The changing face of
Luxury Fashion
What is Luxury Luxury can mean a lot of different things to a lot of different people. For many people Luxury is seen as an unattainable aspirational goal, to one day ‘live in luxury’. For the lucky few it was about standing out from the crowd by demonstrating ones wealth. ‘True luxury is timeless yet current, unique in its presence but fits in with it`s surroundings. An antidote to the tasteless and void of narrative.’ Well who are the taste makers, who are the ones to say if something is luxury or not? With three of the worlds largest luxury goods conglomerates all based in Europe its fair to say luxury is a very europen aspiration. From colonial rule to the atlantic slave trade, luxury fashion has fuelled and been fuelled by all of this. Driven by a class divide of simply the have and the have nots. A classic staple of the upper class Luxury brand names like Dior, Prada and Gucci are not just status symbols they are a set of values that their customers believe in and adhere to. Moreover, the main alure of Luxury fashion has always been it`s exclusivity. This what created the fashion cycle. The wealthiest in society would wear exclusively designed clothes from the finest of fabrics then the working class would imitate these clothes with what they had. Once the style became popular the wealthier people would move on to
something different to avoid being the same as the people below them. This elitist attitude is seen as typical for the fashion industry. However, this very attitude has proved very problematic for people of colour in the fashion industry. From cultural appropriation from brands like Victoria secrets and marc Jacobs to the lack of diversity throughout the industry. Fashion occurred in a capitalist production system (Lillethun, Welters and Eicher, 2012, p.76 cited in Jansen and Craik, 2016, p.5). This hierarchical relationship between a powerful Euromerican elite and a lesser powerful other allowed western researchers to use language like primitive, savage and exotic to dehumanize and differentiate themselves (Jansen and Craik, 2016, p. 5). This idea that something is only fashion when it is done by a westerner is outdated and degrading. This was the old luxury. Now things are changing.
“To me, luxury mea To a younger group of replace word ‘luxury’ with th Virgil A
Off-White at Paris fashion week 2017
How is Luxury evolving
In the 2010 we witnessed a game-changing identify crisis. High fashion didn`t want to be high fashion anymore. With the traditional fashion cycle running dry, designers had to look elsewhere for inspiration. And they found it on the street. Marc Jacobs, the then creative director for Louis Vuitton tapped Kanye West to design a capsule collection of luxury sneakers with the esteemed Maison. This was a sign that street culture had made it. West had crossed the line of being a consumer of luxury good to a creator of them. Instead of high fashion trickling down this was street culture trickling up. The appointment of Virgil Abolh as Men`s artistic director at louis Vuitton was a huge shift for luxury fashion. With a background in Art, Architecture, engineering and whose own label, Off White, is one of fashion’s most talked-about breakout brands,
Fig.2
ans value system. f people, you could e the he word coveted” Abloh
Fig.3
Abolh did not come to play by the rules. Especially as the first designer of colour to hold such a high-profile position (Cochrane, 2018). This injection of street style could suddenly be seen across the luxury fashion market. With hoodies, puffer jacket key feature on the runways. “Old luxury” was being superseded by a movement built on inclusivity, access and knowledge. The brands, artists and designers cut from this new cloth understood how to cultivate desire and followings, because they were the fans themselves. They legitimised street culture by turning luxury into more than an industry, but a platform for culture (Fischer, 2019). Complementary to this the growing strength in youth culture has proven a real driving force for this new luxe. Although a lot of young consumer don`t have the disposable income to big ticket items of these luxury brands as frequently as their older counterparts, by engaging with them they are creating a cult following of future customers.
Marketing is more important than ever in this rapidly evolving luxury market. Brand loyalty from older long-term customers is not something brands can rest on anymore. With Gen Z and millennials soon to make up 45% of luxury fashion buyer gaining and retaining younger consumer is the only way to survive in this market. Social media transformed the fashion industry, giving people access to a previously exclusive world. If brands want to gain the younger consumer, they have to be tech savvy.
Single channel marketing is not often used by luxury fashion brands as only having a physical presence can restrict the number of consumers you can reach. Only having an online presence can restrict physical interaction with consumers. This type of marketing can however be seen as more cost effective, as only having an online presence means no overheads of a bricks of mortar store and you can sell straight from the
Marketing the dream
warehouse and no need for large distribution costs. It is also seen as more focused since efforts are going in one direction through one platform (Jacqueline and Atorina, 2019) This can lead to stronger branding and consumers having a better understanding of brand values. Nevertheless, luxury brands should not overlook the importance of a bricks and mortar stores. Retail businesses are required to participate in a perpetual cycle of reinvention to stay competitive. In the Japanese luxury market Multi-brand fashion boutiques with sharply curated selections are profiting at the expense of legacy department stores. These boutiques have carved out a niche by offering their own curation of products and services. They set themselves apart from the more bland buys of its rivals, especially major department stores that have become increasingly undifferentiated (Chitrakorn, 2019).
Fig.4 Louis vuitton S/S 19 window display in German luxury department sotre Ka De We Multichannel marketing is more widely used by luxury brands. This refers to the ability to interact with potential customers on various platforms (Becker, N/A). Brands such as Levi’s use this style of marketing very successfully. With over 500 stores worldwide, concessions in major department stores and a strong online presence with on brand imagery. With a collective following of around 8 million across Tumblr, twitter, YouTube, Facebook and Insta-
gram it’s fair to say that Levi’s reach a large pool of consumers. Levi’s are known for their engaging culturally lead campaigns such as their collaboration with Star Wars. These campaigns are seamlessly rolled out across their website, social media and often in their flagship stores. This integration between multiple channels is huge part of Levi’s current success. However, their YouTube account is not as integrated as their Instagram, twitter and Face-
Fig.5 book. The YouTube campaigns seem to run separately from their other platforms and are not updated as regularly. Their Tumblr is more for customer interaction with people posting photos with their Levi’s and tagging the brand.
Sephora recognizes that its shoppers have a variety to choose from when they walk into one of its stores. By integrating its Beauty Bag feature with its instore communication channel, Sephora is able to help customers narrow their options and keep track of products that they intend to purchase (Agius,2019). This seamless integration of technology into their marketing strategy allows for smooth and engaging customer interaction.
Fig.6 Omnichannel refers to the multichannel sales approach that provides the customer with an integrated shopping experience. (Becker, N/A). You can switch between channels simultaneously, such as apps that work in store to enhance as physical experience. The customer is at the centre, they are able to flexibly engage in things that they want. This elevates a brand from their competitors by engaging customers experientially. The beauty giant Sephora creates an
omni-channel experience that connects its shoppers’ online purchases to their in-store visits. In addition to beauty workshops and complimentary makeovers, customers can use in-store tablets to access their “Beauty Bag� account while shopping. This account allows them to look up item details and virtually try on products using digital software. If they like a product, they can add it to a wish list and purchase the entire list using the app.
Fig.7
Sephora`s AR app allows you to see how make would look on you. This is a great way of testing out the products with out being in store.
Fig.8
The Luxury Consumer Luxury consumers are changing. Their needs and expectations are seen to be at odds with the conventional understanding of what luxury goods are (Buckle,2019). With Generation Z (aged 16-22) and millennials (aged 23-36) soon to make up 45% of luxury fashion buyer gaining and retaining younger consumer is the only way to survive in this market (RF). Millennials are now well into their careers and are reaching their peak spending age. Gen Z, although much younger, are also appearing on the radar of the luxury market, the older cohorts of which are just entering the workforce. Both of these generations grew up in the digital era. Both are trendsetting generations at the forefront of fashion. Both are reimagining the value of certain goods and services in light of new forms of consumerism, and both are redefining the brand-consumer relationship. All this has clear ramifications on how the luxury industry chooses to align itself with the values of younger generations – a market which has traditionally relied on a sense of ostentatiousness and exuberance (Buckle,2019). Millennial entitlement meant that luxury was less about wealth and more about making a statement. Entry level product are often there
most popular product as they are more accessible to a wider range of consumers with a lower income. Luxury accessories are the popular items for post-luxury consumers. These consumers no longer feel the need to consistently upgrade into as income and wealth rises (Chesterfield, 2017). Often buying luxury statement pieces like a bag or sunglasses to pair with pieces already in their wardrobe, therefore some items remain non-luxury. Premium mediocre is about entry level items that allows more people buy into the brand. Treating oneself has become the norm. You still need money to buy premium mediocre but not as much as big-ticket items. The consumers motivation is style over fashion. Additionally, social media, particularly Instagram, has increased exposure to new and smaller luxury brands due to the low costhigh-impact of creating brand awareness through such mediums. This has made the market more competitive, particularly for loyalty (Chesterfield, 2017). This is why luxury brands are tapping into street culture, the younger consumer is no longer bought buy big brand promises, they want to see themselves reflected in the brand. Authenticity is key.
Fig.9
Augmented reality is becoming a big part of fashion. Department of new realities is a creative agency that specialises in augmented reality. They developed a book for Moncler Genius project with augment reality content, 3D immersive experiences which are triggered by the printed pages bring a new perspective on the traditional book layout.
Through the Moncler Genius AR Lens app you can reveal a 3D multiverse behind each collection. This kind of technology changes the way we view and interact with fashion.
The Future of L
With young consumer leading th and inclusivity are going to play a if brands want thrive not only su culture i
Fig.10
Digital fashion is clothes you don’t actually wear, much like a snapchat or Instagram filter, they are completely digital only visible through the screen. Technological advances mean clothes don’t have to physically exist to be worn and shared on social media. Digital illustrations
Technological Solutions Digital denim jumpsuit by digital fashion house The Fabricant.
and edited photos have attributed to this phenomenon. Inclusivity and Diversity being the buzzwords in fashion digital fashion is a step in the right direction for some. For plus size models getting clothes off the rack can be difficult due to the lack of size range with the industry, especially in high fashion. Digital clothing can cater to any size. This can also benefit people with disabilities, finding clothing to fit over prosthetics
can be difficult and often disheartening. Digital clothing can be manipulated to fit your body unlike a typical filter. Digital fashion can be positive way to access fashion without the negative impact on the planet. As the clothes aren’t physically manufactured there is no carbon footprint. This is a really interesting concept for influencers. Often wearing the latest clothes and carrying out hauls of popular brands this is a more eco-conscious way keeping up with fashion.
This evolution of a social media persona is leading to the rise in digital fashion. For young, creative, image conscious consumers digital fashion is something to be taken seriously by brands. However, for the majority of consumers their love for fashion is in the physical rather than the digital (I-D, 2019).
Luxury Fashion
Fashion’s environmental footprint is one of the largest of any industry in the world and consumers are becoming more aware of this, especially younger consumers. Brands like Raeburn with ‘sustainable and intelligent fashion design for a global audience’ (Reaburn,2020) are emerging as brands of the future. Raeburn rework surplus fabrics and garments to create distinctive and functional pieces. From wool field jackets to nylon parachute canopies, each RÆMADE style is produced by meticulously deconstructing the original and reworking the materials into unique
he way technology, sustainability a big part in luxury fashion. And urvive, they must innovate with in mind.
against overspending. The Raeburn Lab team educated visitors on the impact of mass production, while offering technical demonstrations on how the longevity of clothing can be improved. Campaigns like this enagage with the consumer rather than dictate to them like traditional black Friday marketing. As the youth push for a more sustainable future even music is going sustainable. With music act like coldplay issuing this statement “We’re taking time over the next year or two to work out how our tour can not only be sustainable, but how can it be actively beneficial” and singer Billie Eilish also announced meas-
and ethical garments (Raeburn,2020). With this kind of sustainable practice embedded in their ethos, this idea of having high fashion but not costing the earth is welcomed by the new luxury consumer. Raeburn also carry out campaigns like ‘Buy nothing repair something’ Christopher Raeburn invited customers into his studio in Hackney, London, on Black Friday for free repairs and alterations to any garment (from any brand). The brand also closed his namesake London store on November 29, the day of the sale, in a boycott
ures to make her 2020 world tour more sustainable, with increased recycling options and a ban on single-use plastic. An Eco-Village at each show will educate concertgoers about the environment (Polie and Marian, 2019) This shows young people that it’s not only them as individuals who are willing to make a change but also the artists they admire.
“I think as a designer you have an obligation to consider what you are doing and why; ultimately, we want to make strong, sustainable choices that provide our customers with a completely unique and desirable product” CHRISTOPHER RÆBURN
Luxury Korean eyewear brand Gentle monster Busan, South Korean store.
What`s next for Luxury Fashion
I believe luxury fashion is changing for the better. Having always been centred in Europe the fashion industry, especially the luxury market has always portrayed this idea of colonial elitist attitude while appropriating from other cultures outside of Europe. With the introduction of streetwear culture and brands such as Fenty, who although are based in Europe their brand ethos, values and imagery focuses on the experiences of people of colour. Inclusivity is the future. This is a clear shift in the tide of luxuries colonial elitist values. Luxury homeware is on the up with likes of Gucci and Virgil abloh creating homeware collection. People want to filter luxury into every aspect of their life. Aligning new luxury values with their everyday lives. Experiential shopping is vital to the survival of bricks and mortar stores. The use of art in luxury stores shows brands are becoming more culturally aware. If a brand such as Raeburn wish to thrive in this era of new lux they need to adopt more of an omni channel marketing strategy, seamlessly aligning all their channels for simple customer interaction. At the moment a few pages on their website are still in development. Their Instagram is kept up to date with regular post. However, many posts with little no consumer interaction in the comments.
Figures list Figure 1: Devonish,2020. Changing face.Digital illustration [own image] Figure 2: Schorr. 2019. Spring-summer [Online image] Availble from: https://uk.louisvuitton.com/enggb/stories/spring-summer-2019-collection#the-campaign Figure 3: Bord, 2017. Off-White paris. [Online images] Availble from: https://www.theguardian.com/fashion/2018/mar/26/virgil-abloh-named-artistic-director-of-louis-vuitton-menswear Figure 4: Devonish, 2019. Dream catcher display. [Own image] Figure 5: Becker, N/A. Multi channel Diagram. [online image] Availble from: https://www.emarsys.com/ resources/blog/multi-channel-marketing-omnichannel/ figure 6: Figure 7: Becker, N/A. Multi channel Diagram. [online image] Availble from: https://www.emarsys.com/ resources/blog/multi-channel-marketing-omnichannel/ Figure 8: Batchelor, 2018. Sephora App. [online image] Availble from https://www.buro247.sg/beauty/ news/sephora-updates-virtual-artist-app-eye-makeup.html Figure 9: Korine. 2019. Gucci bath. [online image] Availble from: https://www.gucci.com/uk/en_gb/st/ stories/article/cruise-2020-campaign-shoppable Figure 10: Monclear Genius Figure 29: Osborne, S (2019) Take up space [online image] Availble from: https://www.fenty.com/gb/en/ releases/release-9-19/ Figure 8: Korine. 2019. Gucci bath. [online image] Availble from: https://www.gucci.com/uk/en_gb/st/ stories/article/cruise-2020-campaign-shoppable Figure 16: Louis vuitton (2019) Pleated knit top [online image] Availble from: https://uk.louisvuitton. com/eng-gb/products/accordion-pleats-cropped-cardigan-nvprod1770264v Figure 17: Louis vuitton (2019) Botton up dress [online image] Availble from: https://uk.louisvuitton. com/eng-gb/products/belted-button-up-dress-nvprod1770194v Figure 17: Louis vuitton (2019) Botton up dress [online image] Availble from: https://uk.louisvuitton. com/eng-gb/products/belted-button-up-dress-nvprod1770194v Figure 19: Naito, K (2019) City Bloom [online image] Availble from: https://www.fenty.com/gb/en/ releases/release-11-19/
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