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Luxury Delon

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-luxury stores are becoming hybrid institutions, embodying elements of both art galleries and museums, within a context of exclusivity emblematic of luxury
- Participants take note of the company’s sleekly elegant architecture, interior design, and adroit use of lighting that are modelled after those of museums housing world-class exhibits. The store’s merchandize is artisanal, often produced in collaboration with artists. Objects for sale are displayed alongside actual art, rendering both products equivalent. Employees function as curators, offering guidance and knowledge, as well as goods for sale. We analyze how luxury consumers experience and evaluate the ways in which luxury stores operate as contemporary art institutions, and extrapolate those insights into managerial implications for other retail venues.
- According to Kapferer and Bastien (2009), art is the aesthetic and social guarantor of luxury: truly a marriage of culture and luxury.
- primary research site, the LV Hong Kong flagship store. focus on consumer perceptions of LV’s strategy of casting art as vital to its success—the first such research to demonstrate how consumers decode and experience a luxury brand’s positioning. We selected two LV stores in Hong Kong as our focus. We collected data over a period of two years (2006–2007) in Hong Kong using an ethnographic approach. interviewed twenty-five people in total, whose ages ranged fromyoung adulthood to middle age.
- study limited to participants who regularly shop at the LV luxury brand flagship stores in Hong Kong
- Creative directors at today’s luxury brands—the drivers of creating brand essence—are considered artistsin their own rights. Withoutsuch leadership and charisma, luxury brands would be hard pressed to succeed (Dion and Arnould 2011). We build on their argument that successful brands are auratic, and show that luxury brands such

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