Luxury Brand Marketing Essay Example for Free

Luxury Brand Marketing Essay While the word ‘luxury’ is used in daily lives to refer to certain lifestyle, the underlying construct’s definition is consumer and situation specific. If you earn less than 15000 a month, a pair of reebok shoes would be a really big luxury item for you. On the other hand, if you are going to a party with some big-wigs a $100,000 car may not be a luxury. The word luxury originates from the Latin term â€Å"luxus† signifying, â€Å"soft or extravagant living, indulgence, sumptuousness or opulence† The meaning of luxury is extremely subjective and multidimensional in nature. It depends on dimension such as high price, high quality, uniqueness, exclusivity etc. What is a luxury product? In economic terms, luxury products are those who can consistently command and justify a higher price than products with comparable functions and similar quality. In marketing term, luxury products are those who can deliver emotional benefits which is hard to match by comparable products. The luxury sector targets its products and services at consumers on the top-end of the wealth spectrum. These self-selected elite are more or less price insensitive and choose to spend their time and money on objects that are plainly opulence rather than necessities. For these reasons, luxury and prestige brands have for centuries commanded an unwavering and often illogical customer loyalty. Luxury and prestige brands such as Rolex, Louis Vuitton and Cartier represent the highest form of craftsmanship and command a staunch consumer loyalty that is not affected by trends. These brands create and set the seasonal trends and are also capable to pulling all of their consumers with them wherever they go. Premium brands are those brands like Polo Ralph Lauren, Calvin Klein and Tommy Hilfiger that aspire to be luxury and prestige brands but their marketing mix strategies are more attuned to a mass market, albeit a luxury mass market. They are also termed as mass-premium brands or mass-luxury brands. Fashion brands on the other hand are those that address the masses. Strategies for Luxury Marketing There are conventional foundations for ensuring success of a brand and they are listed below in brief : 1. The brand must be â€Å"expansive†. Which means it should be full of innovation opportunities for the marketer and in terms of satisfying the divergent needs of the luxury consumer 2. The brand must tell a story It is this story, of either heritage or performance or other aspects that goes on to build the aura of a brand over time. The story always accentuates the identity of the brand. 3. The brand must be relevant to the consumers’ needs Depending upon the mindset of the luxury class, it is imperative for a brand to satisfy those needs, whether they be for recognition or functional use etc. 4. The brand must align with consumers’ values A brand that does not concur with the basic values of a consumer’s society has a small chance of succeeding because luxury items are forms of expression or identification for a luxury consumer. This makes it difficult for the consumer to adopt the brand in such cases. 5. The brand must perform Irrespective of which category the brand belongs to, a performance assurance is a must for the brand if it wishes to be in the evoked set of luxury consumers, considering the price being paid for luxury. LUXURY brand marketing CONCEPTS: Socialite as a Conductor In 2006, when Christian Dior chose Chawla as its spokesperson, everyone was shocked some secretly jealous. Chawlas association: to be the face of the brand, be seen in Dior in the right circles, host events attended by the right people and generally hobnob with the circle that she already moves in. The money details are not clear people in the circuit and in the luxury industry say its part financial, part goodies. But it might be working. Chawla says, Dior has done incredibly well with a consistent rise in sales. It is the most visible brand in India with the highest recall value in terms of marketing strategies implemented. Socialites being signed up for a fashion brand is not new, at least not in the West, says former fashion editor and luxury specialist Sujata Assomull-Sippy. She mentions Armanis 19-year-old association with British semi-royal and socialite Lady Helen Taylor that started when he designed her wedding gown in 1992. The association ended in 2009. Taylor, who was also the face for Bulgari, gave a sigh of relief and was glad to give up her uniform. Six years hence, Chawla is nowhere close to hanging up her Dior couture. The Mohan for Gucci buzz has engendered new aspirations in the circuit that goes beyond the hostess or the grander-sounding luxury consultant tags. The socialite is becoming more important in a luxury brands marketing strategy as she pulls in the right kind of crowd, says Priya Sachdev, creative director for TSG International Marketing that has brought brands like YSL, Diane von Furstenberg to India. Nichevertising Brand consultant and strategist Harish Bijoor of Harish Bijoor Consults loftily terms it nichevertise vs massvertise. According to him the luxury brands are not for mass consumption and shouldnt be mass advertised. The social circuit gives them a fresh channel to reach out to their target audience without any noise. The socialite model of marketing targets the guest lists minus the hard sell, he says. Personal voice- distinct style Every luxury brand needs to develop a marketing strategy that not only helps them achieve their marketing goals, but is also in line with their brand. For example, while it makes sense for Christopher Bailey from Burberry to update the Burberry Facebook page with short videos he makes or music he supports, the same type of strategy might not work for someone like Bentley or Rolex. Bijoor says that for luxury brands, sell is a four-letter word and not just literally and thats why they aim at buy. Luxury brands like to be bought, not sold, he says. Sell is a top-down strategy which involves an element of shout you asking consumers to consider you. Buy, instead, is a pull-oriented strategy. Luxury brands love pull not push, he explains. This is ideal for the socialite marketing where the conversation with the brand is more visual and not aural.

Social Classes Of Mid-Victorian England :: European Europe History

Social Classes Of Mid-Victorian England In the Mid-Victorian period in English history there were distinct class differences in its society. There were three classes in England. These were the Aristocracy, the Middle-Class (or Factory owners) and the working class. Each class had specific characteristics that defined its behavior. These characteristics were best seen in four areas of British society. During the time-period known by most historians as the Industrial Revolution, a great change overtook British culture. Aside from the political and economic change which occurred, a profound social alteration transpired. The populace seeking to better their lives, sought employment in newly-formed industries. Many of the workers which included women and children, labored through 12 hour work shifts, with poor nutrition, poor living conditions and completing tedious tasks1. These factors, accompanied by various ideological precepts by Britain's intellectual community, and those concepts imported from France, provoke a crucial social evolution. Though no government was overthrown, a distinct transformation took place causing rebellious behavior to erupt among the working class. This essay will address the questions of how and why this behavior was expressed by the lower order of British society. It will also discuss methods the ruling class used in suppressing and controlling the rebel lious behavior exhibited by the working class. The middle class held to two basic ideologies that served in the exploitation of the lower order of the British society. Richard Atlick identified them as Utilitarianism (or Benthamism) and Evangelicalism. Both served the self-interested inclinations of the middle class. Utilitarianism created the need to fulfill a principle of pleasure while minimalization pain. In the context of the "industrial revolution" this meant that the pleasure extracted from life would be at the working classes' expense. This provided a perfect justification for the middle class to capitalize on. The working class of Britain, throughout the industrial revolution and through the Victorian age, acted in a defiant manner toward both the aristocracy and middle class. This behavior extended from the everyday activities of the workers to radical anarchist movements that categorized the underground. The middle class seemed to be just as familiar with the inverse of Benthamism as they were with its normal application. The pleasure principle was measured in terms of minimalization of pain. If the sum of pain, in a given situation, is less than the sum of pleasure, than it should be deemed pleasurable. The inverse principle applied to the working class was how pain (work) can be inflicted, with the absolute minimum distribution of pleasure (wages), without creating an uprising.

History of Art – Cubism

Historical Account Cubism is a part of the abstraction period of modern art in the beginning of the twentieth century. There was a series ‘isms' that influenced each other and came quickly in the modern world of art. These include Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Division and Symbolism. It was believed to be started with Picasso and Baroque in 1907. Cubism was a movement of modern artists going against the accepted style of paintings and pushing the boundaries of what was modern art.The Impressionists and Realists of the late 19th century started to paint more everyday items and in a ore spontaneous fashion, in contrast to the classical period which came before. Immediately before cubism were artists like Cezanne and Serrate who were considered to be post impressionists who were converting impressionism into a more classical style. Then Van Gogh wanted to express more emotion in his art than the impressionists had, and his style started to develop including vivid colors and bright landscapes.Art in the modern world moved from telling stories and depicting important historical occasions, to a more personal approach from the artist. The artist wanted to explore their emotions, the everyday and play with form, perspective and composition These colors and need to express emotions led to different movements of expressionism, the Fauves (wild beasts) which had artists including Van Gogh and Gauguin, German expressionism was more extreme, Abstraction came after this and cubism was one of the forms that led heavily from it.During 1908, Baroque and Picasso realized they were working towards the same ideas and decided to work together until 1914. Their principal subject became the still life. They experimented with painting and sculpture to express and challenge the way objects are represented. What you see depicted in a cubist work is not a realistic representation of the object, but a flattening of the planes that make up th e object from different directions in a strong geometric fashion.The artist no longer relied on the renaissance principals of geometric perspectives. The painter was free to explore a different visual reality and to challenge the viewer in what they were seeing in a two dimensional form. By 1909 Picasso began to break individual forms into smaller faceted shapes. For example the head had each feature as its own carefully modeled form. â€Å"The paintings and drawings of 1909 are works which give rise to the word cubism when Picasso was accused of dividing his pictures into ‘little cubes'. In 1910 Picasso made a breakthrough where the figure was seen or represented as transparent planes that locked together which allowed the eye to pass through them to the picture behind so the pictures had a more sculptural element. The movement ended in 1914 as Picasso was a prolific painter and continued to explore other ways of expressing himself. There was a turn towards realism again in 915 to 1920. Critical Account – The Women of Avignon This painting is a particularly important work in the development of cubism and Picasso artistic Journey.The picture is grounded in tradition and yet challenges the viewer with new perspectives and treatment of color and form. Picasso starts with the classical grouping of the three figures on the left. Their placement and gestures and semi nude attire seem to be familiar and are drawn from the images of the late Renaissance of the three graces. Picasso uses this familiarity to lure the viewer in but then starts to play with perspective, proportion ND color to challenge and represent a new way of viewing.Picasso has distorted the figures, using angular planes and we can see the beginnings of the different perspectives represented in the arms and faces of the figures. He uses flesh colored tones for the figures but in a very flat way rather than the traditional gently coupled tones of classical realism that leads to the repre sentation of the three dimensional figure on the two dimensional canvas. The shading and abstract nature of the shapes used meaner that they are very much in the modern world.We can see an example of this shifting of the perspective in the two central figures where the eyes are different sizes, the noses are off-set and the shape of the ears is distorted. As we look at the body of the three figures and the draping, we start to see flat geometric shapes and the beginning of the cubist treatment of the human figure. When we look at the small still life of fruit in a bowl at the bottom of the painting, we see the flattening of perspectives emerging. If this were a real representation of fruit in a bowl they would be effected by gravity.This representation makes the viewer eel anxious, waiting for the fruit to fall. In this way Picasso creates tension and expresses emotion through the distorted perspective. Picasso had a very difficult relationship with women and in the painting he repr esents women very differently between the group of three on the left, and the group of two on the right hand side. The three classical figures are more sympathetic and easy on the eye for the viewer, but there is dark shadows on the figures in the far left that hint at darker emotions.The figures on the right are more fully abstracted and show the influence of African ribald masks and paintings. The colors are not sympathetic, classical nude colors, but instead brighter and harsher reds, blues and greens. These women are confronting and convey a strong emotion for the viewer, but this destruction of form is not accidental but quite methodical. Everything in the picture is broken up into angular wedges and facets. Having said that these shapes are not flat but are shaded in such a way to give some sense of the third dimension. These sharp angles and edges, voids and solids, led to this movement being dubbed as cubism. History of Art – Cubism Is a part of the abstraction period of modern art In the beginning of the twentieth century. There was a series ‘Isms' that Influenced each other and came quickly In the modern world of art. These Include Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Dolmen's and Symbolism. It was believed to be started with Picasso and Braque's in 1907. Cubism was a movement of modern artists going against the accepted style of paintings and pushing the boundaries of what was modern art.The Impressionists ND Realists of the late 19th century started to paint more everyday items and in a more spontaneous fashion, in contrast to the classical period which came before. Immediately before cubism were artists like Cezanne and Serrate who were considered to be post Impressionists who were converting Impressionism into a more classical style. Then Van Gogh wanted to express more emotion in his art than the impressionists had, and his style started to develop Including vivid colors and bright landscapes.Art In the modern world moved from telling stones and depleting important historical occasions, to a more personal approach from the artist. The artist wanted to explore their emotions, the everyday and play with form, perspective and composition These colors and need to express emotions led to different movements of expressionism, the Fauves (wild beasts) which had artists including Van Gogh and Gauguin, German expressionism was more extreme, Abstraction came after this and cubism was one of the forms that led heavily from it.During 1908, Braque's and Picasso realized they were working towards the same Ideas and decided to work together until 1914. Their principal subject became the still life. They experimented with painting and sculpture to express and challenge the way objects are represented. What you see depicted in a cubist work is not a realistic representation of the object, but a flattening of the planes that make up the object from different d irections in a strong geometric fashion.The artist no longer relied on the renaissance principals of geometric perspectives. The painter was free to explore a different visual reality and to challenge the viewer in what they were seeing in a two dimensional form. By 1909 Picasso began to break individual forms into smaller faceted shapes. For example the head had each feature as its own carefully modeled form. â€Å"The paintings and drawings of 1 909 are works which give rise to the word cubism when palaces was accused of dividing his pictures Into ‘little cubes'. In 1910 palaces made a breakthrough where the figure was seen or represented as transparent planes that locked together which allowed the eye to pass through them to the picture behind so The movement ended in 1914 as Picasso was a prolific painter and continued to explore other ways of expressing himself. There was a turn towards realism again in 1915 to 1920. Critical Account – The Women of Avignon This pa inting is a particularly important work in the development of cubism and Picasso artistic Journey.The picture is grounded in tradition and yet challenges the viewer with new perspectives and treatment of color and form. Picasso starts with the classical grouping of the three figures on the left. Their placement and gestures and semi nude attire seem to be familiar and are drawn from the images of the late Renaissance of the three graces. Picasso uses this familiarity to lure the viewer in but then starts to play with perspective, proportion and color to challenge and represent a new way of viewing.Picasso has distorted the figures, using angular planes and we can see the beginnings of the different perspectives represented in the arms and faces of the figures. He uses flesh clouded tones for the figures but in a very flat way rather than the traditional gently suspected tones of classical realism that leads to the representation of the three dimensional figure on the two dimensional canvas. The hading and abstract nature of the shapes used means that they are very much in the modern world.We can see an example of this shifting of the perspective in the two central figures where the eyes are different sizes, the noses are off-set and the shape of the ears is distorted. As we look at the body of the three figures and the draping, we start to see flat geometric shapes and the beginning of the cubist treatment of the human figure. When we look at the small still life of fruit in a bowl at the bottom of the painting, we see the flattening of perspectives emerging. If this were a real representation of fruit n a bowl they would be effected by gravity.This representation makes the viewer feel anxious, waiting for the fruit to fall. In this way Picasso creates tension and expresses emotion through the distorted perspective. Picasso had a very difficult relationship with women and in the painting he represents women very differently between the group of three on the le ft, and the group of two on the right hand side. The three classical figures are more sympathetic and easy on the eye for the viewer, but there is dark shadows on the figures in the far left that hint at darker emotions.The figures on the right are more fully abstracted and show the influence of African tribal masks and paintings. The colors are not sympathetic, classical nude colors, but instead brighter and harsher reds, blues and greens. These women are is not accidental but quite methodical. Everything in the picture is broken up into angular wedges and facets. Having said that these shapes are not flat but are shaded in such a way to give some sense of the third dimension. These sharp angles and edges, voids and solids, led to this movement being dubbed as cubism.

Psychology Theories And Techniques Of Counseling - 1262 Words

â€Å"Oh, so you’re gonna be a counselor then,† is often the question I hear after telling people I am majoring in psychology. This used to bother me. It bothered me because it comes off as people not being aware of all the other career paths a person can pursue with a psychology major. That is, until Theories and Techniques of Counseling†¦ Before I became a psychology major, I was studying social work. Even though I couldn’t seem to find my niche within the major, I was grateful for the introduction to empathy and aspects of counseling. It was like a candle began to catch fire and after reading Martin and Yalom, studying about different therapeutic approaches, listening to guest speakers, and practicing counseling techniques in class, the illumination of therapy began to warm my entire being. Regarding the aspects of the course, there is not one aspect that I did not find meaningful or educational. The texts chosen, â€Å"Love’s Executioner† a nd â€Å"Counseling and Therapy Skills†, showed a spectrum of therapy experience, wide range of methods and theories, and in their own ways, remarkable honesty. Having to write reaction papers for every other chapter was an excellent way to 1) make sure students are keeping up with reading, and 2) delve deeper into the assigned chapters by forcing us to write about similarities or differences between texts, as well as connections to reality. The requirements for the reaction papers, like the length, subject, and questions, were very practicalShow MoreRelatedIn this compare and contrast paper I will highlight the differences and commonalities1167 Words   |  5 Pagescommonalities between Larry Crabb’s biblical model of counseling, theories, and techniques of Rodgerian theory called Rodgers’ Client-Centered Therapy (RCCT), Rational Emotive Behavior Therapy (REBT), and Cognitive-Behavioral Therapy (CBT). 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