luxury branding- understanding luxury branding
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Luxury BrandingTRANSCRIPT
MICA (P) No: 189/0212011tssN 0129-6612
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VOLUME 38 NUMBER 3 2OII
Media Asiaan Asian Mass Communication Quarterly
FEATURES
ARTICLES
Understanding Luxury Branding: A Conceptual FrameworkAarzoo Daswani and Varsha Jain ............. .... ItfThe Great Indian Television Soap Opera: Issues of Identity and Socio-cultural DynamicsRuchi |aggi. ............r4O
An Analysis of Violent Content on Chutti TV in Tamil Nadu, IndiaS. Hemamalini, I. Arul Aram and Premalatha Rajan ..........................16
Indian Media Framing of the Image of Muslims: An Analysis of NewsCoverage of Muslims in English Newspapers of IndiaUsharani Narayana and Priti Kapur.......... ........................ 153
Population Control and HIV/AIDS: Politics of Sexual Health in IndiaRavindra Kumar Vemula ..........163
Early Experience of Mobile Telephony: A Comparison of Two Villages inPapua New GuineaAmanda H. A. Watson.................. .................17O
Cultural and Media Practices on Health and Family Planning of SelectedUrban Poor CommunitiesLourdes M. Portus... .................. l8f
Understanding Luxury BrandingA Conceptual Framework
The origin of luxury goes back to the ancient times. People indulge in luxurious products to satisfy theirintrinsic and extrinsic needs. The sales of luxury goods in 2010 are expected to grow by four percentto 'l 58 billion Euros.The better spending by the aspirational and young buyers, and the increase inmiddle class disposable income have given rise to luxury goods trade. However, the consumption ofluxurious goods varies with consumers'taste and choices. They define and express luxury brands indifferent notations depending on their profile and fundamental values. Moreover, consumers changingpreferences are reshaping the luxury meaning. This paper figures out the multi-dimensional attributesof luxury and identifies the changing perception of consumers in today's times. The paper builds a
conceptual framework that can help the marketers in forming the luxury brands communicationstrategies with which they can construct groundbreaking rules for their brand.
Luxury is for everyone and different for everyone.
- Pam Danziger
uman beings have desired luxury goods of anykind since their creation (Tungate, 2010). Luxuryin the 17th century was found in commodities
such as rare pearls, crystal, perfumes, and spices from theCaribbean, butwith the passage of time and with the riseofworld trade, the 19th and early20th century associatedluxurywith products of great craftsmen, superior qualityand customer service (Berthon et al,, 2009).
Today, the luxury market covers a wider customerbase of both affluent and non-affluent customers, allcraving for upscale products and services (Hader, 2008).They wish for products that would enhance their qualityof life and show their outward appearance (Chadha& Husband, 2007). This practice is found to remainprevalent in all cultures and countries, irrespectiveof economic situation (Okonkwo, 2009). People areconstantly indulging themselves in buying somethingexclusive and more expensive (I(apferer & Bastien, 2OO9).
The motivation behind uplifting the luxury sector is toestablish relationships with the exclusive brands andbuild high-trust experiences (Hadea 2008).
CoNsurvrcn SHrpr rN THE Luxuny MnnxsrSociety is facing a shift with changing consumerbuying habits and tastes (Gupta, 2009). Consumers are
Aarzoo Daswani is Research Associate at the Mudra Instituteof Communications Research in Ahmedabad, India. Varsha
fain is Research Fellow and Head, Division of IntegratedMarketing Communication at the Mudra Institute ofCommunications Research in Ahmedabad, lndia.
Aenzoo DasweNrVnnsHe ferru
more sophisticated, broadly educated, well-travelled,adventurous, more enlightened and desire products forpersonalisation (Truong et al., 2008; Silverstein & Fiske,2003). Theywant to indulge and pamper themselves withluxury products (Chen & Sethi, 2007). They are moreinto material possessions and their consumerism definesa way of life that places higher importance on status andsocial image (Sengputa, 2007).
Besides, the economic recovery in most westerncountries and the unshackled economic growth inSoutheast Asian nations are the main factors that haveprovided wheels to luxury products sales (Truong etal., 2008). Evidently, there exist a positive relationshipbetween economic growth and increased expendituresfor luxuries (Eng & Bogaert,2010). The luxury marketis at a new level with the increase in the number ofglobal millionaires, greater confidence in the economyand mass consumers buying luxury (De Barnier etal., 2000). In addition, the rise in standards of living,increasing consumer product knowledge and desire tospend has given rise to luxury products trade (Vickers& Renand, 2003). Consumers today are more ready tospend a larger proportion of their disposal income onluxury goods (Nueno & Quelch, 1998). They use productprices as a means of displaying their wealth and status.More consumers are willing to pay a premium price forproducts of higher quality and bring higher status (Husic& Cicic,2009).
ConsurvrprloN oF Luxunrrs: THs lNnrexMeRxerChadha and Husband (2007) in their book The Cult of theLuxury Brand developed the spread ofluxury model thatfollows a five-stage process: (a) subjugation; (b) start ofmoney; (c) showing off; (d) fitting in; and (e) way of life.
MEDIA A5IA, VOt 38 NO 3, 20]
According to the author, Asian countries still have more
scope of growth and the future glows for luxury houses.
Indian consumers are getting ready-to acquire the taste
of luxury as they move into the'start of money' stage ofluxury consumption. This is because of India's economic
growth, the masses buying Westernised goods and the
indulgence of elites in consuming luxury. With luxurybrands getting a warm welcome in India, it is considered
the next major luxury market after China' Furthermore,with the rise in brand-sawy consumers, India is already inthe process of moving into the 'show off ' stage (wherein
consumption symbolises wealth and displays economic
status). The exposure to global lifestyles and surplusincome has given Indian consumers a higher and global
aspiration to acquire luxury products (Sengupta, 2007).
According to McKinsey Global Institute's forecast,India's total consumption will rise from Rs. 17 trilliontoday to Rs. 70 trillionby 2025 (Sengupta, 2007)' TheIndian luxury market holds a big growth potential.The number of Indian middle class population by 2025
is expected to grow from 5 Percent to 41 percent to
become the world's fifth largest consumer market. The
emerging middle class is upgrading its quality of life. lndiarecorded an annual growth of 25 percent in the luxurygoods market in 2006 and the number of high net worthindividuals increased by 20.5 Percent (Eng & Bogaert,
20i0). The growth implies that a larger number of Indianmiddle class are able to afford more luxury goods than
ever before (Chadha & Husband, 2007).
The Indian luxury markets are riding far with the
growingvolumes and there is assurance of more' A survey
conducted by AT Kearney revealed that the Indian luxurymarket is likely to grow at an annual rate of 28 Percentin the next three years and its current worth is US$377
million. Thus, Indian markets are not only today's market
but also the future market (Atwal & Khan, 2008). lt has
been considered as a "promising territory for the futureand a long-term player" (Eng & Bogaert, 2010).
The formation of different levels of luxury, ranging
from ultra luxury to affordable, has given rise to the baby
boom generation-a "new luxury" generation (Atwal
& Khan, 2008). The Asian population among the age
group from 20 to 40 make the greatest contribution tothe economic growth (Wong & Zaichkowsky' 1999).
This baby boom generation has a passion for self-
indulgence and maintain their individualistic type ofluxury consumption (Atwal & Williams, 2009). They
earn well and readily spend on products that provide
them with comfort and pleasure (Atwal & Khan, 2008).
The consumer seems to be looking for combination ofstyles and objects that best signals their personality and
image (Truong et al., 2008). The new luxury market isviewed at top sphere (Nazerali, 2007)' In other words,
consumption speed implies that luxury is for one and all(Atwal& Khan,2008)'
CoNcspruALtsING LuxunY
The concept of seeking happiness via consumption firstoriginated in the westand laterspread to the restoftheworld(Wong & Ahuvia, 1998). Consuming high-end products
is universal practice. However, the social, economic and
symbolic values differentiate consumers to adopt different
habits, beliefs, lifestyle and tastes, and connotes differentconception of self (Silverstein & Fiske, 2003). Broadly' bothEastern and Western cultures examine self in two ways:
private/inner self (including emotions, desires, personal
values, memories, preferences etc.) and an outer/ public
self(including social role, outer appearance, etc'). They are
also known as independent and interdependent concepts
of self, The independent concept of self is rooted in the
Western culture while the interdependent concept of self
is more applicable tothe SoutheastAsian countries (Wong
& Ahuvia, 1998) (Figure 1).
Conspicuous consumption
Veblen's Theory of the Leisure Class first described
the concept of conspicuous consumption. The authordetermined that the purely conspicuous consumer derives
satisfaction from the audience's reaction to the wealth
displayed and not from the value of the product itself'The cost of purchase becomes more significant than the
functional use of product. The only goal behind theirexpensiv€ purchase is to seek personal status and prestige'
FIGURE iConcept of self in'Western and Eastern Countries
Fs--.,d-r"bl Fffi"* IfE'""r-,f io.'-q F.'*"d I m"".q FEru'*A;lI vatues
I
Belief of Eastern consumerpertaining to luxury brands
Belief of Western consumerpertaining to luxury brands
These products provide social visibility and acceptancein their reference group. Expensive possessions are solelyfor external reasons. Luxury brands ownership conveystheir social image and personal taste (Mason, 1993).
In addition, Veblen identified that conspicuousconsumption seek the luxurious objects for two reasons:to show that they are (a) members of the upper class;and (b) distinguish themselves from the lower class. Theauthor termed the first motive'pecuniary emulation'andthe second'invidious comparison' (Twitchell, 2002).
The many meanings of luxuryThat the same luxury good can mean differentthings at different times to the same or differentpeople. - Berthon et al., 2009
Several researchers have demonstrated the meaning ofluxury in different context. The reason is that differentsets ofconsumers perceive luxury differently. W'hat seemsluxury to one may look ordinary to another. Wiedmannet al., (2007) precisely termed luxury to products andservices and stated that luxury concept takes differentforms for different people depending on the mood andtheir experiences. As a whole, luxury is a subjective,relative and multi-dimensional concept.
Luxury represents exclusivity. It is also termed asIavishness, magnificence, comfort, sumptuousness,opulence and extravagance (Khan, 2006). Luxuryresembles quality, beauty, sensuality, exclusivity,history, high price and uniqueness (Berthon et al.,2009). Exclusivity enhances consumers' preferencesfor a brand and its limited production invokes respectand prestige. In addition, people perceive higher pricesas evidence of greater quality. According to Phau andPrendergast (2000), luxury brands are those that evokeexclusiviry have a well-known brand identity, increasesbrand awareness, perceived excellent quality and retainsales level and customer loyalty. Kapferer (1998) foundthat consumers observe the beauty of the product, itsexcellence, magic and uniqueness as important criteriato like luxury brands.
A luxury brand confirms its worth with the inheritedcharacteristics. such as outstanding qualiry, excellentperformance, intrinsic features, classy looks, ensuresadmiration and gets noticed. Luxury means comfortand privilege to consumers (Danziger, 2OO4). Nuenoand Quelch (1998) suggested "luxury brands are thosewhose ratio of functionality to price is low, while theratio of intangible and situational utility to price ishigh'l The authors identified certain characteristics thatluxury brands share, that includes consistent deliveryof premium quality across product lines, a heritage ofcraftsmanship, a recognisable style or design, a limitedproduction to ensure exclusiviry a marketing programmethat combines emotional appeal and product excellence,a global reputation, association with a countiy of originthat has a strong reputation in a specific industry, anelement of uniqueness to each product, an ability to timedesign shifts when the category is fashion-intensive andthe personality and values ofits creator.
UNDERSTANDING LUXURY BRANDING: A CONCEPTUAL FRAMEWORK
In line with prior research, Dubois et al., (2001) intheir qualitative study conducted to know the consumers,broad perception of luxury identified six dimensionsof luxury, namely: (a) excellent quatity; (b) very highprice; (c) scarcity and uniqueness; (d) aesthetics andpolysensuality; (e) ancestral heritage and personal history;and (f) superfluousness. The author's explanation on thedimensions is detailed below.
Excellent qualityThe association between luxury and quality is so well-built that for some consumers, the two words are almostidentical. For them, excellent quality assures reliabilityand durability. The product or service can be trusted andthere is hardly any chance ofdefects. A luxury productcan be used forever and one gets a feeling ofeternity.
Very high priceThe cost becomes acceptable, especially when thelongevity of usage is ensured with the superior qualiryof the product. It can provide a feeling of comfort, well-being and security.
Scarcity and un iquenessScarcity is connected with the perceived excellentquality and high prices of the luxury goods. Scarcity alsoextends to its availability and usage. Most consumerscommented that truly luxury products are not availablein supermarkets. Luxury shops extend consumers withan experience that is an important source of value tomany consumers. Products uniqueness and the feelof exclusiveness is an expression that consumers feltnecessary for luxury brands.
Aest h etic s and po ly sen s ua lityLuxury products become pieces ofart and their experiencegive hedonic pleasure and touches all the senses. Luxuryproducts apart from beaufy are pleasant to hear, smell,taste or touch. Luxury is a spring ofsensual pleasure andalso adds to one's self-concept.
Ancestral heritage and personal historyLuxurious products and services must be long lastingand should incorporate traditional values.
SuperfluousnessLuxury products need not be essential for survival assome consumers feel that luxury is not necessity. It ismore intended towards a materialistic world wherepeople consume luxuryto fulfilextrinsic motives (Duboiset al., 2001).
Luxury brands as a prestige symbolHusic and Cicic (2009) noticed that the usage of luxurygoods offers prestige apart from the functional utility.Prestigious brands have a strong social function attribute.Prestige-sensitive consumers feel protected and safeowning a popular and recognised brand. Vigneron andJohnson (1999) aftempted to categorise prestige-seekingconsumer behaviour into five groups, namely: Veblen,
MEDIA ASIA,VOL 38 NO 3,2011
Snob, Bandwagon, Hedonic and Perfectionists; whereas
Dubois and others (2001) sought to identify consumer's
perception based on the attributes of luxury products'
. The Veblen effect (perceived conspicuous value):
Veblenian consumers perceive high price as an
indicator of prestige. They use prestigious brands
to impress others and gain status.
. The Snob effect (perceived unique value): Snob
consumers perceive price as an indicator ofexclusivity and always thrive to take the firstadvantage of limited productions.
. The Bandwagon effect (perceived social value):
Bandwagon consumers hardly perceive price as an
important indicator of prestige' A prestige brand
"nh"^."t their self-concept and distinguishes them
from the non-prestigious reference grouPs'
. The Hedonic effect (perceived emotional value):
Hedonist consumers place less emphasis on price
as an indicator of prestige and buys goods for oneipleasure. They are more interested in sensory
pl"utu.", aesthetic beauty and the intangiblebenefits delivered by luxury brands.
. The Perfectionism effect (perceived quality value):
Perfectionist consumers depend on their own
perception of the product's quality. They might use
price of a product as further evidence of qualiry'
In conclusion, the Veblen, Snob and Bandwagon
consumers perceive price asthe most important factor, with
a higher price denoting greater prestige' Their purchase of
rare products helps in seeking status among the reference
group. Hedonists and Perfectionists are more interested
in pleasure derived by consuming luxury products rather
than price, product characteristics and performance' They
consume what they want to based on their own iudgment,while to them price exists only to scan the quality of the
product (Vigneron & )ohnson, 1999).
Luxury as a social-status sYmbol
What has not disaPPeared on the other hand is
Man's need for some form of social stratification,which is vital to him; he needs to know his place
in society. - Kapferer & Bastien, 2009
Luxury imitates an owner's extended image mainly
through showing off success and obtaining high social
status (Eng & Bogaert' 2010)' Moreover, it is a common
practice in communities around the world that the level
of status is measured through the product's socialbenefit
offerings (Eastman et al., 1999). Consumers indulge in
luxurytrands consttmption to attain social status and
hardly focus on the products'economic or physiological
utiliry. They perceive luxury consumption denotes who
they areandwhatsocial standingtheyhold (Husic & Cicic'
2009). Individuals are constantly in a social comparison
process wherein a desire to distinguish oneself from
others arise (Phau & Prendergast, 2000). They opt for
societal approval and admiration through their luxury
consumption (Truong et aI.,2008). Additionally, it is also
a means of conveying one's identity and self-worthiness
134
(Eng & Bogaert, 2010). Furthermore, Truong et al', (2008)
i,rgi"tt"alnat status-laden brand purchases offer both
inil-rnal (i.e. self-reward) and external reasons (signal
wealth) and also to some extent provides public visibility'
A common notion among luxury users is that luxury
brand enhances their self-respect, self-esteem and adds
status within their reference group. Certainly, consumers
perceive social status attached with a luxury brand as an
important factor (Vigneron & )ohnson, 2004)'
Luxury brands as an aesthetic symbol
Luxury products undergo a sensorial process wherein
the understanding of signs and direction, pleasure and
satisfaction is vital. These products' inherent core values
related to symbolic, hedonistic and aesthetic dimensions'
Usually, consumers measure goods consumeddaily based
on the objects' utilitarian characteristics, while aesthetic
objects have a sensorial attraction. These objects create
an environment, provide pleasure, generate sensations
as well as sentiments. They appeal emotionally and are
analysed or interpreted on consumers'personal criteria'
Consu*ers seleci luxury products comparing the object
with norms, history (that is designer label, signature
features) and the social meaning attached, the originality
of products' specific attributes (that is shape, design'
colour, composition), and the presentation and its distinct
variants. Consequently, even though objects utilitarian
and functional dimensions are part of the perception
process, the symbolic, subjective dimension hold an
importairt position (Lagier & Godey, 2007)'
Luxury brands' value PercePtion
The benefits that consumer derive from luxury brands
attributes include Functional, Hedonic, Symbolic and
Experiential elements. The Functional element connotes
products' physical and service attributes' It is about
what the object does rather than what it represents' It
revolves solely around products' performance, quality
and craftsmanship. The Hedonic element refers to the
buyer's intention of consuming goods mainly for their
own pleasure. It is related to internal and private needs'
The Symbolic element satisfies individuals' needs of
gaining social recognition. lt is related to status, position,
ielf-enhancement and self-concept. Experientialism is
associated with the consumer's desire to seek sensory
pleasure (Berthonetal.,2009;Christodoulidesetal',2009)'
Experiencing luxurY
Luxury has taken new forms with consumers thriving to
experience luxury goods over just acquiring them' Their
experience and perception of luxury have been refined
and are still reshaping' Their definition of luxury focuses
on the experiences and feelings that can be purchased
(Danzigei 2007). While 'old' luxury was about stuff,
'new' lux,rry is about experiencing (Morrison, 2005)'
However, there exists a dual nature of luxury, namely
new and old luxury. The new luxury is riding on the
'experience economy' while the old luxury still focuses
on the attributes, qualities and features of the product
and the associated status and Prestige with it (Danziger,
2007). Moreover, new luxury consumers focus on buyingproducts that express meaning and provide unique
experiences. Consumers gain greatest luxury thrillsthrough experiencing it ('What every marketer needs to
knowabouttheluxuryconsumerl 2004). Thus, newluxuryis purely intrinsic and consumer-centrically (Danziger,
2004) (Figure 2).
Consequently, many luxury brands organisations
are taking initiatives to introduce experiential luxurymarketing strategy. They are creating fantasies, feelings
and fun around their brands. Moreover, the purchasing
experience also incorporates a set of intangible values, a
series of memorable events and consumer engagement
at a personal level (Atwal & Williams, 2009).
CourrruNrcATloN SrnnrEclns FoR LuxuRvBReNns
Luxury is something that everyone wants 3ndnobody needs. - Managing Luxury BrandGrowth,2006
Vigneron and fohnson (2OO4, p' 486) coded Kapferer(1997) definition of luxury that stated "luxury defines
beauty, it is art applied to functional items. [...] That
is why luxury management should not depend on
customer expectations: luxury brands are animated by
their internalprogramme, theirglobalvision,thespecifictaste which they promote as well as the pursuit of theirown standards ..."
Truly, luxury brands marketing strategies are not in
synergy with that of conventional markets. A luxury
brand has to discover its own marketing rules. Luxuryis a qualitative and not quantitative concept. Luxurybrands are not launched, rather they are progressively
built by managing the resources in a very specific
way. They should speak a story (l(apferer & Bastien,
2009). The luxurious brand advertisement creates a
dreamworld around the brand whereas a conventional
advertisement focuses on selling the product. Luxurybrands advertisement communlcates the magical story
and attempt to deliver enchanting hopes, wishes and
dreams to the consumers (Figure 3).
I(apferer and Bastien (2009) also suggested some
marketingideas for luxurybrands. The authoropined that
UNDERSTANDING LUXURY BRANDING: A CONCEPTUAL FRAMEWORK
FIGURE 3
Conventional versus luxury communicationstrategies
Sale of productlmagination.
dreams,experience,
luxury brands needed to focus on creating a brand identitvrather than looking at positioning itself among other
brands. Luxurybrand characteristic is such that it should
state, "This is what I aml and need not compare itself
with the competitor's brand. The author also suggests that
luxury brands preserve their standing and should always
dominate its client's mindshare. Luxury houses should
resist consumers from getting too involved in shaping
the brand, as the place where the craft of magic creation
occurs should remain a mystery. Moreover, luxurybrandsare like a reward and its inaccessible attributes cultivatean even greater desire to own them. This is the reason
for which luxury brands should set a necessary obstacle
and go beyond the masses reach. The obstacle created
can be of financial, logistical (find the shop) or time (u'ait
period). Furthermore, luxurybrands, instead of following
traditional market strategy (decrease in price results in
increase of demand), pursue the strategy of increasing
price continuously to increase the demand. This strategy
works well for luxury brands as the fact is that the price
factor is crucial in attracting people's attention and also
increases the desire to possess high-end products. Thus,
it becomes all the more important for luxury brands to
live up to its rePutation so that consumers perceive itworthwhile to spend that amountof money. In conclusion,
product excellence and price, the pre-requisite ofluxurl'brand must be carefully handled, as these factors can
play a major role in changing consumer mindset. Luxurvbrands success also lies in spreading its value facets and
awareness to a wider range ofconsumer segment than iustthe target group as the brand familiarity would generate
a desire in them to buy the brand in future.
FIGURE 2
Changes in the meaning of luxury brands
Con su m e r- cen t ri(
MEDIA ASIA, VOL 38 NO 3, 201 ]
Adding to the concePt, Keller (2009) outlined i0characteristics of luxury brands that lay the foundation
on how to market them. This includes maintaining a
premium image, which is intangible and aspirational' Allihe marketing programmes of luxury brands must align
to ensure product qualiry and service, pleasure purchase
and consr.rmption experiences are delivered' Luxury brand
elements can be used as driver for creating brand equity
apart from being identified with famous personalities and
participating in prestigious events. A luxury brand must
carefully control distribution channel, employ a premium
pricing strategy, manage brand architecture carefully and
must not comPete with ordinary brands' Lastly, luxury
brands must have legal protection for all their trademarks'
Similarly, Nueno and Quelch (1998) figured out design
and communications, product line, customer service and
channel management as the four keys of managing luxury
brands sttccessfully' The author suggested that the luxury
brand firms must communicate worldwide its innovative
design and thus should extract value in the marketplace'
Organising an event or indulging in other public relation
".iiuity cai generate favourable editorial comments and
contribute in obtaining a desired image'
Kellar (2009) underlines the importance that luxury
brands must invoke the brand feelings that are related
to customers'emotional response and reactions towards
the brand in their marketing programme' These feelings
are very much essential for luxury brands as they act as a
central theme in attachingthetarget audience' The brand
feelings are classified into sixtypes' These are: (a)'warmth'
feeling, which satisfies consumers'sentiments and gives
them a sense of calm and expresses warm-heartedness; (b)
'fun' feeling, which delivers joyous, playful and cheerful
experiences to the consumer; (c) 'excitement' feeling'
which generates energy, a sense of elation and a feel of
being alive among the consumers; (d) 'security' feeling'
which assures consumers of a sense of safery, comfort
and a sense of relief when using the brand; (e) 'social
approval' feeling, which provides consumers with a sense
ofbeing acknowledged and ensures favourable acceptance
in theii social circle; and (f) 'self-respect' feeling, which
invokes a sense of pride, accomplishment and enhances
one's self-concept.The first threl types ofbrand feelings are experiential
and immediate while the next three are private and
enduring.Vigneron and )ohnson (2004) in their study developed
a Brand Luxury Index (BLI) scale to measure the amount
of luxury contained in a luxury brand' The authors
suggested that when the five dimensions of the scale are
attained, it creates lasting effect for luxury brands' These
five dimensions consist of perceived conspicuousness'
perceived uniqueness, perceived quality, perceived'hedonism
and perceived extended self' Perceived
conspicuousness refers to the consumer's need of
gaining social representation and position through the
consumption of product. They perceive high price as an
indicator of luxury. Perceived uniqueness emphasises
on the exclusivity and rarity attributes ofthe brand that
generates consumers' preferences' Consumers value
ih" good, more as the possession of unique- and limited
proiucts enhances their self-image, social image and
.onu"y, personal tastes' Perceived quality emphasises
on impoitance of leadership in quality and demands
maintenance of high standard every time' Perceived
hedonism provides emotional benefits and intrinsic
pleasing properties apart from functional benefits
to the consumer. The brands must generate sensory
pleasure, aesthetic beauty, sensory gratification and
excitement. Perceived extended self-dimension helps
consumers to distinguish themselves from the non-
affluent groups and enhances their self-concept, identity
and adds to one! self-appeal. Moreover, the first three
dimensions-perceived conspicuousness, uniqueness
and quality-imitate non-personal-oriented perceptions
and ihe other two-perceived hedonism and extended
self-imitate personal-oriented perceptions (Figure
4). As a whole, the BLI scale helps in understanding
consumers'views on luxury brands. The marketers can
use this scale to compare several luxury brands and also
recognise competitive advantages. Likewise the scale
creaLs and builds brand luxury alongwith evaluatingthe
FIGURE 4
Proposed framework of brand luxury index
L Warmth
2. Fun
3. Excitement
4. Securiry
TABLE iSix Types of Brand Feelings
Sr. Brand feeling DescriPtionno. names
Calmness, warm hearted,
sentimental
Light hearted, joyous,
playful, cheerful, amused
Energised, being alive
Safety, comfort, self-
assurance
5. Social approval Appreciating, favourablebehaviour
Accomplishment, Pride,confidence
Non-personalperceptions
Source: Proposed framework ofBrand Luxury Index in
Vigneron and fohnson (200a, P.488)
6. Self-respect
ll N DF RSIAN Dl NG L! X U irY SirANDi NC, A aONa i PItlAt c RAf''1F "VO{l(
' ,:.,.. .':advantage.The turnover began when Ford became its creative director lh 1994 tnd Domeico
brous iatwalk desigqgwl ric! llth9pqsi pt.i,qg
Grjbci sold their
performance of the brand (Vigneron & )ohnson, 2004).
Furthermore, in a similar context, Deeter-Schmelz et al.,
(2000) used a PRECON scale that measures individual
differences in consumers' prestige shopping preferences
and found that image, quality, lashion, store atrnosphere
and patron status are the attributes ofthe luxury brand
that motivates consumeristn.
Tss Wonx oF LuxuRY ADvERTISEI\IENT
Branding is essential, as the heart of luxury lies increating a separate distinctior-r from the similar range ofproducts. This is exactly what the luxury advertisements
are trying to do with the means of 'telling ;r storvl The
luxury ads transform an identical object into a distinct
and extraordinary object. lt incorportrtes nleirning to
the object, adds valr-re, creates il sense of belongingness,
performs a role of br-rilding historical association and
frames magical worlds. In such cases, the differentiationdwellsvia language and imagery, notthrough the product.
To illustrate, Evian bottled water (a fungible product)advertises itself as magical lifestyle accessory and all
Evian ads showcases one pampering oneseli giving
special treatment to loved ones and projects larger than
life images. The ad signals that holding an Evian bottle
is like waving a wand (Twitchell, 2002).
The advertisement should ernphasise on the creativity,
the brand name, the institution that owns it and on the
product itself (Nueno & Quelch, 1998). Thus, by large,
it seems that the art of luxury brand marketers lies in
building a dream world and conveying the ultimate
experiential experiences in consumer's minds. Ernst
Lieb, CF.O of Mercedes USA puts it as: "if I can get a
customer interested today in our ne\\' product, that is a
good thing, because in three Years, rt'hen he is readv to
buy again, he'll buy our product" (Kapferer & Bastien,
2009).
CoNcrusloxT'he concept of luxurv has been u'ith us from ancient
times. Luxur,v is all about authenticitl', unusualness,
depth, meaningl, longevity, timelessncss, heritage, fine
details, delight and superior qualitl'. People's desire to
distinguish one from others exists, irrespective ol'tl'leirplace of origin. They indulge in luxurious brands to satisfv
their functional, social and s,vmbolic needs. Cotrsunlers
ma1' defirre luxurl' brands in diffcrcnt expressions but
ultimatell', their common interest lies in possessine these
brands lor satisfying their intrinsic and extrinsic needs.
They readily overcome the accessible obstacles created
by the luxury brand to dentonstrate their personal taste
and style.'fhe pleasure that thel'derive from the purchase
of the product is important rather than the price of the
product. The usage of prestigious brand is also a means ofdisplaying their u'ealth. Luxury brands are like treasures
to the consumer and when they Possess them' the,v feel
special and are truly delighted. After all, luxurv is all
about reaching to the peripher.v, to the peak and cven
going against the basics.However, with changing times, the meaning of luxurv
has also changed as people are getting into experiencine
luxurious brands. Thel' look for intrinsic pleasure,
ernotional benefits and are driven torvards new needs and
MFDIA ASIA,VOL 38 NO 3,20]
desires. Knowing the consumers' intention' luxury houses
iuu" "lr."dy
rtaled using experiential Iuxury marketing
rit"i"fi"t for their bran-ds' They provide experiential
.rrd .Jns.,mer-centrically experiences to their clientele'
Overall, one thing is certain, luxury brands strategies
differ from conventional marketing as luxurious brands
cr""t" a dream world around the brand and hardly focus
on tnu sale of product or commodity' Besides' a deeper
r.rnd"rrt"r,din j into th" cottcept also highlights that luxury
is no more re-stricted to a rich person's enjoyment but
also belongs to an ordinary Person's destiny' I{oreovet
it seems tilat the future oi h'rxury brands is bright and
expected to grow at.a much faster pace'
Thus, thelicture is clear that luxury houses may have
to continuously upgrade their product and marketing
,ir"t"gi". to k""p .,p *itt ttte global demand and changing
.onrrr"rnu, preferences. The rules of luxury marketing are
*o." fo."ign and fundamentallydifferent' The marketers
n"ui ,o piovide both intrinsic and extrinsic values to
the consumer wherein intrinsic value includes unique
experience, feelings and emotions' purchase pleasure'
memories and desire; and extrinsic value includes product
i;;;t"t, price, qualiry status and prestige' The brand
i;;;; "t"l"d should be both premium and inspirational'
The-communication strategies should be such that it
invokes brand feelings' The brand can focus on creating
FIGURE 5
Conceptual framework of luxury branding with its
communication strategies
its own unique identity and should not compare itself
*l,f,,f,u.o-petitor's brand' A luxurybrand should create
"i."tt"ty.Ustacles, for example' in financial' logistic and
time terirls. This strategy is important as the-exclusivity
and rarity element generates positive preterences rn
.onru-"r, towards the brand' Luxury obtains a status
ur,i pt"ttig" tymbol due to the associated premium price
with it. So it becomes necessary for luxury brands to
consistently maintain a premium pricing strategy' The
iu*"ty houses should also try to reach the.prospective
.or,ro-"r, "part
from the existingones' This is important'
as the famiiiarity with the brand would inspire the
prospective consumer to purchase the brand' The luxury
t.ani should communicate the same message in different
modes of communication to gain long-lasting effect on
the consumers as a consistenimessagebuilds credibility
amongthe consumers' In addition' Iuxurybrands should
introduce innovative designs and products to reach
Jlif".ur,, types of cons""'"i by using innovative modes
oi.o*-.,nications. The luxury advertisement should
communicate the magical story and deliver enchanting
i#t, *itn"s and drJams to the consumers (Figure 5)'
RnrnnnNcns
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Extrinsic- Features
- Price
- QualitY- Status and Prestige
Intrinsic- Unique exPerience
- Feeling and emotion- Purchase Pleasure- Memories* Desire
+ Focus on creating brand identitY
. Evoke brand feelinq
t Premium Pricinq1- ProsPective
+ Consumer
' Consistency in all marketing programmes
f-- Premiumt Brand image --------i- lnspirational
r- Producl+ lntroduce innovation -n- Modes of communicalion
+ Advertisement can create a dream world
118
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