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Evolução, significados e marketing publicitário do luxo: estudo de caso da marca Louis Vuitton sob o prisma da semióticaCaraciola, Carolina Boari 16 March 2015 (has links)
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Previous issue date: 2015-03-16 / The aim of this paper is luxury. The word from Latin origin Luxux, refers to abundance,
refinement. Until the XVIII century, luxury had a negative connotation by being considered
the cause of the sadness and decadence of the people, being considered expenditure beyond
necessity. Although the definitions of luxury are ephemeral, the concept appeared in France
during the reign of Luis XVI. Then, the bourgeoisie, in the age of modernity, has made use of
the luxury to show economic majority. To date, luxury is linked to pleasure, pomp, desire,
rarity, good taste, elegance. With the advent of the globalized conglomerates, which detain
the most renowned sector brands, the luxury market became highly profitable, available to a
growing number of customers who can afford to buy extremely expensive products on
demand, or just a scent, wherein both of them provide the magic of the segment; magic
which, is to be exploited in the advertisements. In the view of this context, which demands for
careful investigations, the purpose of this study was to explore the multiple perspectives of
luxury: its origin, meaning and reframing over time, the market, the tendencies, as well the
administrative preponderance of globalized conglomerates, its democratization and
modernization. Now this matter regards the nature of semiotic attributes on which the luxury
brands rely to keep loyalty of their customers. Our hypothesis is that the consumption of
luxury became a sign of prestige and differentiation. In contemporary society, luxury is
responsible for providing differentiated status to those who wear it. There is not consumption
that is not coupled to the enticement of advertisement. The luxury brands cultivate their
tradition, pointed out in their advertisements; the symbolic attributes of the products that they
make available. Due to being considered as the maison of the most prestigious and feature in
the segment of the luxury, Louis Vuitton was taken as corpus of the present work. To develop
it, the most important authors of the literature available about the luxury theme were referred
to, as well as the pieces of information about the historical evolution of the chosen brand.
Starting with the analysis of the brand, since its origin, to the present days, it was possible to
determine the transformation that occurred in the luxury segment, as well as the role of the
advertising in this process. The communication of luxury products exploits the magic side of
the goods that it supplies, enhancing the users prestigious, by acting as a kind of extended
ego. Through the application of Charles Sanders Peirce semiotics in one of two ads of the
advertising campaign called Journey, of Louis Vuitton, whose themes are the trips of
personalities who mark their field of work, it was possible to conclude that there was a
transformation in the advertising messages of the goods: until 2007, Louis Vuitton used
models with little human expression and emphasized the product as the main character of the
narrative; after the Journey campaign, the strategy of communication was the brand
humanization, linking itself with humanitarian causes, reframing luxury through values like
altruism, benevolence, drafting their features of tradition and rarity, however, minimizing the
aspects connected to pomposity / O objeto de estudo deste trabalho é o luxo. A palavra originária do latim luxux, refere-se à
abundância, refinamento. Até o século XVIII, o luxo possuia uma conotação negativa, por ser
considerado o responsável pela infelicidade e decadência dos povos, sendo definido como um
dispêndio além do necessário. Embora as definições de luxo sejam efêmeras, a noção surgiu
na França, durante o reinado de Luís XIV. A seguir, a burguesia, na época da modernidade,
fez uso do luxo para mostrar superioridade econômica. Contemporaneamente o luxo vinculase
a prazer, fausto, desejo, raridade, bom gosto, elegância. Com o surgimento de
conglomerados globalizados que detêm as mais renomadas marcas do setor, o mercado de
luxo tornou-se altamente lucrativo, disponível a um número cada vez maior de clientes, que
pode adquirir produtos caríssimos, sob encomenda, ou apenas um perfume, sendo que ambos
proporcionam a magia do segmento, magia esta, a ser explorada nos anúncios publicitários.
Diante desse contexto, que reclama por investigações cuidadosas, o objetivo deste estudo foi
explorar os múltiplos aspectos do luxo: sua origem, significação e ressignificação através do
tempo, o mercado, as tendências, tais como a predominância administrativa de conglomerados
globalizados, sua democratização e modernização. A questão que se coloca versa sobre a
natureza dos atributos semióticos de que as marcas de luxo se valem para manter a fidelização
de seus clientes. Nossa hipótese é que o consumo de luxo tornou-se signo de prestígio e
diferenciação. Na sociedade contemporânea, é o luxo que se responsabiliza por conferir status
diferenciado a seus usuários. Não há consumo que não esteja atrelado à sedução publicitária.
As marcas de luxo cultivam sua tradição, destacando, em suas publicidades, os atributos
simbólicos dos produtos que disponibilizam. Por ser considerada a maison de maior prestígio
e destaque no segmento, a Louis Vuitton foi tomada como corpus do presente trabalho. Para
desenvolvê-lo, recorremos aos autores mais importantes da literatura disponível sobre o tema
do luxo e a informações sobre o histórico evolutivo da marca selecionada. A partir da análise
da marca, desde sua origem, até os dias atuais, foi possível constatar as transformações
ocorridas no segmento de luxo, bem como o papel da publicidade nesse processo. A
comunicação de produtos de luxo explora o lado mágico dos artigos que oferta, realçando o
prestígio do usuário, ao funcionar como uma espécie de ego estendido. Através da aplicação
da semiótica peirciana em dois anúncios da campanha publicitária Journey da Louis Vuitton,
cujo tema são as viagens de personalidades que marcaram suas áreas de atuação, foi possível
concluir que houve uma transformação nas mensagens publicitárias de produtos de luxo: até o
ano de 2007, a Louis Vuitton utilizava modelos com pouca expressão humana e destacava o
produto como personagem principal da narrativa; após a campanha Journey, a estratégia de
comunicação passou a ser a humanização da marca, vinculando a mesma a causas
humanitárias, ressignificando o luxo através de valores como altruísmo, benevolência,
destacando suas características de tradição e raridade, porém, minimizando os aspectos
ligados à ostentação
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Yves Kleins sista verk Eldmålningarna 1961–1962. / Yves Klein’s last work The Fire Paintings 1961–1962Enhörning, Louise January 2021 (has links)
The essay analyzes the final series of work by the French postmodern artist Yves Klein. The Fire paintings were created in 1961-1962 during a performance at the research laboratory of the National Gaswork of France, located outside Paris. Klein used a two-meter-long gas pipe to spray fire on wet canvas and damped Swedish cardboard to create an abstract, minimalistic body of work. The founder of Nouveau Réalisme Klein took traces of fire through a canvas and created a series including more than 150 oeuvres. In this research, semiotic philosopher Charles Sanders Pierce's method has been applied to analyze 23 selected artworks that devise the incarnation of the myth through five different analysis theories: fire, the creation, universe, man, and passion. Through layers of conceptual ideas, the research shows that Klein's body of work is more mystical than rational, just like the artist's personality. The analyst concludes that the 23 selected Fire paintings are constructed with ambiguous philosophical questions about existence and invoke our imagination with inspiration from alchemy. As in the Nouveau Réalisme manifesto, the essence of the paintings was to create traces of life. The research substantiates that the conceptual series of oeuvre represents the creation of life and universe, as the end of our physical life marks the beginning of our reincarnation. The inspiration for the Fire paintings came from Catholicism, Rosicrusian Order, spiritualism, judo, alchemy, and contemporary historical situations and science during 1950-1960.
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