The social constructionist theory of art states that the value of art and luxury brand design is constructed by social interactions. It distinguishes between an independent "reality" and a socially constructed "reality," in which meanings can differ. However, research on luxury fashion brands mainly focuses on consumers' reality and rarely examines the topic through a social constructionist lens. This paper looks at the impact of worldwide luxury fashion "designers’ reality" on "consumers’ reality” when evaluating the brand. Three studies investigated how consumers and designers perceive premium and luxury brand design.

This study explores how the fashion and product designers of luxury and premium brands envision the direction of product innovation. The findings include valuable support for the luxury brand strategy of moving towards innovation in sustainability, customization, and developing the new concepts of rarity of experience and luxury sports products.

Purpose: The objective of this study is to verify whether cultural aspects influence consumers’ product appraisal by analyzing how consumers from two different countries choose products by designers with a diverse cultural background. Design/Methodology: A questionnaire was applied, with 321 female respondents (217 from Brazil, 104 from Israel) who chose swimsuits from two different styles (“Classic” and “Trendy”) in four different options: bikini, one-piece, solid colors, and print options. Findings: Both countries presented a preference for design from the same cultural background, but while Brazilian respondents opted mostly for designs by Brazilian designers, Israeli respondents chose more openly. Israeli respondents presented a much higher restriction on bikini models compared to one-pieces, while Brazilians presented the opposite type of rejection. Research implications: The results suggest that cultural aspects influence consumers’ choices in product appraisal, as respondents tend to choose designs made under the same cultural influence. Originality/value: behavior, product appraisal, swimwear, cross-cultural 1 Yael_

The economic growth that East Asian countries (in particular China) experience led to a dramatic increase in the demand for luxury products. The widespread use of them has eliminated to an extent the scarcity effect that distinguishes luxury products from ordinary goods. Yet, these products are largely desired, sought after and distributed with a high price tag, thereupon establishing the new class of neo-luxury products. The current body of knowledge regarding the consumption of luxury products is mostly based on economic and marketing research. There is little reference to the design of luxury goods and even less reference to the effects of design on the perception of luxury goods. Often, marketing research uses terms such as authenticity and aesthetics when defining and describing luxury brands and goods. Nonetheless, “design” is almost completely overlooked in these analyses. Rather, there is an assumption that design is automatically considered an embedded part of luxury creation through words such as “authentic”, “aesthetic” and “heritage.” Nonetheless, looking at the heritage aspects of luxurious products design, one may identify the building blocks that have been present in this market for centuries to create successful brands and products and, during the recent global economic changes, have transform into the new category of "mass luxury". This new product category of neo-luxury products should be looked at and analysed as a class of its own, distinct from luxury goods. In this respect, the luxury segment of the Chinese market is particularly interesting, since it had not experienced this genre of consumerism during most of the contemporary history of the western luxury industry post WWII. Thereupon, the new luxury design that addresses this rapidly growing and relatively immature market does it by harnessing the heritage and the conventional framework of luxury and luxury goods in new ways that can referred to as neo-luxury. The role and position of luxury goods are somewhat questioned in today's mass market: Often, in past times, luxury was associated with rarity (or, at least, with singling out an individual user from the masses of consumers of a similar category product). The paper aims at identifying the attributes of the new, rising class of neo-luxury products that distinguish themselves from the “conventional” luxury goods by utilizing qualitative materials and design. In this respect, aspects of heritage play a major role in the strategic design of these products. Further, they assist in establishing, promoting and