Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560688
Emma Treleaven
Abstract This article examines the conflicted messages and construction of identity associated with women in uniform during World War II. Uniforms are developed as a unifying equalizer for a body of individuals; dress as a symbol, the part standing for the whole. Women’s military dress from this period, however, subverted this aim due to the ambiguous governmental and societal response to the women’s services, and the recruits’ desire for femininity in their military lives. How women used their uniforms to gain access to luxuries that would have been previously unavailable to most of them, such as travel is also explored. These themes will be examined with the help of advertisements, original documents and oral histories.
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Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560691
S. Cole
Abstract This article will consider how men’s underwear garments, that have been considered a functional necessity from the end of the nineteenth century, have become associated with desirable luxury. It will address the ways in which predominantly invisible, inconspicuous male underwear garments, manufactured by traditional companies with a sense of their own heritage and using high-quality materials (such as Sunspel, Zimmerli, and Schiesser) become a form of luxury. Using Sunspel as a key case study, it will examine such how “heritage” underwear companies produce and promote a luxury product based on their longevity and continued use of quality materials. It will also consider how luxury is evident in contemporary men’s underwear, through innovation and development in styles and fabric production and how notions of fit and comfort add to the sense of luxury in the production and consumption of such garments.
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Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560703
Clare Rose
This volume has been much needed and is likely to remain a key resource for the foreseeable future, drawing on the deep research expertise of Fiona Anderson. It contains a wealth of unpublished information drawn from company archives of firms including Linton Tweeds and Johnstons of Elgin; pattern books and records in the archives of the National Museums of Scotland and HeriotWatt University (Galashiels); and in-depth interviews with Clare Rose is a Senior Lecturer in Contextual Studies clare@clarerosehistory.com
这本书是非常需要的，并且在可预见的未来可能仍然是一个关键资源，利用Fiona·安德森的深入研究专业知识。它包含了大量未公开的信息，这些信息来自包括Linton Tweeds和Johnston of Elgin在内的公司档案；苏格兰国家博物馆和赫里奥特瓦特大学（Galashiels）档案中的图案书籍和记录；以及对情境研究高级讲师Clare Rose的深入采访clare@clarerosehistory.com
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Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560693
Juliana Luna Mora, J. Berry, P. Salen
ABSTRACT Yoga is both a sociocultural phenomenon and a multibillion dollar industry. As consumers shift spending habits towards transformational and well-being experiences, the yoga industry provides a sophisticated and diverse offer of commodities, services and experiences that mix and bricolage conscious luxury with holistic and sustainable practices. The promise of happiness, harmony, balance and self-actualization are key indicators of cultural capital and status in contemporary consumer society. The yoga industry offers these services across a multitude of platforms and uses branding strategies that borrow emotional and sensory dynamics from the luxury market as well as upward mobility logics of social differentiation. The success of this consumption pattern is evident in the economic worth of the yoga and wellness industries. Yoga brands function as aspirational lifestyle brands offering social, symbolic, and psychological benefits that go beyond the physical practice. These brands also propose new aesthetic and ethical body ideals. This article argues that yoga is a multisensory luxury experience, providing consumers with achievement of both tangible and intangible physical, mental and spiritual individual needs and aspirations. The yoga studio becomes the immersive or escapist space that replaces traditional religious institutions; representing self-transformation, self-empowerment and community engagement. It is the space where the quest for meaning takes place, under hyper-individualistic logics of consumer capitalism and luxury market dynamics. Through the analysis of aspirational lifestyle branding and marketing strategies associated with three yoga studios, this article considers the inherent paradoxes of yoga as a conscious luxury experience and yoga as a traditional practice.
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Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560690
Ellen Sampson
ABSTRACT This article explores the material culture of taste, examining the ways that artifacts we look with (the technologies of looking) can mediate and produce our understanding of taste. Taking a phenomenological approach to shopping and luxury it examines how processes of looking closely, of connoisseurship and distinction are bound up with the performance of good taste. Drawing on Bourdieu’s (1984a) formulation of “distinction,” it unpacks the multiple modes of vision and roles of looking necessary to perform and maintain the capital of good taste. Much has been written on the gaze in consumer societies, building upon theories of looking and desire (Mulvey 1989; Berger 1972). Whilst recent writing has often focused on screens and the subjectivity of desire (c.f. Rocamora, 2011, 2017, Pham, 2015) this article addresses ideas of taste and looking from a phenomenological and material culture perspective, utilizing the work of sociologist Bourdieu (1984a ), and phenomenologists Schilder (1935) and Merleau-Ponty (1962, 1968) to examine the embodied and bodily experience of looking with and through things.
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Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560706
P. McNeil
The pivots of global tourism are shifting. Gone is the focus on the “Grand Tour” experience of Europe and the Old World that once followed various routes to landmarks, landscapes and later coastal resorts from the middle ages to the 1960s. The new tourist is no longer so white or upper-middle class. The “masstige” of the 1980s has transformed tourist numbers and velocity around the world. International tourism from China is likely to double in the next seven years. Governments themselves increasingly reconfigure touristic routes and spectacles as a part of broader geo-political strategies. What if communities themselves resist and say, “stay at home.” Where and how does luxury fit into this conundrum? The inaugural “World Luxury Destinations” Conference met in Bangkok in early March 2018. Convened by James Cook University/Singapore and Emory University, it brought together speakers from Asia, North America, Dr. Peter McNeil is Distinguished Professor of Design History at the University of Technology Sydney and Distinguished Professor (FiDiPro), Aalto University. Peter.McNeil@uts.edu.au Lu xu ry D O I: 10 .1 08 0/ 20 51 18 17 .2 01 8. 15 60 70 6
{"title":"World Luxury Destinations Conference","authors":"P. McNeil","doi":"10.1080/20511817.2018.1560706","DOIUrl":"https://doi.org/10.1080/20511817.2018.1560706","url":null,"abstract":"The pivots of global tourism are shifting. Gone is the focus on the “Grand Tour” experience of Europe and the Old World that once followed various routes to landmarks, landscapes and later coastal resorts from the middle ages to the 1960s. The new tourist is no longer so white or upper-middle class. The “masstige” of the 1980s has transformed tourist numbers and velocity around the world. International tourism from China is likely to double in the next seven years. Governments themselves increasingly reconfigure touristic routes and spectacles as a part of broader geo-political strategies. What if communities themselves resist and say, “stay at home.” Where and how does luxury fit into this conundrum? The inaugural “World Luxury Destinations” Conference met in Bangkok in early March 2018. Convened by James Cook University/Singapore and Emory University, it brought together speakers from Asia, North America, Dr. Peter McNeil is Distinguished Professor of Design History at the University of Technology Sydney and Distinguished Professor (FiDiPro), Aalto University. Peter.McNeil@uts.edu.au Lu xu ry D O I: 10 .1 08 0/ 20 51 18 17 .2 01 8. 15 60 70 6","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":"5 1","pages":"201 - 205"},"PeriodicalIF":0.2,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20511817.2018.1560706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44393338","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}
Pub Date : 2018-05-04DOI: 10.1080/20511817.2018.1560672
Jonathan Faiers
The four articles in this issue of Luxury: History Culture Consumption might, at first glance, appear to have little to do with luxury, or at least many of its popularly understood qualities. Established concepts such as rarity, expense, excess, tradition and distinction have dominated both the promotion and critique of contemporary luxury production and consumption. While these attributes continue to provide the inspiration and desire for luxury goods and services, certainly those provided by contemporary global luxury brands, we are also witnessing an increasing critical interrogation of those same qualities. Does luxury have to be rare, expensive and encumbered with dynastic manufacturing pedigree to be understood and recognized as luxury? Surely such a contested and historically fluctuating concept should not be constrained by commercial imperatives, however ubiquitous and seductively marketed? Indeed, many of the most successful of today’s luxury producers are asking just those same questions, and the possibilities, or perhaps impossibilities, of sustainable, green and responsible luxury are high on the agendas of Jonathan Faiers is Professor of Fashion Thinking, Winchester School of Art, University of Southampton, UK. jonathanfaiersluxury@gmail.com
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Pub Date : 2018-01-02DOI: 10.1080/20511817.2018.1430883
Sophie Ratcliff
Abstract Within the broad, market-driven category of contemporary design there exists a smaller culture of production, namely, elite, limited-edition furniture that seeks to straddle the line between design and art. Focusing on these neo-kingly things – so named as they represent today’s throne chairs and other high-status furniture objects – this article explores how these rarified objects function as tastemakers, informing and influencing how contemporary style can be understood, how stylistic themes are established and how meaning is conveyed through design’s interconnected dimensions of form, materiality and style.
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Pub Date : 2018-01-02DOI: 10.1080/20511817.2018.1430884
Joanne Roberts
Abstract The label “luxury” evokes vague and often unknown qualities that give a good or service the capacity to command a substantial price premium. Hence, in this article, I argue, firstly, that a core component of luxury is ignorance, or the unknown. To support this argument a systematic examination of the place of ignorance in the promotion and consumption of luxury goods and services is provided. In this way, a typology of ignorance of relevance to luxury is developed. Secondly, I argue that ignorance is deployed by both promoters and consumers in their separate and collaborative engagements with luxury. To illustrate this, ignorance in the promotion of luxury is analyzed through the case of Louis Vuitton’s “Savoir-Faire” print advertising campaign. Bringing to light the interactions between luxury and ignorance provides insights into the unknowns that constitute an inherent element in all that is classified as luxury.
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Pub Date : 2018-01-02DOI: 10.1080/20511817.2018.1430723
Cristina Vignone
Abstract The Tiffany & Co. Archives contain the historical design, manufacturing, and business records of Tiffany & Co., the internationally-renowned jeweler founded in New York in 1837. Among the Archives many collections are clippings books that contain cartoons and comic strips which make reference to the company, beginning in the nineteenth century and continuing to the present day. This material is largely satirical and hyperbolic, humorously connecting current events to Tiffany by using the brand’s association with luxury jewelry, stylish design, standards of excellence, and commitment to quality. The cartoons and comic strips also use Tiffany to convey general ideas about the unattainability of luxury, referencing the company’s lack of sales, its wealthy and famous customers, its role in romantic gift giving, and its attraction to jewel thieves. This article will share a selection of the cartoons and comic strips, offering commentary on how these forms of illustration and other popular culture mediums communicate the above ideas regarding Tiffany & Co. and other luxury brands.
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