How have Gucci and Louis Vuitton employed the Art Infusion theory in their marketing practices (2:1) by Jennifer Leigh

How have Gucci and Louis Vuitton employed the Art Infusion theory in their marketing practices to enhance their brand perception?

Jennifer Leigh Shipley

200970748

Submitted in accordance with the requirements for the degree of Bachelor of Arts in Fashion Marketing

The University of Leeds

School of Design

March 2019

Supervisor: Dr Muriel Rigout

Date of submission: 14th March 2019

Word count: 11,987

Table of Contents

ABSTRACT

INTRODUCTION

Research Aims

Research Question

Research Objective

LITERATURE REVIEW

The Art Infusion Eï¬&#x20AC;ect

Renown art versus not well recognised artwork and its relation to luxury consumption

Distinguished Consumers

Limitations in the literature

METHODOLOGY

Case Study

Frame work and Procedure: Yin (1994)

Selection of Artistic Collaborations and Artistic Institutions

RESULTS

Case Study 1: Gucci

Gucci x Ignasi Monreal collaboration

Gucci Garden Palazzo della Mercanzia

Case Study 2: Louis Vuitton

Louis Vuitton x Jake and Dinos Chapman collaboration

The Fondation Louis Vuitton for Contemporary Art and Cultural Spaces

DICUSSION

Comparison: Gucci and Louis Vuitton

CONCLUSION

Limitations Of This Research

Research Implications

APPENDIX

BIBLIOGRAPHIES

REFERENCES

IMAGE REFERENCES

“Making money is art and working is art and good business is the best art”.

Andy Warhol

(Kenyon, 2018).  3

Abstract This research endeavours to investigate the importance of visual art on the stature of luxury brands: examining ‘how’ visual art intensifies consumer attitudes towards the prestigious value of Gucci and Louis Vuitton. The research explores the eﬀect of the ‘Art Infusion’ theory and how art has become a strategic marketing tool for luxury brands. The research will examine how visual art is used as a tool for marketing communication and how it can achieve significant competitive advantage for luxury brands. Also, how it can help to sustain value and increase sales in experiential marketing strategies. A comparison between Gucci and Louis Vuitton will analyse how both brands have become contemporary art institutions, via consistently ingraining art into their marketing practices. Specific methods are used to achieve authenticity by combining contemporary art and digital artistry on their luxury products. The blending of art and luxury fashion is investigated with reference to

how art creates value for luxury corporations. That

influences product ranges, artistic campaigns and institutions. The creative and commercial perspective of this phenomenon is examined. In recent years, many luxury brands feature visual artwork or references to art in their advertising campaigns. During 2015, promotional campaign Gucci Gram invited “emerging artists to create artworks that paired Gucci products with images inspired by René Magritte, Francesco Hayez, and Grant Wood’s most recognisable paintings” (DigitalGucci.com, 2015). More recently in 2018, Gucci released an advertising campaign named Gucci Hallucination which featured a world within classical paintings by John Everett Millais (Ophelia 1852) (gucci.com, 2018). Louis Vuitton used a similar technique, collaborating with French artist Jacques Henri Lartigue who designed an Art Nouveau piece of the Eiﬀel Tower to connote Louis Vuitton's Parisian heritage (LouisVuitton.com, 2018). These examples highlight the importance of combining artwork with their luxury products in order to create positive notions around their brand: these examples will be analysed throughout.

Keywords

Visual Art . Luxury Brand . Stature . Prestigious value. Art Infusion theory.

Contemporary. Marketing. Gucci. Louis Vuitton. Authenticity . Advertising. Classical Art. Digital Artistry. Brand Perception. Art Nouveau.

Introduction In a digital age of algorithms and the repetitive scrolling of monotonous newsfeeds, in the pursuit of modernity and self-gratification, the importance of art has been neglected. The Italian luxury brand Gucci has reminded us of the excellence of art practices. Under a new creative vision driven by Alessandro Michele, the creative director of Gucci, has pioneered an artistic movement in the way luxury fashion is communicated. This artistic approach has been injected into Gucci’s philosophy, making the brand appear more tangible with its direct reference to famous artistic periods, surrealistic themes and cocreation with modern prodigies. All these elements are evident in the eclecticism of its communication strategies and psychical collections. A new perception of luxury is evident in the way in which brand designers are now seen as art directors with the power to use any creative discipline in their vision for luxury (Dion and Arnould, 2011). Luxury brands such as Chanel, Gucci and Louis Vuitton, dedicate specific sections of their website to artistic creations, collaborations and inventive product ranges. Numerous luxury brands also utilise past masterpieces from famous artists to promote their products, this was evident by Dior in 2013, when they created a campaign based on French impressionist Manet (Pion and Guido, 2017). Art has the ability to increase consumer favour: especially when art is displayed on luxury products or is in partnership with luxury brands, whether that be an advertising campaign, promotional strategy, exhibition or in a retail setting (Huettl and Gierl, 2012).

The luxury goods market is growing rapidly, which has generated interest amongst practitioners and academics. The overall market of personal luxury goods reached €224 billion in 2014, three times its size since 1994 (Bain and Company, 2015). The word ‘luxury’ derives from the Latin word ‘luxus' which represented ‘excess’ during this time period (Chevalier and Mazzalovo, 2008). The term ‘luxury’ was used at the beginning of 1607, to describe a life of refinement and elegance: now ‘luxury’ connotes sophistication and is attached to objects to depict “unique value or high cost, such as an artwork highly decorated with expensive and beautiful materials” (Chevalier and Mazzalovo, 2008).

Often the notions of luxury are represented inconsistently in literature, often depicted as, ‘premium’, ‘fashion’ and ‘high-living’. Although there is no specific definition for what a luxury brand is, many academics and studies have argued that similar characteristics define the meaning of luxury. Luxury is usually defined under the umbrella of ‘exclusivity’ (Chadha and Husband, 2007). A high level of “uniqueness, originality, creative imagination and innovative design” are often associated with notions of luxury brands (Miller and Mills, 2012). Godey et al., (2012) perceived luxury brands’ as “common denominators of beauty, rarity, quality, price, and an inspirational brand endorsing the product”. Dion and Arnould (2011) connote luxury as a “rarity and scarcity, aesthetic and technical, superiority, excellence, distinction and singularity, authenticity, which is often associated with a charismatic persona such as the brand visionary, usually the creative director. Additionally, Dion and Arnould (2011) suggested that luxury is a multifaceted concept shown in the table below.

Figure 1.1 - Luxury brand construct (Dion and Arnould, 2011).

Nevertheless, we need to ask the question what determines the diﬀerence between a ‘luxury brand and an ‘non luxury brand’? Many researchers in this field have attempted to conceptualise what inspires consumers to perceive luxury and what makes them attach particular notions of luxury to a product or experience (Wiedmann et al., 2007). These questions have lead marketeers to study the driving forces behind consumers perceptions of luxury and decision making when purchasing luxury items (Vickers and Renand, 2003). Most academics have referred to the multifaceted luxury brand construct to understand what makes luxury commodities and consumption so enticing.

Luxury brands, especially those with a global presence, should take into consideration all types of market dynamics that contradict the perception of ‘exclusivity’ (Codignola, 2016). In emerging markets such as East Asia, consumers consider their luxury commodities to show social status, placing them higher in the social hierarchy. These products help them gain self-esteem and showcase their success to their peers and themselves (Chadah and Husband, 2007).

Luxury has always had connotations of superiority over the ordinary,

often linked to quality craftsmanship,

however, contemporary trends are changing the

face of luxury into experience-based luxury. This new phenomenon has altered consumers buying behaviour: they now demand “something intangible, more meaningful and genuine, something that goes beyond the luxury product and is truly experiential” (Codignola, 2016). In pursuit of meeting these new challenges, luxury brands have begun to see the potential in visual art and have found strategic opportunities in the arts: this can be seen in immersive retail that aims to provide a fun, engaging and theatrical experience for its consumer to remember (Codignola, 2016). Luxury brands are focused on creating a narrative around their brand, artistic practices helps thread the brand story together: creating an authentic image for its consumers. The genetic coding of art conveys a semblance of culture, exclusivity, luxury and prestigious value (Adam, 2014). Art stimulates our imagination and thirst for creativity which is a simple yet rewarding and satisfying experience in itself (Eisner, 2002). Both art and luxury brands are global players which raises the question, can one help the other in approaching new markets and reaching out to new consumers?

Art symbolises the taste of its owner, through its high prices and exclusivity: just as luxury product symbolises taste and value. This overlap of two complementary worlds is apparent within a luxury brands strategies. For example, many art exhibitions would not have been possible without the funding of luxury corporations, who oﬀer to financially aid 7

well-known artists in furtherance of enhancing their symbolic value and aﬄuent status (Codignola, 2016). The partnership between luxury fashion and contemporary art is tenacious and predicted to rise in economic value. Art price (2018) reported that “In Asia, Russia and the Middle-East, the purchase of artworks has acquired an enormous cultural, economic and lifestyle importance. The decade’s new millionaires, hopping from art fairs to auction sales all over the world over, have transformed the auction market into an increasingly high-end market” (Anon, 2018).

Art and luxury goods are valued on the

scarcity of supply: particularly the art market which is driven by supply, limited art equates to high quality and prices. Consequently, only buyers with a certain status and highdisposable income can aﬀord these rare commodities. The value of art and this type of consumer is of interest to luxury brands which have engaged with contemporary art projects in order to attract attention from this market sector. This theory has been executed in luxury brand strategies such as The Fondation where Louis Vuitton has associated with artists like Daniel Buren, Olafur Eliasson and Yayoi Kusama. Similarly, Prada established the Fondazione Prada a cultural institution where ideas are freely exchanged between artists, intellectuals and the public. Chevalier and Mazzavolo (2011) state that:

“An art collaboration will attract the attention of the press and the public, invigorating the brand’s creativity, giving the brand a renewed pertinence since it will become associated with celebrities of the contemporary art world, providing proof of the aesthetic sensibility of the brand”

An observation of art and its positive value, when united with luxury brands, will be discussed: alongside art being utilised as a strategic marketing tool in the world of luxury fashion to further enhance the perception of aﬄuence. Followed by how eﬀective art is as a marketing tool, which is supported by factual evidence and data in a case study on Gucci and Louis Vuitton . The objectives in this chapter are as follows: Research aims, question and objectives, in company with a coherent literature review which analyses the importance of the art infusion theory in accordance to luxury brands and their consumers. Both Gucci and Louis Vuitton will be compared and examined in a discussion, concluded by results that demonstrate ‘how’ the Art infusion theory is used to enhance Gucci and Louis Vuittons brand perception. These results will be extracted from the discussion. The appendix will visually and informatively highlight all the artistic collaborations that Gucci and Louis Vuitton have executed in pursuit of enhancing their prestige.

Research Aims

The purpose of this research is to determine the importance of the ‘Art Infusion’ theory in luxury brand marketing, with specific focus on Gucci and Louis Vuitton. The ‘Art Infusion’ theory is examined and how it has enhanced the brand perception of Gucci and Louis Vuitton.

Research Question How have Gucci and Louis Vuitton employed the Art Infusion theory in their marketing practices to enhance their brand perception?

Research Objectives The primary and secondary research in this dissertation aims to examine the eﬀect of art as a strategic luxury marketing tool in Gucci’s and Louis Vuitton’s marketing strategies. The case study aims to compare both Gucci and Louis Vuittons approach to employing the Art Infusion theory in their luxury marketing practices and how artistic collaborations and institutes help to enhance their brand perception. Both luxury brands will be examined in the discussion, depicting the diﬀerent approaches implied in the way they utilise visual art in their product ranges, marketing campaigns and in a retail setting. Although there is one main research question to this dissertation, the present investigation can be concluded in these following objectives:

• The first objective is to understand how both Gucci and Louis Vuitton use the Art Infusion theory to achieve a higher level of perceived prestige, then other luxury brands who don’t use visual art in the marketing strategies product ranges, advertising campaigns and institutions.

• The second objective is to understand ‘how’ an artistic institution aﬀects consumers’ luxury brand perception and purchase intentions.

Literature Review The Art Infusion Eﬀect

Art has had the ability to stimulate interest throughout time for both critics and consumers alike. It is expected that artistic imagery has been used and will continue to be used to promote products in advertising (Hetsroni and Tukachinsky, 2005). The ‘Art Infusion' effect is associated with a spillover effect which is transferred on to a product, thereby increasing the excellence and prestige of that product (Lee et al., 2015). “Art not only confers specialness to luxury products but has the potentiality to increase favour for such products” (Pino and Guido, 2017). Art has become integrated into products and sometimes art is made purely for marketing purposes: In furtherance of influencing the consumers' perception on the status of the product. However, there is little research to back up a scientific basis that visual art makes a significant difference in marketing strategies. With this research gap and the global art market equating to “$23.5 billion”: this offers huge potential in marketing strategies and collaborations with other industries (Kusin and Company, 2002).

Hagtvedt and Patrick (2008) observed these ideas and

researched the eﬀect and potential of using art in a marketing setting, the theory they concluded is known as the Art Infusion theory. This theory demonstrates that art creates positive notions around the product. “through a content-independent spillover of the luxury perception of packing, advertising and product design (Lee et al., 2014). Art has a strong bond with exclusivity, luxury and sophistication: these attributes are naturally projected onto a commodity that has art physically on it or a product that is associated with it either mentally or emotionally (Hoﬀman, 2002).

Hagtevedt and Patrick (2008) investigated the marvel of the ‘Art Infusion’ theory, by which art acts as an influential factor on the purchasing decisions. Lee et al., (2014) summarised that

incorporating artwork on to luxury brand items is an eﬀective way to enhance

consumers’ perceived prestige of the luxury brand in question and that a ‘spillover eﬀect’ is still present, whereby positive characteristics of the artwork are transferred onto the luxury product: previously discovered by Hagtvedt and Patrick (2008). Kaferer (2014) revealed how leading luxury brands are using the process of ‘artification’, applying art to a product in order to make it appear more powerful and of higher value in terms of status and craftsmanship. Art provides the “necessary transcendence to overcome the pitfalls created by irresistible growth” in the luxury goods market where mass manufacturing has 10

devalued the craftsmanship that luxury commodities once had (Kaferer, 2014). Similarly, Masè and Cedrola (2017) concluded that art is a successful strategic tool: communicating prestige and exclusivity through an art based strategy known as ‘artification’. Codignola (2016) found that blending luxury fashion brands with the arts, posed as a strategy for value creation (Codignola, 2016). Kim et al., (2012) concluded that "luxury perception diﬀers depending on the presence of art” and luxury product lines with art incorporated into the design have a much more positive result: consumers stated this was their most favourable line when questioned. The research data supports the presence of art in enhancing luxury perceptions of the brand, product line and retail environment. Consumer data suggested that the products which had art on them seemed “more luxurious though artwork”, therefore contributing to the Art Infusion phenomenon (Kim et al., 2012). The study used both well-known art work and also unknown art from up-and-coming artists, the data suggests that product collaborations with well known artists were more successful and the product collection were perceived as “stylish” and “special” (Kim et al., 2012). The study concludes that art is a successful luxury marketing tool in enhancing the luxury perception of the brand: by using this tool a “brand can avoid the eﬀect of a premium price on consumers demand to make them perceive the brand as a luxury” (Kim et al, 2012). (Hagtevedt and Patrick, 2008; Lee et al., 2014; Kaferer, 2014; Masè and Cedrola, 2017; Codignola, 2016; Kim et al., 2012) have all concluded that the process of ‘artification’ or ‘Art Infusion’, elevates a product to appear more luxurious, prestigious and exclusive, thus visual art enhances the overall perceived prestige of a luxury brand and influences consumer buying behaviours.

Renown art versus not well recognised artwork and its relation to luxury consumption

Art has always had the ability to seize the attention of consumers, conveying opulence and perception of rarity (Hagtvedt and Patrick, 2008), once connected with luxury products these products are perceived more exclusive and valuable (Lee et al., 2015). Many luxury brands are noticing the success of applying art in their oﬀerings as it enables them to gain consumer appreciation (Kapferer, 2014).

In general, consumers favour

“iconic artworks over non-iconic ones” (Ippolito, 2007) when this theory is applied to luxury oﬀerings it increases preference for that specific brand. The reasoning behind this is that luxury products alongside art, create a strong symbolism to wealth, social achievements and success

(Grossman and Shapiro, 1988). This will be investigated

further throughout, How Gucci and Louis Vuitton use both well known and not so well 11

known artistic collaborations to enhance the prestigiousness of the brand. Additionally, how artistic institutions using both famous and infamous art have helped to achieve a greater degree of opulence. Pino et al. (2017) suggest through their research that luxury brands increasingly want to be perceived as patrons to the arts, with a focus on using carefully selected art in their advertising campaigns which mirror the taste of their consumers. Through investigations and data collection, it was concluded that recognisable artwork, both in advertising and on a luxury product, “increased the perceived luxuriousness” (Pino et al., 2017; Hagtevdt and Patrick, 2008; Kapferer, 2014; Ippolito, 2007; Grossman and Sharpiro, 1988; Pino et al., 2017) highlight the importance of the type of art chosen by luxury brands in their marketing strategies. The selection of art has to mirror the taste and the desires of the consumer and also distinguish them from others.

Distinguished Consumers

It's an expected phenomenon that brands want their products to imitate the positive connotations that art naturally exudes. Lee et al. (2014) emphasises that art creates prestigious value and can be examine through five elements. (1) Luxury notions are infused onto the product which validates its higher social status to consumers. (2) Art oozes exclusivity, these attributes are transferred on to the product making it appear more unique and appealing to customers. These exclusive properties diﬀerentiate buyers: consumers have a great desire to be individuals and use art in furtherance of distinguishing themselves from others (Vignernon and Johnson, 1999). (3) An impression of sophistication, class and luxury comes from partnering an object with art, consequently strengthening a brands image; giving an impression of quality. (4) Luxury perceptions that surround art help fulfil emotional needs in its consumer, these consumers feel a desire to buy into elitism and class; in order to heighten the feelings of pleasure that these luxury goods give them (Vignernon and Johnson, 1999). (5) Art in combination with branded products help the consumer to reflect aﬄuent stereotypes which enhances their perceived extended self. These consumers enjoy the pleasures that luxury items give them, they believe that luxury will enhance their self-image and status (Vignernon and Johnson, 1999). Therefore, products with artwork on may be recognised as being more prestigious and exclusive than products without any artwork. Consumers value artwork much more when it has been in direct contact with the artist, hence why luxury brands are 12

using artistic collaborations in their business model (Newman and Bloom, 2012). Weidmann et al. (2007) concluded that luxury consumption involves social value which embodies “conspicuousness, prestige values and individual value (including self-identity, hedonic, and materialistic values), functional value (encompassing usability, quality and uniqueness values), and financial value (price)” (Logkizidou, 2016). These needs make consumers purchase luxury products from luxury brands, consequently satisfying the above values. (Lee et al., 2014; Vigneron and Johnson, 1999; Newman and Bloom, 2012; Weidmann et al., 2007; Logkizidou, 2016) demonstrate that consumers are attracted to recognisable artwork because they believe that this will signal their social status, through transferable characteristics of prestige that art exudes.

Additional papers have investigated how art can be used in a production setting. Palmitessa (2012) research summarised that partnering art and commercial production generates a “beneficial circle for the brand” constructing a desire and admiration that influences the consumer to purchase more luxury commodities. Dion and Arnould (2011) examine the importance of the creative director as an artistic tool for a luxury brand. Arguing that the role of a creative director oﬀers “an aesthetic brand ideology”, adding great value to a luxury brand through the

leaders vision. The paper then goes on to

examine how the iconic ‘Art Infusion’ theory is utilised in luxury retail strategies: with specific focus on museum and gallery-like settings.

To summaries these findings I propose the following hypothesis.

Hypothesis 1: Luxury commodities with artwork included will have a higher level of perceived prestige by consumers, than luxury products without artwork include.

Hypothesis 2: Artistic institutions, associated with a luxury brand, positively aﬀect consumers’ purchasing intentions towards the luxury brand in question.

Limitations in the literature review

Hagtvedt and Patrick (2008) have referred to a “special contagion effect” known as Art Infusion and have successfully examined “the effect of the presence of art on consumers’ perceptions of luxury” and “evaluations in relation to a product on display” (Logkizidou, 2016). However, there is no reference to specific artworks or artists. Contemporary research on the subject could attempt to investigate the Art Infusion effect in greater detail. Specific examples of artworks and artists could be analysed regarding whether they have been successful in conveying luxury and prestige.

A measured response of how eﬀective this approach is would be beneficial. Data collected from a more targeted consumer market with knowledge and a keen interest in art would be valuable. Further research would add to the work of the Art Infusion theory by Hagtvedt and Patrick (2018). Future research could change the way we market luxury products, using art as a strategic and creative tool to enhance luxury brands and consumer perceptions. As the approaches to marketing are increasingly

becoming

centred around experiences, there is vast amount of opportunity for luxury and art to work harmoniously together to create something truly memorable and meaningful for the consumer.

Methodology

Case Study

A case study is a “holistic inquiry that investigates a contemporary phenomenon within its natural setting” (Harling, 2012).

The phenomenon can be either a program, activity,

problem, person or an event. The holistic inquiry is the “collection of in-depth and detailed data that are rich in content”, this content includes many sources of information such as documents, reports, participant and direct observations, interviews, psychical artefacts and visual and audio materials (Harling, 2012). To summarise, the phenomenon, natural setting and the holistic inquiry in addition to a multitude of sources of information help to create an in-depth picture of the subject in question. Case studies are an excellent research source in order to examine and investigate topics and methodologies. The case study in question is, How have the approaches of Gucci and Louis Vuitton in employing Art Infusion in their marketing impacted their brand perception? This study can be determined through a detailed examination of the use of the art infusion theory in Gucci and Louis Vuitton's luxury marketing strategies and brand perception.

Since the research is based on two luxury fashion brands (Gucci and Louis Vuitton), a multiple-case-study methodology was the appropriate choice. Both Gucci and Louis Vuitton use art on their products to convey prestige and to make them appear more exclusive. However, both brands have different approaches when marketing luxury in their communication strategies which is particularly prevalent in their marketing campaigns. These differences are interesting research areas in how the use of art infusion has created differences in brand perceptions for both brands.

Multiple case studies enable the researcher to interpret and contrast the diﬀerences and similarities between both cases (Gustafsson, 2017, p.3). This case study method “explores a real-life contemporary bounded system (a case) or multiple bounded systems (cases) over time, through detailed, in-depth data collection involving multiple sources of information” (Creswell, 2013, p. 97). Multiple case studies are more convincing because of the reliability and strength of the data compared to a single case study (Baxter and 15

Jack, 2008). A multiple case study will highlight the diﬀerences between how Gucci and Louis Vuitton use art to create luxury products that add to their prestigious brand image.

A variety of approaches have been used for case studies, the most common include, “explanatory, exploratory and descriptive” (Tellis, 1997, p.6). Robert K. Yin concluded three conditions that are found in every research objective: stating “each strategy has peculiar advantages and disadvantages, depending upon three conditions: (a) the type of research question, (b) the control an investigator has over actual behavioural events, and (c) the focus on contemporary as opposed to historical phenomena” (Yin, 1994, p.1). In general, case studies work on a preferred strategy of questioning “why” and “how” when examining a phenomenon (Yin, 1994, p.1). This specific research poses “why” and “how” questions, it would be the best approach to use an explanatory case study, examined by “histories and experiments as the preferred research strategies” (Yin, 2009, p.9).

Yin (1994) provides the best approach to the methodology because his theory is focused on the analysis of ‘how’ and ‘why’: this strategy is beneficial for the research question which is focused on ‘how’ have Gucci and Louis Vuitton employed the Art Infusion theory in their marketing to enhance their brand perception? The academic resources that aid the research were found first by a key word search (provided in the abstract), followed by an academic data base, ‘Research gate’. Research gate provided access to many academic resources and data that allowed me to build up a strong case around the use of the ‘Art Infusion theory’. This secondary research lead me to a wide variety of literature, academic interpretations and critical analysis on the importance of the ‘Art Infusion theory’ and how it is used in a marketing, business and perspective.

Both brands websites provided the necessary primary research need to answer the question in hand. These sources are in the form of articles, works of art, photographs, drawings, advertising campaigns, artefacts such as clothing, interiors and furniture. Public opinion, personal diaries and video recordings documenting fashion shows, businesses and art collaborations, artistic institutions, galleries and museums associated with the brand can also be seen on their website. Online magazines and articles provided documentation of how Gucci and Louis Vuitton have engaged with art, mainly through their collaborations with artists.

Most sources were publicly accessible.

For specific articles, contact with the main

authors for permission was necessary. For example, Gianluigi Guido, from the department of Management and Economics at the University of Salento, guided me to relevant material on the ‘Art Infusion theory’. Prof. Guido was one of the main researchers responsible for Pino et al. (2017) paper on ‘Luxury advertising and recognisable artworks New insights on the “art infusion” eﬀect’. The paper found that art incorporated in advertisements significantly enhanced the product and brand . Findings suggested that “consumers with a higher desire to signal status exhibit greater purchasing intention in response to recognisable artworks” (Pino et al., 2017). Various resources have been utilised to support the multiple-case study. The same resources were used to critically analyse how Art Infusion has been incorporated into Gucci and Louis Vuittons marketing (see research frame work). The research found many academic papers supporting the Art Infusion theory as an eﬀective tool in luxury marketing.

The Framework

This framework is vital to the understanding of how the ‘Art Infusion’ theory impacts luxury brands. An investigation and comparison will be conducted on how Gucci and Louis Vuitton use the Art Infusion eﬀect in their marketing strategies to enhance brand perception. Multiple-cases studies will examine diﬀerent approaches to this theory and whether or not it successfully adds prestige and opulence to the brand. through artistic. This will be critically analysed through primary and secondary sources, such as the company website, academic papers, magazine articles, campaigns, product ranges and artistic foundations. Both Gucci and Louis Vuitton are established global brands. There are many sources and data to be analysed on this subject, providing “multiple sources of evidence” to reinforce the research question (Yin, 2009, p.2).

Framework and Procedure

Figure 1.2 - Research framework.

Selection of Artistic Collaborations and Institutions

A selection of artistic collaborations from both Gucci and Louis Vuitton will be analysed in the second half of the case study. Additionally, how both brands use creative institutions to enhance their brand perception will be examined.

The collaborations selected are

(Gucci x Ignasi Monreal - The flight of Icarus) and (Louis Vuitton x Jake and Dinos Chapman - Spring/Summer 2017 menswear collection). Both brands present their artistic collaborations using entirely different approaches. To ensure this paper is unbiased , these two collaborations were chosen carefully for this research paper as both institutions use an art based strategy to merge luxury with the art world , this strategy is known as “artification” which exists in both brands business models. Both Gucci and Louis Vuitton “work to communicate exclusivity and prestige through strategic arts sponsorships, philanthropic activities, and limited collections in collaboration with artists” (Masè and Cedrola, 2017). Following this strategy, an analysis and comparison will be made on both luxury brands art institutions. The examination will be on (Gucci Garden - founded by creative director Alessandro Michele) and (The Fondation Louis Vuitton - promoting and hosting contemporary art exhibitions to help support Parisian artists). The Art Infusion effect is applied by both brands in furtherance of enhancing prestigious notions around their brand image. A comparison will be made between how Gucci and Louis Vuitton utilise this theory in different and similar ways to validate luxury and quality around the brand and its product range.

Results Case Study 1: Gucci

Gucci’s art based strategy to convey exclusivity

The luxury market has moved away from a once handcrafted industry that provided high quality unique products. Globalisation, mass production and increased demand have changed the face of the luxury market. Consumers are beginning to feel that luxury products have lost their elitist appeal (Masè and Cedrola, 2017). Alessandro Michele, the creative prodigy behind Gucci, is positioning the brand at the forefront of the industry by coupling contemporary art and luxury. He is reinventing the notions of Gucci by conveying that luxury fashion is about the freedom of expression: expression through the arts (Naiman, 2018). Gucci launched an art based strategy in order to reinforce the brands aura and reach emerging markets such as East Asia. Consumers of these markets appreciate craftsmanship and value art. This art based strategy allows artistic collaborations with foreign artists which also help them enter into new markets. This approach has worked particularly well in Japan (Kapferer, 2014). According to Kapferer (2014), the ‘Artification’ strategy can create value in four vital ways: (1) A continuous contemporary brand image is produced by a brand thats proud of its heritage, (2) Conveying a brand as an “advanced cultural agent” rather than a commercial brand, (3) “Reducing the obligation of rarity in the era of reproducible works of art” (Benjamin, 2010). (4) Most importantly developing a barrier to entry in opposition to potentially threatening newcomers in the form of creative brands run by up-and-coming young artistic talent (Kapferer, 2014).

Gucci Website

Gucci employs ‘Artification’ on their company website where artistic disciplines are engrained into their content. There are subsections under ‘stories’ specifically dedicated to the arts. Artistic collaborations can be seen on advertising campaigns, inspirations and codes, people and events, accessories, videos and Gucci equilibrium and places. These areas of the website solidify Gucci’s ‘cool factor’ through it numerous adventurous collaborations. The use of ‘Artification’ in their content strategy ensures that its 20

consumers feel native to each platform. The

particular style of art used makes Gucci

instantly recognisable (Ong, 2017).

Gucci experienced a revamp in terms of style, imagery, and embraced a more tech-savvy approach towards their luxury marketing. Ignasi Monreal aided Michele with his artistic vision for the brand (Ong, 2017). Together they created digital drawings with movement showcasing Gucci products in fantasy worlds. The use of art as an experience has successfully captured their millennial audience, who care for experiences over buying commodities. The Art Infusion is present on the Gucci webpage. They combine editorial content and e-commerce with interactive artwork and collaborations with influential contemporary artists. Visual arts allows Gucci to access new markets and be a part of interesting partnerships with artists and corporations. The ‘Artolution’ partnership is a part of Gucci’s chime for change movement which aims to bring the arts to vulnerable communities around the world to provide inclusion and healing (gucci.com, 2019). This is achieved through Gucci’s Art Walls which are located in Shanghai, Hong Kong, Milan and New York. These walls are designed by refugee children and their families who image a brighter world through their artistic imagination. The collaboration allows Gucci to be viewed as a brand of empowerment that embodies “social justice through self-expression and gender equality” (gucci.com, 2019). These walls are also interactive and can be scanned on the Gucci App where more details can be found on what they represent (gucci.com, 2019).

Figure 1.3 - Gucci website. Figure 1.4 - Artolution Gucci Walls.

The Art of communication

The Gucci app allows consumers to communicate with the brand through an art-centric platform. Consumers can personalise their smartphone with Gucci artwork from past and present collaborations. They can also download their favourite artwork and set it as their home screen background, enabling them to feel more connected to the brand as the artwork acts as a constant reminder of Gucci. “The guide is padded out with artwork by frequent Gucci collaborator and Spanish artist Ignasi Monreal, making up an interactive ‘Book of Gifts’ with shop-able GIFs” and virtual reality experiences (Milnes, 2017). Other 22

features include the photo booth where you can use Gucci-branded art stickers, frames and emojis when capturing pictures using the application. The photo can then be directly shared on the consumers social media platforms. The Gucci app constantly keeps its consumer engaged with artistic content and interactive experiences: “Gucci’s mobile traﬃc and sales are seeing double-digit growth and online sales including desktop and mobile saw triple-digit growth” according to the Kering Group (Milnes, 2017). Gucci continues to demonstrate how a luxury corporation can be relevant to its consumer, with a revenue increase of 43 per cent in their first quarter with “millennials accounting for 55 per cent of all Gucci sales” (Milnes, 2017). Gucci’s innovative, creative and current strategy is using the mobile app to guide in direct e-commerce sales whilst influencing their consumers to visit Gucci stores (Milnes, 2017).

Figure 1.5 - Gucci App platform.

Gucci x Ignasi Monreal collaboration Gucci uses a new visual language to communicate its luxury products. The collaboration with Ignasi Monreal explores Greek mythology, in particular the flight of Icarus. Stephanie McCarter, an Associate Professor of Classical Languages, helped Ignasi to explore the literature behind the story of Icarus and other tales in Greek mythology (gucci.com, 2019). Icarus is a young boy who flew too high and close to the sun, his waxen wings couldn’t stand the power of the sun’s glare so he descends into the ocean. His persona symbolises what can go drastically wrong when we fail to understand our limits. “It is also a story of artistic defiance. Icarus’s father Daedalus is the consummate craftsman, whose art sets him at odds with Minos, the tyrannical king of Crete” (gucci.com, 2019). The 2017 Gift Catalogue illustrated by Ignasi Monreal, is a perfect representation of life being a gift and maintaining the balance is key. Icarus’s wings depict life and the power of choice. The sun and ocean connote two extremes, overindulgence and denying yourself the luxuries of life. To fly in-between is the answer to a balanced life. “Defiance, art, and flight can be dangerous for human beings. But without them, we would never even leave the ground” (gucci.com, 2019). Although the product range is limited, Ignasi Monreal executes his dreamy aesthetic on to leather accessories and shoes. Merging a modern interpretation of Greek mythology with Gucci’s luxury products, helps to transfer authenticity and timeless appeal. The application of ‘Art Infusion’ makes the product more desirable, exclusive and increases the price. In conclusion, from a marketing perspective this strategy is eﬀective and provides advantages to Gucci’s luxury commodities.

The 2017 Gucci Gift collection is digitally interactive which creates a new luxury shopping experience. Each product is digitally painted and moves when clicked on. Gucci’s luxury commodities appear more valuable when paired with interactive artwork. This theory is known as the 'spillover eﬀect’. Hagtevedt and Patrick (2008) examined “the eﬀect of the presence of art on consumers’ perceptions of luxury” (see literature review). The product range embodies a harmonious mix of past and present. Each product has a historic meaning and a new contemporary aesthetic. The range is only available for a limited amount of time and consisting of a bee star leather pouch - €740; ace embroidered sneaker - €650; Princetown glitter slipper - €705 and bee web print wool stole - €370. As evident here the ‘Art Infusion’ strategy has increased the price of this product range compared to luxury products without any art references.

Figure 1.6 - 2017 Gift Catalogue product range, illustrated by Ignasi Monreal.

Alongside, Gucci’s website, Instagram is used to promote Gucci’s latest campaigns, product ranges and collaborations. The ‘Art Infusion’ theory is prevalent on the Gucci Instagram page through artistic, innovative and engaging visuals and content which can creates value and prestigious notions around the brand. Mercury, the messenger of the gods was digitally illustrated by Ignasi Monreal. He drew Mercury wearing Gucci Princetown glitter slippers riding a famous Italian motorbike. This modern interpretation of Mercury as a biker, uses his mirrors on the bike as a metaphor for wings. The digital painting, featured on the Gucci website, visually represents the

Gucci aesthetic. Bold

contrasting colours and the artistic and imaginative style of Ignasi Monreal help to promote the product range. Another example is, the Titan Prometheus story displaying digitally drawn Gucci sliders. Mercury stole the fire from the gods and gave it to mankind. This fascinating story has incorporated a Gucci footwear in a way that insinuates that the sliders were worn by Titan Prometheus. Visual storytelling is a critical component to help add value to Gucci. Strategic and visually stimulating storytelling helps to increase conversion and engagement (Rawal, 2018). This has deeply resonated with the Millennial consumer because they remember the emotional feelings connected to a product. This artfully exquisite approach to storytelling has brought an enchanted world of luxury fashion to its millennial market (Rawal, 2018).

Gucci utilises Instagram as a hyper-focused extension of the website. Here we see visuals that summaries all the brands' artistic collaborations and public relations activities and celebrities who endorse the brand such as Jared Lato, Saoirse Ronan, Ni Ni and Lana Del Ray (gucci.com, 2019). The brands unique and daring aesthetic is mirrored by their Instagram narrative which directly impacts their core consumer market, the Millennials. Millennials are known for following celebrities and being influenced by their lifestyle. Gucci features an array of celebrities on their Instagram account such as Elton John, Madonna, Rihanna, Cate Blanchett and many more. Gucci’s Instagram has become a platform to showcase contemporary artists which are central to Michele's vision for the brand. The current statistics stand at “32.7 million followers” with “5563 posts” (Gucci, 2019). For example, the ancient Greek pottery drawn by Ignasi Monreal, seen on the post below, has 159,758 likes and 563 comments. Also, the protagonist for the Gucci Gift campaign by Ignasi Monreal, seen below in the bottom right corner, has 270,536 likes (gucci.com, 2019). These figures show how successful Instagram is at engaging a Millennial market. Gucci is has used Instagram in a very artistic and coherent way. Gucci has used the ‘Art Infusion’ theory on Instagram to show the entire creative process behind 26

Gucci and their artistic collaborations which creates value for product and brand: depicting a high level of creative thinking and craftsmanship. This approach targets their main consumer group, millennials who accounted for 50 percent of Gucci sales in 2018 (Van Elven, 2018). Millennials “drove 85 percent of the sector’s growth last year” in the luxury goods market (Van Elven, 2018). Its important for Gucci to connect with millennials through their native platforms in order to drive sales.

Figure 1.7 - Gucci Instagram.

Gucci Garden Alessandro Michele has opened a “three-storey lifestyle concept” known as the Gucci Garden: situated in Palazzo in the centre of Florence (Street, 2018). Michele has created a cult-like following of Gucci enthusiasts through the “Guccification phenomenon” (Street, 2018). These enthusiasts support his creative vision for the brand (Street, 2018). The Gucci Garden, is an artistic institution that oﬀers a boutique with an exclusive product range. These luxury commodities are specifically designed for the Gucci Garden and only available to purchase at the Palazzo. The “polymath” designer has transformed the historic Palazzo della Mercanzia into a reimagined creative space. The Gucci Garden, consists of a boutique which features exclusive merchandise displayed in a museum-like setting. Gucci Osteria da Massimo Bottura is a restaurant in the Gucci garden. The threeMichelin-star chef Massimo Bottura was selected to manage the restaurant and provide the ultimate fine dining experience (Street, 2018). Gucci are utilising the creative arts to establish a luxury lifestyle around the brand. Their use of museum-like displays “bring the ‘art world’ closer to a concept of a commercial art market” (Becker, 1982; Moulin, 1986). The process of bringing the art world to luxury products, through museum-like displays, helps to positively aﬀect the way consumers purchase (Logkizidou, 2016).

There is evidence to support that museum-like retail settings indicate a high-status store. Logikizidou (2016), concluded in a case study experiment that “95.84% of the participants associated a museological presentation technique with a high-image store environment”. These results support Dion and Arnould (2011) theory that "luxury brands apply a variety of formal mechanisms derived from the world of museums to give luxury products an aura of non–commercial art”. Logkizidou (2016) results indicate that when a brand retail setting is “portrayed in a museum-like display the perceptions of luxury for the luxury brand increase much more than when the brand is portrayed in a nonmuseum-like display”. Additionally, this builds on the ‘Art Infusion’ theory whereby the eﬀect of ‘artification’ on the retail environment helps to increase luxury perceptions. Museum and art gallery settings help a brand to achieve a certain level of status and high-quality. The high-quality characteristics attached to art, and art environments ‘spillover’ onto a brand making them appear more valuable.

Luxury brands that become “hybrid institutions” incorporate many artistic disciplines (Dion and Arnould, 2011; Joy et al., 2014). This technique is eﬀective for the brand, when 28

luxury perceptions increase, consumers feel a lower risk attached to the brand. Thus, consumers are more likely to to purchase product presented in a museum-like display (Logkizidou, 2016). However, this theory depends on how aﬀective the museum-like setting is on the consumer and whether or not artistic aesthetics are of interest to them. The ‘Art Infusion’ eﬀect depends on the consumers ‘taste’, ‘style’ and appreciation of art’.

Figure 1.8 - Gucci Garden in the historic Palazzo della Mercanzia.

‘exposure and

Gucci displays their luxury products in a museum-like setting to create a holistic experience. Visitors can experience the brand as a lifestyle. The whole experience incorporates buying exclusive Gucci products that are only available in the Palazzo della Mercanzia boutique: with an Italian cinema experience and fine dining. The Gucci Garden embodies many types of entertainment. The artistic institution allows Gucci to directly reach their target market and other potential markets. Potential markets could be tourists who come to visit Italy to experience Italian culture. Many tourists are interested in experience the historic Palazzo in Florence. The prestigious building helps to reflect the quality, heritage and craftsmanship that Gucci represents. The Gucci garden allows consumers to experience Gucci in a unique way where the brands' roots began in Florence. This artistic institution positively aﬀects both genders and appeals to a certain type of person, who has an interest in the brand and Italian culture.

The interior of the building has been strategically selected in order to appeal to millennials in particular. The use of contrasting colours and distinctive patterns emulate the aesthetic of Gucci. Gucci successfully diﬀerentiates themselves from their luxury competitors by providing an experiential experience through their artistic insinuation. A museum-like setting enhances the prestigiousness of the brand. The use of artist displays, glass cabinets and manikins, that interact with one another, help to emulate a museum-like feel.

The retail market is extremely competitive. It’s essential for brands to stand out both in the luxury and non-luxury sector. If art isn’t used eﬀectively in a retail space, to meet the needs of their consumer, this could be potentially problematic for Gucci. Art is personal and people react and perceived art in a unique way (Hagtvedt et al., 2008; Joy et al., 2014). Gucci could consider allowing their consumers to choose the type of art they wish to see. This could be within a retail setting and on the products they choose to purchase. Potentially Gucci could explore this in the future, allowing their consumers to make more choices in how they see art when purchasing gucci products. Gucci should think about how they can employ the ‘Art Infusion’ theory with advances in artificial intelligence and technology. For example, we may see art being projected onto luxury retail interiors creating a 3D experience in the future.

Case Study 2: Louis Vuitton

Louis Vuittons art based strategy to convey exclusivity

Louis Vuitton is one of few luxury brands that have introduced an art-based strategy to alleviate the commoditisation of luxury oﬀerings. Through art sponsorships and limited collections with artists, Louis Vuitton's vision of a new luxury is to merge the art-world with luxury fashion.

This strategy is known as the ‘Art Infusion’ theory which allows

brands to communicate prestige and ultimate luxury through artists collaborations (Masè and Cedrola, 2017). Louis Vuitton utilises a de-commoditisation strategy that “enacts virtual rarity tactics, constructing themselves as art to avoid the commoditisation effect” (Kapferer, 2012, p.453). This case study aims to illustrate the evolution of Louis Vuitton and how the brand effectively uses an art based strategy to create notions of elitism and prestige around its luxury offerings and artistic collaborations.

Louis Vuitton and LVMH Group

Louis Vuitton is regarded as one of the most luxurious fashion brands in the world (Interbrand, 2016). The LVMH group (Louis Vuitton Moët Hennessy) was founded in 1987 and is regarded as one of the top three global luxury companies. Louis Vuittons aim is to represent “the most refined qualities of the Western way of life around the world” (LVMH, 2016). The LVMH group “recorded a 10% increase in revenue, reaching € 33.1 billion in the first nine months of 2018” (Hollis, 2018).

Figure 1.9 - LVMH 11% organic revenue growth in the first nine months of 2018 (Hollis, 2018).

The LVMH group and the Louis Vuitton brand support artistic talent and culture with an aim to educate and promote contemporary expressions. Chairman and CEO of LVMH (2016) state that:

“support for the arts and culture figures is at the very heart of our business model, right from the creation of our group, I made it clear that this is a strategic priority for our development. This commitment embodies the values our Houses all share - savoir-faire, excellence and creativity - and anchors them in their artistic, cultural and social environment”.

This artistic implementation, into their business strategy, has helped Louis Vuitton and LVMH gain global sponsorships. These charitable gifts have supported local artists to promote their collections through exhibitions. Louis Vuitton continue to support renown collections at museums and art galleries. Alongside direct donations to young and upand-coming artists (LVMH, 2015). LVMH has joined with Belmond, a luxurious travel connoisseur, to “increase its presence in the ultimate hospitality world” (LVMH, 2018). The group are focused on innovation and potential in the arts. Their aim is to pursue geographic expansion into new markers whilst maintaining global presence in the luxury market (LVMH, 2018).

Figure 2.0 - LVMH Revenue FY 2018 Euro Millions

During the 1990s, Louis Vuitton placed importance on the partnership of business and art (Mase and Cedrola, 2017). Marc Jacobs was the creative director for Louis Vuitton and had a passion for the arts. In particular, pop art and other contemporary movements. Jacobs invited many contemporary artists to co-create with Louis Vuitton both in a retail 32

setting and within their product ranges. This complex collaboration gave birth to art installations in retail spaces, exhibitions at sales points and art being a focal point in the design of the product. Marc Jacobs utilised his relationships with Bernard Arnault, a contemporary art collector, and Yves Carcelle, former chairman and CEO of LVMH to elevate the brand. Together they transformed the brand from a “luggage company into the world’s most powerful luxury goods brand” (Marriott, 2014). They discovered that art can enhance consumer perceptions, feelings, thoughts, beliefs and experiences. Keller and Lehmann (2003) support this theory suggesting that “the value of the brand ultimately depends on consumers, and communication activities influence the consumers’ mindset what they know and feel about it” (Keller and Lehmann, 2003). The academic term for this art based strategy is known as the ‘Art Infusion’ eﬀect. Employing this theory enhances perceived prestige for Louis Vuitton via its art based activities. Arnault, Jacobs and Carcelle embedded artistic values into the brands DNA. Through an artistic approach to luxury fashion, Louis Vuitton transformed into one of the most recognisable luxury brands of all time (Crivelli, 2014).

In recent years, there has been more focus on collaborations with well-known artists. Yayoi Kusama x LV collaborated in 2012, transferring her signature dot artwork onto LV handbags, shoes and clothes. This collection transformed Louis Vuitton stores all over the world. Th retail space was a red and yellow “polka dot fantasy world”. Other iconic collaborations include Cindy Sherman’s multicoloured trunk collection influenced by her parrot Mister Frieda (Cadogan, 2017). The artists who Louis Vuitton associate with are usually controversial by nature: having a distinct style which emulates the culture they derive from. Past and present artistic collaborations, have played on the Louis Vuitton trademark luggage and hand bags: with the famous LV monogram being altered various times in a number of distinctive styles.

Louis Vuitton website

The website of Louis Vuitton focuses on the artisans and the craftsmanship behind the brand. In the Heritage and Savoir-faire subsection we can see the true craft and soul behind the famous LV trunks (louisvuitton.com, 2019). Other artistic sections on the website include the LV foundation, art and architecture, art wall and the books. The Fondation is Louis Vuitton’s art institute where they support local artists to exhibit their work. This will be examined below. The art and architecture section explores all past and 33

present art exhibition curated by Louis Vuitton. Alongside collaborations with contemporary and well-established artists. The art wall incorporates an array of visuals from all diﬀerent cultures that references the Louis Vuitton aesthetic and their artistic vision for the future. The consumer can click on any picture to find more information on the artistic collaboration. The books - Fashion eye features five fashion photographers documenting their travels across Iran, Sicily, Geneva, Bali and the silk road in the AsiaPacific (louisvuitton.com, 2019). The photographic albums plays on the universal appeal of the brand and how versatile Louis Vuitton can be. Louis Vuitton has a presence and an appeal in all areas of the world. Through the art of photography Louis Vuitton aims to connect diﬀerent cultures with the brand.

Communication in a digital landscape

Louis Vuitton employ’s ‘Art Infusion’ on their Instagram page. Video posts and artistic visuals are used to enhance the quality of their oﬀerings. Artistic imagery is used to communicate their aesthetic and to connect the brand to contemporary art movements. Art creates positive and memorable experiences and automatically captures the attention of consumers: interaction stands at 100,000 likes on average per post (louisvuitton.com, 2019). Instagram enables Louis Vuitton to translate an aesthetic experience to its target market: keeping consumers engaged with daily content and imaginative posts. Additionally, celebrities that appeal to millennials such as Bella and Gigi Hadid are used to promote and sell their luxury products. Celebrity influencers paired with artistic visuals are a certain method to sell luxury products.

Figure 2.1 - Louis Vuitton website and instagram

Louis Vuitton x Jake and Dinos Chapman collaboration Kim Jones, former artistic director for Louis Vuitton, was responsible for the collaboration between LV and the British artists, The Chapman brothers. The Chapman brothers created “demonic safari animal prints” that reference a “pictorial zoological revolt” vibe for Louis Vuitton's SS17 ready-to-wear collection (see figures 2.2; 2.3; 2.4). The Chapman brothers reached stardom through Saatchi’s 1997 Sensation exhibition. Their provocative installation were exhibited alongside Damien Hirst’s pickled shark (Thorley, 2017).

The product range comprised of ready-to-wear menswear, leather goods, cashmere throws, perspex trunks and accessories. The aesthetics of “classic luxury, the wildness and experimentation of Africa and subversive British punk humour” are used (Gavin, 2016). This collection is a reinvention of the British punk movement. Punk is referenced through the use of D-rings and dog collars in the Spring 2017 menswear Louis Vuitton x Chapman brothers collection. This re-contextualisation of modern day punk kept true to Vuittons heritage by the use of clips and fastenings that were used on traditional LV trunks (Fury, 2016). The Chapman brothers collaboration showed “what rebellion could mean, at a 21st-century luxury goods house” especially in a saturated marketplace (Fury, 2016). The collaboration was an eccentric mix of African luxury exotic skins and influential safari designs, that harmonised punk and safari. This aesthetic adds to Louis Vuittons rebellious nature.

This collaborative range started from an £800 LV bag charm to £7,500 LV Keepall. The limited edition range also showcased a pop-up shop at Selfridges, London. This ran only until 15th January 2017, which made the range more exclusive (Taylor, 2016). Limited edition ranges are used as a marketing incentive. By providing a limited edition makes the consumer more eager to make a purchase. Limited edition ranges keep consumers interested and help entice a wider audience to the brand. According to Marketing Week (2007) limited editions “work well when targeting a particular demographic, this particular market group and usually help the brand to achieve a high volume in sales. In this case, Louis Vuitton have captured a consumer who is interested not only in luxury commodities but in art as well.

Louis Vuitton x Jake and Dinos Chapman - Spring 2017 product range

Figure 2.2 - Louis Vuitton x Jake and Dinos Chapman product range for Spring 2017.

Louis Vuitton SS17 ready-to-wear collection

Figure 2.3 - Louis Vuitton Spring 2017 menswear.

According to the Chapman brothers the “defacing thing is really fun for Vuitton because it’s something that they’re not used to doing. But because it’s done in a creative, artistic way, they appreciated it” (Gavin, 2016). This has been a good collaborative choice because The Chapman brothers have a unique take on politics and humour: translating this through their illustrations” (Gavin, 2007). The collaboration gave a fresh aesthetic to Louis Vuitton’s traditional and timeless luggage and leather accessories. This appealed to a new generation and brought art to the masses. The Chapman brothers were a good choice because they were already well established artists. They had previously been nominated for the prestigious Turner Prize.

The artists have a mass following on

Instagram with 34,200 followers and are well-established in the in the art-world (Chapman, 2019). Their British and Greek-Cypriot heritage made them an interesting choice alongside their deliberately shocking sculptures. The duo helped enhance the desirability of the Louis Vuitton products through beautiful digital drawings. The collaboration was deliberately chosen for LV Spring 2017 menswear because there is a booming trend in streetwear culture. This trend is driving luxury mens apparel (Brown, 2018). “Men are enjoying a ‘high-low’ dressing approach and embracing a mash-up of traditions, mixing performance and tailoring, luxury and skate and authentic with one of a kind, reworked piece” (Brown, 2018). Frequently, this includes contrasting patterns and detailed graphics, muted colours, and standout footwear and accessories. The Chapman brothers helped Louis Vuitton achieve this trend demand, as their work naturally reflects a “mash-up of traditions” and bold political statements. Naturally, these characteristics are transferred on the Louis Vuitton products making them more desirable to men who have adopted this current trend.

One has to point out that men and women shop in completely diﬀerent ways. Men function on logic and order whereas women purchase on emotion and enjoy the hunt of shopping (Mills, 2007). This particular collaboration was produced for Louis Vuittons Spring 2017 menswear collection and was only available for limited amount of time. The choice of leather products in this collaboration was targeted at men because they appreciate the fine craftsmanship, durability and quality. The choice of animals depict masculinity, supported by a ‘robust’ colour palette of blacks, navy blues, white and grey shades preferred by men. The artwork is roughly sketched and distinctive in style: appealing to men that want to be noticed. Men opting for buying luxury products, especially limited edition ranges, that help distinguish them from the rest of society.

Louis Vuittons womenswear would not have been a good choice for this collaboration because current trends in women fashion are centred around ‘nostalgia’ with “XL lapels and clashing graphics at Louis Vuitton” showcasing top-heavy 90s silhouettes (Elle, 2019).

Luxury consumption is moving into the realm of ‘experiences’, since many luxury brands can no longer convey opulence through their craftsmanship and quality (Logkizidou, 2016). Consequently, we are seeing a shift in how luxury is being marketed. Both Gucci and Louis Vuitton’s marketing focuses creating luxury experiences that satisfy the needs of their consumers with each encounter they make with the brand. Prestigious artistic institutes are a way to reflect the craftsmanship of the brand and their premium quality through immersive experiences. Current studies suggest that retail environments are a “valuable and eﬃcient marketing tool for triggering important cues that influence the consumers’ brand perceptions, as well as purchase intentions” (Logkizidou, 2016). Consuming luxury products is aesthetically pleasing, this experience is enhanced by visual merchandising techniques that convert branded luxury products into artworks (Dion and Arnould; Joy et al., 2014). Leading academics in this field have created a new term, known as ‘M(Art)World’, which utilises the same methods of how art galleries and museums are constructed. The same principles are used for luxury retail settings (Joy et al., 2014).

Louis Vuitton x The Chapman Brothers retail space

Figure 2.4 - Louis Vuitton Spring 2017 x Jake and Dinos Chapman Pop-up stores.

The Fondation Louis Vuitton for Contemporary Art and Cultural Spaces The Louis Vuitton Foundation for Contemporary Art at the edge of Bois de Boulogne, a grand park in the heart of Paris is at the cutting edge of fusion between art and fashion. The Foundation is unique and futuristic take on a museum. supported by LMVH and Bernard Arnault which displays contemporary pieces within a distinctive structure (Waga, 2016). Frank Gehry designed this opulent and progressive architectural structure inspired by movement, depicting a cloud that changes form when it is in motion. The panels of coloured glass connote sails on a ship, designed by Daniel Buren a world-renown conceptual artist used this method as a visual tool to draw “spatial anchors” wherever the sun hits: casting an array of colour which mirrors the changes in weather throughout the day (Waga, 2016). The Foundation hosts a permanent collection of contemporary art and cultural activities which enhances the awareness of Louis Vuitton and its support for the arts and young up-and-coming talent to an international audience (Masè and Cedrola, 2017).

The Fondation Louis Vuitton’s aim is to “promote and support contemporary artistic creation for a wide French and international audience with over 1.2 million visitors a year” (Mansour, 2017). These visitors come from all over the world to The Fondation, who have a keen interest in the brand and also in the arts. This well known institution boasts “9,800 visitors per day” and is France’s “most popular art show in 50 years” (LVMH, 2017). This artistic institution acts as a resource for the consumer and the brand to gain more exposure. Louis Vuitton focuses on brand engagement through artistic storytelling: thus creating a lifestyle brand with a whole universe around it. Both marketing and art, function as a communication tool which helps communicate the value of a luxury product. Karabell (2017) suggests that “art and marketing both appeal to peoples’ emotions. This is far more powerful than an over-rationalised approach guided by focus groups and ceaseless management committees.

Louis Vuitton has become an art institution with a core philosophy that "art drives taste; taste drives consumption” (Naiman, 2018). This institution combines art galleries with retail spaces where products are on display like pieces of art at an exhibition. Retail positions have shifted into curator roles who oﬀer a depth of knowledge and advice on a product or piece of art. This fusion of art and luxury oﬀers exclusivity, prestige and emotional connections with its consumer. Both art and luxury products have been known 41

to seduce the consumer in the same way, whether purchased for investment or bought to satisfy a social or artistic need. Codignola and Rancati (2015) noted that when both luxury fashion and art are coupled together it created positive feelings amongst its consumers, enhanced the brands' appeal and attracted a wider consumer market. By linking art with luxury branding strategies, accentuates both the aesthetic appeal and uniqueness of the brand (Lipovetsky and Roux, 2003). Th action of linking the Louis Vuitton brand with the art world, “eﬀectively transfers luxury perceptions from the arts’ world to the company’s brands” (Logkizidou, 2016). In summary, The Fondation adds value to the Louis Vuitton brand and helps bring the consumer closer to the brand through artistic experiences. Consquently, this artistic institution helps create a powerful bond between the consumer and Louis Vuitton, due to the positive and creative experiences that The Fondation oﬀers.

Figure 2.5 - Huang Yong Ping, Arch of Saint-Gilles, 2015. Collection Fondation Louis Vuitton. Figure 2.6 - Observation of Light by Daniel Buren at Foundation Louis Vuitton. 42

Discussion Discussion and Implications

The aim of this research was to investigate how the ‘Art Infusion’ theory has been used by Gucci and Louis Vuitton to further enhance prestige. The use of art has a strong persuasive nature that adds value and enhances consumer perceptions. This dissertation adds to the body of knowledge that supports the application of the ‘Art Infusion’ theory and the value it creates when added to a product, service or corporation. The presence of art psychically and metaphorically influences perceptions of prestige and luxury on a brand and does successfully influence purchasing intentions. When art is incorporated onto a product and used as an inspiration in a retail setting it increases the level of trust in the brand (Hagtevedt and Patrick, 2008; Lee et al., 2014; Kaferer, 2014; Masè and Cedrola, 2017; Codignola, 2016; Kim et al., 2012). Both Gucci and Louis Vuitton utilise ‘Art infusion’ in a way that considers their target market.

Gucci’s choice of artwork appeals to a millennial audience. Through their art collaborations, with young and up-and-coming artists, they aim to react to a surging streetwear trend. This can be seen in the appendix in (figure 2.9; 3.2; 4.1; 4.2; 4.7; 4.8) all of which depict graffiti graphics in a contemporary and political style. Gucci, in an attempt to engage followers of the brand, has used the Gucci Garden to provide an holistic experience. This is an effective marketing technique that incorporates different aspects of the art world including cinema, an art gallery and a unique fine dining experience.

Louis Vuitton use established artists such as Cindy Sherman, Takashi Murakami and Richard Prince. This supports the theory of Peluso et al. (2017) who concluded that recognisable artworks paired with luxury products are more successful at communicating status and quality. The appendix provides a rich source of examples used by Louis Vuitton and Gucci in employing the ‘Art Infusion’ theory. These examples highlight artistic collaborations, retail environments, artistic institutions, social media and brand applications. Both brands use art as a tool to communicate status, craftsmanship and prestige to their consumers. The Fondation is another way for Louis Vuitton to engage perspective buyers through art. Frequent events and exhibitions keep constant contact between the brand, the customers and the art world.

In the future we will see a significant shift in retail and how we shop with new trends shaping our shopping experience. Already we can see a movement where museum and art gallery settings are being used in retail to destress consumers. Art fund conducted a study called ‘calm and collected’ which concluded that art galleries and museums are “untapped resources for wellbeing” (Houghton et al., 2019). Research shows that 63% of participants that were surveyed said they have visited an art gallery or museum to destress from the pressures of life (Houghton et al., 2019). This trend is apart of a bigger movement known as ‘Serene Hospitality’ a movement in the luxury sector where silence is being used to as a calming approach in retail and hospitality and is "a new signifier of luxury and high-end services” (Szymanska, 2017). Luxury brands can benefit from applying the ‘Art Infusion’ theory to their products, services and retail environments to satisfy a new luxury state of mind. According to the Trend Watching report (2019) Art enhances status and has become about who we are and what we want to portray. From a marketing perspective using art in promoting brands and products has been proved to be successful and eﬀective.

Art and luxury naturally share certain attributes. They both aim to satisfy the elite classes and both connote wealth and status. By combining both, consumers can purchase a product that is beautiful and that has a depth of meaning behind it. The most successful creative collaborations connect with the brands values and heritage. Art helps to create romanticism around both Gucci and Louis Vuitton which helps strengthening their brand image and reach an aﬄuent consumer market. They both take into consideration their target market. Gucci targets millennials, where as Louis Vuitton aim to satisfy mature consumers.

Conclusions The current research has made two important contributions to previous literature that has examined the ‘Art Infusion’ theory. The research has concluded that the effect can change dramatically depending on whether the art is paired with luxury products. The effect is enhanced if the art is easily recognisable and favoured amongst the masses (Peluso et al., 2017). Since recognisable artworks increase the perceived luxury of high-end products, marketers need to consider how popular the artwork is in order to successful pair it with luxury products. Additionally, Patrick and Hagtvedt (2009) examine the effect of the ‘Art Infusion’ theory based on consumer desires for elite status. The main finding was that 44

visual art successfully communicates luxury and is an eﬃcacious marketing tool for luxury brands to portray prestige and opulence. The concluded findings highlight that the “pairing of luxury products with recognisable artworks may only engender a greater willingness to purchase the advertised products among consumers with a higher desire to signal status” (Peluso et al., 2017). Consumers are more likely to perceive recognisable artwork with notions of higher social status. Therefore consumers are more likely to buy less recognisable artworks to distinguishing themselves (Vigneron and Johnson, 2004). This desire for distinction may encourage these consumers to spend more money on luxury products that suit their taste. These maybe less recognisable pieces or luxury pieces from already established artists. The research findings propose that Gucci and Louis Vuitton have selected less recognisable artworks and recognisable artworks on their luxury products. The reason for this approach is to appeal to consumers that desire to signal status and distinguish themselves from the rest of society (Peluso et al., 2017). Gucci tend to construct their campaigns and product ranges around less recognisable artisans. This is partly because they enjoy supporting up-and-coming artists and their work fits the Gucci aesthetic. Juxtaposed, to Louis Vuitton who choose well-established artists in their campaigns and product ranges. Recognisable artists and their artworks directly ‘spillover’ quality and high-pricing onto the luxury oﬀering. Their consumers purchase these collaborative pieces to signal status and wealth. Art enriches luxury objects with timelessness appeal and a reference to culture. It’s an elitist language feeds quality and innovation into a luxury brand, product and consumer alike. Art holds importance for luxury brands because it allows brands to convey taste, craftsmanship and opulence (Kapferer, 2014). In conclusion, the successful use of the ‘Art Infusion’ theory by Gucci and Louis Vuitton can act as a model for other luxury brands to follow. From a fashion marketing point of view this is a very useful tool that everyone in the fashion marketing section should be aware of.

Research Implications

This research contributes an up-to-date response on how luxury brands, specifically Gucci and Louis Vuitton have used used the ‘Art Infusion’ to enhance prestigious brand perceptions. This has provided, not only brands, but luxury fashion marketeers the knowledge and insight into how and why they can use art as a way on increasing value to their corporation. This research only provides a comparative representation of two luxury 45

brands and how they use the ‘Art Infusion’ theory. The results could diﬀer if two other brands were used instead.

Future research could test more complex models in other countries to see whether this theory applies to other cultures. Additionally, whether consumer desires for status signalling and elite distinction diﬀer depending on where they live. By investigating these pathways, future analysts could further enhance current awareness of the ‘Art Infusion’ eﬀect and how this theory satisfies consumer needs (Peluso et al., 2017).

Appendix Gucci - How the ‘Art Infusion’ theory has been used, examples of artistic collaborations:

Gucci x Angelica Hicks (#GucciGeeks) Alessandro Michele collaborated with British illustration artist Angelica Hicks to create a “new multifaceted art project that goes against the brand’s usual codes and aesthetics” (Filidori, 2019). They produced a limited edition range of unisex T-shirts, only a hundred of each style), that depicted “Gucci’s codes and aesthetics by spotlighting humorous depictions of freaks and geeks” (Filidori, 2019).

Figure 2.7 - Gucci x Angelica Hicks.

Gucci DIY Knits

A collaboration with six artists to create Gucci knitwear from their drawings, the product range included: bombers, sweaters and cardigans that were unisex and interchangeable for both women and men.

Figure 2.8 - Gucci DIY Knitwear.

Gucci x Coco Captain

A Gucci collaboration with Spanish artist Coco Captain, Michele wanted to combine his aesthetic of â&#x20AC;&#x153;contemporary electric Romanticismâ&#x20AC;? that his work depicts with the Gucci brand (Deleon, 2017).

Figure 2.9 - Gucci x Coco Captain.

Gucci x Jayde Fish

Jayde Fish, an illustration artist, helped inspire Alessandro Michele Spring 2017 ready-towear collection. He discovered Jayde on Instagram where she referenced her work and personal style (Yotka, 2016). Her distinctive prints where screen printed onto the Gucci garments which aided Michele to â&#x20AC;&#x153;craft this elaborate and eccentric worldâ&#x20AC;? (Yotka, 2016).

Figure 3.0 - Gucci x Jayde Fish.

Gucci x Martin Parr

Gucci’s collaborations with well-known British photographer, Martin Parr, provide the “notion you can be whoever you want to be or at least imagine”, beautifully capturing Americans who aren’t trying to pretend they’re anyone else than who they imagine themselves to be” (gucci.com, 2019). This philosophy fits perfectly to the Gucci brand aesthetic because Gucci epitomises and advocates diversity and freedom to express who you truly are.

Figure 3.1 - Gucci x Martin Parr. 51

Gucci x Unskilled worker

Artist Helen Downie, known as the ‘unskilled worker’, created unique works of art just for Gucci in her own distinctive style. Her work has been showcased all over the wall, from graﬃti billboards in New York to direct prints transferred onto a capsule collection of ready-to-wear, bags, shoes, accessories and silk goods (Salibian, 2017).

Michele

discovered her work in 2015, via “Instagram and invited her to take part in an art exhibition in Shanghai’s Minsheng Art Museum” (Salibian, 2017).

Figure 3.2 - Gucci x Unskilled worker.

Gucci x Ignasi Monreal

Ignasi Monreal - Gucci SS18 campaign (Gucci Hallucination)

Figure 3.3 - Gucci x Ignasi Monreal.

The Gucci gallery features curated works from Ignasi Monreal for the Spring Summer 2018 collection. His digital illustrations create a fantasy world that features Gucci’s luxury products. The video campaign has “an ironic twist on reality”, where Ignasi manipulates his artwork, stepping into a “lily covered pond in his own painting - inspired by the work Ophelia - John Everett Miles, 1852 (gucci.com, 2018).

Ignasi Monreal - Gucci Gift

The Product range which transfers Ignasi Monrealâ&#x20AC;&#x2122;s artwork on to the psychical product.

Figure 3.4 - Gucci x Ignasi Monreal product range.

The Artworks by Ignasi Monreal

Figure 3.5 - Gucci x Ignasi Monreal artwork.

The Website

Ignasi Monrealâ&#x20AC;&#x2122;s digitally manipulated imagery moves which creates an interactive experience for the consumer (www.gucci.com).

Figure 3.6 - Gucci x Ignasi Monreal digital artwork.

The Packaging for Gucci’s luxury products, which utilises Ignasi Monreal’s artwork created especially for Gucci.

Figure 3.7 - Gucci x Ignasi Monreal luxury art packaging.

The Book

Artwork used in Gucciâ&#x20AC;&#x2122;s marketing materials.

Figure 3.8 - Gucci x Ignasi Monreal The Book.

Ignasi Monreal - Gucci Extra

Digitally manipulated artwork used to show Gucciâ&#x20AC;&#x2122;s product range.

Figure 3.9 - Gucci x Ignasi Monreal digital artwork.

Gucci x Thai Illustrator and writer

Writer Aracha Cholitgul and illustrator Phannapast Taychamaythakool, aid Michele in this jewellery collection. Together they produced a book of fairytales in order to promote ‘Le Marche des Merveilles’ jewellery line. The pair produced visuals and literature that “infused romance and magic”, these characteristics were infused onto the Gucci luxury products (Anon, 2017).

Figure 4.0 - Gucci x Thai illustrator.

Gucci x Trouble Andrew - Fall Winter 2016 collection collaboration

Both Michele and Trouble Andrew played on "the idea of symbols as a narrative, placing various images together to speak on elements of pop culture” and “the idea of symbols as logos or branding tools” with a raw take on the monogram print (gucci.com, 2016).

Figure 4.1 - Gucci x Trouble Andrew.

Trouble Andrewâ&#x20AC;&#x2122;s collaborated with Gucci to create a product range for Gucci Fall Winter 2016 collection.

Figure 4.2 - Gucci x Trouble Andrew product range.

Retail settings

Gucci x Ignasi Monreal - SS18 Gucci Hallucination campaign (Window displays for SS18).

Figure 4.3 - Gucci x Ignasi Monreal - window displays.

Gucci x Ignasi Monreal - Gucci Gift (Window display for the Gucci Gift collection).

Figure 4.4 - Gucci x Ignasi Monreal - window displays.

Gucci Places

Daelim Museum: A coco captain collaboration at the Daelim Museum an â&#x20AC;&#x153;international platform for contemporary art and designâ&#x20AC;? (gucci.com, 2018).

Figure 4.5 - Gucci and Daelim museum.

Lacma - Los Angeles County Museum of Art

Gucci is the main sponsor for the inaugural film benefit event and has a long-term partnership with the museum. Gucci has an â&#x20AC;&#x153;ongoing commitment to film and to create an important relationship with one of the top arts and cultural institutions in Los Angeles, at the center of the film communityâ&#x20AC;? (gucci.com, 2019).

Figure 4.6 - Gucci and Lacma.

Bibo Restaurant

To promote the #GucciGRAM Gucci held a private event and dinner at the restaurant to celebrate the artist that collaborated on their project. The restaurant merges fine French dining with street art.

Figure 4.7 - Bibo Restaurant.

Gucci Instagram

Using Instagram as a platform to use the â&#x20AC;&#x2DC;Art infusionâ&#x20AC;&#x2122; theory through visual art enhance their brand image.

Figure 4.8 - Gucci Instagram.

Louis Vuitton artistic collaborations

Louis Vuitton x Damien Hirst

Damien Hirstâ&#x20AC;&#x2122;s collaborated with Louis Vuitton, creating a one-oďŹ&#x20AC; medical cabinet filled with surgical instruments (Chang, 2009). The reason behind this artistic collaboration was to intertwine the luxury brand with the famous Damien Hirst, who is one of the Young British Artists dominating the art scene.

Figure 4.9 - Louis Vuitton x Damien Hirst medical case.

Louis Vuitton - Art Wall

The Art wall shows Louis Vuittons artistic collaborations and exhibitions.

Figure 5.0 - Louis Vuitton Art wall.

Figure 5.1 - Louis Vuitton Art wall.

Louis Vuitton x Ignasi Monreal

A digital illustration of their famous trunk by Ignasi Monreal for Louis Vuitton.

Figure 5.2 - Louis Vuitton x Ignasi Monreal.

Louis Vuitton x Takashi Murakami

Louis Vuitton and Takashi Murakami have shared a thirteen yearlong partnership together from a “inaugural Multicolore Monogram collection and the ‘Monogramouflage’ range to an “exhibit at the Brooklyn Museum of Art in April 2008” (Anon, 2017).

Figure 5.3 - Louis Vuitton x Takashi Murakami.

Louis Vuitton x Richard Prince

The collaboration with Richard Prince showcased a joke series that were scripted onto Louis Vuitton bags. Prince reimagined the famous LV monogram and featured twelve reknown models all wearing a single letter on their nurse hats which spelt out â&#x20AC;&#x2DC;Louis Vuittonâ&#x20AC;&#x2122; (Cadogan, 2017).

Figure 5.4 - Louis Vuitton x Richard Prince handbag collection.

Louis Vuitton x Kusama

Famous for her legendary dotty artwork, Kusama, produced a collaborative range with Louis Vuitton that included accessories, handbags and clothing (Cadogan, 2017). All Louis Vuitton stores globally where transformed into a polka dot fantasy which has been described as one of the most visually captivating collaborative collections by Louis Vuitton (Cadogan, 2017).

Figure 5.5 - Louis Vuitton x Kusama product range.

Louis Vuitton x Cindy Sherman

A collaboration influenced by Cindy Shermans parrot. Here we see a series of photographs that tell a narrative of her theatrical life that highlights Louis Vuittonâ&#x20AC;&#x2122;s famous luggage.

Figure 5.6 - Louis Vuitton x Cindy Sherman

Louis Vuitton x Stephen Sprouse

“The neon graﬃti monogram bags were a vibrant injection of an inherently New York and very rebellious attitude that marked an exciting direction for both the brand and fashion at large” (Cadogan, 2017).

Figure 5.7 - Louis Vuitton x Stephen Sprouse product range.

The Chapman Brothers

UFC champion, Conor McGregor, is wearing a short sleeved Louis Vuitton/ The Chapman brothers monogram print shirt with safari drawings. Celebrity endorsement is used by the brand and artist in order to enhance the brands image of being on-trend.

Figure 5.8 - Conor McGregor wearing Louis Vuitton/The Chapman Brothers shirt.

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Figure 1.9 Hollis, C. 2018. 11% organic revenue growth in the first nine months of 2018. [Online]. [Accessed 23 January 2019]. Available from:https://www.lvmh.com/newsdocuments/press-releases/11-organic-revenue-growth-in-the-first-nine-months-of-2018/

Figure 2.0 - Hollis, C. 2018. LVMH Revenue FY 2018 Euro Millions. [Online]. [Accessed 23 January 2019]. Available from:https://www.lvmh.com/news-documents/press-releases/ 11-organic-revenue-growth-in-the-first-nine-months-of-2018/

Figure 2.1 - Vuitton. 2019. The world of Louis Vuitton. [Online]. [Accessed 23 January 2019]. Available from: https://uk.louisvuitton.com/eng-gb/homepage

Figure 2.2 - Laura, A. 2017. Louis Vuitton x Jake and Dinos Chapman retail space and Spring 2017 catwalk show. [Online]. [Accessed 23 January 2019]. Available from: http:// www.ifitshipitshere.com/jake-and-dinos-chapman-for-louis-vuitton/

Figure 2.3 - Fury, A. 2016. Spring 2017 menswear Louis Vuitton. [Online]. Accessed 23 January 2019]. Available from: https://www.vogue.com/fashion-shows/spring-2017menswear/louis-vuitton

Figure 2.4 - Jones, K. 2017. Louis Vuitton Spring 2017 x Jake and Dinos Chapman Popup stores. [Online]. Accessed 23 January 2019]. Available from: http://ifc.com.hk/ic/tc/ article/kim-jones

Figure 2.5 - Vuitton, L. 2018. Huang Yong Ping, Arch of Saint-Gilles, 2015. Collection Fondation Louis Vuitton. [Online]. [Accessed 23 January 2019]. Available from: https:// www.cobosocial.com/dossiers/fondation-louis-vuitton-calls-on-china-to-open-its-2016programme/

Figure 2.6 - Vuitton, L. 2018. Observation of Light by Daniel Buren at Foundation Louis Vuitton. [Online]. [Accessed 23 January 2019]. Available from: http://her-etiquette.com/ forbes-daniel-buren-transforms-the-fondation-louis-vuitton-to-an-observatory-of-light/

Figure 2.7 - Filidori, E. 2019. Gucci x Angelica Hicks. [Online]. [Accessed 4 March 2019]. Available from: https://metalmagazine.eu/en/post/article/gucci-x-angelica-hicks-numberguccigeeks

Figure 2.8 - Gucci. 2019. Gucci DIY knits. [Online]. [Accessed 4 March 2019]. Available from:

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cruise-2018-gifts-crystals-shoppable

Figure 2.9 - Deleon, J. 2017. Meet Gucci’s Latest Collaborator, Spanish Artist Coco C a p i t á n . [ O n l i n e ] . [ A c c e s s e d 4 M a rc h 2 0 1 9 ] . Av a i l a b l e f ro m : h t t p s : / / www.highsnobiety.com/2017/08/02/coco-capitan-gucci-interview/

Figure 3.0 - Yotka, S. 2016. Gucci’s Spring 2017 Muse Is an Illustrator With Great Style. [Online]. [Accessed 4 March 2019]. Available from: https://www.vogue.com/article/jaydefish-gucci-illustrations-spring-2017

Figure 3.1 - Gucci. 2019. Time to Parr - United States. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/us/en/st/stories/inspirations-and-codes/article/ pre-fall-2018-martin-parr-partIV-shoppable

Figure 3.2 - Salibian, S. 2017. Gucci Teams with Artist ‘Unskilled Worker’ for Capsule Collection. [Online]. [Accessed 4 March 2019]. Available from: https://wwd.com/fashionnews/fashion-scoops/gucci-artist-unskilled-worker-capsule-collection-11003999/

Figure 3.3 - Gucci. 2018. Gucci Hallucination. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/int/en/st/stories/advertising-campaign/article/ spring-summer-2018-ignasi-monreal

Figure 3.4 - Monreal, I. 2019. Gucci Gift product range. [Online]. [Accessed 4 March 2019]. Available from: https://ignasimonreal.com/Gucci-Gift

Figure 3.5 - Monreal, I. 2018. Ignasi Monreal artwork. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/uk/en_gb/st/stories/inspirations-and-codes/ article/cruise-2018-gifts-crystals-shoppable

Figure 3.6 -

Monreal, I. 2018. Digital illustrations. [Online]. [Accessed 4 March 2019].

Available from: https://ignasimonreal.com/Gucci-Gift

Figure 3.7 - Monreal, I. 2018. The packaging. [Online]. [Accessed 4 March 2019]. Available from: https://ignasimonreal.com/Gucci-Gift

Figure 3.8 - Monreal, I. 2018. The Book. [Online]. [Accessed 4 March 2019]. Available from: https://ignasimonreal.com/Gucci-Gift

Figure 3.9 - Monreal, I. 2018. Gucci Extra. [Online]. [Accessed 4 March 2019]. Available from: https://ignasimonreal.com/Gucci-Gift

Figure 4.0 - Anon. 2017. Gucci taps Thai talent. [Online]. [Accessed 4 March 2019]. Available from: http://www.nationmultimedia.com/detail/fashion/30320566

Figure 4.1 - Gucci. 2016. Chatting with trouble Andrew. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/us/en/st/stories/inspirations-and-codes/ article/agenda_2016_issue05_guccighost_collection_trouble_andrew_qa

Figure 4.2 - Gucci. 2016. Gucci x Trouble Andrew product range. [Online]. [Accessed 4 March 2019].

Available from: https://www.buro247.sg/culture/insiders/trevor-andrew-

gucci-alessandro-michele-milan.html

Figure 4.3 - SIlbert, J. 2018. Hypebeast. [Online]. [Accessed 4 March 2019]. Available from: https://hypebeast.com/2018/2/gucci-ignasi-monreal-spring-summer-2018campaign Figure 4.4 - SIlbert, J. 2018. Hypebeast. [Online]. [Accessed 4 March 2019]. Available from:

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campaign Figure 4.5 - Gucci. 2018. Daelim Museum. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/uk/en_gb/st/stories/gucci-places/article/daelim-museum

Figure 4.6 - Gucci. 2018. Lacma. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/uk/en_gb/st/stories/gucci-places/article/lacma

Figure 4.7 - Gucci. 2018. Bibo restaurant. [Online]. [Accessed 4 March 2019]. Available from: https://www.gucci.com/uk/en_gb/st/stories/gucci-places/article/bibo

Figure 4.8 - Gucci. 2019. Gucci Instagram. [Online]. [Accessed 4 March 2019]. Available from: https://www.instagram.com/gucci/?hl=en

Figure 4.9 - Chang, E. 2009. Damien Hirst x Louis Vuitton Medical Cabinet. [Online]. [Accessed 4 March 2019]. Available from: https://www.freshnessmag.com/2009/11/26/ damien-hirst-x-louis-vuitton-medical-cabinet/

Figure 5.0 - Vuitton, L. 2019. Louis Vuitton Art wall. [Online]. [Accessed 4 March 2019]. Available from: https://uk.louisvuitton.com/eng-gb/art/art-wall

Figure 5.1 - Vuitton, L. 2019. Louis Vuitton Art wall. [Online]. [Accessed 4 March 2019]. Available from: https://uk.louisvuitton.com/eng-gb/art/art-wall

Figure 5.2 - Monreal, I. 2019. Louis Vuitton - animations for the art of the journey a trunk exhibition at New Bond Street. [Online]. [Accessed 4 March 2019]. Available from: https:// ignasimonreal.com/Louis-Vuitton

Figure 5.3 - Anon. 2018. Takashi Murakami Would "Be Very Happy" to Collaborate with Louis Vuitton Again. [Online]. [Accessed 4 March 2019]. Available from: http:// www.thefashionlaw.com/home/takashi-murakami-would-be-very-happy-to-collaboratewith-louis-vuitton-again

Figure 5.4 - Cadogan, D. 2017. Louis Vuittonâ&#x20AC;&#x2122;s best cult art collaborations. [Online]. [Accessed 4 March 2019]. Available from: https://www.dazeddigital.com/fashion/article/ 35567/1/louis-vuitton-art-collaborations-yayoi-kusama-richard-prince-cindy-sherman

Figure 5.5 - Alexander, E. 2012. Vuitton And Kusama. [Online]. [Accessed 4 March 2019]. Available from: https://www.vogue.co.uk/gallery/louis-vuitton-unveils-yayoi-kusamacollection

Figure 5.6 - Vuitton, L. 2017. Celebrating monogram Cindy Sherman. [Online]. [Accessed 4 March 2019]. Available from: https://uk.louisvuitton.com/eng-gb/articles/celebratingmonogram-cindy-sherman

Figure 5.7 - Cadogan, D. 2017. Louis Vuittonâ&#x20AC;&#x2122;s best cult art collaborations. [Online]. [Accessed 4 March 2019]. Available from: https://www.dazeddigital.com/fashion/article/ 35567/1/louis-vuitton-art-collaborations-yayoi-kusama-richard-prince-cindy-sherman

Figure 5.8 - Spott, T. 2019. Conor McGregor wearing a short-sleeved Louis Vuitton shirt with monogram print. [Online]. [Accessed 4 March 2019]. Available from: https://spott.tv/ spott/conor-mcgregor-wearing-a-short-sleeved-louis-vuitton-shirt-with-monogram-print/ b50e997d-43f1-4f6e-a2d6-37011dcf469f