I produced, and analyze the impact of the media campaign on the attendance and overall perception of the show.
I conducted secondary and primary research regarding our past fashion shows, including relevant interviews with previous producers, event statistics and a social media audit. Moving forward, I began the branding process for our next show, including building a branding guidelines book, organizing and creatively directing promotional photoshoots, and organizing the timeline for a model casting, picking the venue, coordinating with sponsorships, building a budget, building media lists, drafting media advisories and pitches, and more. In producing the fashion show, I created a magazine to put on every guest’s chair, as well as curated the runway choreography, vendor organization, model and designer lineup.
ContributorsHill, Alexia (Author) / Zufelt, Abby (Thesis director) / Ellis, Naomi (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Comm (Contributor)
Created2024-05
ContributorsWoodard, Allie (Author) / Testa, Danielle (Thesis director) / Cauffield, Danica (Committee member) / Barrett, The Honors College (Contributor) / Prebusiness Office (Contributor)
Created2023-05
Description
Arizona State University presents numerous opportunities beyond the classroom for students of various academic disciplines, such as through organizations and publications. However, there is a demand by students for more extracurricular activities pertaining to the field of fashion. This thesis presents a solution to the dilemma by outlining a business plan for SPARK, a funded and student-led campus fashion and beauty magazine. The content of this paper will discuss the need for an outlet of this nature and the research that was conducted to support this idea, such as the fashion-related opportunities that already exist at ASU, an overview of the university’s current student publications and a comprehensive competitive analysis of fashion magazines from colleges around the nation. A main research component of this creative project was a survey that was distributed as a means of understanding the fashion media interests and consumption habits of ASU students. The results of this study will be discussed, followed by an analysis of how these data played into the organization and planning of the publication. Attached to this dissertation is a business plan comprised of a thorough value proposition, three-year budget, audience insights and more. A sustainable business plan for SPARK, an interdisciplinary and original student-led fashion magazine, will be presented.
ContributorsTaylor, Emily Anne (Co-author) / Taylor, Emily (Co-author) / Parrish, Mi-Ai (Thesis director) / Pucci, Jessica (Committee member) / School of Art (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
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
This thesis explores the relationship between sustainability, the fashion industry, and fashion exhibitions. Sustainability has been a driving force in the fashion industry in recent years as designers attempt to combat staggering textile waste statistics in order to lessen the damage the industry has on the environment. Producers must rethink human engagement with nature based on a new ethic of ecosystem stewardship, which proposes that humans have ethical obligations to one another in their mutual relationship with non-human species and nature (Schmitz 13). Enhancing a socio-ecological perspective garners new ways of consuming and appreciating clothing design while focusing on lessening impacts on the environment through using less materials, reusing materials in new textile developments, and projecting a sustainable identity that can be followed by the public in order to be more conscious of spending habits, annual waste, and how sustainably ethical companies are. Removing natural resources or transforming landscapes to enhance human well-being paradoxically stands to diminish human well being over time (Schmitz 12), and this is something that humans face with the inevitability of climate change affecting future generations. In mapping the relationship between sustainability, fashion designer's design process, and the way curators communicate sustainable themes, an overall understanding of sustainable culture can be understood in the industry.
ContributorsLord, Nicolas K (Author) / Sewell, Dennita (Thesis director) / Mesch, Claudia (Committee member) / School of Art (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Fashion is an inherently political and reflective medium for the daily ramblings and revolutions of a society. Much of the time the influence is subtle. Silhouettes and fabrics reflect different stances on conservatism, on sex, on the degrees to which we fetishize luxury, and on infinite other attitudes of an era. Other times the influence is extremely direct, with text printed on the clothing that explicitly articulates a current societal dynamic. I began exploring fashion in 2016, as the country had reached an unprecedented and linguistically weaponized divide.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
ContributorsViton, Benjamin Douglas (Author) / Sewell, Dennita (Thesis director) / Mihaleva, Galina (Committee member) / School of Art (Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The automotive community is incredibly vast and expansive in the southwest corner of the United States. In the Phoenix area, there is a large distinction of “car culture” within the fundamental parameters that define society in general: the upper echelon of the wealth bracket usually engages with their own, and the byproduct is that their automotive tastes lie often in the luxury exotic supercar market. Example vehicle manufacturers include Porsche, McLaren, Ferrari, and Lamborghini. In the mid to lower wealth bracket a similar model is observed, members often only engage with their own, and again the automotive byproduct is a representation of such, with example manufacturers including Honda, Nissan, Toyota, and Subaru. This stark distinction of classes begs the question: how would these unique class distinctions fare when both these groups are paired together from an automotive perspective, and what are the potential implications of this unique aggregation with high fashion?
ContributorsDas, Eashan (Author) / Wijesinghe, Pushpa (Thesis director) / Otto, Jeffery (Committee member) / Kiss, Adam (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12