AbstractBackground: Countries can be seen as brands (nation brands) with brand values that transmitto the country’s products. Country-of-origin (COO), the brands nationality, links the productto an associative network of cultural shared national stereotypes. Through associating thebrand with a country or a region, the credibility of the brand can increase and strengthen thebrand. Therefore COO is used in marketing to position a brand.Purpose: The purpose of this study is to examine how luxury fashion brands communicatetheir national identity through analyzing their advertising. The brands examined in the studyare the French brand Chanel and the British brand Burberry. To be able to answer the researchquestion, the brands’ advertising campaigns were analyzed to see whether they contain abrand personality built on a national stereotype or if there is a clear national theme or storieslinking to the national identity.Methodology:The national stereotypes of the two countries were examined through a pilotstudy. The advertising campaigns were analyzed by using an analyze model that wasdeveloped from image analyzing theories. It was then connected to the theory and the nationalstereotypes that evolved from the pilot study.Results: The results revealed in this study shows that the two different brands use theirnational identity in different ways. While Burberry has a clear British theme in theirmarketing, Chanel uses stories to link their brand personality with that of the founder CocoChanel, whom is associated with the stereotype of France. / <p>Sammanfattning</p><p>Bakgrund: Länder kan ses som varumärken (nation brands) som har varumärkesvärden som</p><p>överförs till ländernas produkter. Country-of-origin (COO), varumärkets nationalitet, länkar</p><p>produkten till ett associativt nätverk av kulturellt delade nationella stereotyper. Genom att</p><p>associera ett varumärke med ett land eller en region, kan trovärdigheten för varumärket öka</p><p>vilket förstärker varumärket. COO kommuniceras därför i reklam för positionering.</p><p>Syfte: Huvudsyftet med denna studie är att undersöka hur lyxvarumärken inom mode</p><p>kommunicerar sin nationella identitet genom att analysera deras reklamkampanjer. De</p><p>varumärken som studerades var franska Chanel och brittiska Burberry. För att svara på syftet</p><p>prövades om varumärkenas personlighet bygger på den nationella stereotypen.</p><p>Reklambilderna analyserades även för att se om det finns ett tydligt nationellt tema eller</p><p>berättelser som länkar till den nationella identiteten.</p><p>Metod: Genom en förstudie undersöktes de olika ländernas nationella stereotyper.</p><p>Reklambilderna analyserades med hjälp av en analysmodell som utvecklades från</p><p>bildanalysteorier. Analysen kopplades till teorin samt de nationella stereotyper som</p><p>framkommit genom förstudien.</p><p>Resultat: Resultatet och det som framkom i studien var att de olika varumärkena använder sig</p><p>av sin nationella identitet på olika sätt. Medan Burberry har ett tydligt brittiskt tema i sin</p><p>marknadsföring, använder Chanel berättelser som länkar varumärkespersonligheten till</p><p>grundaren Coco Chanel, som kan sammankopplas med den franska stereotypen.</p><p>Program: Textilekonomutbildningen magister</p>

AbstractThe fashion industry is today one of the most interesting, exciting and fast-moving industriesin the world. On the streets we can see people wearing all kind of brands, both fast fashionbrands and luxury brands. Some people mix different brands, while some people stick toeither fast fashion or luxury brands. Today people wear different brands to express theirpersonal style but also social and class relationships.The purpose of this study is to find out why some consumers prefer to purchase luxury brandsinstead of fast fashion and what added value is given to them so they choose luxury. It alsodeals with what kind of people purchase luxury brands and if there are any differences. Tosucceed with this study I have therefore made a qualitative study where interviews were madewith several store managers at luxury brand stores in central Stockholm and observations.I found from this research that the consumers of luxury brands purchase luxury because of thequality that they receive and the service. The consumers are very quality conscious andbelieve it is more sustainable to purchase something that has good quality than buyingsomething that is cheap with poor quality. They also choose luxury brands because ofexpertise from the personnel, and personal contact between the store assistants and theconsumer. Consumers purchase a whole concept when they choose luxury. They chooseluxury because of the experience they receive that cannot be given at fast fashion stores.I also found from this research that there is a mixture of consumers who purchase luxurybrands. There is all kind of consumers, everything from upper class, brat wannabes, andmiddle class, younger consumers to old grand parents. Some purchase luxury brands for thequality and some for the status it gives them.Besides of why consumers choose luxury brands and what consumers who actually purchase Ifound that consumer of luxury brands have changed in the past ten years. It used to be onlyupper class but more and more luxury brands have widen their target group by offeringproducts that are less expensive so more people can afford it, but still in the frame of what isluxury.Key definitions: Fast fashion, luxury brands, upper class, brat wannabes, and social class. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring

We want to identify the factors of how to maintain a luxury fashion brand. To do this, we have to find what characterizes a real luxury brand. We want to go into depth and find the underlying and often invisible aspects within a luxury brand. The characteristics of a luxury brand are that the majority has their production in-house and provide high quality, made by an experienced and eccentric designer. The luxury brands have a distinct and clear image and identity. The brands are available in both stores and online shops and their offered products are in the high price sector. To maintain a luxury brand, the involvement and control of fabric, production and quality is essential. The designer must maintain the right appearance, image and identity in every step of the business. Moreover, a combination of different marketing channels is good to use, as it is a way to reach a large amount of people. If the luxury company decides to use social media, the engagement is vital. Regarding the distribution channels, a luxury brand should have an online shop and regular stores. Yet, it is important that the price reflect the products value. / Program: Magisterutbildning i Fashion Management

Purpose:The purpose of this thesis has been to study, describe and analyze how luxury fashion brands have responded to fast fashion. Background:It has been stated that the life of luxury fashion brands has become more difficult since the proliferation of fast fashion brands. The Italian luxury fashion designer Giorgio Armani has said that &quot;Fast fashion is a growing reality in our sector&quot;. Anna Wintour, the editor-in-chief of American Vogue has credited Zara for creating a ‘seasonless cycle for fashion’. Fast fashion brands such as H&amp;M, Zara, Mango and Topshop have through interpreting catwalk trends with a speedy time-to-market been extremely successful at attracting the fashion conscious consumer. Even loyal high-end customers have started to mix their luxury fashion with fast fashion. Luxury fashion brands once dismissed the fast fashion brands as irrelevant to their high-end business, which however have started to drain away sales from the luxury fashion brands.Method:A qualitative research approach was taken to meet the purpose of collecting the relevant data. An interview was made with PR and Marketing Manager at Group 88, Robert Meeder who manages brands such as Gucci, Burberry and Bottega Veneta in Copenhagen. We also did a content analysis on articles collected that address the issue of how different luxury fashion brands have responded to fast fashion for the empirical study.Conclusion:Luxury fashion brands have responded to fast fashion by inclining towards the fast fashion model or reacting against it. Some of the reactions have been to offer lower priced lines under their own sub-brands. They have also allowed their customers to buy products during online webcasts in order to ensure early deliveries. Improvements have been made within logistics in order to speed up the time-to-market. The luxury fashion brands are also working more ‘seasonless’ than before and focusing on their heritage to portray a slower and more indulgent image to the consumer. / Program: Magisterutbildning i Fashion Management

The theme of the diploma thesis is the specific marketing of luxury brands with focus on Diesel, parfum brand. The aim of the diploma thesis is to review principles on which the luxury brands' marketing proceeds, and what are its specifics. Theoretical findings are applied to Diesel brand, the current Diesel marketing communication is analysed as well. The main aim of the diploma thesis is to propose next steps for marketing activities of Diesel brand.

Design e Marketing. Duas áreas do conhecimento que, graças à amplitude de atuação, permitem agregar valor a produtos, podendo atuar separadamente ou em conjunto. Mesmo antes de serem áreas consagradas profissionalmente, já apresentavam caminhos que demonstravam ser possível estas interdependências de atuação. Esta pesquisa inicia abordando conceitos de Design e Marketing e toma, como estudo de caso, o trabalho desenvolvido pela estilista Gabrielle Bonheur Chanel, no início do século XX. / Design and Marketing. Two areas of knowledge that, due to their wide range of actuation that both provide, can work apart or together in order to be a plus to many products. Even before being professionally acknowledged fields, they both established ways that shown to be possible those acting interdependences. This research starts analising Design and Marketing concepts and takes Mademoiselle Gabrielle Bonheur Chanels work as a case study in early twentieth century.

Made available in DSpace on 2016-03-15T19:43:24Z (GMT). No. of bitstreams: 1 Carolina Boari Caraciola.pdf: 2530992 bytes, checksum: a4d22054f3ae11364c5b4a48056888c7 (MD5) Previous issue date: 2008-08-19 / Fundo Mackenzie de Pesquisa / Through an interdisciplinary analysis of elements belonging to the fields related to the art and the history of the culture, this study seeks to investigate the interaction among art, publicity and luxury. From understanding the theory related to the de-aureateness of the artwork, proposed by Walter Benjamin - thinker of the School of Frankfurt - we have as a scope to scan in what measure and in what form the publicity takes part in the merchandise aureateness process. In order to achieve this purpose, we elected as a research object the advertising campaign of the brand Louis Vuitton (spring / summer 2007), being drawn, from the luxury market research, from the brand&#146;s history, as well as from the historical scenario where it has been developed, the context necessary for analyzing the said campaign and for understanding the role of publicity in the process of de-aureateness related to the artwork and consequent aureateness of the merchandise. / Por meio de uma análise interdisciplinar de elementos pertencentes aos campos da arte e da história da cultura, o presente estudo busca investigar a interação entre arte, publicidade e luxo. A partir do entendimento da teoria da desauratização da obra de arte, proposta por Walter Benjamin - pensador da Escola de Frankfurt - tem-se como escopo esquadrinhar em qual medida e de que forma a publicidade participa do processo de auratização da mercadoria. Para alcançar esse objetivo, elegeu-se como objeto de pesquisa a campanha publicitária da marca Louis Vuitton (primavera/ verão 2007), traçando-se, a partir do estudo do mercado do luxo, do histórico da grife, bem como do cenário histórico em que esta se desenvolveu, o contexto necessário para a análise da referida campanha e para a compreensão do papel da publicidade no processo de desauratização da obra de arte e conseqüente auratização da mercadoria.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-02-07T11:04:00Z No. of bitstreams: 1 Aniúska Mansuêta Carvalho Barros.pdf: 3940626 bytes, checksum: c7906923c9583da2f1ab3c88c3d9c493 (MD5) / Made available in DSpace on 2018-02-07T11:04:01Z (GMT). No. of bitstreams: 1 Aniúska Mansuêta Carvalho Barros.pdf: 3940626 bytes, checksum: c7906923c9583da2f1ab3c88c3d9c493 (MD5) Previous issue date: 2018-02-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this research is to make an analysis about the media imaginary (re) created in the present time about the luxury industry, having as basis the text of the culture. In order to substantiate this discussion, it was necessary to seek a means of communication as a corpus, the chosen one was the feature film: Breakfast at Tiffany's, USA, 1961). For more than five decades, this film has contributed to the construction of a collective imaginary about luxury. Analyzing Cinema from the point of view of Communication, more specifically under the semiotics of Culture, allows us to bring light to the question of the Cinema / Luxury / Imaginary interface. Under this triad, we sought to assess the desire for social belonging and linkage between human beings. How luxury is represented and how it has become, through the media imaginary, a desire for belonging and bonding in human beings all over the world. The premise is to do an update thesis. Cinema, like the manifestations of art as a whole, supplies human need for the so-called "existential evil"; which stems from the inescapable problems of the physical world and the fear of finitude. Culture is, for this reason, one of the most important escape valves found by human beings to circumvent the certainty that, at birth, one begins to die. And, before dying, humans want to belong, to bond. The luxury, portrayed in the feature film, is one of the ways found by humans to make this bridge of belonging and bonding. The relegation of consciousness effected by cinema as a medium, however, has contributed to the sedation of bodies and minds by images. Just like all the other media did. We have seen, from this angle, the alienation of the body and its complex experiences and not the belonging or bond sought. It is necessary, for this reason, to study why luxury is perpetuated in the images of the cinema and to be able to attract so many spectators desirous for luxurious objects. Even if these are mere copies and do not guarantee the genuinely intended status or link. From these assumptions, it became even more evident to us that man is still co-dependent on another man to communicate, to make himself understood, to perpetuate himself. As Pross put it in his theory, "all communication begins and ends in the body." There is, therefore, no communication, no imaginary, no continuity without living and pulsating bodies. To base this research, will be used the studies of Norval Baitello Junior, Aby Warburg and Hans Belting about the image and its power of seduction. Also will be used researches of Dietmar Kamper, Aby Warburg, Carl Gustav Jung and Ivan Bystrina regarding the imaginary. Yuri Lotman assists us when the subject is cinema and its insertion in the second reality and the concept of text of the culture. Harry Pross lends us his studies on media and communication and Boris Cyrulnik helps us ground the studies on the human feeling of belonging and resilience / O objetivo dessa pesquisa é fazer uma análise sobre o imaginário midiático (re)criado na atualidade acerca da indústria do luxo, tendo como alicerce o texto da cultura. A fim de fundamentar tal discussão, fez-se necessário buscar um meio de comunicação como corpus, o escolhido foi o longa-metragem: Bonequinha de Luxo (Breakfast at Tiffany's, EUA, 1961). Há mais de cinco décadas, este filme contribui para a construção de um imaginário coletivo acerca do luxo. Analisar o Cinema do ponto de vista da Comunicação, mais especificamente sob o olhar da Semiótica da Cultura, possibilita-nos trazer luz para a questão da interface Cinema/Luxo/Imaginário. Sob esta tríade, buscou-se avaliar o desejo de pertencimento social e vinculação entre os seres humanos. Como o luxo é representado e como se transformou, por intermédio do imaginário midiático, em desejo de pertença e vinculação em seres humanos de todo o mundo. A premissa é a de fazer uma tese de atualização. O cinema, tal qual as manifestações de arte como um todo, supre a carência humana para o chamado “mal existencial”; que provém dos problemas incontornáveis do mundo físico e do medo da finitude. A Cultura é, por este motivo, uma das mais importantes válvulas de escape encontradas pelos seres humanos para burlar a certeza de que, ao nascer, se começa a morrer. E, antes de morrer, os seres humanos querem pertencer, se vincular. O luxo, retratado no longa-metragem, é uma das formas encontradas pelos seres humanos para fazer esta ponte de pertencimento e vinculação. O rebaixamento da consciência efetuado pelo cinema enquanto mídia, no entanto, contribuiu para a sedação dos corpos e mentes pelas imagens. Tal qual todos os outros meios de comunicação o fizeram. Vimos, por este ângulo, a alienação do corpo e das suas vivências complexas e não o pertencimento ou vínculo almejados. Faz-se necessário, por este pressuposto, estudar o porquê de o luxo se perpetuar nas imagens do cinema e conseguir angariar tantos espectadores desejosos por objetos luxuosos. Mesmo que estes sejam meras cópias e não garantirem o status ou vinculo genuinamente pretendidos. Por estes pressupostos, ficou-nos ainda mais evidente que o homem ainda é co-dependente de outro homem para se comunicar, se fazer entender, se perpetuar. Como afirmou Pross em sua teoria: “toda comunicação começa e termina no corpo”. Não há, portanto, comunicação, imaginário, continuidade sem corpos vivos e pulsantes. Para embasar esta pesquisa, serão utilizados os estudos de Norval Baitello Junior, Aby Warburg e Hans Belting acerca da imagem e de seu poder de sedução. Também serão utilizadas pesquisas de Dietmar Kamper, Aby Warburg, Carl Gustav Jung e Ivan Bystrina a respeito do imaginário. Yuri Lotman nos auxilia quando o assunto é cinema e a sua inserção na segunda realidade e o conceito de texto da cultura. Harry Pross nos empresta seus estudos sobre mídia e comunicação e Boris Cyrulnik nos ajuda a alicerçar os estudos acerca do sentimento humano de pertencimento e resiliência

Comment la transmission de connaissances peut aider les concepteurs du secteur du luxe à réinventer les objets et l’expérience de la marque tout en restant ancrés dans son patrimoine ? Cette question ouverte dans les sciences de gestion et de la conception intéresse le domaine du luxe, tout particulièrement la Maison Dom Pérignon en constante quête de renouvellement. En effet, innover sans trahir les traditions est à l’origine de plusieurs tensions. Dans cette thèse, nous montrons comment la transmission d’un « patrimoine de création » peut aider les concepteurs du secteur du luxe à surmonter ces tensions. En étudiant celui de la Maison Dom Pérignon et ceux contenus dans divers livres de la haute cuisine, nous mettons en évidence trois caractéristiques de ce patrimoine de création qui constituent autant d’axes de recherche : Premièrement, nous décrivons les effets positifs sur l’originalité et l’efficacité opérationnelle que la transmission d’un patrimoine de création peut avoir sur les collectifs de concepteurs conduisant des projets d’innovation. Deuxièmement, en faisant appel aux théories de la conception, nous construisons un modèle formel mettant en relation les structures de connaissance et les types de générativité qu’un patrimoine de création peut provoquer. Nous montrons qu’un même domaine peut en contenir plusieurs, qu’un même patrimoine de création peut favoriser plusieurs types de générativité qui pourraient sembler en principe incompatibles, et que ces différents types de générativité peuvent évoluer à travers le temps. Finalement, nous montrons que la conception d’un patrimoine de création exige des interactions entre concepteurs expérimentés et concepteurs récepteurs afin de formaliser, réorganiser et partager un langage du connu et un langage de l’inconnu. Ce dernier est composé des éléments du premier. Nous mettons aussi en exergue que la structure formelle d’un patrimoine de création peut refléter la structure de l’organisation de conception / How can knowledge transmission help designers in the luxury industries to reinvent the brand's objects and experiences while remaining rooted in its heritage? This open question in the management and design sciences is of interest to the luxury sector, and especially to Dom Pérignon, in constant quest of renewal. Indeed, to innovate without betraying tradition is at the origin of several tensions. In this thesis, we show how the transmission of a "creative heritage" can help designers in the luxury industry to overcome these tensions. By studying the creative heritage of Dom Pérignon and those contained in various haute cuisine books, we highlight three characteristics of this creative heritage that constitute as many lines of research: First, we describe the positive effects on the originality and the operational efficiency that the transmission of a creative heritage can have on the collectives of designers leading innovation projects. Secondly, by using design theories, we construct a formal model linking the knowledge structures and the types of generativity that a creative heritage can promote. We show that a same domain can contain several generativities, that a same creative heritage can favor several types of generativity that might seem incompatible in principle, and that these different types of generativity can evolve over time. Finally, we show that the design of a creative heritage requires interactions between experienced and recipient designers to formalize, reorganize and share a language of the known and a language of the unknown. The latter is composed of the elements of the former. We also highlight that the formal structure of a creative heritage can reflect the structure of the design organization.

Abstract In an increasingly digital world, organizations and individuals are turning to web-based applications as a source of information and method of inter-personal communication; this includes social media. This literature review analyzes the effects of social media marketing in luxury fashion brands. The research reveals luxury brands’ social media marketing positively affects purchase intention through user-to-user and brand-to-user communication, if the consumers trust the brand. On the other hand, disclosure language on Instagram and Facebook negatively affects consumer behavior, but the unique positioning of blogs allows them to positively influence their audience. In addition to this evidence, this paper also includes suggestions for future research. Keywords: social media, luxury brands, fashion, marketing, purchase intention, consumer behavior