While natural disasters in the past, along with the recent COVID-19 pandemic, have disrupted livelihoods, they have also activated the structuring of handicraft as an age-old remedial practice with curative properties. Further, the need for communicating textile processes, in support of slow fashion, has allowed educational institutions to contextualize this teaching with the help of pedagogical models that define the role of both craft education and craft-based research. As an educator at Pearl Academy, India, what I can observe in the modern world today is that there is always a cross-cultural contact between the ‘local’ and the ‘global’ and that, the much-discussed ‘global village’ is no longer a fantasy but a fact, despite numerous paradoxes. This article aims at giving an insight into my perspectives and experiences that shed light on the plight of handicraft in the most hand-skilled country in the world. It also lends a bird’s-eye point of view on the need to break barriers between modern and traditional, between urban and rural, etc., and look at the many avatars of handicraft and techniques being repurposed for modern applications such as luxury fashion, interior design and jewellery. This can result in the creation of works that are not only aesthetically pleasing but are also functional, sustainable and culturally sensitive and can help designers and artists navigate complex ethical issues that resonate with diverse communities. The article takes into consideration handcrafted textile samples developed by three postgraduate fashion design students at Pearl Academy, India, who have developed textile samples as part of their project called ‘Hybrid Textiles’. The samples create an epilogue to the context of this study through an ‘end of life’ narrative and craft practices in India.
{"title":"Curative handcrafted textiles: Healing generations","authors":"Rishab Manocha","doi":"10.1386/ipol_00022_1","DOIUrl":"https://doi.org/10.1386/ipol_00022_1","url":null,"abstract":"While natural disasters in the past, along with the recent COVID-19 pandemic, have disrupted livelihoods, they have also activated the structuring of handicraft as an age-old remedial practice with curative properties. Further, the need for communicating textile processes, in support of slow fashion, has allowed educational institutions to contextualize this teaching with the help of pedagogical models that define the role of both craft education and craft-based research. As an educator at Pearl Academy, India, what I can observe in the modern world today is that there is always a cross-cultural contact between the ‘local’ and the ‘global’ and that, the much-discussed ‘global village’ is no longer a fantasy but a fact, despite numerous paradoxes. This article aims at giving an insight into my perspectives and experiences that shed light on the plight of handicraft in the most hand-skilled country in the world. It also lends a bird’s-eye point of view on the need to break barriers between modern and traditional, between urban and rural, etc., and look at the many avatars of handicraft and techniques being repurposed for modern applications such as luxury fashion, interior design and jewellery. This can result in the creation of works that are not only aesthetically pleasing but are also functional, sustainable and culturally sensitive and can help designers and artists navigate complex ethical issues that resonate with diverse communities. The article takes into consideration handcrafted textile samples developed by three postgraduate fashion design students at Pearl Academy, India, who have developed textile samples as part of their project called ‘Hybrid Textiles’. The samples create an epilogue to the context of this study through an ‘end of life’ narrative and craft practices in India.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85648078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I come to this topic for two reasons. I am possibly the world’s first automobile colour and trim historian. I am also the author of a book-length paper concerning design in the 1970s (interior design, product design, automobile design, architecture, etc.). It is these two research areas that have led me to write this article about the most luxurious cars of the 1970s, the decade that rediscovered luxury. 1970s car design was very much about investigating the car interior after so much previous emphasis on exterior design, and in this decade, car interiors became much more luxurious and generally comfortable across industry, not for just the top marques. The four cars under investigation here are Rolls-Royce Camargue, which was the most expensive car in the world when launched in 1975; Aston Martin Lagonda (four doors); Daimler Double-Six Vanden Plas; and Stutz Blackhawk. It is stating the obvious to say that automobile literature in the form of books and journals is a vast subject matter, and yet there was until recently not a single standalone study of a fundamental aspect of car design – colour and trim, one with universal application. This study being this author’s ‘Colour and trim design for automobiles, 1960–95, and that of recognising an uncharted genre in design history’ published in Aspects of Motoring History (2021, issue 17), the Journal of the Society of Automotive Historians in Britain. Literature invariably tends to be about styling or engineering concerns. Here is an opportunity to move beyond these old concerns into an uncharted territory.
{"title":"‘The luxury runs deep’: Which were the most luxurious cars of the 1970s?","authors":"Oliver Bradbury","doi":"10.1386/ipol_00020_1","DOIUrl":"https://doi.org/10.1386/ipol_00020_1","url":null,"abstract":"I come to this topic for two reasons. I am possibly the world’s first automobile colour and trim historian. I am also the author of a book-length paper concerning design in the 1970s (interior design, product design, automobile design, architecture, etc.). It is these two research areas that have led me to write this article about the most luxurious cars of the 1970s, the decade that rediscovered luxury. 1970s car design was very much about investigating the car interior after so much previous emphasis on exterior design, and in this decade, car interiors became much more luxurious and generally comfortable across industry, not for just the top marques. The four cars under investigation here are Rolls-Royce Camargue, which was the most expensive car in the world when launched in 1975; Aston Martin Lagonda (four doors); Daimler Double-Six Vanden Plas; and Stutz Blackhawk. It is stating the obvious to say that automobile literature in the form of books and journals is a vast subject matter, and yet there was until recently not a single standalone study of a fundamental aspect of car design – colour and trim, one with universal application. This study being this author’s ‘Colour and trim design for automobiles, 1960–95, and that of recognising an uncharted genre in design history’ published in Aspects of Motoring History (2021, issue 17), the Journal of the Society of Automotive Historians in Britain. Literature invariably tends to be about styling or engineering concerns. Here is an opportunity to move beyond these old concerns into an uncharted territory.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84197109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What role does, and can, heritage play in the challenges and crises that confront brands operating in the luxury industry? Are heritage and luxury the same thing, or are they separate concepts? In this brief reflection, I explore what heritage means for luxury brands and how heritage might most impactfully help luxury brands as they create new products, enter new markets and continue to operate as heritage brands. The two main case studies I briefly highlight to spotlight the symbiotic and, at other times, challenging relationship between heritage and luxury are Hermès’ contestation of the creation of MetaBirkins by the artist Mason Rothschild and Schiaparelli’s Haute Couture collection inspired by Dante’s Inferno. Through these cases I propose that luxury consider splitting the atom of heritage into brand heritage and cultural heritage to more fully understand how brand heritage supports its luxury positioning while, at the same time, acknowledging the times that brand heritage, when improperly translated for contemporary consumers, might fail. I also propose that cultural heritage offers opportunities for luxury but also a responsibility to more fully acknowledge luxury brands’ role in our cultural discourse by permitting certain commentary on their designs and products, notwithstanding legal rights they might have in their arsenal. I conclude by proposing that educational offerings, especially in fashion and luxury law, should more fully embrace a cross-pollination between luxury and heritage.
{"title":"Splitting the atom of heritage to respond to luxury’s challenges and crises","authors":"Felicia Caponigri","doi":"10.1386/ipol_00019_1","DOIUrl":"https://doi.org/10.1386/ipol_00019_1","url":null,"abstract":"What role does, and can, heritage play in the challenges and crises that confront brands operating in the luxury industry? Are heritage and luxury the same thing, or are they separate concepts? In this brief reflection, I explore what heritage means for luxury brands and how heritage might most impactfully help luxury brands as they create new products, enter new markets and continue to operate as heritage brands. The two main case studies I briefly highlight to spotlight the symbiotic and, at other times, challenging relationship between heritage and luxury are Hermès’ contestation of the creation of MetaBirkins by the artist Mason Rothschild and Schiaparelli’s Haute Couture collection inspired by Dante’s Inferno. Through these cases I propose that luxury consider splitting the atom of heritage into brand heritage and cultural heritage to more fully understand how brand heritage supports its luxury positioning while, at the same time, acknowledging the times that brand heritage, when improperly translated for contemporary consumers, might fail. I also propose that cultural heritage offers opportunities for luxury but also a responsibility to more fully acknowledge luxury brands’ role in our cultural discourse by permitting certain commentary on their designs and products, notwithstanding legal rights they might have in their arsenal. I conclude by proposing that educational offerings, especially in fashion and luxury law, should more fully embrace a cross-pollination between luxury and heritage.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81347195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In contemporary brand management practices, the definition and effective marketing of a so-called Purpose is commonly considered as mandatory to achieve a competitive advantage and eventually a superior financial performance. Such practices are particularly common in the fashion and luxury industries. Through the analysis of appropriate business literature, marketing researches and relevant case histories, the author rejects this popular belief, first, because many brands are perfectly successful, even without any Purpose (which should not be confused with corporate communications strategies), its identity having been successfully built around other worthy values; moreover, not necessarily, customers always prioritize Purpose-driven brands in their purchases, particularly if commanding higher prices and during recessions. A well-designed and effectively marketed Brand Purpose surely offers opportunities (i.e. strong and resilient emotional connections with targeted customer segments, including high spending luxury buyers and communication opportunities and visibility of brand leaders and spokespersons) but also implies risks (i.e. ideological values are by definition controversial, therefore such strategies could hurt part of the clientele of brands with broad target audiences, and negative reactions from some governments or from the public opinion in different cultural environments). Finally, and more crucially, managers should be aware that Purpose-centred brands are constantly overexposed towards the media, their target customers and the public opinion, and their stakeholders are more and more demanding, scrutinizing their practices and expecting impeccable consistency; therefore, just ‘building’ a narrative without consistent underlying practices will likely be ineffective, if not counterproductive.
{"title":"‘Brand Purpose’ in fashion and luxury brand management: A must or an opportunity?","authors":"Alessandro Balossini Volpe","doi":"10.1386/ipol_00018_1","DOIUrl":"https://doi.org/10.1386/ipol_00018_1","url":null,"abstract":"In contemporary brand management practices, the definition and effective marketing of a so-called Purpose is commonly considered as mandatory to achieve a competitive advantage and eventually a superior financial performance. Such practices are particularly common in the fashion and luxury industries. Through the analysis of appropriate business literature, marketing researches and relevant case histories, the author rejects this popular belief, first, because many brands are perfectly successful, even without any Purpose (which should not be confused with corporate communications strategies), its identity having been successfully built around other worthy values; moreover, not necessarily, customers always prioritize Purpose-driven brands in their purchases, particularly if commanding higher prices and during recessions. A well-designed and effectively marketed Brand Purpose surely offers opportunities (i.e. strong and resilient emotional connections with targeted customer segments, including high spending luxury buyers and communication opportunities and visibility of brand leaders and spokespersons) but also implies risks (i.e. ideological values are by definition controversial, therefore such strategies could hurt part of the clientele of brands with broad target audiences, and negative reactions from some governments or from the public opinion in different cultural environments). Finally, and more crucially, managers should be aware that Purpose-centred brands are constantly overexposed towards the media, their target customers and the public opinion, and their stakeholders are more and more demanding, scrutinizing their practices and expecting impeccable consistency; therefore, just ‘building’ a narrative without consistent underlying practices will likely be ineffective, if not counterproductive.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80430127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Once upon a time, luxury was defined by rare and expensive materials, exceptional craftsmanship and iconic design. It was about acquiring something that only a select few could afford and displaying it as a symbol of wealth and status. However, as the world changed, so too did the definition of luxury. Today, the luxury market is experiencing a transformation that is rewriting the rules of what it means to be luxurious. In order to succeed in this rapidly changing landscape, luxury brands must embrace a new paradigm of leadership. They must be proactive in their approach, seeking out new opportunities for growth and innovation. And they must be willing to take bold risks and embrace new technologies and business models. So what does all of this mean for the future of luxury beyond 2023? It means that in order to survive and thrive, luxury brands must be able to adapt to their changing environment, to balance the tension between opposing forces and to create their own unique interpretation of what luxury means. They must also be able to innovate and create new and relevant experiences for consumers, and to do so, they must be able to think creatively and to think beyond the constraints of traditional models and conventions. This article details the rationale behind how luxury brands have an opportunity to lead the way in shaping a more responsible, sustainable and equitable future. It offers actions and strategies to understand how to embrace their mantle of greater expectation and responsibility, in order to use their comparative advantage to drive positive change in society.
{"title":"Tales of a state of mind, body and space: The quest for the next luxury","authors":"Tiago Valente","doi":"10.1386/ipol_00017_1","DOIUrl":"https://doi.org/10.1386/ipol_00017_1","url":null,"abstract":"Once upon a time, luxury was defined by rare and expensive materials, exceptional craftsmanship and iconic design. It was about acquiring something that only a select few could afford and displaying it as a symbol of wealth and status. However, as the world changed, so too did the definition of luxury. Today, the luxury market is experiencing a transformation that is rewriting the rules of what it means to be luxurious. In order to succeed in this rapidly changing landscape, luxury brands must embrace a new paradigm of leadership. They must be proactive in their approach, seeking out new opportunities for growth and innovation. And they must be willing to take bold risks and embrace new technologies and business models. So what does all of this mean for the future of luxury beyond 2023? It means that in order to survive and thrive, luxury brands must be able to adapt to their changing environment, to balance the tension between opposing forces and to create their own unique interpretation of what luxury means. They must also be able to innovate and create new and relevant experiences for consumers, and to do so, they must be able to think creatively and to think beyond the constraints of traditional models and conventions. This article details the rationale behind how luxury brands have an opportunity to lead the way in shaping a more responsible, sustainable and equitable future. It offers actions and strategies to understand how to embrace their mantle of greater expectation and responsibility, in order to use their comparative advantage to drive positive change in society.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80451892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For luxury coffee shops to create positive and memorable brand experiences for their customers, they must carefully design, manage and maintain their brand image throughout the entire consumer journey. The store environment plays a prominent role because it strongly influences customers’ perceptions of the brand. Factors such as the social atmosphere and employee interactions contribute to defining and representing the brand identity to customers. Therefore, coffee shops must consider customers’ cultural identities to ensure their experiences are relevant to the sociocultural context. By integrating design, branding, anthropometry and proxemics, decision-makers can create personalized experiences that engage customers on physical, emotional, cognitive and cultural levels. This research focuses on using proxemics to design luxury coffee shop experiences in multicultural spaces. We propose an instrument to collect data on task patterns, task distinctions and user preferences in coffee shops. The tool consists of three sections that collect data on proxemic behaviour, proxemic perceptions (cultural) and proxemic reflections. We used a case study to exhibit the relevance of proxemics and proxemic behaviour in improving the interaction between person, object and space. The instrument offers the possibility to document proxemic factors that are imperceptible and intangible in the users’ brand experience and journey in a retail space. It also provides data to increase user engagement with different touchpoints, such as retail space, product design and identity design. Proxemic behaviour is relevant in addressing cultural, behavioural and sociological aspects of interpersonal situations related to spatial distance between individuals. These findings suggest the relevance of proxemics in promoting human-centred design in experiential spaces. Ultimately, the work aims to expand the available instruments and methods for improving user experiences in service-based industries within the experience economy.
{"title":"Examining proxemic as an instrument for experiential brand design in physical retail spaces","authors":"Beatriz Itzel Cruz Megchun","doi":"10.1386/ipol_00023_1","DOIUrl":"https://doi.org/10.1386/ipol_00023_1","url":null,"abstract":"For luxury coffee shops to create positive and memorable brand experiences for their customers, they must carefully design, manage and maintain their brand image throughout the entire consumer journey. The store environment plays a prominent role because it strongly influences customers’ perceptions of the brand. Factors such as the social atmosphere and employee interactions contribute to defining and representing the brand identity to customers. Therefore, coffee shops must consider customers’ cultural identities to ensure their experiences are relevant to the sociocultural context. By integrating design, branding, anthropometry and proxemics, decision-makers can create personalized experiences that engage customers on physical, emotional, cognitive and cultural levels. This research focuses on using proxemics to design luxury coffee shop experiences in multicultural spaces. We propose an instrument to collect data on task patterns, task distinctions and user preferences in coffee shops. The tool consists of three sections that collect data on proxemic behaviour, proxemic perceptions (cultural) and proxemic reflections. We used a case study to exhibit the relevance of proxemics and proxemic behaviour in improving the interaction between person, object and space. The instrument offers the possibility to document proxemic factors that are imperceptible and intangible in the users’ brand experience and journey in a retail space. It also provides data to increase user engagement with different touchpoints, such as retail space, product design and identity design. Proxemic behaviour is relevant in addressing cultural, behavioural and sociological aspects of interpersonal situations related to spatial distance between individuals. These findings suggest the relevance of proxemics in promoting human-centred design in experiential spaces. Ultimately, the work aims to expand the available instruments and methods for improving user experiences in service-based industries within the experience economy.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88430337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As part of the In Pursuit of Luxury podcast series, I have interviewed a number of people in a variety of areas in the luxury sector whose work involves areas ranging from design to business, manufacturing, publishing, sustainability and PR. I have interviewed designers and craftspersons and those who are involved in leadership roles in major corporations. In our pursuit of luxury and now in the eighth season of the In Pursuit of Luxury podcast we continue the debate around luxury. What is luxury? How is it defined? Who defines it? And why define it at all? These questions and more are at the forefront of our mind as we discuss current and emergent definitions of luxury and that they mean to each of our interviewees. I have interviewed master craftsmen like, for example, the watchmaker, Roger W. Smith, the jeweller Theo Fennell, the designer Ron Arad and the Michelin star chef Ollie Dabbous. I thought Master Cutter and Tailor Kathryn Sargent’s interview would be particularly suited for this issue as she optimizes notions of craftsmanship in the world of bespoke tailoring.
作为“追求奢侈品”播客系列的一部分，我采访了许多奢侈品行业各个领域的人，他们的工作涉及从设计到商业、制造、出版、可持续发展和公关等领域。我采访了设计师和工匠，以及那些在大公司担任领导角色的人。在我们对奢侈品的追求中，在第八季的“追求奢侈品”播客中，我们继续围绕奢侈品展开辩论。什么是奢侈品?它是如何定义的?谁来定义它?为什么要定义它呢?当我们讨论当前和新兴的奢侈品定义以及它们对每个受访者的意义时，这些问题以及更多的问题都是我们脑海中最重要的问题。我采访过制表大师罗杰·w·史密斯(Roger W. Smith)、珠宝商西奥·芬内尔(Theo Fennell)、设计师罗恩·阿拉德(Ron Arad)和米其林星级厨师奥利·达布斯(Ollie Dabbous)。我认为“裁剪大师”和“裁缝大师”凯瑟琳·萨金特的采访特别适合这个问题，因为她优化了定制裁缝界的工艺概念。
{"title":"Craftsmanship: Interview with Kathryn Sargent, master cutter and tailor","authors":"Shaun Borstrock","doi":"10.1386/ipol_00021_7","DOIUrl":"https://doi.org/10.1386/ipol_00021_7","url":null,"abstract":"As part of the In Pursuit of Luxury podcast series, I have interviewed a number of people in a variety of areas in the luxury sector whose work involves areas ranging from design to business, manufacturing, publishing, sustainability and PR. I have interviewed designers and craftspersons and those who are involved in leadership roles in major corporations. In our pursuit of luxury and now in the eighth season of the In Pursuit of Luxury podcast we continue the debate around luxury. What is luxury? How is it defined? Who defines it? And why define it at all? These questions and more are at the forefront of our mind as we discuss current and emergent definitions of luxury and that they mean to each of our interviewees. I have interviewed master craftsmen like, for example, the watchmaker, Roger W. Smith, the jeweller Theo Fennell, the designer Ron Arad and the Michelin star chef Ollie Dabbous. I thought Master Cutter and Tailor Kathryn Sargent’s interview would be particularly suited for this issue as she optimizes notions of craftsmanship in the world of bespoke tailoring.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88750398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As part of the In Pursuit of Luxury podcast series, I’ve interviewed a number of people in a variety of areas in the luxury sector whose work involves areas ranging from design to business, manufacturing, publishing, sustainability and PR. I’ve interviewed designers and craftspersons and those who are involved in leadership roles in major corporations. In our pursuit of luxury and the subsequent launch of the In Pursuit of Luxury podcast we continue the debate around luxury. What is luxury? How is it defined? Who defines it? And why define it at all? These questions, and more are at the forefront of our mind as we discuss current and emergent definitions of luxury and that they mean to each of our interviewees. I have interviewed master craftsmen like for example, the watchmaker, Roger W. Smith, the jeweller Theo Fennell, the designer Ron Arad and the Michelin star chef Ollie Dabbous. I thought milliner Stephen Jones’s interview would be particularly suited for this issue as he celebrates 25 years as creative director at Christian Dior.
作为“追求奢侈品”播客系列的一部分，我采访了许多奢侈品行业各个领域的人，他们的工作涉及从设计到商业、制造、出版、可持续发展和公关等领域。我采访了设计师、工匠和那些在大公司担任领导角色的人。在我们的追求奢侈品和随后推出的追求奢侈品播客中，我们继续围绕奢侈品展开辩论。什么是奢侈品?它是如何定义的?谁来定义它?为什么要定义它呢?当我们讨论当前和新兴的奢侈品定义，以及它们对每个受访者的意义时，这些问题，以及更多的问题，都是我们脑海中最重要的问题。我采访过制表大师罗杰·w·史密斯(Roger W. Smith)、珠宝商西奥·芬内尔(Theo Fennell)、设计师罗恩·阿拉德(Ron Arad)和米其林星级厨师奥利·达布斯(Ollie Dabbous)。我认为女帽设计师斯蒂芬•琼斯(Stephen Jones)的采访特别适合本期杂志，因为他正在庆祝担任克里斯汀•迪奥创意总监25周年。
{"title":"Craftsmanship: Interview with Stephen Jones, milliner","authors":"Shaun Borstrock","doi":"10.1386/ipol_00014_7","DOIUrl":"https://doi.org/10.1386/ipol_00014_7","url":null,"abstract":"As part of the In Pursuit of Luxury podcast series, I’ve interviewed a number of people in a variety of areas in the luxury sector whose work involves areas ranging from design to business, manufacturing, publishing, sustainability and PR. I’ve interviewed designers and craftspersons and those who are involved in leadership roles in major corporations. In our pursuit of luxury and the subsequent launch of the In Pursuit of Luxury podcast we continue the debate around luxury. What is luxury? How is it defined? Who defines it? And why define it at all? These questions, and more are at the forefront of our mind as we discuss current and emergent definitions of luxury and that they mean to each of our interviewees. I have interviewed master craftsmen like for example, the watchmaker, Roger W. Smith, the jeweller Theo Fennell, the designer Ron Arad and the Michelin star chef Ollie Dabbous. I thought milliner Stephen Jones’s interview would be particularly suited for this issue as he celebrates 25 years as creative director at Christian Dior.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79148183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Rethinking Luxury Fashion: The Role of Cultural Intelligence in Creative Strategy, Thomaï Serdari (2020) New York: Palgrave Macmillan, 191 pp., ISBN 13 978-3-03045-300-8, h/bk, $57.06
{"title":"Rethinking Luxury Fashion: The Role of Cultural Intelligence in Creative Strategy, Thomaï Serdari (2020)","authors":"Fred O'Connor","doi":"10.1386/ipol_00015_5","DOIUrl":"https://doi.org/10.1386/ipol_00015_5","url":null,"abstract":"Review of: Rethinking Luxury Fashion: The Role of Cultural Intelligence in Creative Strategy, Thomaï Serdari (2020)\u0000New York: Palgrave Macmillan, 191 pp.,\u0000ISBN 13 978-3-03045-300-8, h/bk, $57.06","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86003653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this short article, Patrick Mathieu and Frédéric Monneyron offer a new analysis of luxury they have developed in their noted book, L’Imaginaire du luxe (Imago, 2015). Their study is grounded on the idea that luxury is always a way of keeping death away and that luxury is a matter of images more than objects. Calling on the works of two major French anthropologists, Gilbert Durand and Georges Dumézil, they consequently identify on the one hand the main trends of luxury, conspicuousness, elegance and comfort and their growing importance in today’s societies and, on the other hand, they stress the importance of luxury brands and their place in the luxury market.
{"title":"The imaginary of luxury","authors":"Frédéric Monneyron, P. Mathieu","doi":"10.1386/ipol_00011_1","DOIUrl":"https://doi.org/10.1386/ipol_00011_1","url":null,"abstract":"In this short article, Patrick Mathieu and Frédéric Monneyron offer a new analysis of luxury they have developed in their noted book, L’Imaginaire du luxe (Imago, 2015). Their study is grounded on the idea that luxury is always a way of keeping death away and that luxury is a matter of images more than objects. Calling on the works of two major French anthropologists, Gilbert Durand and Georges Dumézil, they consequently identify on the one hand the main trends of luxury, conspicuousness, elegance and comfort and their growing importance in today’s societies and, on the other hand, they stress the importance of luxury brands and their place in the luxury market.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88884819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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