In September 2022, inspired by personal experiences, marketing executive Nicole Bezinski decided to set up GirlsTakeOver.org (GTO) after recognizing that teenage girls and young women in high schools and colleges in the United States were lacking coping mechanisms to help them manage increased stress and performance pressures. While schools received numerous new education program ideas annually, they were highly selective about which programs met the stringent criteria and were accepted. Consequently, Bezinski found herself with the challenge of proving that non-profit GTO offered students the self-management and coping benefits they needed. A high-impact proof-of-concept model was critical for GTO to receive serious consideration and acceptance by schools. Acceptance would lead to support, advocacy, and critical financial sponsorship from numerous stakeholders to enable GTO to launch and run operations in the first year. Bezinski had to finalize her proposal including the proof of concept before schools began accepting new education program applications.
Ehmke Manufacturing Company, Inc., a technical fabric products company established in 1929 in Philadelphia, United States, was facing challenges attracting and retaining employees. In the first half of 2022, issues such as critical open positions and an exponential number of resignations were being experienced across numerous industries around the globe. On June 1, 2022, the company’s chief executive officer met with his entire management team to discuss his company’s dilemma and various options, including the reputation of the company’s brand. He had to decide how to manage the increasing workforce challenge, despite unprecedentedly high demand for his company’s products and services. His company’s growth projections, from a relatively small company to a medium-size international business, did not account for customer disappointments due to product order delays, especially considering that the company manufactured products used for critical search-and-rescue, military, and other governmental applications in the United States and allied countries. The chief executive officer had three options: accept current conditions, increase wages and benefits, or outsource production.
On March 1, 2020, when news of the COVID-19 pandemic emerged, it meant an existential threat to the survival of businesses internationally. L’Abode Accommodations, a full-service property management company based in Sydney, Australia that specialized in mid- to high-end luxury vacation homes, was no exception. Virtually overnight, the company experienced an alarming number of contract cancellations. To make matters worse for an industry dependent on vacationers, Australia shut its borders to international travellers. How could L’Abode Accommodations adjust its operating model and strategic and tactical marketing efforts to stop the business from bleeding revenue and profit and to address the staff’s fears of layoffs, as cancellations poured in?
Nima Gohil, head of the new digital and creative consumer research department at L’Oréal USA (L’Oréal), was preparing for the upcoming January 2016 board meeting at L’Oréal’s research and innovation headquarters in Clark, New Jersey. L’Oréal’s competitors were using new digital media to highlight beauty products to current and new users, and L’Oréal was under pressure to develop a better way to connect with consumers to maintain—if not grow—market share. Top management had also urged Gohil’s department to reduce time and costs when collecting insights from consumers. Gohil focused on the hair care consumer segments, where she thought it was critical for L’Oréal to address and fully commit to the digital transformation that was being adopted by many other industries. She had only a few weeks to complete her assessments of L’Oréal’s digital strategy and assets and to prepare a functional recommendation to upper management.
Between 2010 and 2015, Opera Philadelphia experienced a steep decline in household subscribers and single-ticket buyers, coupled with severe revenue fluctuations. At that time, market behaviours had changed along with growth in more sophisticated use of digital media for entertainment and social interaction.<br><br>The general director’s critical objective for the Opera was to develop a fresh strategy that specifically targeted evolving tastes for opera performance in Philadelphia and the surrounding area. The Opera had to determine whether it needed to revise its segmentation and positioning strategy, as well as make adjustments to its product. This new strategy also had to provide protection for and prevent further loss of the Opera’s existing subscription audience, many of whom were loyal donors.