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Deluxe: How Luxury Lost Its Luster, by Dana Thomas
Download PDF Deluxe: How Luxury Lost Its Luster, by Dana Thomas
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Review
The Devil Wears Herms (He Bought It at the Caesars Palace Mall in Las Vegas) By MICHIKO KAKUTANI Skip to next paragraph Back in the late 1980s, the Prada backpack made out of black or tobacco-brown parachute fabric trimmed in leather became the it bag for many would-be fashionistas. It was hip, modern, lightweight and at $450 expensive, but not as expensive as the stratospherically priced bags made by Herms and Chanel. According to the fashion reporter Dana Thomas, that Prada backpack was also the emblem of the radical change that luxury was undergoing at the time: the shift from small family businesses of beautifully handcrafted goods to global corporations selling to the middle market a shift from exclusivity to accessibility, from an emphasis on tradition and quality to an emphasis on growth and branding and profits. With Deluxe: How Luxury Lost Its Luster, Ms. Thomas who has been the cultural and fashion writer for Newsweek in Paris for 12 years has written a crisp, witty social history thats as entertaining as it is informative. Traveling from French perfume laboratories to Las Vegas shopping malls to assembly-line factories in China, she traces the evolving face of the luxury goods business, from design through marketing to showroom sales. She gives us some sharply observed profiles of figures like Miuccia Prada, who was a Communist with a doctorate in political science when she took over her familys small luxury goods business in 1978, and the business tycoon Bernard Arnault, who relentlessly built LVMH into a luxury monolith with dozens of brands (including Louis Vuitton, Givenchy and Dior)sold around the world. Ms. Thomas peppers her narrative with lots of amusing asides about everything from how orange became Hermss signature color because it was the only color widely available during World War II to the money-saving benefits of raw-edge cutting, which has been marketed to the public as a cutting-edge, avant-garde innovation. But her focus remains on how a business that once catered to the wealthy elite has gone mass-market and the effects that democratization has had on the way ordinary people shop today, as conspicuous consumption and wretched excess have spread around the world. Labels, once discreetly stitched into couture clothes, have become logos adorning everything from baseball hats to supersized gold chains. Perfumes, once dreamed up by designers with an idea about a particular scent, are now concocted from briefs written by marketing executives brandishing polls and surveys and sales figures. With globalization, Paris and New York are no longer exclusive luxury meccas. Ms. Thomas notes that a gigantic 690,000-square-foot luxury mall called Crocus City (featuring 180 boutiques, including Armani, Pucci and Versace) is flourishing outside Moscow, and that a group of high-end boutiques will be part of a luxury complex called Legation Quarter, scheduled to open in Tiananmen Square later this year. Approximately 40 percent of all Japanese own a Vuitton product today, she says, and one recent poll showed that by 2004 the average American woman was buying more than four handbags a year. With more people visiting Caesars Palaces glitzy Forum Shops each year than Disney World, Las Vegashas made shopping synonymous with gambling and entertainment, even as outlet malls have brought designer clothing and accessories within the reach (and budget) of many suburbanites. High-profile luxury brands like Louis Vuitton, Herms and Cartier were founded in the 18th or 19th centuries by artisans dedicated to creating beautiful, finely made wares for the royal court in France and later, with the fall of the monarchy, for European aristocrats and prominent American families. Luxury remained, writes Ms. Thomas, a domain of the wealthy and the famous until the Youthquake of the 1960s pulled down social barriers and overthrew elitism. It would remain out of style until a new and financially powerful demographic the unmarried female executive emerged in the 1980s. As both disposable income and credit-card debt soared in industrialized nations, the middle class became the target of luxury vendors, who poured money into provocative advertising campaigns and courted movie stars and celebrities as style icons. In order to maximize profits, many corporations looked for ways to cut corners: they began to use cheaper materials, outsource production to developing nations (while falsely claiming that their goods were made in Western Europe) and replace hand craftsmanship with assembly-line production. Classic goods meant to last for years gave way, increasingly, to trendy items with a short shelf life; cheaper lines (featuring lower-priced items like T-shirts and cosmetic cases) were introduced as well. Although this volume quotes Anna Wintour, the editor of Vogue, saying such changes mean that more people are going to get betterfashion and the more people who can have fashion, the better, the author reaches a more elitist and pessimistic conclusion. The luxury industry has changed the way people dress, she writes. It has realigned our economic class system. It has changed the way we interact with others. It has become part of our social fabric. To achieve this, it has sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers. In order to make luxury accessible, tycoons have stripped away all that has made it special. Luxury has lost its luster. "New York Times", 8/21/07 Luxury, and How It Became Common HARRY HURT III WANT to buy luxury products like Louis Vuitton handbags? Gucci shoes? Prada dresses? Theres no need to comb the fashion alleys of New York, Paris or Milan in search of the brands boutique stores. Just zip over to the nearest mall, where high-end department stores hawk luggage, footwear, apparel, jewelry and virtually every other designer-label item that ever appeared under the klieg lights. But be prepared to see scores of fellow shoppers already wearing the exact goods you covet. Therein lies the cruel commercial irony at the core of Deluxe: How Luxury Lost Its Luster, by Dana Thomas, a Paris-based culture and fashion writer for Newsweek (Penguin Press, 375 pages, $27.95). Ms. Thomas documents in entertaining and sometimes heart-wrenching detail how the luxury industry evolved from a proudly diverse array of family-owned houses into a $157 billion-a-year mass market whose products now lack the exclusivity and in many cases the quality craftsmanship that formed the basis for their cachet in the first place. Along with changing the way we dress, the luxury industry has realigned our economic class system, Ms. Thomas asserts. It has changed the way we interact, she says. It has become part of our social fabric. To achieve this, it has sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers. In order to make luxury accessible, tycoons have stripped away all that has made it special. At first lip-blush, that might seem like merely an elitist complaint. Ms. Thomas shows, however, that the repercussions of democratizing luxury have had dire effects across the globe, and on almost every socio-economic level. The corporate quest to reduce operating costs, for example, often leads to the creation of sweatshops. Along the way come an array of related crimes ranging from fraudulent labeling and counterfeiting to embezzlement and even prostitution paid for with luxury goods in lieu of cash. If the corporatization of luxury is new, the flaunting of wealth through acquisitions is not: It dates at least as far back as the ancient Greeks and Etruscans. The ancestry of modern extravagance traces to the Bourbons and the Bonapartes. (After France earned $15 million selling hundreds of millions of acres to the United States, Napoleons wife, Josephine, spent half of the money on clothes in 10 years, Ms. Thomas reports.) Ms. Thomas argues that luxury not only indicates our tastes in fashion, it also defines our political, social, and economic standing and our self-worth. In America, the prevailing standards of taste and style were once set by new rich industrialists like the Vanderbilts, Carnegies, Morgans and Rockefellers. Luxury wasnt simply a product, Ms. Thomas writes. It denoted a history of tradition, superior quality, and often a pampered buying experience. Luxury was a natural and expected element of upper-class life, like belonging to the right clubs or having the right surname. And it was produced in small quantities often made to order for an extremely limited and truly elite clientele. Enter the villains of Ms. Thomas book, the 35 leading luxury brands that now control over 60 percent of the global market. The list includes Prada, Gucci, Giorgio Armani, Herms and Chanel, all of which have revenue in excess of $1 billion a year. But the Mr. Big of the big luxury is LVMH Mot Hennessy Louis Vuitton, an $11 billion conglomerate whose labels also include Dior, Fendi and Berluti. Some of the best-written and most damning passages in Deluxe recount the rise of LVMHs chairman, Bernard Arnault, considered by his critics to be the Machiavelli of luxury industry finance. Ms. Thomas describes how Mr. Arnault forced out the founding Vuitton clan in a vicious battle fueled by accusations of espionage and public smear tactics. Citing startlingBack in the late 1980s, the Prada backpack - made out of black or tobacco-brown parachute fabric trimmed in leather - became the "it" bag for many would-be fashionistas. It was hip, modern, lightweight and at $450 expensive, but not as expensive as the stratospherically priced bags made by Herms and Chanel. According to the fashion reporter Dana Thomas, that Prada backpack was also "the emblem of the radical change that luxury was undergoing at the time: the shift from small family businesses of beautifully handcrafted goods to global corporations selling to the middle market" - a shift from exclusivity to accessibility, from an emphasis on tradition and quality to an emphasis on growth and branding and profits. With "Deluxe: How Luxury Lost Its Luster, " Ms. Thomas - who has been the cultural and fashion writer for Newsweek in Paris for 12 years - has written a crisp, witty social history that's as entertaining as it is informative. Traveling from French perfume laboratories to Las Vegas shopping malls to assembly-line factories in China, she traces the evolving face of the luxury goods business, from design through marketing to showroom sales. She gives us some sharply observed profiles of figures like Miuccia Prada, who was a Communist with a doctorate in political science when she took over her family's small luxury goods business in 1978, and the business tycoon Bernard Arnault , who relentlessly built LVMH into a luxury monolith with dozens of brands (including Louis Vuitton, Givenchy and Dior) sold around theworld. Ms. Thomas peppers her narrative with lots of amusing asides about everything from how orange became Herms's signature color because it was the only color widely available during World War II to the money-saving benefits of raw-edge cutting, which has been marketed to the public as a cutting-edge, avant-garde innovation. But her focus remains on how a business that once catered to the wealthy elite has gone mass-market and the effects that democratization has had on the way ordinary people shop today, as conspicuous consumption and wretched excess have spread around the world. Labels, once discreetly stitched into couture clothes, have become logos adorning everything from baseball hats to supersized gold chains. Perfumes, once dreamed up by designers with an idea about a particular scent, are now concocted from briefs written by marketing executives brandishing polls and surveys and sales figures. With globalization, Paris and New York are no longer exclusive luxury meccas. Ms. Thomas notes that a gigantic 690,000-square-foot luxury mall called Crocus City (featuring 180 boutiques, including Armani, Pucci and Versace) is flourishing outside Moscow, and that a group of high-end boutiques will be part of a luxury complex called Legation Quarter, scheduled to open in Tiananmen Square later this year. "Approximately 40 percent of all Japanese own a Vuitton product" today, she says, and one recent poll showed that by 2004 the average American woman was buying more than four handbags a year. With more people visiting Caesars Palace's glitzy Forum Shops each year than Disney World, Las Vegas has made shoppingsynonymous with gambling and entertainment, even as outlet malls have brought designer clothing and accessories within the reach (and budget) of many suburbanites. High-profile luxury brands like Louis Vuitton, Herms and Cartier were founded in the 18th or 19th centuries by artisans dedicated to creating beautiful, finely made wares for the royal court in France and later, with the fall of the monarchy, for European aristocrats and prominent American families. Luxury remained, writes Ms. Thomas, "a domain of the wealthy and the famous" until "the Youthquake of the 1960s" pulled down social barriers and overthrew elitism. It would remain out of style "until a new and financially powerful demographic - the unmarried female executive - emerged in the 1980s." As both disposable income and credit-card debt soared in industrialized nations, the middle class became the target of luxury vendors, who poured money into provocative advertising campaigns and courted movie stars and celebrities as style icons. In order to maximize profits, many corporations looked for ways to cut corners: they began to use cheaper materials, outsource production to developing nations (while falsely claiming that their goods were made in Western Europe) and replace hand craftsmanship with assembly-line production. Classic goods meant to last for years gave way, increasingly, to trendy items with a short shelf life; cheaper lines (featuring lower-priced items like T-shirts and cosmetic cases) were introduced as well. Although this volume quotes Anna Wintour, the editor of Vogue, saying such changes mean that "more people are going to get betterfashion" and "the more people who can have fashion, the better," the author reaches a more elitist and pessimistic conclusion. "The luxury industry has changed the way people dress," she writes. "It has realigned our economic class system. It has changed the way we interact with others. It has become part of our social fabric. To achieve this, it has sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers. In order to make luxury 'accessible, ' tycoons have stripped away all that has made it special. "Luxury has lost its luster." --"Sunday New York Times" 8/19/07 Luxury, and How It Became Common HARRY HURT III WANT to buy luxury products like Louis Vuitton handbags? Gucci shoes? Prada dresses? There's no need to comb the fashion alleys of New York, Paris or Milan in search of the brands' boutique stores. Just zip over to the nearest mall, where high-end department stores hawk luggage, footwear, apparel, jewelry and virtually every other designer-label item that ever appeared under the klieg lights. But be prepared to see scores of fellow shoppers already wearing the exact goods you covet. Therein lies the cruel commercial irony at the core of "Deluxe: How Luxury Lost Its Luster", by Dana Thomas, a Paris-based culture and fashion writer for Newsweek (Penguin Press, 375 pages, $27.95). Ms. Thomas documents in entertaining and sometimes heart-wrenching detail how the luxury industry evolved from a proudly diverse array of family-owned houses into a $157 billion-a-year mass market whose products now lack the exclusivity - and in many cases the quality craftsmanship - that formed the basis for their cachet in the first place. Along with changing the way we dress, the luxury industry "has realigned our economic class system," Ms. Thomas asserts. "It has changed the way we interact," she says. "It has become part of our social fabric. To achieve this, it has sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers. In order to make luxury 'accessible, ' tycoons have stripped away all that has made it special." At first lip-blush, that might seem like merely an elitist complaint. Ms. Thomas shows, however, that the repercussions of "democratizing" luxury have had dire effects across the globe, and on almost every socio-economic level. The corporate quest to reduce operating costs, for example, often leads to the creation of sweatshops. Along the way come an array of related crimes ranging from fraudulent labeling and counterfeiting to embezzlement and even prostitution paid for with luxury goods in lieu of cash. If the corporatization of luxury is new, the flaunting of wealth through acquisitions is not: It dates at least as far back as the ancient Greeks and Etruscans. The ancestry of modern extravagance traces to the Bourbons and the Bonapartes. (After France earned $15 million selling hundreds of millions of acres to the United States, Napoleon's wife, Josephine, spent half of the money on clothes in 10 years, Ms. Thomas reports.) Ms. Thomas argues that luxury not only indicates our tastes in fashion, it also defines our political, social, and economic standing and our self-worth. In America, the prevailing standards of taste and style were once set by new rich industrialists like the Vanderbilts, Carnegies, Morgans and Rockefellers. "Luxury wasn't simply a product," Ms. Thomas writes. "It denoted a history of tradition, superior quality, and often a pampered buying experience. "Luxury was a natural and expected element of upper-class life, like belonging to the right clubs or having the right surname. And it was produced in small quantities - often made to order - for an extremely limited and truly elite clientele." Enter the villains of Ms. Thomas' book, the 35 leading luxury brands that now control over 60 percent of the global market. The list includes Prada, Gucci, Giorgio Armani, Herms and Chanel, all of which have revenue in excess of $1 billion a year. But the "Mr. Big" of the big luxury is LVMH Mot Hennessy Louis Vuitton, an $11 billion conglomerate whose labels also include Dior, Fendi and Berluti. Some of the best-written - and most damning - passages in ""Deluxe"" recount the rise of LVMH's chairman, Bernard Arnault, considered by his critics to be the Machiavelli of luxury industry finance. Ms. Thomas describes how Mr. Arnault forced out the founding Vuitton clan in a vicious battle fueled by accusations of espionage and publica What Fast Food Nation did for food service, this book does for fashiona a"Los Angeles Times" a A crisp, witty social history thatas as entertaining as it is informative.a aMichiko Kakutani, "The New York Times" a Globalization, capitalization, class, and culture . . . A fascinating book.a aFareed Zakaria, "Newsweek" a What Fast Food Nation did for food service, this book does for fashion, exposing the underbelly of the $157-billion luxury industry and the lockstep consumer psychology behind its glamorous veneer.a a"Los Angeles Times"What Fast Food Nation did for food service, this book does for fashion "Los Angeles Times" A crisp, witty social history that s as entertaining as it is informative. Michiko Kakutani, "The New York Times" Globalization, capitalization, class, and culture . . . A fascinating book. Fareed Zakaria, "Newsweek" What Fast Food Nation did for food service, this book does for fashion, exposing the underbelly of the $157-billion luxury industry and the lockstep consumer psychology behind its glamorous veneer. "Los Angeles Times"? What Fast Food Nation did for food service, this book does for fashion? ?"Los Angeles Times" ? A crisp, witty social history that's as entertaining as it is informative.? ?Michiko Kakutani, "The New York Times" ? Globalization, capitalization, class, and culture . . . A fascinating book.? ?Fareed Zakaria, "Newsweek" ? What Fast Food Nation did for food service, this book does for fashion, exposing the underbelly of the $157-billion luxury industry and the lockstep consumer psychology behind its glamorous veneer.? ?"Los Angeles Times"
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About the Author
Dana Thomas began her career writing for the style section of The Washington Post and served for 15 years as the European cultural and fashion correspondent for Newsweek in Paris. She is a contributing editor for T: The New York Times Style Magazine and has written for The New Yorker, the Wall Street Journal, Vogue, Harper’s Bazaar, and the Financial Times. She lives in Paris.
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Product details
Paperback: 384 pages
Publisher: Penguin Books; Reprint edition (July 29, 2008)
Language: English
ISBN-10: 0143113704
ISBN-13: 978-0143113706
Product Dimensions:
5.5 x 0.8 x 8.4 inches
Shipping Weight: 12 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
155 customer reviews
Amazon Best Sellers Rank:
#81,705 in Books (See Top 100 in Books)
What should we do with fashion? Should we keep it small and artisanal or should we make it available for the mass?How to balance exclusivity with increasing profit for shareholders is tricky. I certainly would not want to be in the shoes of the head of fashion houses or the CEO of a fashion corp.i hope Ms Thomas will write a follow up on how fast fashion, street fashion, and fashion bloggers have influence brands and brand management. Now a days I see more and more cooperation between brands and bloggers/editors. I find that I am influenced by seeing what the fashion bloggers wear and what street fashion photogs capture. I know more about the name of a purse and recognize certain trends this way, much more than fashion mags and editorials.
I read this book a while back and a lot of the things in it are still in my mind. It has changed the way I think and shop. This book will make you think twice about the luxury products you buy. Having just entered the job market and being in need of good quality wardrobe staples this book was right on time. I've learned that some so called luxury products aren't even worth the wrapping they come in. While other products still retain the quality of a hundred years ago. Being a seamstress I already had suspicions about some of the things called luxury nowadays and this book has not only confirmed my suspicions but informed me greatly.One big thing about this book is that it is big on history. Many famous houses' histories are detailed in this book and while you might feel it a little boring at times, I think it contributes very much to the bigger picture.If you are trying to become a more conscientious shopper like myself, also watch the documentary "The True Cost".
Top reviews sum the book up pretty well. It is a very informative history of luxury production, and goes into quite a lot of detail on the formation of the main luxury houses and follows them through their transition into modern growth-focused companies. It also goes into a lot of detail on how international consumers (particularly in Japan, China, India, and Russia) have influenced the industry. The non-trivial amount of typos throughout the text (kindle edition) was a bit annoying, but overall the writing was definitely readable (it is not in academese). I wish that there was a follow-up chapter as it has been about a decade since this was published, so if you are looking for the most up-to-date information, this is probably not your book.
Dana Thomas, writing as a well informed journalist, provides an entertaining expose of the burgeoning luxury market. She provides detailed profiles of the world's most sought after brand names and how they have transformed their industry from made to order to made in China/India/Russia.The book is well written and avoids any technical jargon. The anecotes and first hand research is admirable. She definitely put her time and energy in researching famous luxury houses and provides some interesting commentary on how things are changing.I would highly recommend this book to anyone wishing to learn about the behind the scenes business of famous luxury brands and the "democratization of luxury."
A must-read if you are: a connoisseur of old school luxury items (artisanal couture type) OR a throwaway fashion type who never saw much difference between the faux and the fine handbag OR the international traveler or culturally curious person who wonders about the definition of luxury as it crosses state boundaries in the global marketplace.... finely researched, well presented in a highly readable style. A truly insider view. I've had a personal boycott against LVMH since reading it a few years ago. highly recommended.
If luxury is available to all - does it cease to be luxury? This is the primary argument of Dana Thomas' fascinating examination of an industry that tends to defy rational consumer behavior (but who said we consumers were ever rational!). She has thoroughly researched the subject and the book is replete with facts and figures embedded in a narrative that reads more like a novel. Given it is written in 2007, there are some statistics or trends that will have been tested by our economic troubles, however, the primary premise and other key facets of the book remain true and relevant. And what overwhelms is the author's curiosity and nose for appropriate detail.It is equal parts history, sociology, and brand and business strategy treatise. Overall, it is a compelling indictment of how the luxury industry has evolved from artisans to staggering brand behemoths presiding over a $157 billion industry (35 brands control 60% of the business). As Thomas explains, "The way we dress reflects not only our personality but also our economic, political, and social standing and our self-worth." Luxury brands have leveraged this insight and rolled out calculated marketing strategies to feed our desires and insecurities. And we have responded appropriately pursuing luxury to differentiate ourselves.The author defines the subject, "Luxury wasn't simply a product. It denoted a history of tradition, superior quality, and often a pampered buying experience. Luxury was a natural and expected element of upper-class life, like belonging to the right clubs or having the right surname." Yet, soon, in the interests of profits, luxury companies, "turned their sights on a new target audience: the middle market, that broad socioeconomic demographic that includes everyone one from teachers and sales executives to high-tech entrepreneurs, McMansion suburbanites, the ghetto fabulous, even the criminally wealthy."This democratization of luxury made the goods accessible to more and grew the top and bottom lines. However, as Thomas concludes, this eroded all that made it special in the first place. She argues that Louis Vuitton now "has a logo as recognizable as the Golden Arches". Business leaders who control these brands "have shifted the focus from what the product is to what it represents". Francoise Montenay of Chanel believes, "Luxury is exclusivity. At a minimum, it must be impeccable. Maximum, unique."I enjoyed the histories of many of the luxury brands, characters featured like Bernard Arnault and Tom Ford, facts such as Charles Frederick Worth being among the first to stage fashion shows and the first to put a signature label on his clothes, pros and cons of brand licensing, designers becoming superstars, the always staggering practice of counterfeiting, the vintage market, and the impact of outlet malls.In terms of the book's premise, Tom Ford says, "Luxury fashion brands today are too available, everything is too uniform, and customer business too pedestrian." I suggest you draw your own conclusion by reading this tremendous book which is available to all but that will be read by a few.
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