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Luxury fashion effectively counters touristic seasonality by attracting visitors year-round through a series of strategically timed events, such as Paris Fashion Week, and the release of exclusive, limited-edition products. This continuous draw helps stabilize tourism, providing a steady influx of visitors even during traditionally low tourist periods. The cultural appeal and heritage of luxury brands like Dior further enhance this effect, offering unique experiences that transcend typical tourist seasons. Additionally, the luxury fashion industry generates substantial direct and indirect economic benefits, supporting related sectors such as hospitality, dining, and transportation. By diversifying economic activity, luxury fashion ensures consistent economic contributions throughout the year. The global adaptability of luxury brands allows them to mitigate localized seasonality effects, optimizing performance across various markets. In conclusion, luxury fashion plays a significant role in creating a stable and sustainable tourism economy, effectively mitigating the challenges associated with touristic seasonality.

Problem: The fashion and luxury industry represents a significant portion of the French economy, contributing 3% to the GDP. This economic importance prompts a close examination of its sustainability practices, with various organizations regularly assessing their ESG strategies. Indeed, the luxury sector is often associated with intensive resource use, unsustainable manufacturing practices, and unfair working conditions in French supply chains. In this context, the United Nations' Agenda 2030 offers a crucial roadmap to guide private sector companies towards a more sustainable future by 2030. However, the lack of literature connecting the 17 SDGs to the specific challenges of the luxury industry fully justifies the relevance of this study. Objective: This thesis aims to develop a performance evaluation model, based on Sachs' methodology (2021), focusing on the six most relevant pillars (SDGs 5, 8, 9, 12, 13, and 17) for the LUTEXAPP sect.. Method: This case study focuses on two French luxury giants, LVMH and Chanel Inc. Adopting a mixed approach, it uses questionnaires to survey key professionals from these companies on their perception of the SDGs. The primary data thus obtained is supplemented by secondary data from reports published by the companies themselves. Data analysis aims to identify trends and emerging priorities among participants' responses, while drawing on academic research to select the most relevant SDGs for the luxury and fashion industry. Result: This study has confirmed the relevance of Sustainable Development Goals (SDGs) 5, 8, 9, 12, 13, and 17 as fundamental criteria for evaluating performance within the luxury sector, integrating economic, social, and environmental dimensions. Supported by indicators established in specialized literature, this assessment faithfully reflects the aspirations of the United Nations' Agenda 2030. Chanel Inc. stands out with a favorable perception from its employees across all studied pillars, although its perf

Purpose: the objective of this research is to get a better understanding of luxury consumption in today’s society and the connection to sustainability. Consumers are no longer asking but demanding more sustainable practices from the fashion industry, especially the fast-fashion companies, calling any minor error or threat of “Greenwashing” (Joshi and Rahman 2019). Although, when it comes to luxury brands the level of exigence seems to be different. The aim is to understand the influence of sustainability when consumers are acquiring new pieces, in particular luxury ones. The purpose is to answer in which ways these two concepts are affected by each other and consequently if they will affect the luxury consumers. Method: An inductive approach was used by the researchers. 15 semi structured interviews were conducted to people from 10 different countries with ages between 22 to 60. The duration of these interviews was between 20 to 45 minutes and a questionnaire was designed in order to have a structure but also new questions were made as follow up or elaboration on what interviewees mentioned, where particular themes are defined and the questions are formulated during the interviews to extract the desirable answers in accordance with the themes (Bryman et al. 2021). Findings: Six themes were detected after the analysis of the results. First, the contemporary luxury consumer situation, followed by the feelings that occur after consuming luxury fashion products where there are mixed emotions of pleasure and shame. In the same sector, the current brand perception, arised the conversation about the lack of brand love. From this angle, the mixed consumption patterns that revealed the emerging phenomenon of consuming both luxury and fast-fashion came to support the absence of brand love. Lastly, in the context of sustainability, the view of sustainability among luxury consumers and the transition to more sustainable practices in purchasing fashion products were the other tw

This thesis examines the multifaceted strategies employed in Pressbyrån's 2023 Cinnamon Bun Campaign, which gained nationwide attention in Sweden for its humorous approach. The campaign aimed to depict the Swedish cinnamon bun, a staple of the Swedish fika tradition, in an extravagant and luxurious light. Focusing on the interplay between humor and luxury, the study uses a multimodal analysis, utilizing Semiotic and Social Semiotic approaches to understand the visual material and its conveyed meanings. Using a theoretical framework that includes Stuart Hall's (1973) encoding and decoding model and Marxist theory, the research examines how the campaign commodifies the cinnamon bun, imbuing it with social value within capitalist culture. The investigation also places the campaign within Swedish cultural traditions and explores the intersection of humor, luxury, and cultural contexts. The literature review covers perfume advertisements, humor in advertising, and the commodification of cultures, providing a comprehensive background for the analysis. The analysis identifies visual cues and luxury codes within the campaign's posters and discusses their impact on audience perception. It also explores how humor through parody intersects with cultural contexts, particularly in challenging Swedish norms of moderation (lagom) through exaggerated luxury. The findings reveal that the campaign strategically uses visual elements reminiscent of luxurious perfume advertisements, creating a humorous dissonance between the perceived extravagance of the bun and its ordinary consumption. The study highlights the complex dynamics between humor, luxury, and cultural contexts in advertising. While humor effectively captures attention, its efficacy in enhancing brand recall remains uncertain. Nonetheless, Pressbyrån's campaign serves as a compelling case study, offering insights into the intricate relationship between consumer culture, tradition, and humor in advertising.

This thesis endeavors to explore how the low-price brand Eldorado utilizes semiotic symbols associated with luxury attributes in its visual presentations of clothing collections on Instagram. Grounded in a Western perspective, this inquiry unfolds within the backdrop of contemporary economic crises and their impact on consumer behavior. The subsequent section of the thesis delves into the effects of influencer marketing on brand perception and status construction. The visual analysis comprises twelve screenshots of Eldorado’s clothing collections on Instagram, spanning four different campaigns between 2020 and 2023. Delimited to specific categories such as clothing, accessories, and the spatial arrangement of models relative to props and surroundings, this visual material draws upon Gillian Dyer’s categorizations for decoding visual signs. Employing a qualitative approach rooted in the interpretivist paradigm, this study scrutinizes the material through a semiotic lens informed by the perspectives of Roland Barthes and Gillian Rose. Additionally, structured interviews with two influencers elucidate their collaboration with Eldorado and offer insights into influencer marketing as a broader marketing strategy. The analysis also draws on Pierre Bourdieu’s theory of diverse forms of capital, Stuart Hall’s representation theory, and fashion theories. By addressing the research inquiries —”How does Eldorado communicate the representation of luxury through their clothing collections campaigns on Instagram?” and “What role does influencer marketing have in Eldorado’s communication strategy?”— the findings suggest that Eldorado employs creative strategies akin to those of luxury brands, cleverly parodying them to carve out a distinct niche in the market. Additionally, the integration of influencer marketing augments the low-cost brand’s stature, as followers aspire to associate with influential profiles. Ultimately, the thesis proposes viable avenues for future exploration w

Purpose: Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation. Design/methodology/approach: This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus. Findings: The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives. Research limitations/implications: The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues. Originality/value: The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature., Downloads before file update (240708): 105

Purpose: Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation. Design/methodology/approach: This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus. Findings: The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives. Research limitations/implications: The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues. Originality/value: The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature., Downloads before file update (240708): 105

Purpose: Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation. Design/methodology/approach: This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus. Findings: The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives. Research limitations/implications: The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues. Originality/value: The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature., Downloads before file update (240708): 105

Purpose: Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation. Design/methodology/approach: This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus. Findings: The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives. Research limitations/implications: The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues. Originality/value: The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature., Downloads before file update (240708): 105

Purpose: Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation. Design/methodology/approach: This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus. Findings: The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives. Research limitations/implications: The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues. Originality/value: The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature., Downloads before file update (240708): 105

Problem: The fashion and luxury industry represents a significant portion of the French economy, contributing 3% to the GDP. This economic importance prompts a close examination of its sustainability practices, with various organizations regularly assessing their ESG strategies. Indeed, the luxury sector is often associated with intensive resource use, unsustainable manufacturing practices, and unfair working conditions in French supply chains. In this context, the United Nations' Agenda 2030 offers a crucial roadmap to guide private sector companies towards a more sustainable future by 2030. However, the lack of literature connecting the 17 SDGs to the specific challenges of the luxury industry fully justifies the relevance of this study. Objective: This thesis aims to develop a performance evaluation model, based on Sachs' methodology (2021), focusing on the six most relevant pillars (SDGs 5, 8, 9, 12, 13, and 17) for the LUTEXAPP sect.. Method: This case study focuses on two French luxury giants, LVMH and Chanel Inc. Adopting a mixed approach, it uses questionnaires to survey key professionals from these companies on their perception of the SDGs. The primary data thus obtained is supplemented by secondary data from reports published by the companies themselves. Data analysis aims to identify trends and emerging priorities among participants' responses, while drawing on academic research to select the most relevant SDGs for the luxury and fashion industry. Result: This study has confirmed the relevance of Sustainable Development Goals (SDGs) 5, 8, 9, 12, 13, and 17 as fundamental criteria for evaluating performance within the luxury sector, integrating economic, social, and environmental dimensions. Supported by indicators established in specialized literature, this assessment faithfully reflects the aspirations of the United Nations' Agenda 2030. Chanel Inc. stands out with a favorable perception from its employees across all studied pillars, although its perf

El objetivo del presente artículo es la descripción y análisis de la indumentaria femenina y de los usos suntuarios del estamento noble en España a mediados del siglo XVIII, partiendo de las capitulaciones del matrimonio formado por don Fernando Arias de Saavedra, marqués de Quintana de las Torres, y de doña Isabel de Hoces Venegas, miembros respectivamente de las aristocracias de Écija y Córdoba, escrituradas en 1764. Las cartas y recibos de dote suponen una fuente esencial para el estudio del ajuar doméstico en general y fundamentalmente de la moda, ya que nos permiten conocer con gran detalle, no solamente las distintas prendas que usaban las mujeres de toda la escala social, sino también los tejidos, colorido, ornamentaciones y precios., The objective of this article is the description and analysis of women’s clothing and sumptuary uses of the noble estate in Spain in the mid-eighteenth century, based on the capitulations of the marriage formed by don Fernando Arias de Saavedra, Marquis of Quintana de las Torres and doña Isabel de Hoces Venegas, members respectively of the aristocracies of Écija and Córdoba, deeded in 1764. The dowry letters and receipts are an essential source for the study of domestic trousseau in general and fundamentally of fashion, since they allow us to know in great detail, not only the different garments worn by women of the entire social scale, but also the fabrics, colors, ornamentation and prices.

Over the past decade, technological innovations, increased digitalization of customer exchanges and the rise of experiential consumption have revolutionized many industries and resulted in some fundamental restructuring (Holmqvist et al, 2020; Christodoulides et al, 2021). Consumers, especially younger ones, now expect immediacy, availability, and instant gratification, so many logics of fast fashion have also been embraced by the luxury industry. As a generation who grew up digital, they are less enthralled with owning goods, since they are experimenting with ways to access goods besides purchasing, ranging from clothes and music to homes or vehicles. Young people want items that align with their values, desires and identity, and demand a more democratic luxury that is convenient, seamless and flexible. This has resulted in a boom of new means to access luxury; unconventional forms of consumption are emerging, shifting the focus from ‘having-to-being and from owning-to-experiencing’ (Cristini et al, 2017, p.101). After all, we have long shared things with family and friends, and the internet and the sophistication of digital devices, further accelerated by lockdowns, have facilitated commercial sharing and trading among peers (Gibson et al, 2018; Widlok, 2017), contributing to the success of the so-called sharing economy. The sharing economy is an umbrella concept that encompasses several theoretical constructs including collaborative consumption, defined as an economic model based on sharing, second-hand purchasing, and renting or leasing products and services (Iran and Schrader, 2017; Hamari et al, 2015; Möhlmann, 2015; Botsman, 2013). Collaborative consumption involves temporary or permanent consumption and peer-to-peer or business-to-consumer exchanges platforms (Kumar et al, 2018). By integrating the concept of the sharing economy into the clothing sector, collaborative fashion consumption provides consumers with alternative options to the classic model of pu

David Rüdell, Masterarbeit Universität Innsbruck 2023

El objetivo del presente artículo es la descripción y análisis de la indumentaria femenina y de los usos suntuarios del estamento noble en España a mediados del siglo XVIII, partiendo de las capitulaciones del matrimonio formado por don Fernando Arias de Saavedra, marqués de Quintana de las Torres, y de doña Isabel de Hoces Venegas, miembros respectivamente de las aristocracias de Écija y Córdoba, escrituradas en 1764. Las cartas y recibos de dote suponen una fuente esencial para el estudio del ajuar doméstico en general y fundamentalmente de la moda, ya que nos permiten conocer con gran detalle, no solamente las distintas prendas que usaban las mujeres de toda la escala social, sino también los tejidos, colorido, ornamentaciones y precios., The objective of this article is the description and analysis of women’s clothing and sumptuary uses of the noble estate in Spain in the mid-eighteenth century, based on the capitulations of the marriage formed by don Fernando Arias de Saavedra, Marquis of Quintana de las Torres and doña Isabel de Hoces Venegas, members respectively of the aristocracies of Écija and Córdoba, deeded in 1764. The dowry letters and receipts are an essential source for the study of domestic trousseau in general and fundamentally of fashion, since they allow us to know in great detail, not only the different garments worn by women of the entire social scale, but also the fabrics, colors, ornamentation and prices.

[Abstract] Luxury fashion is a profitable and growing market that leads every segment of the industry. Its influence goes beyond trends as it establishes management and business strategies to follow. Its deep-rooted history gives it authority and expertise, while maintaining a unique presence sustained by its creative and innovative craftsmanship ability to turn garments into art. The influence it has on consumers is one of desire and admiration, being able to deliver a well-rounded message through sensory cues such as visual signifiers. The logos of great fashion houses are some of the most recognized all over the world, instantly sparking an idea to mind. The red sole of Louboutin or the monogram print of Louis Vuitton transcend beyond fashion knowledgeable public to every social class and group. In the last decade, homogenization of products and democratization of fashion have threatened to cause every luxury fashion house’s identity to look the same. This is a very controversial topic and public opinion seems divided, as it takes away the uniqueness and exclusiveness of the feeling a luxury brand should offer, but visuals remain seemingly elegant and classic. This dissertation covers the exploration of these themes, such as luxury identity and brand visual signifiers as well as the latest trends in branding. Including its causes and consequences, putting a special focus on the brand Burberry and their latest choice of rebranding, with the objective to determine whether ‘Blanding’ is a strategic branding choice or a detrimental marketing tool. To do so, this research covers the analysis of a wide variety of sources pertaining to the identity of luxury and the purpose of branding, as well as the continuous news of rebranding in the fashion world. A comparison between purpose and meaning is made to answer the question the objective presents. Arriving at a conclusion that aligns with the hypothesis raised, which is that the phenomenon known as ‘Blanding’ does not ac, [Resumo] A moda de luxo é un mercado rendible e en crecemento que lidera todos os segmentos da industria. A súa influencia traspasa tendencias e establece as estratexias de negocio e de xestión a seguir. A súa profundamente arraigada historia dálle autoridade e experiencia, mantendo unha presencia única sustentada pola súa capacidade creativa e innovativa para transformar prendas en arte. A influencia que ten nos consumidores é de desexo e admiración, sendo capaz de transmitir unha mensaxe completa a través de sinais sensoriais como os símbolos visuais. Os logotipos das grandes casas de moda son uns dos máis recoñecidos en todo o mundo, que evocan unha idea ao instante. A sola vermella de Louboutin ou o monograma de Louis Vuitton trascenden máil aló do público coñecedor da moda para cada clase e grupo social. Na última década, a homoxeneización dos productos e a democratización da moda ameazaron con fase que a identidade de todas as casas de moda de luxo parezan iguais. Este é un tema moi controvertido e a opinion pública parece dividida, xa que quita a singularidade e a exclusividade da sensación que debe ofrecer unha marca de luxo, pero os elementos visuais seguen sendo aparentement elegantes e clásicos. Este traballo abrangue a exploración destes temas, como a identidade de luxo e os símbolos visuais de marca, así como as últimas tendencias en branding. Incluíndo as súas causas e consecuencias, poñendo especial énfase na marca Burberry e na súa última decisión de rebranding, co obxectivo de determinar se o ‘Blanding’ é unha decisión verderamente estratéxica de branding ou unha ferramenta de marketing prexudicial. Para iso, esta investigación abrangue a análise dunha gran variedade de fontes relativas á identidade do luxo e á finalidade do branding, así como as continuas novidades do rebranding no mundo da moda. Realízase unha comparación entre propósito e significado para responder á pregunta que o obxectivo presenta. Chegando a unha conclusión que se aliña coa h, [Resumen] La moda de lujo es un mercado rentable y en crecimiento que lidera todos los segmentos de la industria. Su influencia va más allá de las tendencias, ya que establece las estrategias de negocio y gestión a seguir. Su arraigada historia le otorga autoridad y experiencia, mientras que mantiene una presencia única sustentada por su capacidad creativa e innovadora para convertir prendas en arte. La influencia que tiene en los consumidores es de deseo y admiración, pudiendo transmitir un mensaje completo a través de señales sensoriales, como símbolos visuales. Los logotipos de las grandes casas de moda son algunos de los más reconocidos en todo el mundo y, al instante, despiertan una idea en la mente. La suela roja de Louboutin o el estampado monograma de Louis Vuitton trascienden del público conocedor de la moda a todas las clases y grupos sociales. En la última década, la homogeneización de los productos y la democratización de la moda han amenazado con a ver que la identidad de las casas de moda de lujo parezca la misma. Este es un tema muy controvertido y la opinion pública parece dividida, ya que le quita la singularidad y exclusividad del sentimiento que debería ofrecer una marca de lujo, mientras que las imágenes y simbología se mantienen aparentemente elegantes y clásicas. Este trabajo cubre la exploración de estos temas, como la identidad del lujo y los símbolos visuales de la marca, así como las últimas tendencias en branding. Incluyendo sus causas y consecuencias, poniendo especial atención en la marca Burberry y su última elección de rebranding, con el objetivo de determinar si el ‘Blanding’ es una decisión de branding verdaderamente estratégica o una herramienta de marketing perjudicial. Para ello, esta investigación abarca el análisis de una amplia variedad de fuentes relativas a la identidad del lujo y el propósito del branding, así como las continuas novedades del rebranding en el mundo de la moda. Se realiza una comparación entre propósito y sig

El objetivo del presente artículo es la descripción y análisis de la indumentaria femenina y de los usos suntuarios del estamento noble en España a mediados del siglo XVIII, partiendo de las capitulaciones del matrimonio formado por don Fernando Arias de Saavedra, marqués de Quintana de las Torres, y de doña Isabel de Hoces Venegas, miembros respectivamente de las aristocracias de Écija y Córdoba, escrituradas en 1764. Las cartas y recibos de dote suponen una fuente esencial para el estudio del ajuar doméstico en general y fundamentalmente de la moda, ya que nos permiten conocer con gran detalle, no solamente las distintas prendas que usaban las mujeres de toda la escala social, sino también los tejidos, colorido, ornamentaciones y precios., The objective of this article is the description and analysis of women’s clothing and sumptuary uses of the noble estate in Spain in the mid-eighteenth century, based on the capitulations of the marriage formed by don Fernando Arias de Saavedra, Marquis of Quintana de las Torres and doña Isabel de Hoces Venegas, members respectively of the aristocracies of Écija and Córdoba, deeded in 1764. The dowry letters and receipts are an essential source for the study of domestic trousseau in general and fundamentally of fashion, since they allow us to know in great detail, not only the different garments worn by women of the entire social scale, but also the fabrics, colors, ornamentation and prices.

Objetive: This study delves into the fascinating world of luxury fashion, investigating the influence of brand society and narrative branding on brand image and consumer purchase behavior.   Method: Through the analysis of data collected from 204 respondents via online questionnaires and employing Structural Equation Modeling (SEM) with Smart PLS software, the research uncovers valuable insights. Notably, the study introduces the novel concept of brand society, emphasizing the importance of fostering a sense of community and exclusivity among luxury fashion brand consumers. Additionally, it sheds light on the impact of narrative branding, highlighting the significance of storytelling techniques in shaping consumer perceptions.   Implications: The interplay between brand society, narrative branding, brand image, and consumer purchase behavior is explored, leading to a comprehensive understanding of these relationships within the luxury fashion context. The implications of these findings for luxury fashion brands are substantial. To cultivate consumer loyalty and stimulate purchase intentions, brands are advised to establish a strong brand society through exclusive events, loyalty programs, and online platforms. Moreover, employing effective narrative branding strategies that forge emotional connections and effectively communicate brand values can enhance brand image and customer engagement.   Results and conclusion: The study enriches our comprehension of the social dynamics and storytelling strategies within the luxury fashion industry. By providing practical guidance for brand managers and marketers, it aids in creating engaging brand experiences, strengthening consumer relationships, and driving purchase behavior in the highly competitive luxury fashion market.

David Rüdell, Masterarbeit Universität Innsbruck 2023

[Resumen] El sector del cuero y el calzado representa desde hace décadas un activo estratégico dinámico y potente para la economía española, tanto por el empleo como la riqueza que genera. Su arraigada tradición manufacturera y la presencia de una estructura industrial altamente especializada, además, lo consolidan hoy como uno de los exportadores más importantes a nivel global. Sin embargo, ante un contexto de globalización y competencia creciente por parte de los grandes productores extranjeros, dicho sector se ha visto enfrentado a grandes desafíos que han puesto en relieve, por una parte, la fuerte dependencia a las importaciones y, por otra, una clara tendencia hacia la deslocalización de la cadena de suministro a países con mano de obra de bajo coste, con el riesgo de debilitamiento y pérdida del tejido industrial nacional que ello conlleva. Frente a estas prácticas, se advierten otros casos de referencia en el panorama español que están tomando direcciones alternativas. Se trata de pequeñas empresas de calzado y bolsos, en su mayoría, de recién creación y posicionadas en el segmento de gama media, que establecen su producción en España y hacen uso del sello Made in Spain como distintivo de calidad. Muchas, además, han recurrido al trabajo artesano como elemento de diferenciación clave en sus producciones y, en ocasiones, como parte de su comunicación. Todo ello plantea ventajas bidireccionales, pues si bien las empresas se benefician del valor añadido que estos supuestos le aportan, con su actividad comercial contribuyen al desarrollo y puesta en valor de la artesanía y de la Marca España, muy debilitadas en la actualidad. Además, estas proposiciones muestran una clara receptividad por parte de un segmento creciente de clientes, especialmente extranjeros, atraídos por las cualidades de dichos productos e identificados con el relato emocional y storytelling de sus marcas. Tomando como referencia estos supuestos, el presente trabajo pretende ofrecer una panorám, [Resumo] Durante décadas, o sector da pel e do calzado representa un activo estratéxico dinámico e potente para a economía española, tanto polo emprego como pola riqueza que xera. A súa arraigada tradición manufacturera e a presenza dunha estrutura industrial altamente especializada consóldano tamén hoxe como un dos exportadores máis importantes a nivel mundial. Non obstante, nun contexto de globalización e de crecente competencia dos grandes produtores estranxeiros, este sector afrontouse con importantes retos que puxeron de manifesto, por unha banda, a forte dependencia das importacións e, por outra, unha clara tendencia á deslocalización de a cadea de subministración a países con man de obra de baixo custo, co risco de debilitamento e perda do tecido industrial nacional que iso supón. Fronte a estas prácticas, advírtense outros casos de referencia no panorama español que están tomando rumbos alternativos. Trátase de pequenas empresas de calzado e bolsas, na súa maioría de nova creación e posicionadas no segmento de gama media, que establecen a súa produción en España e empregan o selo Made in Spain como marca de calidade. Moitos tamén recorreron á artesanía como elemento diferenciador fundamental nas súas producións e, ás veces, como parte da súa comunicación. Todo isto supón vantaxes bidireccionais, porque aínda que as empresas se benefician do valor engadido que aportan estes supostos, coa súa actividade comercial contribúen ao desenvolvemento e posta en valor da artesanía e da Marca España, actualmente moi debilitadas. Ademais, estas propostas mostran unha clara receptividade por parte dun crecente segmento de clientes, especialmente estranxeiros, atraídos polas calidades dos devanditos produtos e identificados coa historia emocional e narrativa das súas marcas. Tomando como referencia estes supostos, este traballo pretende ofrecer unha panorámica da situación actual do sector de pel e do calzado en España e da incidencia e importancia que a artesanía e a cons, [Abstract] For decades, the leather and footwear sector has been a dynamic and powerful strategic asset for the Spanish economy, both in terms of employment and wealth. Its deep-rooted manufacturing tradition and the presence of a highly specialised industrial network consolidate it as one of the top exporters at a global level these days. However, in a context of globalisation and increasing competition from large foreign producers, this sector has been faced with significant challenges that have highlighted, on the one hand, a strong dependence on imports and, on the other, a clear trend towards the delocalisation of the supply chain to countries with low-cost labour. This poses a significant risk of weakening and loss of the national industrial fabric. In contrast to these practices, there exist other reference cases on the Spanish scene that are taking alternative directions. These are small footwear and handbag companies, most of them recently created and positioned in the mid-range segment, which have established their production nationally and make use of the Made in Spain label as a sign of quality. Many of them have also resorted to craftsmanship as a key element of differentiation in their productions and, on several occasions, as part of their communication. All of this has two-way advantages. While the companies benefit from the added value that these proposals bring, through their commercial activity they contribute to the development and enhancement of craftsmanship and the Spain Brand, which are currently very weakened. Moreover, these propositions show a clear receptiveness on the part of a growing segment of customers, especially international ones, attracted by the qualities of these products and identified with the storytelling of their brands. Taking these assumptions as a reference, this thesis aims to provide an overview of the current situation of the leather and footwear sector in Spain and the incidence and importance that craftsmanship and

[Abstract] In barely fifty years Zara has become one of the main brands in the textile sector on a global scale. Starting off a small store in the city of A Coruña, it has transformed itself into a referent for fast fashion at a world level. Best known for its ability to present new garments in store every fortnight, is it possible for the Galician brand to have chosen to change its positioning? This research is born from the idea of analyzing the possibility of Zara adopting a luxury repositioning strategy through the communications with the consumer. In order to corroborate the hypothesis: Zara is following a luxury positioning strategy; a content analysis has been developed which will take into account a total of twenty-eight YouTube videos presenting different Zara Woman collections. The analytical instrument is created and developed based of the approaches conducted by the following authors: Keller (2009), Okonkwo (2007), Fionda & Moore (2009), and Kapferer & Bastien (2009). This analysis highlights that, in fact, throughout the last decade there has been an increase in the representation of the different elements and categories identified as denoting luxury, to a greater or lesser extent, through the communications of the brand. From the inclusion of elements that expressed a strong brand identity, to those signifying exclusivity and differentiation, but never through the reference to pricing. The Galician brand seems to have changed its communications strategy with the aim of repositioning itself, specially entering the decade of the 2020s. After analyzing the data obtained, the initial hypothesis is found as partially confirmed. This meaning that there is an increase in the presence of characteristic elements from the luxury sector in the communication of Zara. But the limitations of the study do not allow to confirm that all corporate communications follow a luxury positioning strategy. Nevertheless, the increase in the presence of these elements, specially, [Resumen] Zara se ha convertido, en sus apenas cincuenta años de vida, en una de las principales marcas del sector textil y de la confección a nivel mundial. Empezando como una pequeña tienda en la ciudad de A Coruña, ha llegado a transformarse en un referente de la moda rápida global. Conocida por su habilidad para presentar nuevas prendas en tienda cada dos semanas, ¿es posible que la marca gallega haya decidido cambiar su posicionamiento? Esta investigación nace con la idea de analizar la posibilidad de que Zara siga una estrategia de reposicionamiento de lujo mediante su comunicación con el consumidor. Para comprobar la hipótesis: Zara sigue una estrategia de posicionamiento de lujo, se ha desarrollado un análisis de contenido que cuenta con un total de veintiocho vídeos de YouTube presentando colecciones de Zara Woman. El instrumento de análisis se crea y fundamenta a partir de las propuestas de los siguientes autores: Keller (2009), Okonkwo (2007), Fionda & Moore (2009), y Kapferer & Bastien (2009). Este análisis demuestra que, en efecto, a lo largo de la última década ha habido un aumento en la representación de los elementos y categorías empleados para denotar lujo, en mayor o menor medida, en las comunicaciones de la marca. Desde la inclusión de elementos que expresan una fuerte identidad de marca, a aquellos que significan exclusividad y diferenciación, pero nunca pasando por el precio. La marca gallega parece haber cambiado su estrategia comunicativa para reposicionarse, especialmente en la década de los 2020. Tras el análisis de los datos obtenidos, se establece que la hipótesis inicial puede ser aceptada parcialmente. Pues, se ve un aumento en la presencia de elementos característicos del lujo en la comunicación de la marca. Pero las limitaciones del estudio no permiten afirmar que Zara sigue una estrategia de posicionamiento de lujo en todas sus comunicaciones corporativas. No obstante, el incremento de la presencia de estos elementos, especialmente en

[Resumen]: El mercado del lujo es quizás uno de los más interesantes para estudiar, al funcionar de formas muy diferentes al resto. Su misión principal es satisfacer a un tipo de clientes muy exigentes, los cuales buscan diferenciarse del resto a través de acceder a bienes y servicios que son caracterizados por su exclusividad. Si lo tratamos desde una perspectiva económica, la competencia voraz en este tipo de mercado lleva a que la diferenciación y el valor de marca sean unas de las variables más importantes para tener en cuenta. Teniendo esto como punto de partida, el objetivo principal de este trabajo es conocer como las diferentes variables que participan en la creación de valor de marca, tomando como referente el modelo de Aaker (1991; 1996) y la importancia que los consumidores le dan, afecta a la marca italiana de moda de lujo Gucci. Para llevar a cabo esta investigación, se ha realizado un cuestionario, en el que se ha pedido a los participantes dar su percepción sobre las distintas variables del modelo Brand Equity dentro de la marca Gucci. Se ha añadido, debido a su importancia, la variable diseño de producto, ya que hoy en día, es una de las principales y más llamativas características de estos productos. Los resultados han arrojado que, a pesar de que todas las variables deberían tener un efecto positivo en el valor de marca, dos de ellas proyectan contradicciones frente a lo que inicialmente se planteaba. Tratando la variable analizada de diseño de producto, no podemos concluir que tenga una influencia representativa debido a la cautela con la que se han tratado los resultados., [Abstract]: The luxury market is maybe one of the most interesting to study, as it works very differently than the rest. Its main mission is to satisfy the needs of very exigent customers, who look to differentiate themselves from the rest by accessing some goods and services that are characterized by its exclusivity. If we talk from an economic point of view, the high competitiveness of this market leads to differentiation, and brand equity both being some of the most important variables to consider. Having this as a starting point, the main objective of this work is to learn how the different variables that are part of brand equity creation, taking as a base the Aaker´s Brand Equity Model (1991; 1996) and the importance, customers give affect the Italian fashion brand Gucci. To make this research, we carried out a survey in which participants were asked about their perceptions regarding the different variables in the Brand Equity within the brand Gucci. It was added, due to its importance, a new variable regarding product design, as it was considered one of the most important and striking characteristics of these products. The results have shown that, even though all the variables should indicate a positive effect in brand equity, two of them have shown contradictory results regarding the first hypothesis. If we talk about the added variable, that is product design, we cannot assure its representative influence due to the careful treatment of the data gathered.

With consumers searching for authentic and unique products, handcrafted goods and bespoke artisanal creations are in high demand. Connoisseurs and craft enthusiasts often celebrate the preservation of tradition, while artisans find themselves in a complex dynamic between continuity and change. They must decide which traditional practices to preserve and where to innovate to be successful in a market environment that favors flexibility and those able to adapt quickly, but at the same time pays a premium on tradition, heritage and handmade. New technologies are often a source of innovation but need to be adopted carefully by artisans to ensure they do not compromise on what makes their creations valuable to consumers. This study explores how bespoke men’s tailors in Italy reconcile the need for innovation and the conservation of their craft tradition, and it reveals the inventiveness of a new generation of artisans who sustain the “living tradition” of Italian bespoke tailoring. The findings confirm earlier studies conducted in different contexts and show that, besides mastery of traditional craft techniques, the artisan’s responsiveness to changing market conditions and consumer behavior, acquisition of new capacities and collaborations are vital to entrepreneurial success in the contemporary market for craft and handmade luxury.

The growing importance of the consumer has forced luxury brands to modify their advertising approaches, to make it more personalized in order to efficiently reach the target audience. However, this individualization requires a deep understanding of the audience which current research techniques fail to satisfy. This need is closely related to neuromarketing, a discipline that has attracted a great deal of attention in recent years for its potential to provide a deeper understanding of consumer behavior and preferences. This article provides a comprehensive analysis of the applicability of neuromarketing in the field of advertising in order to assess its potential use in the luxury sector. Through an exhaustive review of the existing literature, it defines the areas of advertising in which neuromarketing can provide differential value, specifies the neuromarketing techniques that have been most effective in advertising to date, and discusses the possible limitations of using neuromarketing in advertising. This study provides valuable insight into the potential of neuromarketing as a tool for understanding consumer behavior and improving advertising effectiveness in highly competitive sectors such as luxury., La importancia del consumidor en la publicidad actual ha obligado a las marcas de lujo a adaptar sus anuncios para hacerlos más personalizados a fin de llegar de forma eficiente al público objetivo. Sin embargo, esta individualización exige un conocimiento de la audiencia que las técnicas actuales de investigación no satisfacen. Esto enlaza con el neuromarketing, una disciplina que ha suscitado en los últimos años atención por su potencial para proporcionar una comprensión profunda del comportamiento y las preferencias de los consumidores. Este artículo proporciona un análisis exhaustivo de la aplicabilidad del neuromarketing en el ámbito de la publicidad a fin de valorar su potencial uso en el sector del lujo. Mediante una revisión exhaustiva de la bibliografía existente, se definen las áreas de la publicidad en las que el neuromarketing puede aportar un valor diferencial, se especifican las técnicas que hasta la fecha han resultado más eficientes en el ámbito publicitario y se analizan las posibles limitaciones de aplicabilidad. Este estudio ofrece una valiosa perspectiva sobre el potencial del neuromarketing como herramienta para comprender el comportamiento del consumidor y mejorar la eficacia de la publicidad en sectores altamente competitivos como el del lujo.

The segment of Collectible Design (CD) is increasingly present and gaining in popularity in both the global imagery and marketplace. The growing number of CD’s cultural and commercial circuits and platforms clearly shows an intensified interest on the part of individuals ranging from simple amateurs to collectors. Within the image variables’ theoretical framework, this study explains the reasons of the current success of CD by identifying its three main image variables – art, luxury, and country of origin – that influence the perception of audiences and the market. These three image variables, with their symbolic and emotional significance, enable three specific image effects on CD’s value perception. Image variables of art, luxury, and country of origin can therefore be viewed as fundamental in the construction of the value of CD. This research offers significant information that may help CD marketers to develop useful strategies based on CD’s principal image variables while having a stronger impact on audiences and consumers/collectors’ perception. This study’s originality consists in providing a theoretical framework of CD’s value perception in relation to image variables.

The Non-Fungible Cult is an exclusive data center designed for luxury fashion NFTs. It is located on a fortified island and serves as a secure space for digital fashion assets. Fashion brands use the data center as a space of mediation between virtual and physical realities, granting selected NFT holders access as a part of their loyalty plan. The underground facility is a nod to Marseille’s past limestone industry and aims to create a sense of mystery and exclusivity. This contribution is part of Fashion House, a collective project on the spatial implications of a decentralized and more tightly regulated fashion industry across Europe that reimagines the function and design for a fashion house., https://vimeo.com/794786699 Fashion House Pattern Book Collective Project Video https://vimeo.com/788901278 The Non-Fungible Cult Individual Contribution Video, The Fashion House, The Berlage Post-MSc in Architecture and Urban Design

Craftsmanship, driven by the “enduring, basic human impulse, the desire to do a job well for its own sake” (Sennett, 2008), is the origin of most things we call luxury. Declared obsolete in the wake of industrialized production (Frater & Hawley, 2018; Mignosa & Kotipalli, 2019), handmade goods are back in consumers’ favor (Hsu & Nguyen Ngnoc, 2016). Perhaps in reaction to an ever more screen–based entertainment culture (Craft Council, 2012) or the “sea of sameness” (Silverman, cit. in Glassenberg, 2018) we find ourselves in, there is a hunger for the authentic and the handcrafted (Craft Council, 2012). In the luxury industry, craft techniques are revered as markers of quality and authenticity. Artisans and their work are the focus of luxury houses' advertising campaigns and young talent programs. Some even introduce their makers to the public at special festivals (e.g., Journées particulières by LVMH; Homo Faber by the Michelangelo Foundation) as the contact with the people behind the product is known to foster loyalty among customers and increase the perception of value (Waytz, 2019; Pricken, 2014). Skilled craftspeople and young talents are in such high demand that French luxury association Comité Colbert, in a rare and unconventional move, has even considered asking for help in an open letter to President Emanuel Macron (Wendlandt, 2022). Roughly at the same time, workers at Louis Vuitton’s manufacturing sites in France staged a walkout to demand higher pay and better working conditions (Lieber & Williams, 2022). The revival of craft might indeed have bolstered makers’ confidence. Digital channels provide them with cost-effective access to global markets and create opportunities to make a living as independent artisan entrepreneurs (Pret, 2019) outside the corporate structures of the modern luxury industry. Through social media artisans can tell the “back story” that matters to buyers (McAuley & Fillis, 2004), evoking positive values that consumers associate with

Textile production has been one of the most complex activities, requiring significant amounts of raw materials, abundant labor and developing a technology that would make it possible to manufacture both useful and beautiful products. The cost of the fabrics was very high, being considered luxury objects that assumed different lives and functions, being used and reused until their total deterioration. In the analysis of historical textiles, their recycling is observed in such a way that a patch can be appreciated to replace a lack, as well as the union of various fragments and scraps to form a new piece, aspects that will be developed in this investigation., A produção têxtil tem sido uma das atividades mais complexas, exigindo quantidades significativas de matérias-primas, mão de obra abundante e desenvolvendo uma tecnologia que possibilitaria a fabricação de produtos úteis e bonitos. O custo dos tecidos era muito elevado, sendo considerados objetos de luxo que assumiam diferentes vidas e funções, sendo usados e reutilizados até à sua total deterioração. Na análise dos têxteis históricos, observa-se a sua reciclagem de tal forma que se pode apreciar um remendo para substituir uma falta, bem como a união de vários fragmentos e sobras para formar uma nova peça, aspetos que serão desenvolvidos nesta investigação., La producción textil ha sido una de las actividades más complejas necesitada importantes cantidades de materias primas, abundante mano de obra y de desarrollar una tecnología que permitiera manufacturar productos a la vez útiles y bellos. El coste de los tejidos era muy elevado, considerándose objetos de lujo que asumieron distintas vidas y funciones usándose y reusándose hasta su total deterioro. En el análisis de los textiles históricos se observa su reciclaje de modo que igual se aprecia un remiendo para sustituir una falta, que la unión de diversos fragmentos y retales para conformar una nueva pieza, aspectos que se desarrollarán en esta investigación.

As new technologies will allow for a new kind of driving there is room for implementing innovative interior architecture in future luxury cars. The main goal for this master thesis was to find out what a user truly needs in a Mercedes EQ interior for a level 4 autonomous driving vehicle in a context around the year 2035. Furthermore, the design brief specified a sustainability frame as a key part of the design scope. Problem One might think it is easy to imagine a vehicle that operates fully autonomously and in which a user is totally irresponsible for driving the vehicle. But before we arrive at this point, we will see cars transitioning from the way they are now through a stage in which a user is partly responsible for driving yet can partly disengage driving obligations in specific situations. Also, with the automotive industry being under increasing pressure to become sustainable and classic status obtaining features such as big engines mismatching this goal, Mercedes stated the desire to have the user gain status through being sustainable in a luxury vehicle. Analysis To deliver a fresh insight to the industry and client it was chosen to use the Vision in Design-method. This method was fitting for envisioning a well-argued future context and to map likely behaviour of the Mercedes driver but also other people involved in this future context. Different attitudes in luxury automobiling were found and it was decided that the attitude of obtaining status by ‘being a paragon of sustainable automobiling’ would be the segment in which we would aim to position Mercedes EQ to subsequently pull the Mercedes-Benz brand as a whole into this direction. Furthermore, to make the concept Mercedes-fitting, an extensive analysis of the brand was executed to integrate a clear and expected link to specific elements of Mercedes’ heritage in the design. Vision Following the newly formulated strategy, a design vision was created. This vision, Integrated Product Design

Användandet av sociala medier, som från början handlade om utbyte av information, har mynnat ut i en social närvaro. En social närvaro där man genom bilder, text och videos presenterar sig själv. Konsumenter kan numera obehindrat dela varumärkesrelaterat innehåll genom att till exempel visa nya inköp eller andra händelser av sitt liv. Idag skapar konsumenter många av sina associationer och uppfattningar om varumärken genom detta innehåll av privatpersoner på sociala medier. Det skapar en möjlighet för lyxvarumärkena att bli top-of-mind hos konsumenterna. Samtidigt blir det svårt för lyxvarumärken att kontrollera privatpersoners innehåll. Varumärken inom lyxsegmentet måste dessutom förvalta sitt arv och sin exklusivitet för att bibehålla sitt starka varumärke. Denna balansgång belyser lyxens paradox. Syftet med denna studie är att få fram eventuella effekter när lyxvarumärken inom modebranschen exponeras, både ofrivilligt och frivilligt, på sociala medier. Forskarna undersöker från ett konsumentperspektiv i syfte att ta reda på hur konsumenternas varumärkesimage och köplust ändras när lyxvarumärken exponeras på detta sätt. Detta har forskarna undersökt med hjälp av en kvalitativ studie i form av semi-strukturerade intervjuer. Respondenterna valdes ut baserat på deras intresse för mode och att de själva har konsumerat lyxprodukter inom mode. Denna studie visar att ett lyxvarumärkens image förändras när lyxvarumärken exponeras på sociala medier. Om det är en positiv eller negativt förändring är kopplat till de associationer och personer som konsumenterna kopplar varumärket till. Om konsumenterna kopplar varumärkesimagen till en person eller grupp som de vill identifiera sig med ökar deras köplust. Om de istället associerar varumärket till en grupp eller personer som de inte vill identifiera sig med, minskar istället deras köplust. Konsumenters köplust minskar dessutom när produkter, genom exponering på sociala medier upplevs mer tillgängliga och exklusiviteten i varumä, The use of social media, which from the beginning was about exchange of information, has now resulted in a social presence. A social presence where you present yourself through pictures, text and videos. Consumers can now freely share brand-related content by, for example, showing new purchases or other events of their lives. Today, consumers create a lot of their associations and perceptions about brands through this content from individuals on social media. It creates an opportunity for luxury brands to become top-of-mind amongst consumers. At the same time, it becomes difficult for luxury brands to control this content from individuals. Brands in the luxury segment need to manage their heritage and exclusivity in order to maintain their strong brand. This balancing act sheds light on the paradox of luxury. The purpose of this study is to examine the effects when luxury brands in the fashion industry are exposed on social media. The researchers examine from a consumer perspective in order to find out how consumers' brand image and desire to purchase change when luxury brands are exposed in this way. The researchers investigated this with the help of a qualitative study in the form of semi-structured interviews. The respondents were selected because of their interest in fashion and that they have consumed luxury products in fashion. This study shows that consumers' brand image changes when luxury brands are exposed on social media. Whether it is a positive or negative change it is linked to the associations and persons which consumers link the brand to. If consumers associate the brand image with a person or a group that they want to be identified with, their desire to buy increases. If they instead associate the brand with a group or people they do not want to be identified with, their purchase desire decreases. Additionally, consumers' purchase desire decreases when products, through exposure on social media, are perceived as more accessible and the exclusivity i

This project aims to challenge preconceptions of mental health and attempts to conceptually dissect the popular phrase “mental health is a luxury”. The dissection is grounded on a theoretical background related to the inefficiencies of the health care system, advocacy movements of health care rights, material culture and luxury consumption, in order to conceptualize design strategies for sociocultural change.The concept challenges the perception of mental health care as luxury through the invitation of other mental health sufferers into a collaborative co-design space that generates information about their subjective lived experiences and needs, through participatory and empathic design methods. Jewelry has been selected as a design medium that combines possibilities of self-expression, involvement in co-crafting, similarities to other devices for self-regulation and preconceptions of status. The socioeconomic issues of the accessibility of mental health care reveals inequalities related to social status, and jewelry with its historical connotation as a social status symbol is used in this project as a critical tool to portray and question the correlation between socioeconomic privilege and mental health care. The collaborative process of co-designing and translating real people’s needs into customized jewelry works as an attempt to redefine jewelry as a manifestation of human needs and to cultivate mental health sufferers’ agency and power towards their own health.

Social networks have become crucial communication channels for brands through awareness, engagement, and word of mouth. Instagram is firmly positioned as a direct gateway between brands and consumers, as it became the fifth most-used social network globally in 2021. As such, branded content is expected to increase the brand’s likability, by capturing the interest and attention of the consumer, which could differ depending on what social media platform is used. This study aims to analyze whether there is a relationship between the branded content published on the Instagram profile of luxury brands (Manolo Blahnik and Loewe) and the interactions of and with its followers, focusing on branded content communication associated to industrial, social responsibility, and commercial issues. A correlational study is presented using a quantitative methodology to test the hypotheses through an ANOVA analysis. The results show which type of content is more productive on Instagram’s social network profile, helping diffusion of the firm, as it provokes more reactions from followers when using branded content related to social responsibility. It is also worth noting the extent of the interactions that branded content shows within the brand, whose influence is detected not in averages but in reach. The study’s conclusions allow us to affirm that branded content directly impacts brand reputation, generating positive engagement in all the cases analyzed. The study contributes to a better understanding of the branded content effect on consumers.

The increase in the luxury hospitality industry has led to a significant body of new research. Due to some constraints –discussed in detail in this paper–, there is a lack of consensus on the definition and the factors associated with luxury hospitality. This leads to further gaps. To shed some light, this paper presents a systematic review of the literature of 681 articles. Co-occurrence analysis indicates three main topics of research, associated with (1) consumer experience (mainly focused on satisfaction, service quality, and loyalty), (2) sustainability, and (3) recent research on the effects of Covid-19. Regarding the definition, the results show that it varies depending on the perspective taken (e.g., company vs. consumer). Additionally, the theories most frequently used are related to conspicuous consumption and social value. However, recent findings suggest that the hedonic value might be key in some contexts (e.g., seeking escapism), while for some segments (e.g., ultra-high-net-individuals) the functional value might be more important. Finally, the review reveals that new methods need to be applied, such as experimental designs, and research on individual differences (e.g., culture) is still limited. Based on the results, future research recommendations are presented.

Användandet av sociala medier, som från början handlade om utbyte av information, har mynnat ut i en social närvaro. En social närvaro där man genom bilder, text och videos presenterar sig själv. Konsumenter kan numera obehindrat dela varumärkesrelaterat innehåll genom att till exempel visa nya inköp eller andra händelser av sitt liv. Idag skapar konsumenter många av sina associationer och uppfattningar om varumärken genom detta innehåll av privatpersoner på sociala medier. Det skapar en möjlighet för lyxvarumärkena att bli top-of-mind hos konsumenterna. Samtidigt blir det svårt för lyxvarumärken att kontrollera privatpersoners innehåll. Varumärken inom lyxsegmentet måste dessutom förvalta sitt arv och sin exklusivitet för att bibehålla sitt starka varumärke. Denna balansgång belyser lyxens paradox. Syftet med denna studie är att få fram eventuella effekter när lyxvarumärken inom modebranschen exponeras, både ofrivilligt och frivilligt, på sociala medier. Forskarna undersöker från ett konsumentperspektiv i syfte att ta reda på hur konsumenternas varumärkesimage och köplust ändras när lyxvarumärken exponeras på detta sätt. Detta har forskarna undersökt med hjälp av en kvalitativ studie i form av semi-strukturerade intervjuer. Respondenterna valdes ut baserat på deras intresse för mode och att de själva har konsumerat lyxprodukter inom mode. Denna studie visar att ett lyxvarumärkens image förändras när lyxvarumärken exponeras på sociala medier. Om det är en positiv eller negativt förändring är kopplat till de associationer och personer som konsumenterna kopplar varumärket till. Om konsumenterna kopplar varumärkesimagen till en person eller grupp som de vill identifiera sig med ökar deras köplust. Om de istället associerar varumärket till en grupp eller personer som de inte vill identifiera sig med, minskar istället deras köplust. Konsumenters köplust minskar dessutom när produkter, genom exponering på sociala medier upplevs mer tillgängliga och exklusiviteten i varumä, The use of social media, which from the beginning was about exchange of information, has now resulted in a social presence. A social presence where you present yourself through pictures, text and videos. Consumers can now freely share brand-related content by, for example, showing new purchases or other events of their lives. Today, consumers create a lot of their associations and perceptions about brands through this content from individuals on social media. It creates an opportunity for luxury brands to become top-of-mind amongst consumers. At the same time, it becomes difficult for luxury brands to control this content from individuals. Brands in the luxury segment need to manage their heritage and exclusivity in order to maintain their strong brand. This balancing act sheds light on the paradox of luxury. The purpose of this study is to examine the effects when luxury brands in the fashion industry are exposed on social media. The researchers examine from a consumer perspective in order to find out how consumers' brand image and desire to purchase change when luxury brands are exposed in this way. The researchers investigated this with the help of a qualitative study in the form of semi-structured interviews. The respondents were selected because of their interest in fashion and that they have consumed luxury products in fashion. This study shows that consumers' brand image changes when luxury brands are exposed on social media. Whether it is a positive or negative change it is linked to the associations and persons which consumers link the brand to. If consumers associate the brand image with a person or a group that they want to be identified with, their desire to buy increases. If they instead associate the brand with a group or people they do not want to be identified with, their purchase desire decreases. Additionally, consumers' purchase desire decreases when products, through exposure on social media, are perceived as more accessible and the exclusivity i

Dowry letters and property inventories are an essential tool for the study of clothing throughout the Modern Age. This documentary typology provides a valuable wealth of information about sumptuary uses, confirming the crucial importance of fash-ion as a differentiating sign of status and its high cost compared to other items of domestic trousseau. At the beginning of the 18th century, French fashion was fully established in Spain, which entailed a drastic transformation in female outfit, not only at a formal level, but also in its own conception., Cartas de dote e inventários de propriedades são uma ferramenta essencial para o estudo de roupas na Idade Moderna. Esta tipologia documental fornece uma valiosa riqueza de informações sobre suntuários confirmando a importância crucial da moda como um sinal diferenciador de status e seu alto custo em comparação com outros itens de mobiliário doméstico. No início do século XVIII, a moda francesa estava totalmente implantada em Espanha, o que representa uma transformação drástica no vestuário femi-nino, não só a nível formal, mas também na sua própria concepção., Las cartas de dote y los inventarios de bienes constituyen una herramienta esencial para el estudio de la indumentaria a lo largo de la Edad Moderna. Esta tipología documental arroja un valioso caudal de información acerca de los usos suntuarios, confirmando la crucial importancia de la moda como signo diferenciador de estatus y su alto costo en comparación con otros elementos del ajuar doméstico. A principios del siglo XVIII la moda a la francesa está ya plenamente instaurada en España, lo que supone una drástica transformación en el atuendo femenino, no solamente a nivel formal, sino a su propia concepción.

It is essential to discover the performance parameters of graphic signs when they are part of a graphic system. Although the function of these parameters is specifically technical, an objective communicational behavior of the identifying sign can be observed in the real context.It is reasonable to question the expressions of the sign, validity, versatility, legibility, ge-neric graphic quality, even in micro-scale applications. As part of a visual identity system where visual resources are applied on different media, Gucci and Fendi brands show, in some of their applications, an absence of conditioning based on the use of independent parameters, allowing to achieve a correct identity behavior., É essencial descobrir os parâmetros de desempenho dos sinais gráficos quando eles fazem parte de um sistema gráfico. Embora a função desses parâmetros seja especifi-camente técnica, um comportamento comunicacional objetivo do signo de identificação pode ser observado no contexto real.É razoável questionar as expressões do sinal, validade, versatilidade, legibilidade, qualida-de gráfica genérica, mesmo em aplicações em microescala. Como parte de um sistema de identidade visual onde os recursos visuais são aplicados em diferentes mídias, as marcas Gucci e Fendi apresentam, em algumas de suas aplicações, uma ausência de condiciona-mento baseado no uso de parâmetros independentes, permitindo alcançar um comporta-mento de identidade correto., Es indispensable descubrir los parámetros de rendimiento de los signos gráficos cuando forman parte de un sistema gráfico. Si bien, la función de dichos parámetros es específicamente técnica, puede observarse un comportamiento comunicacional objetivo del signo identificador en el contexto real. Es razonable cuestionar las expresiones propias del signo, vigencia, versatilidad, legibilidad, calidad gráfica genérica, aún en aplicaciones en micro escala. Formando parte de un sistema de identidad visual donde se aplican determinados recursos visuales en diferentes soportes, las marcas Gucci y Fendi demuestran, en algunas de sus aplicaciones, una ausencia de condicionamientos a partir del uso de parámetros independientes, permitiendo alcanzar un correcto comportamiento de la identidad.

Millennials are characterized by living linked to technology and new forms of communication. Through social networks millennials are related to the main brands mul-tiplying the interaction and constantly evolving perceptions with them, a fact that con-trasts with other generations that could not relate so quickly and frequently with brands. By studying the perceptions that millennials have about Zara, H&M, Louis Vuitton and Gucci, we seek to know the positioning of each of these brands among the selected target, spanish millennials, as well as understand the position they occupy among millennials. There is a moderate association between attributes and brand and a high degree of recog-nition and notoriety., A geração do milênio está ligada à tecnologia e a novas formas de comunicação. Por meio das redes sociais, a geração do milênio interage com as principais marcas, mul-tiplicando interação e percepções em constante evolução com elas, fato que contrasta com outras gerações que não conseguiam se relacionar de forma tão rápida e frequente com as marcas. Ao estudar as percepções que os millennials têm sobre Zara, H&M, Louis Vuitton e Gucci, buscamos conhecer o posicionamento de cada uma dessas marcas entre o target selecionado, os millennials espanhóis, bem como entender a posição que ocupam entre os millennials. Existe uma associação moderada entre atributos e marca e um alto grau de reconhecimento e notoriedade., Los millennials están ligados a la tecnología y a las nuevas formas de comunica-ción. A través de las redes sociales, los millennials se relacionan con las principales marcas multiplicando la interacción y evolucionando constantemente las percepciones con estas, hecho que contrasta con otras generaciones que no podían relacionarse de forma tan rá-pida y frecuente con las marcas. Mediante el estudio de las percepciones que tienen los mi-llennials sobre Zara, H&M, Louis Vuitton y Gucci se busca conocer el posicionamiento de cada una de estas marcas entre el target seleccionado, los millennials españoles, así como también comprender la posición que ocupan entre los millennials. Se observa una asocia-ción moderada entre atributos y marca y un alto grado de reconocimiento y notoriedad.

This project aims to challenge preconceptions of mental health and attempts to conceptually dissect the popular phrase “mental health is a luxury”. The dissection is grounded on a theoretical background related to the inefficiencies of the health care system, advocacy movements of health care rights, material culture and luxury consumption, in order to conceptualize design strategies for sociocultural change.The concept challenges the perception of mental health care as luxury through the invitation of other mental health sufferers into a collaborative co-design space that generates information about their subjective lived experiences and needs, through participatory and empathic design methods. Jewelry has been selected as a design medium that combines possibilities of self-expression, involvement in co-crafting, similarities to other devices for self-regulation and preconceptions of status. The socioeconomic issues of the accessibility of mental health care reveals inequalities related to social status, and jewelry with its historical connotation as a social status symbol is used in this project as a critical tool to portray and question the correlation between socioeconomic privilege and mental health care. The collaborative process of co-designing and translating real people’s needs into customized jewelry works as an attempt to redefine jewelry as a manifestation of human needs and to cultivate mental health sufferers’ agency and power towards their own health.

42372, In contemporary business and marketing literature luxury is mainly approached from the perspectives of production, communication and consumption. The author argues that to understand the phenomenon in the future, different, more contextualized and human-focused lenses and methodologies are needed. He ventures out into philosophy, sociology and anthropology to broaden the perspective on the matter and proposes resonance, the theory of successful world relations, as an alternative view on luxury and luxury consumption.

The aim of this paper is to understand the evolution of the digital marketing channels used by international luxury firms in China post Covid-19. Pandemic restrictions limiting international travel led to Chinese luxury consumers shifting consumption to the domestic market, driven by revenge spending behavior. We conducted a qualitative study to investigate the impact of Covid-19 on international luxury fashion firms by collecting 13 semi-structured interviews with key informants operating in the Chinese market. In particular, we focused on the communications and sales channels put in place. While previous studies suggested that the luxury industry had been slow to adopt e-commerce, our findings show that in China, luxury firms have moved to a more mature adoption of digital channels based on innovative technologies that enhance store experience and personalization. We attempt to contribute to the international luxury marketing literature which focused primarily on Western markets, by analyzing the increasing Chinese luxury market. Moreover, we provide managerial insights for international luxury firms challenged by the changed scenario

Kering, LVMH, Inditex or Fast Retailing are some of the most important business holding companies in the world. These business blocks not only run the most no-torious fashion and luxury companies on the planet, but also decide what trends should be created, how to consume them and in which channels to expose them, relying on the media and digital communication.In this regard, the presented writing raises a theoretical-critical reflection supported by documentary sources in order to offer a global vision that allows both future researchers and future designers to obtain a holistic perspective of the object of study., Kering, LVMH, Inditex ou Fast Retailing são algumas das holdings de negócios mais importantes do mundo. Esses blocos de negócios não só gerem as mais notórias empresas de moda e luxo do planeta, mas também decidem quais tendências devem ser criadas, como consumilas e em quais canais expôlas, contando com a mídia e a comunicação digital., Kering, LVMH, Inditex o Fast Retailing son algunos de los holdings empresariales más importantes del mundo. Estos bloques empresariales no solo dirigen las compañías de moda y lujo más notorias del planeta, sino que también deciden qué tendencias deben crearse, cómo consumirlas y en qué canales exponerlas, apoyándose en los medios de comunicación y la comunicación digital. Al respecto, el escrito presentado plantea una reflexión teórica-crítica apoyada en fuentes documentales con la finalidad de ofrecer una visión global que permita, tanto a futuros investigadores como a futuros diseñadores, obtener una perspectiva holística del objeto de estudio.

As new technologies will allow for a new kind of driving there is room for implementing innovative interior architecture in future luxury cars. The main goal for this master thesis was to find out what a user truly needs in a Mercedes EQ interior for a level 4 autonomous driving vehicle in a context around the year 2035. Furthermore, the design brief specified a sustainability frame as a key part of the design scope. Problem One might think it is easy to imagine a vehicle that operates fully autonomously and in which a user is totally irresponsible for driving the vehicle. But before we arrive at this point, we will see cars transitioning from the way they are now through a stage in which a user is partly responsible for driving yet can partly disengage driving obligations in specific situations. Also, with the automotive industry being under increasing pressure to become sustainable and classic status obtaining features such as big engines mismatching this goal, Mercedes stated the desire to have the user gain status through being sustainable in a luxury vehicle. Analysis To deliver a fresh insight to the industry and client it was chosen to use the Vision in Design-method. This method was fitting for envisioning a well-argued future context and to map likely behaviour of the Mercedes driver but also other people involved in this future context. Different attitudes in luxury automobiling were found and it was decided that the attitude of obtaining status by ‘being a paragon of sustainable automobiling’ would be the segment in which we would aim to position Mercedes EQ to subsequently pull the Mercedes-Benz brand as a whole into this direction. Furthermore, to make the concept Mercedes-fitting, an extensive analysis of the brand was executed to integrate a clear and expected link to specific elements of Mercedes’ heritage in the design. Vision Following the newly formulated strategy, a design vision was created. This vision, Integrated Product Design

Fashion is predictable, its behavior is based on certain patterns that are repeated, it generates models and triggers actions that are also contemplated in said patterns; It goes through stages that, from before its emergence and until its decline, are already corresponding to a life cycle.In each season the cycle repeats itself, and like a true ouroboro, fashion proposes an eternal return, a rebirth twice a year, two seasons that move a great industry; multiple products are offered to the market that are quickly consumed, waiting for new launches to repeat the cyclical pattern. Just as the ouroboro symbolizes the present moment that is devoured by the future to start over, the cyclical nature of fashion proposes instants, which culmi-nate and start over at each moment.Fashion on a large scale, progresses in spirals through time, renews interest in itself, proposes fantasy, luxury, beauty and at the same time generates pollution, an alarming consumption of water, and carbon emissions; sufficient reasons to orient its cyclical nature towards a circular ethic in pursuit of a sustainable future., A moda é previsível, seu comportamento é baseado em determinados padrões que se repetem, gera modelos e desencadeia ações que também são contempladas nesses padrões; Passa por etapas que, desde antes de seu surgimento e até seu declínio, já correspondem a um ciclo de vida.A cada estação o ciclo se repete e, como um verdadeiro ouroboro, a moda propõe um eterno retorno, um renascimento duas vezes ao ano, duas temporadas que movem uma grande indústria; São oferecidos ao mercado diversos produtos que são rapidamente con-sumidos, aguardando novos lançamentos para repetir o padrão cíclico. Assim como o ouroboro simboliza o momento presente que é devorado pelo futuro para recomeçar, a natureza cíclica da moda propõe instantes, que culminam e recomeçam a cada momento. A moda em grande escala, progride em espirais no tempo, renova o interesse por si mesma, propõe fantasia, luxo, beleza e ao mesmo tempo gera poluição, um consumo alarman-te de água e emissões de carbono; razões suficientes para orientar sua natureza cíclica para uma ética circular em busca de um futuro sustentável., La moda es previsible, su conducta está basada en ciertos patrones que se repiten, genera modelos y desencadena acciones que están también contemplados en dichos patrones; atraviesa etapas que, desde antes de su surgimiento y hasta su declinación están previstas ya que corresponden a un ciclo de vida. En cada temporada se repite el ciclo, y como un verdadero ouroboro, la moda propone un eterno retorno, un renacimiento dos veces al año, dos temporadas que mueven una gran industria; se ofrecen al mercado múltiples productos que son ávidamente consumidos, quedando a la espera de nuevos lanzamientos para repetir el cíclico patrón. Así como el ouroboro simboliza el momento presente que es devorado por el futuro para volver a comenzar, la naturaleza cíclica de la moda propone instantes, que culminan y vuelven a empezar a cada momento. La moda a gran escala, avanza en espirales a través del tiempo, renueva el interés hacia sí, propone fantasía, lujo, belleza y al mismo tiempo genera contaminación, un consumo alarmante de agua, y emisiones de carbono; motivos suficientes para orientar su naturaleza cíclica hacia una ética circular en pos de un futuro sostenible.

[Resumen] La industria de la moda de lujo es un concepto profundamente vinculado al consumismo, la superficialidad y lo material. No cabe duda de su capacidad inspiradora, pero ¿qué hay de su capacidad de creación artística?. El siguiente proyecto trata de analizar cómo moda y arte se unen y averiguar el porqué de esta unión. Entre estas actividades destaca la inspiración que toma la moda por el arte y las diferentes asociaciones de esta industria con diferentes artistas, arquitectos y otros elementos artísticos. Por otro lado, también se estudiará la reciente implicación de las grandes empresas de moda con el mundo del arte y la cultura. Entre alguna de estas acciones destacan la implicación en actividades culturales, como son la fundación y colaboración con museos, creación de fundaciones, exposiciones, restauraciones, colaboraciones con artistas y arquitectos célebres, etc. Algunos casos de este tipo de acciones son la casa de moda Prada y el conglomerado de lujo Louis Vuitton Moët Hennessy (LVMH), que entre otras empresas de moda, comenzaron a trabajar estrechamente con artistas y arquitectos de vanguardia que demostraron ser capaces de nutrir y producir capital simbólico para las compañías. De aquí parte el objetivo de este trabajo: ¿Qué consiguen las grandes marcas colaborando con artistas y financiando proyectos artísticos y culturales? Para entender este fenómeno se ha examinado la evolución del concepto de moda y lujo y la relación de estas con el arte. La interacción entre estos dos sectores ha sido cada vez más frecuente en los últimos años y su objetivo es lograr un beneficio mutuo en transacciones que aseguren la preservación del arte y la continuidad de la industria del lujo. Por este motivo, se ha realizado un análisis de diferentes tipos de colaboraciones entre grandes firmas de moda y artistas o instituciones artísticas y diferentes elementos artísticos que sirven de inspiración para esta industria y presentes en el mundo de la moda. Asimismo, se ha, [Resumo] A industria da moda de luxo é un concepto profundamente vinculado ao consumismo, a superficialidade e o material. Non cabe dúbida da súa capacidade inspiradora, pero que hai da súa capacidade de creación artística?. O seguinte proxecto trata de analizar como moda e arte se unen e investigar o porqué desta unión. Entre estas actividades destaca a inspiración que toma a moda pola arte e as diferentes asociacións desta industria con diferentes artistas, arquitectos e outros elementos artísticos. Doutra banda, tamén se estudará a recente implicación das grandes empresas de moda co mundo da arte e a cultura. Entre algunha destas accións destacan a implicación en actividades culturais, como son a fundación e colaboración con museos, creación de fundacións, exposicións, restauracións, colaboracións con artistas e arquitectos soados, etc. Algúns casos deste tipo de accións son a casa de moda Prada e o conglomerado de luxo Louis Vuitton Moët Hennessy (LVMH), que entre outras empresas de moda, comezaron a traballar estreitamente con artistas e arquitectos de vangarda que demostraron ser capaces de nutrir e producir capital simbólico para as compañías. De aquí parte o obxectivo deste traballo: Que conseguen as grandes marcas colaborando con artistas e financiando proxectos artísticos e culturais? Para entender este fenómeno examinouse a evolución do concepto de moda e luxo e a relación destas coa arte. A interacción entre estes dous sectores foi cada vez máis frecuente nos últimos anos e o seu obxectivo é lograr un beneficio mutuo en transaccións que aseguren a preservación da arte e a continuidade da industria do luxo. Por este motivo, realizouse unha análise de diferentes tipos de colaboracións entre grandes firmas de moda e artistas ou institucións artísticas e diferentes elementos artísticos que serven de inspiración para esta industria e presentes no mundo da moda. Así mesmo, estudouse o concepto de mecenado, a súa historia e en consecuencia disto a importancia d, [Abstract] The luxury fashion industry is a concept deeply linked to consumerism, superficiality and materiality. There is no doubt about its capacity to inspire, but what about its capacity for artistic creation? The following project aims to analyze how fashion and art come together and to find out why. Among these activities is the inspiration fashion takes from art and the different associations of this industry with different artists, architects and other artistic elements. On the other hand, the recent involvement of large fashion companies with the world of art and culture will also be studied. Some of these actions include involvement in cultural activities such as founding and collaborating with museums, creating foundations, exhibitions, restorations, collaborations with famous artists and architects, etc. Cases in point are the fashion house Prada and the luxury conglomerate Louis Vuitton Moët Hennessy (LVMH), which among other fashion companies, started to work closely with avant-garde artists and architects who proved to be able to nurture and produce symbolic capital for the companies. This is the aim of this study: What do big brands achieve by collaborating with artists and financing artistic and cultural projects? To understand this phenomenon, the evolution of the concept of fashion and luxury and their relationship with art has been examined. The interaction between these two sectors has become increasingly frequent in recent years and their aim is to achieve mutual benefit in transactions that ensure the preservation of art and the continuity of the luxury industry. For this reason, an analysis has been made of different types of collaborations between major fashion firms and artists or artistic institutions and different artistic elements that serve as inspiration for this industry and are present in the world of fashion. It also studied the concept of patronage, its history and, consequently, the importance of Corporate Social Responsibility an

Hyatt, the Chicago-headquartered hotel company reported fourth-quarter losses in 2020. In the final three months of 2021 Hyatt's system-wide revenue per available room grew to $96.75, a 26% increase.

Im 21. Jahrhundert, die digitale EinzelhandelsTransparenz und die zunehmende weltweite Ungleichheit brachten eine neue Konsumkategorie: Humanistic Luxury. Diese Verbraucherkategorie von Produkten und Dienstleistungen richtet sich an gebildete Verbraucher der Mittelschicht und verspricht die Möglichkeit Status Güter zu erwerben und gleichzeitig an humanitären Bemühungen teilzunehmen. Ein Oxymoron, das wert ist, untersucht zu werden. Um Schlüsselfunktionen und Konsequenzen der Kategorie aufzuzeigen, wurde eine Methodenforschung der Grounded Theory durchgeführt. Vierzehn globale Verbraucher aus elf Ländern wurden eingehend Statusgruppe, ihre Werte und ihre Funktionen befragt zu definieren. Die Ergebnisse enthüllten drei distinkte Untergruppen innerhalb der Verbraucher, der moralische Überlegenheit anstrebt, und die Verbraucher aus Schwellenländern („Ich konsumiere ganz normal, aber jetzt unterstütze ich meine Gemeinschaft“). Diese Ergebnisse beleuchten die Folgen des humanistischen Luxus und einige der unwahrscheinlichen Quellen lokaler und globaler Ungleichheit Reproduktion im Bereich des Konsums. Diese Kategorie bietet keine Unterscheidung mehr auf der Grundlage des finanziellen, sondern des kulturellen und moralischen Kapitals. Humanistischer Luxus kann zwar dazu beitragen, die Verletzlichkeit des Handwerks zu beseitigen Die Hierarchien sind zementiert aber auch soziale, die bestätigen, wer „würdig“ ist und wer nicht, und was letztendlich die soziale Mobilität auf lokaler und globaler Ebene behindert., The 21st century, digital (retail) transparency, and increasing worldwide inequality brought a new consumer category: Humanistic Luxury. This consumer category of products and services caters to educated, middle-class consumers, promising them a chance to acquire status goods, while, at the same time, to participate in humanitarian efforts; an oxymoron that is worthy to investigate. To expose key functions and consequences of the category, a grounded theory methodology research was conducted. Fourteen global consumers from eleven countries were deep interviewed to define the status group, its values, and its functions. The findings unveiled three district subgroups within consumers who are seeking moral superiority, that is, consumers of the Americas (“I must consume to change”), consumers of Europe (“I must change to keep consuming”), and the third group of consumers from emerging economies (“I consume as normal but now I support my community”). These findings shed light on the consequences of Humanistic Luxury, and some of the unlikely sources of local and global inequality reproduction in the sphere of consumption. This category is no longer providing a sense of distinction on the base of financial, but on cultural and moral capital. While Humanistic Luxury may help to eliminate artisan vulnerability, it also cements social hierarchies confirming who is “worthy”, and who is not, ultimately hindering social mobility on both local and global levels.

COVID-19 lockdowns led to a new approach to social media communication by luxury fashion brands. This chapter explores recent pandemic-related changes in the social context and the need for brands to rethink their narrative to engage consumers and influence purchase decisions. The authors selected a panel of 28 fashion luxury brands, both independent and conglomerate-owned, to analyze the paradigm shift in social media communication and content creation. Their findings show that with social media acting as the main touchpoint, luxury fashion brands have effectively produced new communication archetypes, revealing the latent potential of digital platforms as strategic tools.

[ES] La moda y el diseño industrial, son sectores muy similares. Cada uno realiza un producto diferente, pero todos estos comparten una gran esencia creativa. Es por eso que actualmente muchas empresas inicialmente situadas en el mundo de la moda, expanden sus fronteras y se introducen en el maravillo mundo del diseño industrial. ¿Por qué lo hacen? Dentro del sector de la moda podemos encontrar muchas gustos y variantes, los cuales reflejan una personalidad y un estilo de vida. Cada marca se centra en un publico objetivo diferente, y acceden a ellos adaptando los productos a las características estéticas y al estilo de vida de los usuarios. Introduciéndose dentro del sector industrial, el sector de la moda consiguen expandir la experiencia de marca, consiguiendo estar presente no solo en lo que llevamos puesto, sino en lo que decora nuestro hogar. Tanto el sector de la moda como el sector industrial comparten un publico similar, los cuales buscan diseño, creatividad, innovación y exclusividad. Esto favorece a la fusión de ambos sectores y nos permite encontrar colecciones de diseño industrial creadas por grandes empresas del sector de la moda, como por ejemplo: Louis Vuitton, Dior, Balenciaga, Gucci, Zara Home, H&M Home¿ Como hemos comentado, cada marca tiene un estilo característico el cuál depende del publico objetivo al que se centre, y aquí es donde entra LOEWE. LOEWE es una marca líder en el sector de lujo fundada en España en 1846. Su esencia es la artesanía, de la cual radica su modernidad, consiguiendo crear interpretaciones modernas de técnicas artesanas históricas y comprometiéndose con el arte contemporáneo, los materiales nobles, la fabricación artesana y la calidez de la naturaleza. La importancia que la marca vuelca en la artesanía no solo consigue diferenciarla del resto, sino que facilita el uso de un sistema de producción responsable con la naturaleza y el medio ambiente. LOEWE incorpora la sostenibilidad como una fuente de inspiración consiguiendo, [EN] Fashion and industrial design are very similar sectors. Each one makes a different product, but they all share a great creative essence. That is why nowadays many companies, initially located in the world of fashion, are expanding their frontiers and entering the wonderful world of industrial design. Why do they do so? Within the fashion sector we can find many tastes and variants, which reflect a personality and a lifestyle. Each brand focuses on a different target audience, and they access them by adapting the products to the aesthetic characteristics and lifestyle of the users. By entering the industrial sector, the fashion sector manages to expand the brand experience, managing to be present not only in what we wear, but also in what decorates our home. Both the fashion sector and the industrial sector share a similar public, who are looking for design, creativity, innovation and exclusivity. This favours the fusion of both sectors and allows us to find industrial design collections created by large companies in the fashion sector, such as: Louis Vuitton, Dior, Balenciaga, Gucci, Zara Home, H&M Home... As we have already mentioned, each brand has a characteristic style which depends on the target audience it is focused on, and this is where LOEWE comes in. LOEWE is a leading luxury brand founded in Spain in 1846. Its essence is craftsmanship, which is at the heart of its modernity, creating modern interpretations of historic artisanal techniques and committing to contemporary art, noble materials, handcrafted manufacturing and the warmth of nature. The brand's emphasis on craftsmanship not only sets it apart from the rest, but also facilitates the use of a production system that is responsible with nature and the environment. LOEWE incorporates sustainability as a source of inspiration, bringing added value to its products, creating a cooperative culture which is an advantage and allows it to evolve in new sustainable fields to continue improving global per

[ES] El presente trabajo de final de carrera trata de realizar un análisis comparativo de las estrategias de marketing que utilizan las empresas de moda para captar a su público objetivo. Tanto en el mundo de la moda como en la sociedad en sí, el consumidor puede segmentarse en diferentes niveles, dependiendo de factores como el estatus social, político, económico y cultural. En base a esa segmentación, los clientes presentan diferentes necesidades y gustos a la hora de llevar a cabo el proceso de compra. A lo largo del presente trabajo, se analizan dos empresas del sector moda, y las estrategias de marketing empleadas en función del segmento de clientes a las que van dirigidas. Para ello, en primer lugar, se analizan las características de la empresa y del entorno en el que opera, así como del producto que ofrece. A continuación, se estudia el perfil del consumidor objetivo o segmento al que se dirige y las estrategias de marketing que utilizan. El trabajo concluye con una comparativa entre las estrategias de marketing empleadas por parte de empresas de moda de lujo frente a aquellas que ofrecen moda low cost, resaltando aquellos aspectos clave de éxito a tener en cuenta en ambos subsectores. Para definir la moda en una sola palabra podría ser “cambio”. Desde sus inicios hasta la actualidad, la moda ha sido un referente en todas las revoluciones sociales, o por lo menos en la mayoría de ellas. La omisión del corsé o la aparición de la minifalda, son un claro ejemplo. La moda, como sustantivo, no solo es una prenda de vestir o un accesorio, sino es una forma de expresión, un reflejo de como nos sentimos nuestro día a día. Con ella, podemos dar a conocer una parte de nosotros. En general, es una forma de comunicarnos con el exterior. Es por ello, que la moda y el marketing tiene una sinergia singular. Las nuevas formas de comunicar y llegar al consumidor final se han orientado hacia el internet y hacia los medios sociales. Lo que ha dado paso a una generación mucho m, [EN] This final thesis is a comparative analysis of the marketing strategies used by fashion companies to attract their target audience. Both in the world of fashion and in society itself, the consumer can be segmented at different levels, depending on factors such as social, political, economic and cultural status. Based on this segmentation, customers have different needs and tastes when it comes to the purchasing process. Throughout this thesis, two companies in the fashion sector are analyzed, and the marketing strategies employed according to the customer segment they are targeting. Firstly, the characteristics of the company and the environment in which it operates are analyzed, as well as the product it offers. On the other hand, the profile of the target consumer or segment is studied, as well as the marketing strategies used. The study concludes with a comparison between the marketing strategies employed by luxury fashion companies and those offering lowcost fashion, highlighting the key aspects of success to be taken into account in both sub-sectors. To define fashion in one word would be "change". From its beginnings to the present day, fashion has been a reference in all social revolutions, or at least in most of them. The omission of the corset or the appearance of the mini-skirt are clear examples. Fashion, as a noun, is not only a garment or an accessory, but a form of expression, a reflection of how we feel in our daily lives. With it, we can show a part of ourselves. In general, it is a way of communicating with the outside world. That is why fashion and marketing have a unique synergy. The new ways of communicating and reaching the end consumer have been oriented towards the internet and social media. This has given way to a much more digitalised generation in which companies and clothing brands must renew themselves in order not to become obsolete. In this step, marketing has a highly important role to play, in order to know the needs of the consu, [CA] El present treball de final de carrera tracta de realitzar una anàlisi comparativa de les estratègies de màrqueting que utilitzen les empreses de moda per a captar al seu públic objectiu. Tant en el món de la moda com en la societat en si, el consumidor pot segmentar-se en diferents nivells, depenent de factors com l'estatus social, polític, econòmic i cultural. Sobre la base d'aqueixa segmentació, els clients presenten diferents necessitats i gustos a l'hora de dur a terme el procés de compra. Al llarg del present treball, s'analitzen dues empreses del sector moda, i les estratègies de màrqueting emprades en funció del segment de clients a les quals van dirigides. Per a això, en primer lloc, s'analitzen les característiques de l'empresa i de l'entorn en el qual opera, així com del producte que ofereix. A continuació, s'estudia el perfil del consumidor objectiu o segment al qual es dirigeix i les estratègies de màrqueting que utilitzen. El treball conclou amb una comparativa entre les estratègies de màrqueting emprades per part d'empreses de moda de luxe enfront d'aquelles que ofereixen moda *low *cost, ressaltant aquells aspectes clau d'èxit a tindre en compte en tots dos subsectors. Per a definir la moda en una sola paraula podria ser “canvi”. Des dels seus inicis fins a l'actualitat, la moda ha sigut un referent en totes les revolucions socials, o almenys en la majoria d'elles. L'omissió de la cotilla o l'aparició de la minifaldilla, són un clar exemple. La moda, com a substantiu, no sols és una peça de vestir o un accessori, sinó és una forma d'expressió, un reflex de com ens sentim el nostre dia a dia. Amb ella, podem donar a conéixer una part de nosaltres. En general, és una manera de comunicar-nos amb l'exterior. És per això, que la moda i el màrqueting té una sinergia singular. Les noves maneres de comunicar i arribar al consumidor final s'han orientat cap a la internet i cap als mitjans socials. El que ha donat pas a una generació molt més digitalitzad

[ES] El presente trabajo de final de carrera trata de realizar un análisis comparativo de las estrategias de marketing que utilizan las empresas de moda para captar a su público objetivo. Tanto en el mundo de la moda como en la sociedad en sí, el consumidor puede segmentarse en diferentes niveles, dependiendo de factores como el estatus social, político, económico y cultural. En base a esa segmentación, los clientes presentan diferentes necesidades y gustos a la hora de llevar a cabo el proceso de compra. A lo largo del presente trabajo, se analizan dos empresas del sector moda, y las estrategias de marketing empleadas en función del segmento de clientes a las que van dirigidas. Para ello, en primer lugar, se analizan las características de la empresa y del entorno en el que opera, así como del producto que ofrece. A continuación, se estudia el perfil del consumidor objetivo o segmento al que se dirige y las estrategias de marketing que utilizan. El trabajo concluye con una comparativa entre las estrategias de marketing empleadas por parte de empresas de moda de lujo frente a aquellas que ofrecen moda low cost, resaltando aquellos aspectos clave de éxito a tener en cuenta en ambos subsectores. Para definir la moda en una sola palabra podría ser “cambio”. Desde sus inicios hasta la actualidad, la moda ha sido un referente en todas las revoluciones sociales, o por lo menos en la mayoría de ellas. La omisión del corsé o la aparición de la minifalda, son un claro ejemplo. La moda, como sustantivo, no solo es una prenda de vestir o un accesorio, sino es una forma de expresión, un reflejo de como nos sentimos nuestro día a día. Con ella, podemos dar a conocer una parte de nosotros. En general, es una forma de comunicarnos con el exterior. Es por ello, que la moda y el marketing tiene una sinergia singular. Las nuevas formas de comunicar y llegar al consumidor final se han orientado hacia el internet y hacia los medios sociales. Lo que ha dado paso a una generación mucho m, [EN] This final thesis is a comparative analysis of the marketing strategies used by fashion companies to attract their target audience. Both in the world of fashion and in society itself, the consumer can be segmented at different levels, depending on factors such as social, political, economic and cultural status. Based on this segmentation, customers have different needs and tastes when it comes to the purchasing process. Throughout this thesis, two companies in the fashion sector are analyzed, and the marketing strategies employed according to the customer segment they are targeting. Firstly, the characteristics of the company and the environment in which it operates are analyzed, as well as the product it offers. On the other hand, the profile of the target consumer or segment is studied, as well as the marketing strategies used. The study concludes with a comparison between the marketing strategies employed by luxury fashion companies and those offering lowcost fashion, highlighting the key aspects of success to be taken into account in both sub-sectors. To define fashion in one word would be "change". From its beginnings to the present day, fashion has been a reference in all social revolutions, or at least in most of them. The omission of the corset or the appearance of the mini-skirt are clear examples. Fashion, as a noun, is not only a garment or an accessory, but a form of expression, a reflection of how we feel in our daily lives. With it, we can show a part of ourselves. In general, it is a way of communicating with the outside world. That is why fashion and marketing have a unique synergy. The new ways of communicating and reaching the end consumer have been oriented towards the internet and social media. This has given way to a much more digitalised generation in which companies and clothing brands must renew themselves in order not to become obsolete. In this step, marketing has a highly important role to play, in order to know the needs of the consu, [CA] El present treball de final de carrera tracta de realitzar una anàlisi comparativa de les estratègies de màrqueting que utilitzen les empreses de moda per a captar al seu públic objectiu. Tant en el món de la moda com en la societat en si, el consumidor pot segmentar-se en diferents nivells, depenent de factors com l'estatus social, polític, econòmic i cultural. Sobre la base d'aqueixa segmentació, els clients presenten diferents necessitats i gustos a l'hora de dur a terme el procés de compra. Al llarg del present treball, s'analitzen dues empreses del sector moda, i les estratègies de màrqueting emprades en funció del segment de clients a les quals van dirigides. Per a això, en primer lloc, s'analitzen les característiques de l'empresa i de l'entorn en el qual opera, així com del producte que ofereix. A continuació, s'estudia el perfil del consumidor objectiu o segment al qual es dirigeix i les estratègies de màrqueting que utilitzen. El treball conclou amb una comparativa entre les estratègies de màrqueting emprades per part d'empreses de moda de luxe enfront d'aquelles que ofereixen moda *low *cost, ressaltant aquells aspectes clau d'èxit a tindre en compte en tots dos subsectors. Per a definir la moda en una sola paraula podria ser “canvi”. Des dels seus inicis fins a l'actualitat, la moda ha sigut un referent en totes les revolucions socials, o almenys en la majoria d'elles. L'omissió de la cotilla o l'aparició de la minifaldilla, són un clar exemple. La moda, com a substantiu, no sols és una peça de vestir o un accessori, sinó és una forma d'expressió, un reflex de com ens sentim el nostre dia a dia. Amb ella, podem donar a conéixer una part de nosaltres. En general, és una manera de comunicar-nos amb l'exterior. És per això, que la moda i el màrqueting té una sinergia singular. Les noves maneres de comunicar i arribar al consumidor final s'han orientat cap a la internet i cap als mitjans socials. El que ha donat pas a una generació molt més digitalitzad