Perceived Brand Image of Luxury Fashion and Vintage Fashion—An Insight into Chinese Millennials’ Attitudes and Motivations
China has seen a dramatic increase in sales figures of luxury items, which accounted for 20% of global sales in 2015. The sheer purchasing power of this emerging economy makes it an attractive destination for luxury fashion brands seeking to expand their businesses. Young Chinese consumers are the key target audience for luxury fashion, as their ability to travel to the West further exposes them to fashion brands such as Hermès, Chanel, and LV. Purchasing, owning, and wearing luxury fashion has become a statement in the Chinese industry, which can be linked to motivational reasons such as value consciousness, susceptibility to normative influence, and the need for uniqueness. Vintage fashion has seen a dramatic increase in popularity in the Western Hemisphere and slowly, but steadily spilled over to China. Luxury brands are developing vintage lines, whilst new vintage stores start to emerge across various Chinese cities. The latter expand rapidly and gain popularity, especially among the younger consumers (millennials). This research focuses on Chinese millennials and their perceptions of luxury fashion and vintage fashion in terms of brand image. This exploratory research takes on a qualitative approach by interviewing 15 Chinese consumers, both male and female, who have experience in purchasing luxury and vintage fashion. This research contributes to knowledge as it explores the vintage fashion context in China, which thus far is under-researched. Practically, this research contributes by providing suggestions to retailers on how to enhance their brand image and target millennials more successfully.
KeywordsSecondhand vintage fashion Motivation Chinese consumers Millennials Luxury fashion Consumption
- Atsmon, Y., Dixit, V., & Wu, C. (2016). Tapping China’s luxury-goods market. McKinsey [online]. Retrieved September 23, 2016, from http://www.mckinsey.com/business-functions/marketing-and-sales/our-insights/tapping-chinas-luxury-goods-market.
- Beugge, C. (2013). £60 second-hand dress that sold for £7,000. Telegraph [online]. Retrieved April 27, 2017, from http://www.telegraph.co.uk/finance/personalfinance/investing/9832206/Invest-in-vintage-clothes-60-second-hand-dress-that-sold-for-7000-at-auction.html.
- Blattberg, R. C., & Deighton, J. (1996). Manage marketing through the customer equity test. Harvard Business Review, 74(July–August), 136–144.Google Scholar
- Brooks, A. (2015). The hidden trade in our second-hand clothes given to charity. The Guardian [online]. Retrieved October 6, 2016, from https://www.theguardian.com/sustainable-business/sustainable-fashion-blog/2015/feb/13/second-hand-clothes-charity-donations-africa.
- D’Arpozio, C., Levato, F., Zito, D., & de Montolfier, J. (2014). Luxury goods worldwide market study fall-winter 2014. Bain & Company [online]. Retrieved May 23, 2016, from http://www.bain.com/bainweb/PDFs/Bain_Worldwide_Luxury_Goods_Report_2014.pdf.
- Easterby-Smith, M., Thorpe, R., & Jackson, P. (2015). Management research (5th ed.). London: Sage.Google Scholar
- Gerval, O. (2008). Fashion: Concept to catwalk. London: Bloomsbury.Google Scholar
- Henninger, C. E., Alevizou, P. J., Tan, J., Huang, Q., & Ryding, D. (2017). Consumption strategies and motivations of Chinese consumers—The case of UK sustainable luxury fashion. Journal of Fashion Marketing & Management, 21(3), 419–434.Google Scholar
- Mintel. (2017). China consumer trends 2017. London: Mintel.Google Scholar
- Roberts, F. (2017). China’s luxury market set for steady performance amid unfavourable market environment. Euromonitor [online]. Retrieved April 26, 2017, from http://blog.euromonitor.com/2017/03/china-luxury-market-steady-performance-amid-unfavourable-market-environment.html.
- Roux, D., & Korchia, M. (2006). Am I what I wear? An exploratory study of symbolic meanings associated with secondhand clothing. Advances in Consumer Research, 33, 29–35.Google Scholar
- Tolkien, T. (2002). Vintage: The art of dressing up. London: Pavillion Books.Google Scholar