When luxury brands strengthen their global presence by enticing international customers with coveted products, sceptics may well dismiss this as a mere business development initiative. Although not untrue, brands are not simply concerned with improving their bottom lines in the short term. They also aim to establish long-term prominence and relevance amongst international clientele by celebrating worldwide heritages, design aesthetics and cultural behaviour.
During the period of Western Imperialism from the 17th to 19th Centuries, silk from China, kimonos from Japan and caftans from Africa enriched occidental wardrobes with their colours and mysticism. This fascination with the exotic and the exquisite has continued to prove both profitable and inspiring today. The Metropolitan Museum of Art most recently celebrated this creative and cultural exchange between Oriental and Occidental design aesthetics in the exhibition, “China: Through the Looking Glass”. A 15th Century Ming dynasty vase that inspired a creation by the Italian fashion designer Roberto Cavalli’s was displayed alongside the gown itself,[1] reflecting the timeless dialogue between cultural heritage and luxury items. Bringing this dialogue alive is a key method for global brands to maintain long-term presence in a particular market.
Brands often target international clientele by celebrating their heritage and unique history of design. When the French jewellery house Cartier opened its first boutique store in Chengdu, in China’s Sichuan province, it showcased more than 300 works inspired by Chinese heritage. Among them was a 1930s necklace with 27 imperial jade beads and a calibre cut ruby clasp owned by the heiress Barbara Hutton, as well as works dating from the 1850s of gold and amethyst. With their green, red and gold palettes encrusted with flora and fauna, the creations paid homage to Chinese classical jewellery styles and the famous natural beauty of Sichuan.[2] Over 200,000 visitors were expected to attend, highlighting the exhibition’s strategic purpose of increasing Cartier’s prominence in China. This suggests that celebrating target customers’ craft, heritage and cultural identity can enable luxury brands to consolidate their long-term market penetration.
Brands also target customers by appealing to their unique aesthetic taste, demonstrating that cultural identity can be expressed through luxury items. This is clear from Louis Vuitton’s collaboration with the Japanese artist Takashi Murakami. Known for his two-dimensional “superflat” art rooted in the Japanese post-war artistic tradition, Murakami designed Louis Vuitton handbags in the tradition of “kawaii”, or cuteness, to appeal to Japanese customers.[3] He employed cherry blossoms, manga, and Nihonga painting styles on apparel, suggesting that this collaboration served a strategic purpose of strengthening Louis Vuitton’s market presence in Japan. By 2012, 85% of Japanese women reportedly owned a Louis Vuitton handbag,[4] and Japan is even considered a separate market from Asia in LVMH’s financial reports. This highlights that appealing to customer taste by adopting local design aesthetics serves a strategic purpose for luxury brands.
Often, luxury brands’ marketing techniques are rooted in appreciation for target customers’ culture and heritage. Design inspiration from other cultures support brands’ business strategies whilst paying homage to the aesthetic traditions that stimulate innovation, generation after generation.
[1] Fury, A, The Independent 2015: http://www.independent.co.uk/life-style/fashion/features/chinas-influence-on-fashion-at-the-top-of-the-game-both-creatively-and-commercially-10222909.html
[2] Liu, M, The Financial Times 2015: http://www.ft.com/intl/cms/s/0/d3ccb21c-e42a-11e4-9039-00144feab7de.html?siteedition=intl#axzz3fllRdP2n
[3] Luke, B. Sotheby’s Magazine 2015: http://www.sothebys.com/en/news-video/blogs/all-blogs/sotheby-s-magazine–march-2015/2015/02/takashi-murakami-louis-vuitton.html
[4] The Economist 2012: http://www.economist.com/node/21556270
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