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- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Combining the research of case studies with a creative application, this thesis consists of four main sections: an overview of data surrounding current application marketing efforts on mobile devices, an analysis of three brands that have successfully used applications marketing to engage their audiences and sell their products, the creation and explanation of a proposed application marketing strategy, and a practical use of the previously found conclusions to a mobile application marketing strategy for Nutella USA. The outcome is to determine how companies use mobile applications to successfully engage consumers and lead to product purchases.
ContributorsBooker, Rebecca Allison (Author) / Ostrom, Amy (Thesis director) / Giles, Bret (Committee member) / Sabbatini, Cristina (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of Marketing (Contributor)
Created2015-05
Description
Social media has quickly become a dominant tool for businesses across all sectors due to its two-way communication capabilities. Previous research has suggested that companies, particularly the hospitality and travel industry, should be engaging in authentic dialogue with its audience members, be using vibrant imagery and be monitoring and promoting user-generated content and electronic-word-of-mouth. These elements were observed for six luxury hotels and resorts in the Southwestern United States over the course of a month on Facebook, Twitter and TripAdvisor. In addition, three two-part electronic-questionnaires were administered to three of the six luxury hotels and resorts to determine industry perspectives on these subjects and to serve as a comparison of social media tactics in this sector. There were social media differences and similarities based on the location and size of the hotel. Facebook was comprised of 42 percent advertising and used large amounts of imagery to promote the properties. There was very little user-generated content and word-of-mouth. Twitter was comprised of 31 percent dialogue and 22 percent user-generated content. Five of the six properties responded to reviews on TripAdvisor. Three crisis responses via social media were also observed. Later research may choose to include more analytic-based research and examine other social media platforms.
ContributorsWininger, Emily Renee (Author) / Wu, Xu (Thesis director) / Ostrom, Amy (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Social Transformation (Contributor)
Created2014-05
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
Founded in November 2014, by owner Céline Rille, Rille & Co. is a creative studio that develops, implements and markets creative strategies for companies in hospitality, retail, entertainment, restaurant, and consumer product industries. Rille & Co. is coming to the end of its first year of business, and it is crucial that the company examines the previous year and evaluates its strategy to continue success in the future. Organized into three key sections of analysis, the following marketing plan is intended to set the company up to achieve, and surpass, all goals in the coming years of operation.
First, the environment in which the company was operating in during its first quarter of business is examined, along with the strategies that were in place at that time. Included in this first section is also a comprehensive competitive analysis that examines how Rille & Co. fits into the competitive market. Next, the success of the initial strategy for Rille & Co. is analyzed through a SWOT analysis of the company’s standing as of Fall 2015. Finally, the third section of analysis contains key recommendations and alterations to the original strategy in order for the company to experience continual growth and success.
In all, if Rille & Co. implements the strategies outlined in this marketing plan, it should be able to continue business for years to come. The most important aspects of operation for the business are its internal organization, finding clients with the correct fit, and boosting its website’s SEO to better implement inbound marketing techniques. For an agency, it tends to be difficult to focus on these internal problems when clients’ needs come first. In this case, Rille & Co. must prioritize its own operations to better meet the needs of clients.
As Rille & Co’s first year of business is coming to a close, it is extremely important to note how far the company has come, despite any obstacles that made for an exciting first year. The agency is well on its way to achieving the standards of success it set for itself, but the agency’s success is also measured in its resilience and adaptability – necessary traits for any agency (or company, for that matter). With huge changes on the horizon, now is the time for Rille & Co. to demonstrate its resilience and adaptability again – coping with the loss of an integral employee and adapting to the needs of clients who may not be financially sound. The team should be proud of the work accomplished, and although it is the “end of an era,” Rille & Co. should prepare itself for the adventures that have yet to unfold.
First, the environment in which the company was operating in during its first quarter of business is examined, along with the strategies that were in place at that time. Included in this first section is also a comprehensive competitive analysis that examines how Rille & Co. fits into the competitive market. Next, the success of the initial strategy for Rille & Co. is analyzed through a SWOT analysis of the company’s standing as of Fall 2015. Finally, the third section of analysis contains key recommendations and alterations to the original strategy in order for the company to experience continual growth and success.
In all, if Rille & Co. implements the strategies outlined in this marketing plan, it should be able to continue business for years to come. The most important aspects of operation for the business are its internal organization, finding clients with the correct fit, and boosting its website’s SEO to better implement inbound marketing techniques. For an agency, it tends to be difficult to focus on these internal problems when clients’ needs come first. In this case, Rille & Co. must prioritize its own operations to better meet the needs of clients.
As Rille & Co’s first year of business is coming to a close, it is extremely important to note how far the company has come, despite any obstacles that made for an exciting first year. The agency is well on its way to achieving the standards of success it set for itself, but the agency’s success is also measured in its resilience and adaptability – necessary traits for any agency (or company, for that matter). With huge changes on the horizon, now is the time for Rille & Co. to demonstrate its resilience and adaptability again – coping with the loss of an integral employee and adapting to the needs of clients who may not be financially sound. The team should be proud of the work accomplished, and although it is the “end of an era,” Rille & Co. should prepare itself for the adventures that have yet to unfold.
ContributorsChada, Rachel Anne (Author) / Ostrom, Amy (Thesis director) / Schlacter, John (Committee member) / Rille, Celine (Committee member) / School of International Letters and Cultures (Contributor) / W. P. Carey School of Business (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
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