Matching Items (36)
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- All Subjects: Creative Project
- All Subjects: Fashion
- Creators: Department of Marketing
Description
The globalization of dance offers a unique situation to encourage peace. The kinesthetic experience associated with dance builds communities and unites people without needing to share the same language or be in the same location on the planet. Dance is a vehicle to understand other cultures but how can people be given the keys? As the 2014 Circumnavigator Travel Study Grant recipient for Arizona State University (ASU), I traveled to six countries in three continents over seventy-two days conducting ethnochoreology (dance ethnography) research. Upon returning I had a passion to share my experience through dance. Therefore I organized a charity dance concert. To share my kinesthetic education from my trip I taught six high schools each a dance from the countries I visited. An additional high school, elementary school and ASU students joined the concert. The performers and audience members gained new understanding, curiosity and appreciation. The proceeds of the concert have started a new scholarship for ASU students pursuing dance or studying abroad. This journey has come full circle just like the Circumnavigator trip which began this project. Knowledge of other dances from around the world invites participants to see into the heart of the culture, creating empathy. Therefore dance can ignite peace.
ContributorsCoury, Melia Ann (Author) / Vissicaro, Pegge (Thesis director) / Ostrom, Amy (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
The magazine industry plays an important role in shaping how women speak, act, and perceive themselves and others. This industry presents pleasure, consumerism, and a cult of femininity to its largely female readers. The purpose of the literature review was to understand the culture of women's magazines and find a method of examination that would fit best with the intent of this thesis project. Based on this research, the project involved reconstructing a series of Glamour magazine articles from a feminist perspective. This study looked at the degree to which Glamour's editorial content and graphics matched its editorial policy. By researching previous studies of women's magazines, the literature review guided the reframing of Glamour articles from a feminist perspective. Most of the studies reviewed were written in the 1970s, 1980s and 1990s, when the radical feminist movement was at its peak. Since then, few analyses have been made on the topic of feminism and women's magazines. This project offered an update on that research by looking at current women's magazines and evaluating if their content/graphics have improved over the last thirty years. Twelve Glamour magazine articles over a three-year period, 2012 to 2014, were selected at random to rewrite. By reconstructing the editorial content and graphics from the selected articles, this study hoped to create a more positive and beneficial magazine for women free of gender stereotypes. Rather than produce a magazine that criticizes women, the reconstructed version of Glamour included a voice that made women feel accepted. This required removing language that reinforced negative gender stereotypes and content that urged women to be perfect, please men, look a certain way, and more. This study found that Glamour is actually a lot closer to representing this gender-neutral magazine ideal than previously thought and creating a gender-neutral magazine is possible with thoughtful editing.
ContributorsAffelt, Stacia Emily (Author) / Barrett, Marianne (Thesis director) / Hawken-Collins, Denise (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
Children today are being primed with technology at very young ages, leading to a more digitally focused lifestyle. Tangentially, today's digital culture has led to the increase of online shopping rather than in-store shopping. A group of students at Arizona State University's Innovation Space program, in partnership with Disney Consumer Products, set out to create a children's product that bridged the physical-digital gap, and encouraged outdoor activity. The result of their work was Blitz: a versatile, outdoor gaming console that brings traditional outdoor fun into the digital world. This thesis and paired creative project are an extension of the research and development done by the Blitz team. The purpose of this additional research is to discover how parents and children shop online in to design a website to market and sell the Blitz gaming system. Some of the topics covered include visual design, functionality, user interaction, and marketing tactics. The goal is not to develop advertising tactics to manipulate children, but to find the best ways to design for, and market children's products.
ContributorsPoindexter, Devin Alan (Author) / Fehler, Michelle (Thesis director) / Peck, Sidnee (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Department of Finance (Contributor)
Created2014-12
Description
Usually a medical website has a description, or overview, of the condition. Then there are different sections informing the viewer about the signs and symptoms, diagnosis, and treatment options. There are some resource links for families to explore, but there it provides more information rather than narration. What is lacking is a patient account or perspective on the given topic. This project suggests an added resource for parents and patients with its storytelling element that is irreplaceable. An example is also available using my own story growing up with hemifacial microsomia.
ContributorsCanales, Alicia Marie (Author) / Dixon, Kathleen (Thesis director) / Dodge, Nancie (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2014-12
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
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
In its totality, “Love and Everything After” consists of five tracks. In musical circles, this is considered an EP (extended play), a collection of music longer than one song but generally more brief than a full album. Each track combines varying degrees of my own acoustic and piano instrumentation with modern production elements, all tied together with a corrected vocal and a quick mix and master by my producer who doubles as my sound engineer for this project. I will outline my experience with the creative process here as well as break down the development of each song. A fair bit of the lyrical composition is dedicated to background information that may seem to verge on oversharing, but alas, I am a writer. I consider verging on oversharing an inevitable cog in any successful songwriting operation. I’ve decided to tackle the songs in chronological order, prioritizing the time during which the bulk of the piece was first assembled.
ContributorsNelson, Christopher Michael (Author) / Wells, Cornelia (Thesis director) / Swoboda, Deanna (Committee member) / School of Politics and Global Studies (Contributor) / Hugh Downs School of Human Communication (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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
Diana Holladay was a mother, sister, daughter, wife, grandmother, friend, and artist. She played many roles and impacted many lives. She sought out beauty and brought it into the world through her art. When she was diagnosed with Alzheimer’s disease her family watched her fade away. The Diana they knew and loved was no longer there. They could not mourn the loss of her being. This creative project served the purpose of exploring Diana’s past and art in order to help her family mourn and celebrate the woman she once was. The goal was to create a final art show and living memorial for Diana. The final art show would foster a sense of family, appreciation, and love. She had hundreds, if not thousands of sketches and pictures. She had a huge collection of painting left behind. During this project they were collected and organized for the show. Diana died exactly one month before the show. Her death brought her family together and helped them mourn. The art show was held in the Sedona Art Center where Diana once held art classes and her husband, Jim, layed the sandstone on the outside of the building. After her death, the attendance of her show nearly tripled. Hundreds of Diana’s family and friends celebrated this amazing woman. This creative project helped honor an incredible woman who truly changed lives and lead her life with love. This thesis helped us remember the woman and artist Diana Holladay was before her diagnosis and death. The final creation of this project was a website dedicated to Diana and her art and an essay describing the journey of this thesis.
www.dianaholladay.com
www.dianaholladay.com
ContributorsTiedeman, Talon Xalee (Author) / Meloy, Elizabeth (Thesis director) / Epperson, Tasili (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The definition of a service animal is often misunderstood by the public. This makes life more difficult for individuals with disabilities who rely on service animals to function and navigate through society.
“Arizona Service Animals” is a creative project in the form of a website
( ArizonaServiceAnimals.com ) designed to provide the public with information,
resources, and true stories about service animals in the state of Arizona.
The site covers the different types of support animals, the training process, the legal rights of service animal handlers and businesses, and Arizona’s new law regarding fake service animals.
It also includes the stories of real service animal handlers and trainers who share their experiences and explain what they would like the public to know.
This paper provides context into the history of dogs and service dogs, as well as
information on the three types of support animals. It also includes the methodology of the project.
“Arizona Service Animals” is a creative project in the form of a website
( ArizonaServiceAnimals.com ) designed to provide the public with information,
resources, and true stories about service animals in the state of Arizona.
The site covers the different types of support animals, the training process, the legal rights of service animal handlers and businesses, and Arizona’s new law regarding fake service animals.
It also includes the stories of real service animal handlers and trainers who share their experiences and explain what they would like the public to know.
This paper provides context into the history of dogs and service dogs, as well as
information on the three types of support animals. It also includes the methodology of the project.
ContributorsMason, Skylar (Author) / Gilger, Kristin (Thesis director) / Pucci, Jessica (Committee member) / Saucier, Fernanda (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05