Increasingly, luxury brands join forces with the arts today. Yet, these cross-over collaborations do not constitute a homogeneous strategy, but become manifest in manifold forms and appearances. Regardless of their growing practical relevance for the creation of contemporary luxury brands though, the varied forms of Luxury Brand-Art Collaborations (LBACs) have remained largely unexplored to date. Olga Louisa Kastner aims at systematizing the dominating collaborative patterns between luxury brands and the arts. She empirically derives distinct types of LBACs, based on methodically developed attributes and a large number of real cases. Finally, the author describes the main characteristics of the identified types and illustrates them by prototypical cases.

This book explores omnichannel fashion and luxury retailing with a particular emphasis on the role of computer-mediated marketing environments in determining a consumer’s purchase and post-purchase trajectories. The fashion industry has evolved rapidly over the last few years with the diffusion of fast fashion and luxury democratization, not to mention the advent of ICT and the development of communication. Today, fashion companies face new challenges, such as how to manage brands and how to choose between marketplaces and digital marketspaces. While some companies focus on one channel selection, others embrace the omnichannel choice and look for a balance between the two environments. Whatever the strategy, it is essential to manage these touch-points in order to create interaction between consumers and brands, provide meaningful customer experiences, and to maximize customers’ engagement. An insightful read for scholars in marketing, fashion and retail, this book investigates the triangulation between branding, marketplace, and marketspace and its impact on the organization.

Offers a view into artist Hunt Slonem's fantastically decorated and meticulously restored homes, such as his two Southern mansions in Louisiana, named Albania and Lakeside. Pairing vintage furniture with contemporary art, including pieces by Alex Katz and Andy Warhol, Slonem creates spectacular spaces

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

The vast medium of jewelry and fashion artefact design continues to be a central pillar of fashion luxury goods industries and artistic practice, but there is a lack of discussions on the researches, value and roles of it. Design is an expression of values and attitudes, and a tangible form of guiding the thoughts and desires of individuals and members of society. In the contemporary society, when science, technology and craftsmanship reach a stage, whether products and services become luxurious or not, its quality, uniqueness, artistry and rarity are all achieved through design. This book represents the articles from 20 outstanding design researchers from 11 countries, including many works from international designers, who are engaging with and pushing the boundaries of the medium. It contributes to these international debates on contemporary fashion and jewelry design while providing an accessible overview and a concise reference book.

The book explores luxury-art collaborations in the context of postmodern consumption, i.e. as a phenomenon deeply rooted in and emerging from the ways postmodern individuals value and consume objects, contents and ideas.

Over the past decades, collaborative initiatives between luxury brands and the art world have been increasing in number and relevance. At first treated as a mere trend or as a marketing stunt, in time luxury-art collaborations have come to be acknowledged as one of the most effective ways luxury brands and artists can position themselves in today’s market, engaging with their clients and audiences. This book sheds light on the socio-cultural valence of luxury-art collaborations. The book explores luxury-art collaborations in the context of postmodern consumption, i.e. as a phenomenon deeply rooted in and emerging from the ways postmodern individuals value and consume objects, contents and ideas. More specifically, the book covers: how collaborations reflect the postmodern condition and liquid consumption practices (hybrid, temporary, hyperreal); the impact of luxury-art collaborations on the evolution of luxury stores and museums, and the emergence of hybrid spaces (art fairs, nomadic exhibitions, pop-up stores) – the temporal features of luxury-art collaborations (shortlived duration and fast-paced tempo) – how luxury-art collaborations reshuffle traditional status dynamics while drawing new boundaries of social distinction based on experience and access – why luxury brands and creatives are redefining their conventional identities, morphing into cultural entities and bricoleurs. The book appeals to a wide range of readers, from academics and students in art business, luxury studies, consumption behaviour, to professionals in the luxury industry and the art world. The book is also relevant to an international readership of non-specialists interested in current social and cultural matters.