The Stepwise Artification Process in Luxury Fashion: Strategic Integration With the Arts and Collaboration With Non‐Profit Institutions

Researchers have focused on the explanation that consumers buy luxury brands ‘to impress others’ (Tsai, 2005; O’Cass & Frost, 2002; Wiedmann, Hennigs, & Siebels, 2009). Marketers have designed branding strategies that reflect the idea that consumer purchasing is affected by an internal drive to create a favorable social image (Tsai, 2005). However, researchers exploring customer perceptions of and motives for purchasing luxury brands have suggested that socially-oriented motives are insufficient explanations for luxury brand consumption (Wiedmann et al., 2009). These researchers stress that personally-oriented motives have been overlooked in the marketing management of luxury brands. Additionally, empirical research focusing on personal motives is comparatively scarce (Tsai, 2005; Wiedmann et al., 2009). Our study attempted to address this research void by identifying personal luxury values U.S. consumers’ associated with their fashion brand consumption. Specific research questions examined were:...

In the last two decades, the luxury fashion industry has generated much interest and discussions among academicians and managers since it has became a consolidated economic sector in the late 1990s (Truong, McColl & Kitchen, 2009). Despite the significance of luxury fashion sector both in terms of market value and rate of growth, there are few empirical studies concerning luxury brand management (Kapferer, 2008; Okonkwo, 2007) mainly focused on specific topics such as: brand protection (Clarke & Owens, 2000; Elsemore, 2000), brand extension (Dias & Ryab, 2002; Sjodin, 2008; Stankeviciute & Hoffmann, 2010), counterfeiting (Gistri, Romani, Pace, Gabrielli & Grappi, 2009; Nia & Zaichkowsky, 2000) or luxury brand personality (Fionda & Moore, 2009; Phau & Prendergast, 2000). The same definition of luxury brand is still open for debate in the literature (Atwal & Williams, 2009). From a product perspective, luxury brands can be distinguished from non-luxury brands by product-related associations. Theref...

Russia has developed into one of the most important markets for luxury goods in the world. The aim of this study is to determine the factors influencing Russian consumers’ intentions to purchase luxury fashion goods. We focus on the growing high-middle- and middle-class consumer behavior patterns. This study attempts to contest practitioners’ knowledge and folklore with research hypotheses and to evaluate these in a rigorous quantitative process. We investigate the factors influencing Russian consumers’ intentions to purchase goods of luxury fashion brands based on two different models. The “Attitude toward Luxury Brands” (social-adjustive function) quantifies the extent to which luxury brands are facilitating self-expression of the owner and the projection of a particular image in socia settings. Additionally, we use the “Attitude toward Luxury Brands” (value-expressive function) in order to quantify the degree to which luxury brands are expressing the buyer’s self (beliefs, attitudes, values). The results of our analysis confirm practitioners’ prior beliefs that Russian consumer behavior patterns in luxury markets predominantly correspond to characteristics of symbolic consumption.

China has seen a dramatic increase in sales figures of luxury items, which accounted for 20% of global sales in 2015. The sheer purchasing power of this emerging economy makes it an attractive destination for luxury fashion brands seeking to expand their businesses. Young Chinese consumers are the key target audience for luxury fashion, as their ability to travel to the West further exposes them to fashion brands such as Hermes, Chanel, and LV. Purchasing, owning, and wearing luxury fashion has become a statement in the Chinese industry, which can be linked to motivational reasons such as value consciousness, susceptibility to normative influence, and the need for uniqueness. Vintage fashion has seen a dramatic increase in popularity in the Western Hemisphere and slowly, but steadily spilled over to China. Luxury brands are developing vintage lines, whilst new vintage stores start to emerge across various Chinese cities. The latter expand rapidly and gain popularity, especially among the younger consumers (millennials). This research focuses on Chinese millennials and their perceptions of luxury fashion and vintage fashion in terms of brand image. This exploratory research takes on a qualitative approach by interviewing 15 Chinese consumers, both male and female, who have experience in purchasing luxury and vintage fashion. This research contributes to knowledge as it explores the vintage fashion context in China, which thus far is under-researched. Practically, this research contributes by providing suggestions to retailers on how to enhance their brand image and target millennials more successfully.

The global luxury goods sector is particularly buoyant and showing steady growth, it was worth an estimated €122.2 billion in 2012 (Mintel, 2013), and generated more than 230 billion Euros in worldwide sales in 2014 (Bain 2014). These factors signify that the luxury sector is experiencing a boom with strong annual growth in terms of both value and volume. Practitioners and researchers are increasingly interested in the complexities associated with the consumption of luxury products, a focus that has led to the need of contribution to the understanding in the field and as a result, new concepts and research frameworks are emerging. Strong competition from an over-subscribed luxury market is further challenged by the practice of counterfeiting, which can damage brand image and profitability of luxury brands, but serves to further reinforce the importance and aspirational attributes of luxury goods.Similarly, e-commerce is growing rapidly and the fashion industry has become the fastest growing product category in the UK (Mintel, 2012). As Internet penetration is increasing rapidly, e-commerce becoming an indispensable complimentary distribution channel for offline retailers. In particular, the demand for luxury online sales is growing as the luxury consumer is reported to be more tech savvy and willing to purchase online in comparison to the offline purchases preferred by the average consumer (Google, 2013, Brandchannel, 2014)Luxury fashion brands have been slow to adopt digital and online channels, as the internet challenges a number of characteristics that have been intrinsic to luxury fashion brands (Okonkwo, 2010). Kapferer and Bastien (2012) proclaim that digital is in strong contradiction with luxury in most aspects. The main question this poses for luxury brands is how to be exclusive in an inherent democratic medium that can be accessed by anyone at anytime (Okonkwo, 2017, Kontu and Vecchi, 2014, Jin 2012). Whereas the digital world is about being instant, available and accessible, luxury fashion brands are very careful to exude timeless style, heritage, rarity and service (Kapferer and Bastien 2012, Pucci-Sisti Maisonrouge, 2013). Luxury brands have been keen to maintain full control over their distribution channels and marketing messages whereas the internet and in particular social media empowers the consumer, allowing them to co-create the brand message (Christodoulides et al., 2012). Further distribution is essential in luxury management (Kapferer and Bastien, 2012) and direct operated points of sale of luxury fashion brands are often based on their flagship stores and act as a marketing communication tool as much as a sales channel (Manlow and Knobbs, 2013; Moore and Doherty, 2007). As such, luxury retail brands have been careful to create exclusive and sensory rich experiences with particular attention to the materials of the product and the environment they are being displayed and sold in (Okonkwo, 2007, Fionda and Moore, 2009, Kapferer, 1998, Kapferer and Bastien, 2012). This points to another difficulty for luxury fashion brands who seek to communicate and distribute their goods online; the sensory appeal of websites is limited to visual and audio stimulation which does not satisfy the requirement for multisensory experiences deemed necessary for promoting luxury products.Due to these challenges scholars are in disagreement whether online fashion brands should distribute their products online or purely use the online channels to engage their consumers, but keep sales to their physical stores. Kapferer and Bastien (2012) consider selling a luxury product online as “extremely dangerous” as it reduces the “dream value”, Okonkwo (2007, p179) argues that the “adoption of the internet as a sales channel is now essential for luxury brands that aim to maintain a competitive edge.” This is supported by the prediction that by 2018 the online channel will account for 14% of worldwide luxury expenditure (Verdict, 2013), and that the luxury consumers in all markets are more tech-savvy than the general population with over 97% of luxury buyer using the internet (Google, 2013).This study adopts Okonkwo’s (2007) point of view that most luxury fashion brands will have to adapt and distribute their products across multiple channels to satisfy the consumer’s expectations. It is theorised that the digital revolution has empowered consumers, raising expectations for different experiences and changing behaviour (Deloitte, 2011; Pine and Gilmore, 2011; Rosenblum and Rowen, 2012): The consumer experiences their shopping experience as a whole (Interbrand, 2012) and looks for an integrated and consistent experience between channels (Roy et al., 2005; Zhang et al. 2010). These new shopping behaviours have exposed retailers’ vulnerabilities in brand and process and the challenge for fashion retailers is to provide a consistent experience and tone of voice across each of these channels. This difficulty is even more prominent for luxury fashion brands.Despite the difficulties and risks for luxury fashion brands to adapt to the multichannel retail environment several advantages in serving the multichannel consumer are identified: the multichannel consumer is considered to spend on average more money (Schoenbachler and Gordon, 2002; Lu and Rucker, 2006, Weinberg et al., 2007), buy more frequently (Kumar and Venkatesan, 2005) and has a longer customer lifetime value (Neslin et al., 2006, Schramm-Klein et al., 2011). An alterative interpretation of the luxury brand paradox could be viewed as the contradiction between the need for luxury brands to increase sales and explore new consumer segments, whilst also retaining their aura of mystery and exclusivity..Consequently luxury fashion brands have to develop strategies to sustain their luxurious image in the online channels and even though there are an increasing number of luxury fashion houses to do so successfully like Burberry (Kapferer and Bastien, 2012) there remains a need to gain insight into how luxury fashion brands can utilise the online channel efficiently to communicate and engage with its customers. (Tungate, 2009; Okonkwo, 2010; Hanna, Rohm and Crittenden, 2011; Geerts, 2013; Heine and Berghaus, 2014; Kontu and Vecchi, 2014). This working paper seeks to address questions relating to the online consumption experiences and explores online atmospherics and their role in providing a luxury experience.This robust, inclusive approach aspires to contribute to current understanding of online luxury fashion consumption with the aim of identifying meaningful, workable recommendations for both future research and current practice within these sectors. The study will integrate the research findings with current literature in the experiential marketing and atmospherics debate positioning the research in an area where experience and atmospherics are found to be of crucial importance to the brand: luxury fashion retail. We propose a new phrase called ‘e-luxury’ to denote our conceptual framework, which has been developed to address the current gap in knowledge surrounding online experiences in the luxury retail sector. Research that employs experiential e-luxury as the conceptual framework has not been used in the context of understanding online luxury brand consumption, as it is a recent area of growth. As such, more research is required that interrogates the complexities associated with this sector, so it is hoped that by doing so, we may better understand what is driving luxury brands to co-exist online alongside fast fashion and how they can retain their brand equity and position whilst doing so.This notable rise in interest in online behaviour in the luxury good sector is receiving increasing attention from both practitioners and researchers as an area of growth, as such, there are many gaps in our understanding of e-luxury and the experiences of consumers online, that a study of this kind hopes to address. Thus, the aim of this working paper is to explore how to translate the crucial experiential value from the physical luxury retail environment to an omni-channel brand experience to engage a luxury consumers senses and emotions across all channels.

In 2020, a year of turbulence, seismic in scale and rapid in impact, luxury brands strengthen their relationship with art. While the world is still processing the effects of the last decades (digitalization, sustain- ability, diversity), luxury brands and art collaborations are used as a strategic tool in luxury brand management to create value. As the pandemic1 and broader social outrage exposed fault lines in society, even more luxury brands open flagship stores de- signed in collaboration with archistars (famous architects). Luxury brands establish foundations where art is exhibited and promoted. Culture funds become the new patrons of art. Limited art editions of iconic luxury products turn to revenue boosts. This research focuses on a case study of luxury brand and art collaborations. The ten most valuable luxury brands are used to analyze luxury brand and art collaborations as a leverage on brand equity and art(ist) equity. The bleeding of personal luxury good brands as well as contemporary visual arts are focused. The study identifies particularly positive effects de- riving from art in the creation of equity value. The core issue discussed is whether contemporary art may represent a possible strategic tool for competing and differentiating in the global luxury industry up to 2030. The research investigates two main concepts that rep- resents the theoretical framework: art and luxury. Literature research deductively links this case study with appropriate theories on brand equity and art(ist) equity. During this, a time horizon between 2019 and 2021 is chosen to address the latest insights in luxury brands and art collaborations. The topic is investigated explorative and qualitative with expert interviews. To tackle the research topic all-encompassing, the following groups of recognized stakeholders have been inter- viewed: (1) luxury brands, (2) artists, (3) art galleries, (4) trend- and market researchers, (5) luxury customers and (6) city. Finally, managerial insights on the implementation of artistic collaborations are derived and suitable strategies for luxury brands who plan to be involved in such collaboration agreements are suggested. The sticking point in former academic research has always been concrete proof that luxury brands and art collaborations lead to an increase in equity beyond a short-term social media buzz or press coverage. This is the reason why this paper develops an S-O-R equity model to show the causality effects of such collaborations.

As young adult consumers have driven much of the growth in the luxury goods market, they become an important target group for luxury brand managers. As more young adult consumers gain access to luxury, it is imperative to understand key determinants that impact their luxury brand purchases. Based on the “Functional Theories of Attitudes,” this study aims to examine the impact of both need for uniqueness and bandwagon effect on multi-motivational functions of attitudes and purchase intentions toward luxury brands with a focus on young adult consumers in order to expand the general understanding of this emerging market and develop appropriate marketing strategies to enhance business success. A total of 711 college students at a Midwestern and a Southern university in the United States participated in the online survey. Respondents who had purchased at least one luxury good (n = 540) were used for this study. Using structural equation modeling, this study finds that both young adult consumers’ need for uniqueness and bandwagon effect of luxury brands positively influenced their functions of attitudes and purchase intentions toward luxury brands. Bandwagon effect can be explained through the conspicuous consumption behavior. In the case of luxury brands with high bandwagon effect, consumers would consume more conspicuous luxury fashion goods to communicate their conformity toward the noticeable branded goods. The need for uniqueness concept in luxury fashion goods consumption reflects one’s self-directed hedonic pleasure attained from using of the luxury goods. This hedonic experience would be heightened through expressing one’s individuality through unique and different luxury goods than others. Interestingly, compared to the direct effect of need for uniqueness, bandwagon effect had much stronger impact on both attitudes and purchase intentions toward luxury brands. This means that young adult consumers tend to have a stronger drive to conform to others by following trends or imitating popular styles and brand choices. Adopting luxury goods allows them to stand out from others by expressing their individualistic or unique style when they shop for luxury brands. This result does not reject the importance of need for uniqueness, yet highlights the greater importance of bandwagon effect in the luxury brand consumption context. These findings offer marketing insights that highlight the greater importance of bandwagon effect in the luxury brand consumption when focusing on young adult segment of luxury consumers.

China has become a key market for the luxury fashion industry. Yet the relationship with the role of digital marketing is still mostly unexplored. The increase of Internet in China has been Impressive. A report from CNNIC (China Internet Network Information Center) indicated that Chinese netizens increased to around 0.632 billion. Internet has a deep impact on people’s life, changing their lifestyles and consuming behaviours. For luxury brands entering Chinese market, the competition becomes fiercer. Despite the traditional marketing model, an increasing number of luxury companies are orienting their strategy towards the blue ocean—on-line market. On-line luxury fashion commerce has become a creative joint of Internet technology and business operations.Despite the fact that the Chinese market is regarded as potentially the fastest growing market for the luxury industry, many challenges exist nowadays since China is a young player in both luxury industry and e-commerce field. Some experts in the field believe that the limitation of customers’ experience is the most essential problem, and some others assert it would be difficult to do on-line marketing for luxury products. Besides, there is still an ongoing debate on the key factors that determine the success of on-line sales in luxury industry. Luxury Fashion customers are mainly composed by elder segment, while luxury consumers are increasingly becoming a younger segment (about under 40 years old) in China. In particular, their consumption concept is very different from that of traditional customers. A survey from McKinsey & Company indicates that there are almost 90% of Chinese Internet users living in tier1, tier2 and tier 3 cities have enrolled in a social-media site. Moreover, Chinese people are regarded as the world’s most active social-media population, around 91% of respondents telling they visited a social-media site in the previous six months, followed by 70% in South Korea, 67% in the United States and 30% in Japan (Chiu, Lin, & Silverman, 2012).This article is based on an exploratory study analysing the current situation of Chinese online market and the online shopping websites. Through interviews with customers who already had online luxury shopping experience and a questionnaire to about 150 potential customers of online luxury shopping websites, this paper tries to identify some of the key factors affecting the purchasing behaviour of Chinese customers of luxury fashion products. Based on the understanding of the current situation and the innovative role played by the digital orientation of purchasing behaviours in luxury, this article will introduce some hypotheses in order to verify the assumptions associated to key challenges and success factors in the Chinese market which can be the reference for luxury companies to fix their on-line marketing – pricing, distribution network, fashion brands variety. The exploratory study in the field has already showed specific results. With respect to pricing strategy for online purchasing, results showed clearly that besides the fact that traditional luxury purchasers are not price-sensitive also in relation to the fact that luxury products high price is a symbol of exclusivity; the modern luxury fashion Chinese customers, mainly composed by people younger than 30-yearsold, enjoying the wealth accumulated by their parents and other family members, have better education backgrounds which makes them have little conceptions about the purchasing power of currency. Logistics, which contain the products’ packaging, delivery mode and time and comprehensive quality of it appeared to be the one of the most important way to present the e-retailers’ services for online luxury customers. Through customers purchase luxury products online, the majority of them are still expected to enjoy the luxury experience and services just like in the traditional luxury boutiques. Based on the knowledge and the previous studies of luxury consumers and Chinese e-commerce two hypotheses will be proposed and verified in the empirical study. Furthermore, Supply channel for online luxury shopping websites have also shown to be also particularly relevant as the product quality and the modes are the most attractive factor for customers. A qualified supply channel will guarantee the products’ quality and variety for customers.Chinese market has its own characters and Chinese citizen shopping habits are also distinct, obviously, the current situation in China has indicated that luxury brands and e-commerce still in the run-in period. Through there are some successful cases in western countries which can partly provide some key factors for Chinese market, it is impracticable for luxury brands and some retailing websites copy their experience and follow those “rules” in China. It is quite critical for both luxury brands ande-commerce companies recognize the difference existed in this market, understand the real situation and then modify their marketing policies. This study has only analysed some of the key issues affecting the purchasing patterns of luxury fashion customers. Consequently more quantitative and qualitative research in the field that analyses it from different perspectives it is suggested.

Sales of luxury goods have increased drastically in the Asian marketplace over the past decade and therefore imply high potential for further future developments. While Japan has been an important market to luxury brands for a longer period of time, especially China and South Korea have gained in importance due to high sales volumes and increased desire to purchase luxury goods. Especially due to the economic crisis in Europe, luxury brands have to focus on the potential of these emrging Asian countries. In order to adapt and improve the marketing communication strategies successfully to the respective countries, an intensive analysis of the local luxury market, local competitors and the performance of leading luxury brands have to be examined. This is especially crucial to luxury brands since consumers are highly sensitive to the brand image and identitty which is why marketing strategies and brand positioning have to be considered carefully. The purpose of this study is 1) to examine the current luxury market in Japan, China and South Korea according to major fashion industries; 2) to analyze the critical success factors and marketing strategies of leading and aspiring local and global fashion luxury brands in the respective country 3) to give meaningful implications for existing and aspiring luxury brands. For that, after giving an overview of the luxury market in the respective country, case studies on leading and aspiring luxury brands in the major fashion cities (Shanghai, Beijing, Seoul and Tokyo) will be conducted to examine critical success factors. By that, we will give an overview on the market entry and marketing strategy, such as social media, the usage of IT, and general ads as well as retail trends and communication channels. The findings indicate the current trends of luxury fashion brands in China, South Kore and Japan. Through this data review, case studies and suggestions, both academia and industry will gain important insights of the current tendencies of brands and consumers. Global marketers will understand the Asian luxury market better; local brands may find implications of how to enter other Asian markets and aspiring brands can learn about the critical success factors in the market.

Luxury brands are explicitly marketed to appear rare, exclusive, prestigious, and authentic (Phau & Prendergast, 2000; Turunen & Laaksonen, 2011; Tynan, McKechnie, & Chhuon, 2010). The glamour and distinction that these brands generate appeal to consumers’ desire to signal their accomplishments, success, or social superiority (Mandel, Petrova, & Cialdini, 2006; McFerran, Aquino, & Tracy, 2014). It is, therefore, unsurprising that the marketing communication of many luxury brands explicitly portray images of successful, sophisticated, and confident people expressing their social superiority. However, the empirical evidence supporting the effectiveness of such portrayal in luxury communication is scant. Only a pilot study showed that exposure to a story of a similar successful other may increase desire for luxury goods (Mandel et al., 2006). In the present research, we propose that envy is a key determinant of how consumers perceive display of pride and social superiority. Our findings from two studies showed that benign (malicious) envy predisposes consumers to perceive portrayal of social superiority on luxury marketing communication to be an expression of authentic (hubristic) pride. This relationship between benign (malicious) envy and authentic (hubristic) pride enhances (reduces) the luxury perception and positive brand attitude toward the luxury brand in the advertisement. These findings were replicated in a correlational study on genuine advertisements (Study 1) and an experiment that successfully manipulated consumers’ experience of benign envy (Study 2). Separate studies have recently shown that experience of benign envy can increase consumers’ willingness to pay toward the envied product (Van de Ven et al., 2011) and that the experience of authentic pride increases luxury consumption (McFerran et al., 2014). However, no existing research has explored the complementary effect of envy and pride on consumers’ response toward luxury marketing communication. The current research is therefore the first to demonstrate the differential effect of benign and malicious envy on: (1) consumers’ interpretation of social superiority as an expression of authentic and hubristic pride; (2) consumers’ response toward the portrayal of social superiority in luxury marketing; and (3) how portrayal of social superiority enhances or reduces luxury perception and brand attitude of a luxury brand. These findings also provide insights into the complementary relationship between envy and pride in consumer psychology. Lange and Crusius (2015) suggested that other’s authentic and hubristic pride expression may evoke the experience of benign and malicious envy, respectively. The current research, however, shows that the Luxury brands are explicitly marketed to appear rare, exclusive, prestigious, and authentic (Phau & Prendergast, 2000; Turunen & Laaksonen, 2011; Tynan, McKechnie, & Chhuon, 2010). The glamour and distinction that these brands generate appeal to consumers’ desire to signal their accomplishments, success, or social superiority (Mandel, Petrova, & Cialdini, 2006; McFerran, Aquino, & Tracy, 2014). It is, therefore, unsurprising that the marketing communication of many luxury brands explicitly portray images of successful, sophisticated, and confident people expressing their social superiority. However, the empirical evidence supporting the effectiveness of such portrayal in luxury communication is scant. Only a pilot study showed that exposure to a story of a similar successful other may increase desire for luxury goods (Mandel et al., 2006). In the present research, we propose that envy is a key determinant of how consumers perceive display of pride and social superiority. Our findings from two studies showed that benign (malicious) envy predisposes consumers to perceive portrayal of social superiority on luxury marketing communication to be an expression of authentic (hubristic) pride. This relationship between benign (malicious) envy and authentic (hubristic) pride enhances (reduces) the luxury perception and positive brand attitude toward the luxury brand in the advertisement. These findings were replicated in a correlational study on genuine advertisements (Study 1) and an experiment that successfully manipulated consumers’ experience of benign envy (Study 2). Separate studies have recently shown that experience of benign envy can increase consumers’ willingness to pay toward the envied product (Van de Ven et al., 2011) and that the experience of authentic pride increases luxury consumption (McFerran et al., 2014). However, no existing research has explored the complementary effect of envy and pride on consumers’ response toward luxury marketing communication. The current research is therefore the first to demonstrate the differential effect of benign and malicious envy on: (1) consumers’ interpretation of social superiority as an expression of authentic and hubristic pride; (2) consumers’ response toward the portrayal of social superiority in luxury marketing; and (3) how portrayal of social superiority enhances or reduces luxury perception and brand attitude of a luxury brand. These findings also provide insights into the complementary relationship between envy and pride in consumer psychology. Lange and Crusius (2015) suggested that other’s authentic and hubristic pride expression may evoke the experience of benign and malicious envy, respectively. The current research, however, shows that the

Despite the global increase in online gaming with luxury fashion items, gamers’ purchases of these items in virtual environments remain understudied. Utilizing the diffusion of innovation theory, the research analyzes data from 268 Fortnite gamers in Fiji to understand the influence of avatar identification, materialism, and status consumption on purchasing in-game luxury fashion items. The study confirms positive relationships between relative advantage, compatibility, trialability, observability, and in-game luxury avatar identification by employing covariance-based structural equation modeling. It also highlights how materialism and status consumption drive the intention to purchase luxury items in-game, with gamer competence reinforcing the association between avatar identification and purchase intention. The findings offer a deeper theoretical understanding of luxury fashion consumption within the context of online gaming, a rapidly growing global phenomenon. The study provides fresh insights into luxury fashion consumption in online gaming, highlighting the applicability of diffusion of innovation theory across cultures and the changing perception of luxury in virtual spaces. Its findings are valuable for game developers, marketers, and luxury brands in developing and marketing in-game luxury items to a worldwide audience. This study enriches international marketing and digital consumer behavior literature and offers strategic directions for global digital gaming marketing.

Purpose This research provides a comprehensive overview of the luxury brand cognitive and affective experience, category ownerships and consumption level of affluent adult consumers in the USA. The purpose of this study was to illuminate generational cohorts’ differences and/or similarities among the consumers regarding collecting behavior of, brand self-congruity toward and emotional brand attachment with fashion luxury brands. Design/methodology/approach Using a cross-sectional quantitative approach, the authors conducted a national, representative online survey, 443 usable responses were collected from four generational cohorts, namely, older boomers, younger boomers, Generation Xers and Millennials, who reported an annual household income of US$150,000 or more. Descriptive and multivariate statistical analyses were used to provide the empirical findings. Findings Findings suggest that there are significant differences in the luxury brands they owned the most; Millennials exhibited significantly more frequent purchases of luxury fashion goods for all retail types – both brick-and-mortar and online, as well as upscale and discount-image retailers, compared to older Baby Boomers; and there are clear distinctions of cognitive, affective and behavioral responses toward fashion luxury goods between Millennials and older Baby Boomers. For instance, Millennials are more emotionally attached to luxury fashion brands, they see themselves more aligned with the brand image, and they collect such goods significantly more, compared to the older Baby Boomers. Originality/value By providing empirical evidence of contrasting each generational group’s unique consumption behavior in terms of luxury brand goods such as ownership level (accessible vs high-end luxury), retail channel choice behavior, cognitive, affective and behavioral responses toward the luxury fashion goods, the authors provided clear strategies for the luxury brand managers regarding two distinctive segments in the luxury marketplace.

This research aims to assess consumer attitudes towards purchasing pre-loved luxury fashion items and explore how these attitudes influence their intention to buy such products. Luxury goods consumption is evolving into a multifaceted proposition where customers actively take on new responsibilities. In addition to being purchasers and users, they occasionally turn into luxury brand product dealers. Luxury fashion, which includes more expensive materials, apparel, and frequently new and limited-edition items, is unquestionably stylish. Luxury brands could draw clients and the attention of many audiences, becoming quite prominent, even though luxury fashion only makes up a small portion of the economy compared to other significant businesses. Using a convenience sampling technique, data were collected from 282 individuals in Cairo. The analysis was conducted through SPSS software v2023. Our findings show that consumers’ concerns about the environment have a big influence on their perceived value (PI) of used luxury fashion items, both directly and indirectly through the mediation of their desire for sustainability. Nonetheless, attitude strength has a moderating effect on this association. It is interesting to note that the relationship between environmental concern and sustainability is weakened under the influence of attitude strength. Furthermore, our findings indicate that modest levels of attitude strength make it easy to change how customers’ environmental concerns affect their previously owned luxury fashion items. High-end stores can also fight off counterfeit marketplaces by providing authentication services to consumers of pre-loved luxury clothing. This study emphasizes the role of consumer attitude as a mediator in shaping purchase intentions for pre-loved luxury fashion. However, its focus on one region and cross-sectional data collection presents limitations. Future studies should explore other markets and use longitudinal data for a deeper understanding. This research contributes to the existing literature by offering insights for consumers, marketers, and sellers promoting pre-loved luxury fashion.

The luxury fashion industry is a global multi-billion dollar industry including a wide array of brands with massive halo effect, brand heritage and high consumer relevance such as Fendi, Prada, Louis Vuitton, Gucci and Hermes which are also among the most valuable and influential brands in the world. The established traditional methods of luxury marketing mostly focused on product innovation and exclusive brand advertising practices. With a perspective to built up a synergy between its historical heritage and the requirements of (post)modern business, the global luxury branding industry is at present facing an important challenge in consumer behavior and also going through several managerial shifts such as use of business concepts like brand equity, to e-business; and the evolution of the concepts of sustainability, recycling, provenance and fair trade applications on luxury brands. Expansion of the luxury consumer market toward a broader mass market; competition from accessible fashion brands; the redefinition of the luxury concept of the consumer society; the emergent luxury markets like China, Russia and India; and the increase and fluctuations in the world’s affluent markets and finally changing attitudes and consumption patterns in luxury pose a challenge for luxury fashion brand management. This study exemplifies this shift through an accessible luxury brand discovered on a business trip made to Rome in April 2016 by the author to study established Italian luxury brands. The new Renaissance in luxury branding idea dawned on the author through a brand named RE(f)USE founded by one of the daughters of Anna Fendi, Ilaria Venturini Fendi, the Italian luxury brand artisan. RE(f)USE is a luxury brand concept in accessories based upon the three R’s: Reduce, reuse and recycle. The three R’s have been making their way into the fashion world with new force in recent years. The story of this new off-Roman iconoclastic Italian brand as a strong and valid example that uses recycled and upcycled materials to keep waste to a minimum while creating beautifully unique luxury products the consumers find extremely inspiring and relevant will be depicted in the study. The evolution and redefinition of luxury idea from high-fashion looks to eco-conscious downshifting with upcycled stuff, made from recycled materials will be pinpointed. As a result in response to affluenza, we also see a new luxury consumer, the post-luxury consumer, willing to participate in the voluntary simplicity movement as socially conscious affluent people expressing a variety of concerns about environment, overconsumption, abuse of developing nations and extensive advertising and this deserves further analysis.

Nowadays the market of fashion luxury is expended in China. Foreign luxury brands have been landing in China in succession and the fashion luxury as an important part of luxury products has also showed a prosperity market. By using of brand theory, the definitions of luxuries and fashion luxuries are given to analyze the characters of fashion luxuries under the premise of a profound understanding of meaning and role of the brand. The approaches of qualitative are used in combination in this article. The qualitative approach is applied to analyze the market of luxuries in China, the consumers’ behaviors and the consumers’ psychology. The interview methods are adopted to collect information. The elements of fashion luxuries and the indicators for physical and psychological are analyzed and proposed. On the basis of above researches, the marketing strategies for the development of domestic fashion luxury are raised up. Main points are given in this paper can be applied as a foundation of the fashion luxury market development. It makes helpful suggestions for native luxury brands’ designing and for marketing strategy’s planning. It is hopeful to provide practical ideas and methods for administrators of fashion luxury brands’ management and operation.