The Luxury Paradox by nmelamed9

THE LUXURY PARADOX

lux· u· ry

/ˈləkSH(ə)rē,ˈləɡZH(ə)rē/

noun 1. The top category of prestige brands, which capture personal effects such as hedonic qualities, (Vigeron & Johnson 1999). 2. Any high-priced object that can be perceived as luxury because it can signal high quality, exclusivity, and rareness, (Castelli 2013). 3. The physical characteristics of a product such as the artisanship, craftsmanship, style and design, as well as its uniqueness; characteristics that can be considered luxury signifiers, (Kapferer 1997).

here is no single definition for the word “luxury;” the definition itself has been debated by theorists for decades, all of whom have agreed that the term is highly subjective. However, we do know that the general public likes luxury and that people work hard in order to attain prestigious and luxurious items. With this mind, some questions remain: How is the perception of luxury created? In what ways do luxury brands use luxury theory and strategy in order to maintain their brand image? Can those same principles be applied to mass-market products in order to produce an elevated perception? And finally, how can values of inclusion and sustainability be incorporated into the established principles of luxury? The Luxury Paradox aims to explore these questions; both academically and through application. Luxury principles will be applied to nine mass market products in order to elevate those items to prestigious standards and showcase the creation of luxury perception. The goal is to expose the manipulation tactics of the luxury industry and bring awareness to their use of misleading devices—but, in a humorous way.

LUXURY STRATEGY

1.0 1.0 1.0 /ˈləkSH(ə)rē/ˈstradəjē/

noun A theoretical framework that discusses how luxury brands utilize specific marketing efforts in order to remain positioned as prestigious, (Kapferer & Bastien 2012).

1.1 /ˈherədij/ˈhist(ə)rē/

noun The use of historical elements such as longevity, reputation, core values, and symbols within a luxury brand’s identity that express the past, (Adebeshin 2015).

1.3

CRAFTMANSHIP: QUALITY

26—33

1.2 16—25

HERITAGE: PLACE

HERITAGE: HISTORY

4—15

/ˈherədij/plās/

noun The expression of territory and/or place of origin; particularly, how it is rooted in the brand’s culture, values, and identity, (Adebeshin 2015).

/ˈkraf(t)smənˌSHip/ˈkwälədē/

noun The superior product performance and physical aesthetics of a product, which reflect the artistry and design unique to the brand (Adebeshin, 2015). Often described as art applied to functional products, (Kapferer 1997).

GOT

HERITAGE: HISTORY

City of Toronto as the leading milk producer in North America Who knew?

ilk deliveries began with the introduction of the industrial revolution; a period of change during the late 18th to early 19th-century that shifted towards machine manufacturing from a handicraft economy (Britannica 2021). Those who moved from rural areas to urban city centres for employment no longer had the space to accommodate a family cow. However, the thirst for milk still remained, which encouraged the community to purchase their milk from local dairy farmers. This created a unique opportunity within the supply chain; to deliver milk directly to the consumer from the farms. Thus, the need for a milkman came into fruition (The Dairy Alliance 2020). Milkmen were an essential service to 19th-century society that desired perishable goods, but did not have modern refrigeration to prevent such goods from spoiling. As a result, daily milk deliveries were necessary because the quantity allowed communities to consume the product within a short period of time (2020). Originally, milk was transported by the milkman in large, bulk containers. In order to collect milk, families would approach the milkman’s carriage with their own containers and fill up on their daily supply. In 1878, the first glass milk bottle was patented (2020); a design that became the industry standard in milk deliveries going forward, as well as a source of nostalgia for anyone 50 years-old and older.

Who knew?

While industrial milk production was especially prominent in countries such as Britain and the United States, what is intriguing is the fact that the City of Toronto was also the leading industrial milk producer in North America; starting in 1900 with the establishment of City Dairy Company Limited (Plummer 2013). Marketed as “Milk Good Enough for Babies,” the founder of City Dairy, Walter E.H Massey, developed cutting edge dairy production and scientific techniques in order to produce the highest quality of certified milk on the market (2013). Milk cans were transported from his farm, Dentonia Park Farm—located in today’s Danforth Avenue and Medhurst Road—to the City Dairy on the Spadina Crescent, then elevated to the top floor for sterilizing, cleaning, and filtering (2013). After passing health inspection, the milk would be loaded onto five horsedrawn wagons for delivery throughout the city (2020).

MILK? 5

HERITAGE: HISTORY

“MILK GOOD ENOUGH FOR BABIES”

With the advancement of cars and their accessibility to the masses from the 1950’s to the 1970’s, milk deliveries no longer maintained the same sense of necessity. There was easier access to milk in both grocery and corner stores, the packaging was more transportable, and buying perishables in-store helped avoid delivery taxes (Toronto Heritage 2020). The advancement of technologies in the kitchen also allowed consumers to purchase larger quantities of milk since refrigeration prevented the product from spoiling. With that, milk deliveries became obsolete in the 1980’s despite being a major source of business and community-bonding for many decades (2020).

Milkman wearing new uniform designed to make milkmen more attractive to housewives, circa 1972.

Milk delivery from Uplands Dairy in Toronto, estimated to be in the city’s east side. Circa 1940s-1950s.

Milk carriage carrying deliveries in Toronto tips over, circa 1950s-1960s.

A rare photo showing a woman delivering Sealtest milk; a brand that is still popular today, circa 1950s.

HERITAGE: HISTORY

City Dairy Company LTD, Toronto’s milk delivery service in the 1950s, established in June 1900. Located on the east side of Spadina Crescent.

HERITAGE: HISTORY

“THE SOUND OF GLASS ‘CLINKING’ TOGETHER... Milk’s connection to historical traditions and practices inspired the use of the Heritage: History principle in luxury strategy. This principle concerns the use of historical elements such as longevity, reputation, core values, and symbols within a luxury brand’s identity in order to express the past (Adebeshin 2015). It is also based on the belief that history is important and must be preserved (2015). For example, luxury brands such as Gucci utilize this strategy by incorporating the brand’s historical symbols into their contemporary designs. These symbols include the green-red-green stripe, as well as metal embellishments that are in the shape of a horse bit. By including these symbols in their footwear and handbag collections, the brand is able to signal their historic equestrian background as Italian saddle makers in the 1920s (2015). With milk in particular, the concept of traditional deliveries was explored in order to tap into the historical heritage of this mass-market product. In the 1950s, the value of milk did not derive from the product, but instead, from the experience of receiving a fresh milk delivery every morning.

This experience manifested such positive affiliations with the product that the sound of glass “clinking” together can trigger nostalgic memories amongst those who are 50 years-old and older. For those reasons, the Milk Vintages campaign recreated the same experience. The consumer emerges from his home in order to pick up his milk delivery while smoking his morning cigar. The milk arrives in a wooden box— an elevation from the 1950s wooden crate—while the milk itself is packaged in glass bottles; the same packaging design that was used from 1878 to 1968 (The Dairy Alliance 2020). By utilizing an old tradition while opting for a vintage package design, a sense of luxury is created because the present is connected with the product’s heritage.

CAN TRIGGER NOSTALGIC MEMORIES”

Art direction, photography & styling—Nicole Melamed

MILK VINTAGES

Model Ahmad Younes Robe Versace Belt Gucci Shoes Aldo Necklace Zara

HERITAGE: HISTORY

SANITATION STATION

HERITAGE: PLACE

Lysol is a multipurpose cleaner for surfaces, pandemics

and vaginas.

nvented by Gustav Raupenstrauch in 1889, Lysol was introduced as an antiseptic disinfectant in order to help combat the cholera epidemic in Germany (History 2020). It was later recommended as a countermeasure against the Spanish Flu pandemic in 1918 (2020). Fast forward a decade later, Lysol approached a different marketing strategy that targeted housewives and their hygiene (2020). Beginning in the 1920’s, Lysol advertisements claimed to not only be a powerful germicide against viruses, but they also claimed to be a gentle and efficient solution for female hygiene issues (Eveleth 2013). This was later discovered to be a euphemism for birth control since oral contraceptives were illegal for married couples until 1965 in the United States (2013). These adverts went as far as stating that doctors recommended Lysol as a “germ-killing douche that cleanses and deodorizes,” and that “Lysol won’t harm sensitive vaginal tissues,” (Click Americana 2012).

HERITAGE: PLACE

Lysol claimed to be gentle and eﬀective for female hygiene. They also claimed to improve marriages, circa 1950s.

Lysol advertisement from the March 1918 issue of Good Housekeeping Magazine about ﬁghting the typhoid epidemic.

While such claims are shocking and irresponsible, Lysol lured women into believing these false statements by playing on housewives’ fear of losing their husbands romantically. According to numerous Lysol adverts, happiness within a marriage depended on the wife keeping her husband sexually satisfied, which was only possible by maintaining her female hygiene and reproductive cycle with Lysol. It comes to no surprise that hundreds of people died due to Lysol exposure and poisoning (Eveleth 2013).

Despite the brand’s shocking history, Lysol products have maintained their superior reputation of fighting against germs and viruses. In particular, Lysol Disinfecting Wipes and Disinfectant Spray have exponentially increased in sales as a result of the COVID-19 pandemic (Forbes 2020). While the sales may have been attributed to ESA’s (The US Environmental Protection Agency) and CDC’s (Centres for Disease Control and Prevention) approval of Lysol products for killing novel coronavirus on hard surfaces (Crespo & Lee 2020), we cannot help but notice that Lysol was also the consumer choice for epidemics and pandemics in the past.

Lysol advert poster for their spray disinfectant, 1968. Recommended for killing inﬂuenzas virus on surfaces.

HERITAGE: PLACE

EMOTIONALLY THROUGH THE BACK STORY” Lysol’s luxury elevation titled 1889, will be connected to the Heritage: Place strategy, which is defined as the expression of territory and/or place of origin; particularly, how it is rooted in the brand’s culture, values, and identity (Adebeshin 2015). Luxury brands often use the Heritage: Place strategy in order to represent the origins of their brand, as well as signal their timeless quality. An example includes Dolce & Gabbana’s “Francesco Finizio” 2020 advertising campaign, which featured their collection alongside the performance of Italian artisanal traditions in Sicily (Dolce & Gabbana 2020). Lysol was invented in Germany due to the cholera epidemic and the need to disinfect surfaces from contagious bacteria. As a result of Lysol’s connection to German history, the values and representative principles of Germany were explored. While this country is known for their beer and bread products, they are also regarded as the world’s leading manufacturer of luxury car brands such as Porsche, Mercedes, and BMW. For those reasons, this luxury elevation was approached as a brand collaboration between two long-standing German brands; Lysol and BMW, for the purpose of disinfecting against the COVID-19 pandemic.

The scene of Lysol’s 1889 campaign was set in Yorkville; Toronto’s luxury centre for high fashion brands, while the packaging design was inspired by the sleek look of luxury car parts; particularly, the chrome finish and long, tubular shape of after-market exhausts. The consumer drives her BMW to Yorkville in order to engage in conspicuous consumption; the purchasing of goods in order to display one’s wealth (Phillips 2014). She amasses her purchases from Christian Dior, Miu Miu, and Gucci; however, the threat of COVID-19 cannot be ignored; for those reasons, she also disinfects her luxury purchases using her new BMW Lysol wipes. By establishing a historical resonance with Lysol’s German origins, especially since today’s pandemic reality reflects similarities with Germany’s 1889 epidemic, a sense of luxury is created because consumers are able to engage with the brand emotionally through the back-story.

Art direction, photography & styling—Nicole Melamed, hair & make-up—Vanessa Huynh

“ENGAGE WITH THE BRAND

1889

Model Vanessa Huynh Sunglasses Michael Kors Coat DKNY Shoes SHEIN Gloves Prada

1889

Art direction, photography & styling—Nicole Melamed

HERITAGE: PLACE

1889

HERITAGE: PLACE

1889

CRAFTSMANSHIP: QUALITY

Today’s household staple was originally designed for babies, now the brand name is synonymous with cotton swabs.

n 1923, Leo Gerstenzang observed his wife apply a wad of cotton to a toothpick in order to clean his daughter’s ears. Soon after, Gerstenzang became the founder of the world’s first mass-produced and sterile cotton swab; originally called Baby Gays. In 1926, the brand name was replaced with Q-tips, in which the “Q” stood for quality and “‘tips’ stood for the cotton swap at the end of the stick.” (Unilever 2020). The packaging and product design of Q-tips was created with the needs of new parents in mind. The box was designed to be opened single-handedly; particularly, for parents who have their hands full with a baby, while the swab was manufactured with wood; a safer alternative to toothpicks (Ahsan 2020). In 1958, the wooden sticks were replaced with rolled paper for economic reasons, but also to further decrease the risk of piercing delicate ear tissue (Unilever 2020). What is interesting to note is Q-tips’ marketing approach. While they were originally marketed for baby care, the use for the product expanded into make-up application, arts and crafts, as well as household cleaning over time (Ferdman 2016). However, much to cotton swab users’ dismay, it was never intended for use inside the ear canal, but only for the outer portions of the ear.

CRAFTSMANSHIP: QUALITY

In the 1970s, Q-tips began printing caution labels on their boxes (2016). Today’s consumer is familiar with the explicit warnings on the packaging, which clearly state that the swabs should not be inserted inside the ear. While this practice is instructed against, we cannot deny that people continue to clean inside their ear canals, both for hygienic reasons, but also because the tickling sensation creates a twisted and visceral pleasure (2016). For those reasons, in addition to their “all-purpose” marketing approach, Q-tips have become a household staple. So much so, that the brand name has become synonymous with the product; consumers worldwide unconsciously refer to cotton swabs as Q-tips.

Mother uses Q-Tips, formally called ‘Baby Gays,’ to clean her child’s ears, circa 1950s.

Vintage Q-Tips advertisement that shows women how to use the cotton swab for make-up application, 1979.

Q-Tips advertised as a multi-use make-up applicator for blending, contouring, and highlighting, 1983.

CRAFTSMANSHIP: QUALITY

AURUM COLLECTION While Q-tips already maintain a superior reputation for their premium cotton swabs, this luxury elevation focused on the craftsmanship quality of the packaging and aesthetic appeal of the swabs. As a result, the Q-Tips swabs are placed in a glass container with a gold lid, while the rolled paper portion was gilded with 14 karat gold

“APPLYING ART TO FUNCTIONAL PRODUCTS” to functional products (Kapferer 1997). Since the 19th-century, craftsmanship was synonymous with luxury because it represented a brand’s artisan roots and high quality (Adebeshin 2015). The same association still applies today. For those reasons, consumers may opt to pay $5000 for a Louis Vuitton handbag because the artisanal craftsmanship allows the product to maintain its durability and appearance for decades. Going further, Louis Vuitton’s reputation for creating high-quality products also allows the brand to command a premium price.

leaf. This inspired the name of the collection: “Aurum,” which translates to “gold” in Latin. Some consumers might regard this elevation as excessive, however, by increasing the artisanal quality of the swabs, the product then becomes a collectible item that can be gifted. Ultimately, by increasing the uniqueness and prestigious quality of a product through craftsmanship, the perception of luxury can be created.

Art direction, photography & styling—Nicole Melamed

By referring to the representative meaning behind the brand name, in which the “Q” stands for quality, Q-tips’ luxury elevation surrounded the Craftsmanship: Quality strategy. This strategy regards the implementation of superior product performance and physical aesthetics in a product, in order to reflect the artistry and design unique to the brand (Adebeshin 2015). In other words, this strategy can also be symbolically described as applying art

AU RU M CO LLE CT IO N

Model Tanya Pardazi Robe Victoria Secret Towel Brooklinen Dress Marciano

CRAFTSMANSHIP: QUALITY

AU R U M CO LLE CTIO N

PERCEIVED RARITY

2.0 /pərˈsēvd/ˈrerədē/

noun The introduction of scarcity into a brand’s products in order to increase the sense of eliteness and exclusivity, (Catry 2003).

2.1 /brand/ˌikˈsten(t)SH(ə)n/

noun A brand strategy that penetrates new markets for the purpose of attracting new consumer segments who may have overlooked the brand previously, (Stankeviciute 2009).

2.3

ONE-TO-ONE APPROACH

60—69

2.2 48—59

LIMITED EDITION

BRAND EXTENSION

38—47

/ˈherədij/plās/

noun A form of rarity that is managed and maintained by the brand in order to offer a special series for a limited time, (Catry 2003).

/wən/too/wən/əˈprōCH/

noun A form of rarity that is managed and maintained by the brand in order to offer customized, one-of-kind products for a limited number of consumers, (Catry 2003).

BRAND EXTENSION

Once glass became common in society, a new problem formed

indows have been a part of architectural design for centuries—window glass, however, did not become common until the early 19th-century (Beverley Hills Windows & Doors 2017). In the 1680’s, the Palace of Versailles was considered a historical landmark in the window industry. By improving glass-making technologies; first discovered by the Roman empire in the 3rd century, the French were able to create the first, clear glass window pane in the form of long-latticed windows (2017). These windows were created for the Versailles and were considered a luxury; only afforded by the upper-class, nobility, and the aristocracy. Once glass became available to the masses in the early 19th-century, it also became a part of modern, 20th-century architectural design in the form of “curtain walls;” floor-to-ceiling windows that established the look of today’s skyscrapers (2017). However, as glass became an integral part of modern society, the desire to keep the glass clean created a new opportunity in the chemical industry.

how to keep it clean. Invented by Harry R. Drackett of The Drackett Company in 1933, Windex glass cleaner was introduced during the Great Depression in 1936. The brand name was created by combining the word, “window,” with the suffix “-ex,” which was short for the word, “express,” (Green 2003). Together, the name Windex represented the formula’s power to clean windows quickly (2003). Being introduced during the Great Depression, however, created some challenges for Windex when it first started out (Smith 2017). While home owners wanted to keep their windows clean, it was not at the top of their priority list. There was also water; a free and accessible solution to cleaning anything within the home (2017).

Windex advertisement features their new spray that cleans windows without water, 1936.

Windex advertisement that emphasizes ease of use and eﬀectiveness of Windex spray, 1937.

As a result, Windex had to create a unique marketing strategy that developed the desire to clean windows with Windex, as opposed to water and other similar products. In 1936 and onwards, Windex advertisements were designed to showcase why their product is easier to use, which often included thought bubbles from housewives. These statements included how Windex helped avoid chapped hands during the winter because it did not involve the use of water, and how it cleaned windows faster than traditional methods, such as blowing your breath on the glass surface (2017). However, what made Windex especially desirable was its pre-mixed formula in a six-ounce container, which eliminated the need to haul a bucket with water, soap, and a squeegee (Funding Universe 2016). The convenience that Windex created with its products has made window cleaning a common practice within a home; so much so, that Windex has become a household staple for glass surfaces in today’s society.

One of Windex’s ﬁrst advertisements released the same year as its invention in 1933.

New Windex plastic packaging featuring a new lemon scented formula in yellow, circa 1980s.

BRAND EXTENSION

“THE INTRODUCTION OF SCARCITY ...TO INCREASE ELITENESS” W BY WINDEX In addition to luxury strategy, brands can increase the perception of luxury and prestige of their products by incorporating the perceived rarity theoretical framework into their marketing strategy. This framework regards the introduction of scarcity into a luxury product in order to increase the sense of eliteness, as well as make the product appear exclusive (Catry 2003). A brand extension can be defined as brand strategy that penetrates new markets for the purpose of attracting new consumer segments (Stankeviciute 2012). Often times, luxury brands use this tactic in order to branch into other product categories such as perfume, skin care, or ready-to-wear. Versace, for example, was the first brand that implemented a brand extension into the luxury accommodation sector by offering a collection called Versus; a fashion line that was made to be more affordable to the public (Meliado 2018). While brand extensions in luxury are not used for the purpose of producing perceived rarity, a reversed effect can occur when a mass-market product extends into the luxury market. W by Windex offers Windex’s specialty formula but in a concentrated form. Unlike the original blue colour, this rare brand extension offers the product in a clear solution with triple the amount of cleaning power of regular Windex.

The formula also comes in an eightounce, black spray bottle that produces a fine mist with every spray. Dissimilar to the mundane approaches that showcase cleaning products in contemporary advertisements, the W by Windex advertisement campaign aims to artistically capture a “curated, luxury mess.” In doing so, the audience receives a glimpse into the hyperbolic lifestyle of an affluent person, as well as their attitude towards cleanliness. By extending Windex’s brand offering into a luxury product line that offers craftsmanship in the packaging, quality in the cleaning solution, as well as context in regards to what type of lifestyle the product belongs to, then a sense of prestige is created. Additionally, by offering the product line at certain store locations while limiting the inventory can enhance the dimension of exclusivity through perceived rarity, which furthers the perception of luxury and makes the product appealing to elite markets; despite its origins in the mass-market realm.

W BY WINDEX

Art direction & photography—Nicole Melamed

BRAND EXTENSION

W BY WINDEX 45

BRAND EXTENSION

W BY WINDEX 47

LIMITED EDITION

oca-Cola has an extensive history that began more than 100 years ago. Invented in 1886 by a local pharmacist in Atlanta, Georgia, Dr. John S. Pemberton, the iconic drink was originally a medical tonic (Coca-Cola Company 2020). This tonic, in the form of a syrup, included ingredients such as cocaine from the coca leaf—which was eventually removed from the formula in 1903—caffeine extracts from the kola nut, as well as lime, vanilla, and nutmeg in its initial formula (Britannica 2020). After bottling his new product, Pemberton brought the syrup down the street to Jacobs’ Pharmacy for tasting, which was received with a positive reaction and was pronounced, “excellent,” (Coca-Cola Company 2020). Carbonated water was combined with the syrup to create a soft drink, which was sold at Jacobs’ Pharmacy for five cents a glass (2020). Pemberton set out to title his new concoction, “Intellectual Beverage and Temperance Drink;” however, his bookkeeper, Frank Robinson, suggested a shorter and catcher name, “Coca-Cola,” (Neagoe 2020). Robinson later penned the name into a flowing script, which then became one of the world’s most iconic and recognizable logo (Coca-Cola Company 2020).

how about a Coke with a dash of cocaine?

“DELICIOUS, INVIGORATING!”

Forget your coffee

After Coca-Cola’s initial success at Jacobs’ Pharmacy, Pemberton continued to sell his syrup to other local soda foundations and began promoting the drink in the Atlanta Journal as a “Delicious! Refreshing! … Invigorating!” (Neagoe 2020). In 1891, Pemberton sold the company for $2,300 to another Atlanta pharmacist who continued to grow the business (Britannica 2020). The Coca-Cola Company was then sold again, but for $25 million in 1919 (2020). By the mid-1930s, Coca-Cola out competed other soda brands on the market, and its success was propelled by its unique and captivating advertisements, which established the brand as an American cultural symbol.

LIMITED EDITION

Since its invention, Coca-Cola released illustrious advertisements that were painted by hand and were designed to reflect the cultural trends of that period (2020). In the late-19th century, these advertisements often featured women in scenes of luxury; particularly, the model Hilda Clark, who was the “face” of Coke until 1904 (2020). These women dressed in extravagant gowns with ruffles and lace trimming, while the scene they were illustrated in featured boudoirs sets, ostrich feather fans, perfume, and pearl jewellery; luxuries that were unaffordable to the general public, but echoed the trends of that era, nonetheless (2020).

Coca-Cola named ‘A Star Drink’ for the decadent and opulent in the late 19th century, 1894.

Coca-Cola referred to as ‘delicious and refreshing,’ modeled by Hilda Clark, 1904.

As sports were becoming increasing popular in 1920’s America, Coca-Cola displayed its versatility as a refreshing, post-exercise drink, 1926.

Coca-Cola started shortening its name in advertisement slogans as ‘Coke’ for the ﬁrst time, 1940.

In the early 20th-century and onwards, the advertisements began to reflect cultural shifts in American lifestyles. For example, the 1920’s were considered to be the golden age of sports; radios and newspapers increased their coverage of sporting events, new stadiums and gymnasiums have been built, and road improvements have made travelling for sporting events more accessible (Sumner 2004). For the first time in history, Americans were eager to spend money in order to view athletes compete in sports. It also inspired both men and women to participate in sports themselves, such as playing baseball, cricket, or swimming (2004).

LIMITED EDITION

As a result, Coca-Cola advertisements reflected the current cultural landscape by illustrating figures into spectating a baseball game or in sports attire, such as swimming suits. What is interesting to note, is how Coca-Cola strategically implemented their product into the current lifestyle by reinventing their product positioning.

Senior characters are depicted in the background to display Coke’s appeal to multiple demographics, 1954.

Coca-Cola states that it pairs well with food like club sandwiches; likely in reﬂection of the rising popularity of fast-food in America, 1965.

Coca-Cola began capitalizing on its red and white branding by creating branded merchandise, 1970.

Further engaging with pop culture, Coca-Cola expands its merchandise into branded clothing and pool ﬂoats, 1986.

For example, as a refreshing, post-exercise drink in the 1920s, and then, as the perfect pairing with a club sandwich in the 1960s; in response to the rising popularity of fast-food in America. As a result of Coca-Cola’s adaptability to pop-culture trends, it is unsurprising that they remained the top competitor in the soft-drink industry 135 years later.

LIMITED EDITION

SHARE THE CELEBRATION Coca-Cola’s ability to adapt their positioning in reflection of current pop culture trends inspired the use of the limited-edition strategy for the brand’s luxury elevation. This strategy regards a form of rarity that is managed and maintained by the brand in order to offer a special series for a limited time (Catry 2003). Luxury brands often use this approach in order to increase publicity and generate “hype” around their brand. An example includes Supreme; a luxury skate and streetwear brand that focuses on minimal, but bold menswear fashion (Chen 2017). Supreme’s approach to maintaining its prestige is to operate solely within the perceived rarity

more valuable once it is safe to gather with friends and family (Rolling Stone Culture Council 2021). As a result, Coca-Cola’s luxury elevation, Share the Celebration, surrounds a limited-edition release of Coke-branded champagne for New Year’s 2022. This product will be released in anticipation that social gatherings will be permitted due to herd immunity from the vaccine, and that that people will be looking forward to experiencing a form of pre-COVID life again—but, it may

space; specifically, by controlling the scarcity of their product through limited edition releases. The brand has collaborated with Louis Vuitton, The North Face, Nike, Levi’s, and more, but only releases a limited quantity of these items (2017). The founder, James Jebbia, stated that “if he knows Supreme can sell 600 pieces, he will make 400,” (2017). As a result, the collections sell out the same day of their release; they also become worth triple the value on the resell market once they are sold out (2017). In reflection of recent pop culture trends during the COVID-19 pandemic, such as TikTok challenges to keep people connected or purchasing local take-out food in order to support struggling restaurants, the introduction of the COVID-19 vaccine is paving the way for new trends to emerge for 2022. While it may take a while for life to return to normal, it is predicted that in-person interactions will become

take some time for society to adjust back to the life without social distancing, sanitising, and mask wearing. For those reasons, Coca-Cola Champagne is packaged in six eight-ounce bottles to allow individuals to have their own portion of champagne without sharing from a single bottle. The packaging also honours the original look of Coca-Cola glass bottles, but with a modified colour palette in order to reflect the colours of New Years; white and gold. Much like Supreme, by offering a limited-edition collection for New Years, Coca-Cola is able to build an element of rareness within their brand, such that a sense of exclusivity is felt by those who were able to purchase the champagne.

Art direction & photography—Nicole Melamed

“IF SUPREME CAN SELL 600 PIECES, [JEBBIA] WILL MAKE 400”

Model Madeline DiNunzio Dress Honey Shoes Call It Spring Shawl Mendocino

LIMITED EDITION

C. SHARE THE

LIMITED EDITION

Band-Aids were inspired by

ONE-TO-ONE APPROACH

a clumsy housewife who needed to treat her minor wounds.

he world has experienced cuts, scrapes, blisters, and burns since the beginning of time. Prior to the invention of Band-Aid in 1920, however, individuals had to be creative, as well as knowledgeable in the properties of natural elements. For example, in 1500 BC, Ancient Egyptians used honey to cover their cuts in order to help prevent infections and create an antibiotic barrier (Levine 2017); while in 460 BC, Greek physicians washed cuts and burns with vinegar, then wrapped the wound with fig leaves to create a protective barrier against infection (2017). Society has come a long way in the treatment of injuries, but adhesive bandages only were brought to fruition 100 years ago.

HURTS 61

Band-Aid advertisement from the February 7th, 1955 issue of Life Magazine that featured the new ‘Super Stick’ feature.

Much like the beginnings of Q-tips, the concept of Band-Aids was inspired by Earle Dickson’s wife, Josephine Knight Dixon; an accident-prone home-maker who experienced minor cuts and burns on a daily basis (Johnson & Johnson Inc. 2015). The options for treating minor wounds were limited; Dixon could leave the wound unbandaged and risk infection, or she could attempt to tie a piece of gauze or scrap fabric one-handed (Eschner 2017). In order to create a practical solution to an everyday problem, Dickson decided to create his own makeshift, adhesive bandage by combining Johnson & Johnson’s adhesive tape and cotton gauze together (Levine 2017).

Band-Aid advertisement that introduces their newest ‘Clear Tape’ product, which looks and acts like skin, 1958.

The adhesive tape was cut into short strips, while the gauze was folded into a narrow pad and secured into the middle of the tape (Eschner 2017). However, Dixon’s kitchen blunders continued to result in cut fingers and burns on her hand.As a result, Dickson created a long-term solution; he unrolled an entire roll of adhesive tape, fixated gauze every few inches, and placed a band of crinoline on top to prevent the tape from sticking to itself (2017). The tape was then rerolled and available for his wife’s next accident—she just had to unwind the tape and cut off what was needed.

Dickson received a patent for his product design in 1926 (2017). Since then, the Band-Aid has also undergone a number of innovations throughout the decades leading up to the present. These innovations included waterproof bandages, decorated patterns, a two-in-one approach with antibacterial ointment on the pad, bandages in liquid form, clear bandages, as well as quilted padding to wick away blood, while allowing the wound to breathe (Levine 2017). In June 2020, Band-Aid announced that they will be diversifying the colour of their adhesive bandages in order to include “light, medium and deep shades of Brown and Black skin tones,” (Band-Aid Brand 2020).

“FIRST MOVE OF MANY IN ORDER TO

A new and improved Band-Aid ‘Sheer Strip,’ based on the 1955 design. Air vents over the pad are introduced, in addition to the ‘Super Stick’ technology, 1963.

FIGHT AGAINST SYSTEMIC RACISM”

‘Cushion the Hurt’ is the newest slogan with relation to the ‘Sheer Strips,’ that describes the new ‘Super Soft pad’ feature added to the bandage, 1965.

Titled “OURTONE,” this brand expansion was introduced in response to the Black Lives Matter movement, which was gaining nationwide traction due to George Floyd’s murder in March 2020 (Britannica 2020). Floyd, an unarmed Black man, was pronounced dead after a white police officer knelt on his neck for seven minutes—while Floyd was pleading for his life and crying out, “I cannot breath” (2020). Circulation of a bystander’s video ignited anti-racism demonstrations, protests against police brutality, as well as solidarity with the Black community (2020). According to the Band-Aid Brand, this is their first move of many to help fight against systemic racism; the product line is set to be released in the Spring of 2021 (Band-Aid 2020).

TONE-AID Band-Aid’s luxury elevation was inspired by the upcoming release of OURTONE, but with the goal of taking the concept to the next level. This was done by utilizing the one-to-one approach in the perceived rarity framework, which regards a form of rarity that is managed and maintained by the brand in order to offer customized, one-of-kind products for a limited number of consumers (Catry 2003). Oftentimes, luxury brands incorporate this strategy by offering consumers the option to add personalized initials on a product. Other brands, such as Gucci, take customization a step further. Titled Gucci DIY, the brand offered a “Do It Yourself” service that allowed consumers to embrace self-expression through fashion (Gucci 2021). Through this service, consumers are able to choose from a variety of iconic Gucci symbols, such as a bee, kingsnake, and/or daggered heart and have it embroidered on the sleeve of a Gucci shirt (2021). Consumers can also customize tailored jackets by choosing from an array of colourful printed silks for the lining (2021).

Such individualized approaches have always been an exclusive characteristic of the luxury industry (Catry 2003); this is because one-of-a-kind products are highly exclusive and often command a premium price. The Tone-Aid campaign aimed to take OURTONE to the next level by offering a service that colour matches a set of Band-Aids to the consumer’s unique skin tone. Similar to the foundation-matching practices of the cosmetic industry, consumers have the opportunity to take a short quiz on the shade and undertone of their skin colour. If the consumer wears foundation, they can insert the foundation brand and colour code into the form in order to receive the closest colour match possible. This service goes further by offering the opportunity to choose the colour of the bandage wrapper, as well as have the consumer’s name printed on the package, along with a chosen title for their unique skin tone. Not only does Tone-Aid embrace the infinite spectrum of skin tones, it also allows individuals to treat their injuries in the most discreet way possible. By offering a customizable approach to bandages, a sense of luxury and exclusivity is created because the consumer receives a one-of-a-kind product.

TOTREAT TREAT INJURIES INJURIES TO IN THE MOST DISCREET WAY POSSIBLE”

Art direction & photography—Nicole Melamed

“IT ALLOWS INDIVIDUALS

ONE-TO-ONE APPROACH

CAN YOU FIND IT? With Tone-Aid ®, we can accurately match your unique skin tone, so that you can live the best version of you, without being held back.

waterproof

heavy duty

unique

ONE-TO-ONE APPROACH

Model Julie Alexandra Gordon Fanny Pack The North Face Jacket Yamaha Ring Ana Luisa

HEDONISM & SYMBOLISM

3.0 /ˈhēdəˌnizəm/ˈsimbəˌlizəm/

noun A characteristic of luxury consumption that involves the consumer’s pursuit towards achieving an experience of pleasure, excitement, and fantasy, (Adebeshin 2015).

3.1 /n(y)oo/ˈləkSH(ə)rē/

noun The democratizing of luxury in order to make it accessible to the middle market; by offering the benefits of luxury, but at a lower cost. Also known as ‘masstige;’ mass prestige, (Adebeshin 2015).

3.3

SEMIOTICS IN ADVERTISING

92—99

3.2 84—91

BRAND EXPERIENCE

NEW LUXURY (ACCESSIBLE)

74—83

/ˌikˈspirēəns/brand/

noun The creation of value outside the tangible characteristics of a product; to produce a hedonic or experiential element during the consumption of the brand. Also known as experimental marketing, (Sumbly & Siraj 2019).

/ˌsemēˈädiks/in/ˈadvərˌtīziNG/

noun The use of symbols in an advertisement in order to add meaning to a luxury product by connecting it to a fantasy, myth, or unattainable lifestyle, (Zakia & Nadin 1987).

NEW LUXURY (ACCESSIBLE)

FEELTHE Toothpaste was not always minty fresh...

ral hygiene can be dated back to the ancient Babylonians and Egyptians in 3500 BC with the creation of the first “toothbrush,” (Colgate-Palmolive Company 2020). These toothbrushes were simply frayed sticks, also referred to as “chew sticks,” which were chewed on to remove food build-up (2020). Fast forward to the first century, the Chinese invented the first bristle toothbrush, which used pig hair for the bristles, as well as bone or bamboo for the hand-carved handle (2020).

It is Interesting to note that the first “toothpaste” can be dated back to 5000 BC in Ancient Egypt; about 1500 years before the invention of the first toothbrush. Ancient toothpaste was used for the same benefits that we use toothpaste today; to freshen our breath, whiten our teeth, and most importantly, keep our teeth and gums clean (2020). However, unlike the smooth paste that today’s consumers are accustomed to, ancient toothpaste was extremely abrasive and was made from unhygienic ingredients. These ingredients included “grounded-up ox hooves’ ashes, burnt eggshells, and pumice… crushed bones, oyster shells, charcoal, and tree bark,” (2020).

SHINE 75

In 1896, Colgate released its ﬁrst toothpaste product in collapsible tube, as pictured in this advertisement, 1918.

The toothpaste we recognize today began its development in the early 19th-century. Until the 1850s, the first version was released as a powder, which had to be activated with water prior to use. The early versions also contained soap, betel nut for abrasion, as well as grounded charcoal. Around the 1870s, toothpaste was developed into paste form, which paved the way for Colgate & Company to start mass-producing this new product in jars (2020).

“GROUNDED-UP OX HOOVES’ ASHES,

NEW LUXURY (ACCESSIBLE)

BURNT EGGSHELLS, AND PUMICE… In the next two decades that followed, Colgate & Company began receiving recognition for their product, which led to the development of Colgate’s Ribbon Dental Cream in 1896; the first tube-packaged toothpaste that we are familiar with today (Britannica 2016).

Colgate’s formula with its leading ingredient, Gardol, was proven to be a leader in reducing new cavities, 1963.

Colgate advertisement that appeals to parents with young children. The pleasant taste makes toothbrushing enjoyable for children, 1920.

Colgate toothpaste was further developed in the late 1960’s as MFP Fluoride was added to reduce cavities, circa 1968.

Colgate was the considered to be the second-best ﬂuoride treatment, behind the dentist, 1972.

In 1931, the same toothpaste product received the “Accepted American Dental Association” seal on its packaging, which stated that Colgate’s Ribbon Dental Cream was approved by a board of prominent scientists; this served as a signifier of Colgate’s superior quality (Retro Ads 2020). In 1955, however, Colgate lost its number-one ranking as a result of Crest entering the marketplace (Britannica 2016).

CRUSHED BONES, OYSTER SHELLS,

NEW LUXURY (ACCESSIBLE)

CHARCOAL, AND TREE BARK” Unlike Colgate, Crest was the first brand that offered fluoride in their toothpaste; an ingredient that strengthens the enamel and prevents cavities (2016). Colgate followed suit by adding MFP fluoride into their formula and even expanded their product offering into Colgate Total; a product line dedicated to preventing a number of oral conditions, including gingivitis (2016).

Colgate adds a new ﬂavour, Winter-Fresh, to their MFP Fluoride collection in gel form; appealing to both children and grown-ups, 1982.

NEW LUXURY (ACCESSIBLE)

“REDEFINING THE EXPERIENCE OF USING TOOTHPASTE” Colgate’s luxury elevation concerns the new luxury approach, which regards the democratization of luxury in order to make it accessible to the average consumer (Adebeshin, 2015). In other words, new luxury offers the benefits of luxury, but at a lower cost (2015). This is also referred to as “masstige;” a portmanteau term that is coined from the combination of “mass” and “prestige,” (2015). An example includes Michael Kors; while the brand creates seasonal collections and offers high quality products, the focus remains on ready-to-wear, as opposed to runway fashion. The price point of those products is also significantly lower than that of Gucci and Prada—an average of $2000 cheaper when comparing hand bags, for example—which makes Michael Kors especially appealing to the middle market. By purchasing masstige, the middle market consumers are able to experience the emotional benefits of luxury, such as its hedonic potential; a characteristic of luxury consumption that involves the consumer’s pursuit towards the experience of pleasure, excitement, and fantasy (2015). Fantasy, in this case, would involve participating in a lifestyle that is generally unattainable to the middle class, such as purchasing expensive designer labels without worry of “breaking the bank.”

Another emotional benefit of luxury is its symbolic value, which surrounds the development of abstract associations from a luxury product that refer to human values and/or a particular lifestyle, (Kapferer 2001). By purchasing a Michael Kors handbag for $400, the consumer is able to symbolically portray that they are wealthy enough to participate in a form of luxury. Focusing on hedonic potential and symbolic value, Colgate’s luxury elevation, Mint Cooler, surrounded redefining the experience of using toothpaste. Today’s consumer is accustomed to purchasing toothpaste in a tube, which has been the industry-standard packaging design since the late 1800s. Even today’s luxury-positioned toothpaste brands, such as Marvis, package their product in the same, mundane way. However, by referencing Colgate’s history, this luxury elevation was inspired by the use of jars to package toothpaste. By changing the method in which the consumer approaches an every-day product, such as scooping instead of squeezing, an experience of pleasure and excitement begins to form. Symbolic value is also developed because jar packaging is typically associated with luxury skincare and cosmetic products. In offering the only mass-produced toothpaste in a jar across the market, much like in the 1870s, Colgate is able to produce a sense of luxury and prestige—despite the product being available to the masses—simply by changing the way an every-day product is used.

Art direction & styling—Nicole Melamed, photography—Peter Melamed

COLGATE MINT COOLER

NEW LUXURY (ACCESSIBLE)

Model Nicole Melamed Shirt Top Shop Eyelashes Glamnetic Nail Polish Vishine

GIVES

SYOU Heart stopping fun

in more ways With this challenge in mind, Mateschitz decided against traditional marketing tactics such as print advertisements, and instead, came up with a guerilla-style approach. This approach involved bringing the brand and product straight into the hands of their target market; 18 to 34 year-old-males (EDC BIT Merca 2018). The business partners executed this strategy by handing out free samples at college fraternity parties, sporting events, bars, and coffee shops; locations that their audience frequented (2018). The intention was to manufacture a brand image that embodies the lifestyle of their target market, instead of simply promoting their product. Despite this unconventional approach to marketing, Mateschitz and Yoovidhya were able to ignite conversation about their product and achieve the best—and free—form of advertising: wordof-mouth (2018).

than one.

nlike Lysol, the Coca-Cola Company, and Colgate; corporations that first launched their products over 100 years ago, Red Bull was released to the market in 1987 (Bergstrom 2017). Austrian salesman, Dietrich Mateschitz, visited Thailand in 1984 and discovered an “energy tonic” created by Chaleo Yoovidhya, which helped consumers stay awake and alert (2017). Mateschitz partnered with Yoovidhya and created a new energy drink with modified ingredients in order to appeal to the tastes of Western society (2017). An obstacle remained, there was no market demand—nor an actual market—for caffeinated energy drinks in North America. Their new energy drink also had to compete with consumers’ preferred source of caffeine: coffee (2017).

BRAND EXPERIENCE

WINGS 85

Red Bull advertisement campaign consisting of a triptych poster design, in reference to a remote control; play, power, and forward. 2020.

“IT [IS]

THE SENSORIAL EXPERIENCE” Three decades later, Red Bull still employs a similar marketing strategy; they go wherever their audience goes. Chances are, you have probably seen a Red Bull representative wearing an enormous, Red Bullshaped backpack and handing out free samples at a music festival or race-car rally. It is also very likely that a Red Bull-themed Mini Cooper was lingering nearby in the background. However, in addition to attending local events, Red Bull has also attracted its audience through heart-stopping publicity stunts. An example includes The Red Bull Stratos event in 2012, where Felix Baumgartner performed a parachute jump from the earth’s stratosphere—128,000 feet above ground (Bergstrom 2017). While space exploration does not relate to the brand, it was the sensorial experience; particularity, the adrenaline that their audience experienced when watching Baumgartner jump in a live-streamed video, which implicitly promoted the benefits of their product (2017). These events assist in fueling Red Bull’s tagline, “Gives You Wiiings,” by metaphorically stating that Red Bull will give you the extra push you need; whether it is pulling an all-nighter or parachuting from space.

BRAND EXPERIENCE

Local Red Bull cartoons that feature out-of-home scenarios; targeting those who may need a boost of energy to get through their work day, 2019. Washington D.C.

2019. San Francisco, California.

2019. Phoenix, Arizona.

BRAND EXPERIENCE

“EXPERIENCE... Red Bull’s brand positioning focuses on the consumer’s interaction with the brand and how they experience the product. This can be referred to as brand experience, which is defined as the creation of value outside the tangible characteristics of a product; to produce a hedonic or experiential element during the consumption of the brand (Sumbly & Siraj 2019). By sponsoring heart-stopping publicity stunts, for example, Red Bull offers their consumers to experience the brand outside of drinking the product. Luxury brands also use this strategy in order to provide their consumers a memorable, immersive, and hedonic experience (Cosco 2020). Christian Dior and Gucci, for example, have launched Snapchat filters in 2020 in order to allow consumers to virtually try on accessories such as hats and sunglasses (2020). The integration of layered digital components onto physical reality is referred to as augmented reality, which incorporates the use of viewing devices for the purpose of enhancing marketing efforts (2020). Such strategies have been especially popular during the COVID-19 pandemic, which forced retailers to reimagine the ways a consumer can experience a brand from home. While Red Bull approaches their tagline, “Gives You Wiiings,” in a metaphorical way, the Red Bull Wing It campaign focuses on incorporating augmented reality in order to provide consumers actual—virtual—wings.

By offering the experience of wearing wings; through the avenue of a social media filter, it allows consumers to experience the brand outside of the energy drink in a fun way. This luxury elevation also reimagines the consumer’s experience of consuming the product. During the execution of the Wing It campaign, Red Bull will offer their energy drink in a limited-edition crystal bottle that preserves carbonation and allows consumers to pour a drink when needed—as opposed to opening a can and having to waste what is not consumed in time. When purchasing this limited-edition bottle, the consumer is able to unlock rare wing filters, as well as gain immediate access to the next Red Bull sponsored event. This not only creates a sense of exclusivity, but it also encourages consumers to experience the Wing It campaign to its full capacity. Ultimately, by offering a memorable, immersive, and hedonic experience through brand experience; both through virtual means and limited-edition products, a sense of luxury is created.

THE BRAND OUTSIDE OF THE ENERGY DRINK”

Art direction, photography & illustration—Nicole Melamed

WING IT

Wing

Models Charles Labo & Rob Mancuso Jackets Cole Haan Shoes Steve Madden

It 89

BRAND EXPERIENCE

SEMIOTICS IN ADVERTISING

RUB—A Get beautiful, glowing skin the sustainable way.

oofah, loofa, luffa, loufa, lufa; all of these spellings represent a common item found in our bathrooms (Pauls 2018). While a loofah is a common item, most consumers often associate the product with the synthetic, nylon sponge that comes in an array of colours. There is, in fact, a second type of loofah that is often overlooked; the natural, off-white sponge that comes in a variety of sizes (2018). This sponge is a dried-out gourd; a type of vegetable that grows naturally in hot climates and resembles a green cucumber in its early stage of growth (2018). When these gourds are green, they can be harvested and eaten raw like cucumbers or prepared for dinner like squash (Hirsh 2017).

Once the gourd reaches maturity, its outer shell turns brown and hard—at this point, the gourd can be soaked in hot water to remove the skin; this leaves behind a fibrous, malleable, and off-white sponge that can be used for body exfoliation (2017). The best part is that these natural sponges are sustainable to grow and biodegradable when disposed of. Since the late 19th-century, females have purchased these natural sponges in hopes of using it and appearing younger (Kennedy 2013). A large majority of these natural sponges were imported from Japan, however, as a result of the Attack on Pearl Harbour in 1941 during World War II, the sponge trade was put to an end (2013). Since then, the United States began manufacturing the artificial alternative in the form of nylon sponges (2013); the same sponges that consumers use to this day.

DUB DUB—DUB 93

SEMIOTICS IN ADVERTISING

BARE BUFFER Sustainability is defined as an activity that can be performed without causing undue harm to the environment and well-being of communities. This has been an important topic in fashion industry since the 1980s, however, with the increasing demand of fast fashion over the decades, the fashion industry is currently accounting for “10% of global carbon emission[s] and nearly 20% of wastewater [produc-

Titled BARE BUFFER, this luxury elevation was taken a step further through the incorporation of semiotics, which refers to the use of symbols in order to add meaning to a brand or product (Zakia & Nadin, 1987). These symbols can also be used to connect explicit elements in an advertisement to implicit values such as fantasy, myth, or lifestyle (1987). In this advertising campaign, themes of nature and sexuality were explored. The female character in this narrative is performing the act of bathing herself with a BARE BUFFER loofah, however, outside of

“VISCERAL EXPERIENCE THAT… CONNECTS THEM CLOSER TO NATURE” tion],” (Ro 2020). However, unlike fast fashion, the luxury industry has a high-potential of being compatible with sustainable practices due to its values of artisanal craftsmanship—also referred to as slow fashion—as well as its inherent nature of being highquality, which allows the products to be long-lasting. For those reasons, the luxury elevation of a nylon sponge regards its replacement with a natural loofah, which grows sustainably in hot climates. The packaging; in the form of a genuine, vegetable-tanned leather pouch, was also sustainably designed by ensuring that it is high-quality, reusable, and biodegradable.

the normal context of the practice. Unlike showering or bathing at home, the female is outdoors in a forest and nude, with soap lather covering the intimate parts of her body. This implies that by using the product, the consumer encounters a visceral experience that transports them outside the tiled confinements of their shower, as well as connects them closer to nature. The benefits of the loofah were also conveyed through the use of semiotics. By incorporating the contrast of light and shadow against the figure, benefits of renewal and rejuvenation are implied through the figure’s emergence into sunlight. Through the use of semiotics in advertising, the natural loofah is able to produce a hedonic experience by offering pleasure, excitement, and fantasy; thus, a sense of luxury is created.

Model Kaileigh Brannigan Soap Burt’s Bees

SEMIOTICS IN ADVERTISING

Experience the sensation of nature. NATURAL, EGYPTIAN LOOFAH GOOD FOR THE ENVIRONMENT AND YOUR SKIN.

SEMIOTICS IN ADVERTISING

END NOTE

SEMIOTICS IN ADVERTISING

Luxury is an art, but it is also a performance of illusions.

y analyzing luxury strategy principles such as heritage and craftsmanship, the perceived rarity framework through the lens of a brand extension, limited edition, and one-to-one approach, as well as hedonism and symbolism through the exploration of new luxury, brand experience, and semiotics, The Luxury Paradox was able to elevate nine mass-market products through the power of perception. The explorations in this book aimed to display the subjective nature of luxury, as well as showcase how the perception of luxury can be manufactured by using specific advertising strategies. While The Luxury Paradox aims to be humorous in its approach, the end result demonstrates how manipulative the luxury industry can be to the unaware consumer. Most of the mass-market products explored in this book are as old, if not older, as the famous luxury brands that the general public desires to afford. The mass-market brands also have rich and interesting histories—much like their luxury counterparts—so much so that the research revealed that some mass-market products have become intertwined with popular culture at some point. With that being said, the difference between luxury and mass-market remains within how the brands project and protect an illusion of exclusivity, timelessness, and prestige; elements that allow luxury retailers to command premium prices. When applying those same principles to massmarket products, the same illusions can be manifested through advertising and packaging redesigns. This comes to show that luxury is not what it seems—when deconstructed, it is simply a beautifully crafted illusion.

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Design enthusiast with a passion for branding Nicole Melamed uses art direction and photography as her chosen storytelling medium. Nicole wore many hats during the production of this capstone project; acting in part as an art director, photographer, graphic designer, copywriter, editor, and illustrator, she encouraged herself to find creative solutions with limited resources.

You can find more examples of her work at www.nicolemelamed.com 105

thank· you

/ˈTHaNGk ˌyoo/

noun An instance or means of expressing thanks (Oxford Languages 2021).

reating this capstone project during the pandemic was not easy to say the least. With lockdown procedures put in place during the start of this book’s creation, the process of completing an art directed photoshoot—let alone nine—became one that was full of obstacles. Shopping malls and studios were closed, outdoor and indoor gatherings were limited, and there was always a risk when exposing yourself to those outside of your social bubble. With that being said, this book would not have been possible without the support and help from my amazing family and friends. I would like to thank my models (in order of appearance within this book), Ahmad Younes, Vanessa Huynh, Tanya Pardazi, Madeline DiNunzio, Julie Alexandra Gordon, Charles Labo, and Kaileigh Brannigan. If it was not for their willingness to dress up, fight the cold, and trust me with their safety during the pandemic, the completion of this book would not have been possible. I would also like to thank Joe & Tracy, Mary & Ernie, who have provided access to their beautiful homes and helped my artistic vision come to life. Erina; the most devoted and hardworking friend that I know. Without her assistance during the loofah campaign, the tropical oasis illusion in six-degree Canadian weather would not have come to fruition. My professor and capstone leader, Beatriz, who has helped tremendously with the creation of my capstone topic and supported my creative process from start to finish. My sister, Valerie, who became my proofreader/editor while being a healthcare hero and a super-mom to two kids. And finally, my parents, who have provided their basement for a makeshift studio space and stepped in as editorial photographers when I was behind the eight ball. Most of all, I would like to thank my boyfriend, Rob, for his love and support, but also for his willingness to wear many hats during the completion of this book. By stepping in as a location manager, luxury car provider, art critic, model, sympathetic ear, heavy bag carrier, and my personal cheerleader, this book was able to achieve its fullest potential.

NICOLE MELAMED · CAPSTONE 2021