This paper investigates the (presently unexplored) relationship between a peculiar kind of performing art, i.e. opera (as in the Western musical tradition), and the fashion and luxury business within the context of fashion cities. In particular it investigates, on the one hand, how the relationship with opera production may benefit the marketing strategy of luxury companies and, on the other hand, how opera houses may profit from the relationship with the luxury industry. As a preliminary work, introducing a new research project, its aim is to provide a tentative systematization and clarification of the research questions and to stimulate an early discussion of their consistency and relevance. Three sets of research questions are proposed for discussion and further exploration, concerning: a) the audience segmentation of opera as experiential luxury (based on self-congruency theory) and its implications; b) the luxury industry as opera sponsor; c) integrating opera in luxury marketing strategy (brand heritage vs. opera heritage).

Nearly 70% of the Swiss luxury watch market is represented by major groups, bringing together worldwide well-known brands. In order to stand out from concurrence and to get a place in this highly competitive market of reference, independent (often unknown) companies have to find other vectors of marketing differentiation.

This study analyzed consumers’ awareness, preference levels, and effect expectations in relation to fashion art marketing according to the types of such marketing (collaboration between fashion and art in fashion products, called product collaboration; sponsorship for art foundation; artist sponsorship; collaboration for the design of a space/store/display; ad/promotional film collaboration). The study also investigated the influence of consumers’ attitudes toward fashion art marketing with respect to purchase intention. The study was implemented through a descriptive survey method. The sample consisted of 342 men and women between the ages of 20 and 45. The data were analyzed by factor analysis, one-way ANOVA, and multiple regression analysis. The results revealed that there are significant differences in consumers’ awareness and effect expectations in relation to fashion art marketing according to the types of fashion art marketing activities. While no differences were found in preference levels according to the type of fashion art marketing, all the types of art marketing showed overall high levels of preference. The collaboration between fashion and art in fashion products, which had the highest awareness, also showed the highest expected effect. In all the types of fashion art marketing, consumers’ attitudes had a significant influence on purchase intention. In cases of sponsorship for an art foundation, artist sponsorship, collaboration for the design of a space/store/display, and ad/promotional films, consumers’ effect expectations had the most significant influence on purchase intention, followed by preference and awareness level. These results could be used to provide appropriate proposals to fashion brands when they plan to set up an art marketing strategy.

This research was conducted in order to examine the socio-economic conditions and the problems of marketing of the PUGUR Hand embroidery of the Toda tribal women in the Nilgiris Hills towards marketing their embroider woven on garments, that being a famous unique work represented as a heritage art and has received the award of GI status (Geographical Indication) by the Government, on the Queen of the Hills, (Nilgiri Hills) Tamilnadu, South India. The results indicate that sample respondents being tribal women who live inside the forest area on the top elevation of the Nilgiri hills are illiterate and also suffer due to the family conditions. In India tribal area economic opportunities for women are scarce while hardships are plentiful and Indian women often see little hope for themselves or their children to improve their future. Since 70% of the affected people are women, it is women that have found a way to lift themselves and their families out of poverty. They were driven to make a decision of survival. I ndia is a nation where its women are both glorified as well as suppressed. The majority of women in the lower strata have to depend on a male member for financial support. Due to the practice of liquor addiction, smoking, drugs etc., women and families suffer. This is one of the main reasons for poverty in India and why children have been deprived of education and other basic necessities of life. If women could become financially self-sufficient, then families would get at least the basic benefits of food, clothes, medical attention, and nourishment, above all, children could go to school. This study focuses on the marketing problems faced by the Toda tribal women to support their family as men do not help them in their art work completely. A sample of 150 Toda tribal women embroiders was selected to study their marketing problems faced in every day to day of their life. For the purpose of the study the researcher has used convenience sampling, and Friedman test were done to find out their rankings of the various variables taken for the study.

오늘날에는 현대미술관들은 전문가들의 지식 교류의 장인 동시에 예술과 문화와 삶의 경험의 공간이 되어가고 있다. 관람 할 미술관을 검색할 때, 대중들은 SNS를 통해서 검색하여 전시회의 내용을 스마트폰으로 쉽게 접한다. 이런 사회적 트렌드 는 현대미술관의 변화 뿐만 아니라 전시를 홍보하는 방법도 변화시키고 있다. 본 연구는 SNS마케팅 및 홍보 디자인 전략을 일본 모리미술관과 영국 테이트 갤러리를 중심으로 분석하였다. 두 미술관을 선정한 이유는 모리 미술관과 테이트 모던은 각 나라의 수도에 위치하고 있어, 그 나라의 문화예술의 대표성을 띈다는 의미를 갖고 있다. 그러므로 그 나라를 방문하 는 외국인에게 반드시 방문해야 할리스트에 최상위를 차지하고 있다. 모리 미술관은 일본의 인스타그램의 높은 인기로 인스타그램 활용율이 높다. 반면에 테이트 갤러리는 전 세계 트렌드에 맞춰 페이스북 중심으로 미술관 SNS마케팅 전략적으로 펼치고 있다. 모리미술관의 전략은 첫째 문화 예술은 경제적 이익보다 우위에 있다는 철학 반영한 브랜딩을 하였다. 둘째 모리미술관은 전시관 내 사진 촬영 허용 및 체험이 자유로운 관람 문화로 변화를 일으켰다. 셋째 모리미술관은 내부의 커뮤니케이션 및 SNS담당 전문가 고용하여 미술관 계정 사진 및 게시 순서 관리하고 있다. 그리고 테이트 미술관은 일관성 있는 브랜딩으로 품질 보증하여 신뢰감을 높이는 작업을 먼저 하였다. 둘째 테이트 디지털팀은 Facebook과 Tate Modern 홈페이지 긴밀하게 연결시키는 SNS전략을 활용했다. 셋째 테이트는 전 세계 관객을 대상으로하는 질문 이벤트, 동반성장 전략을 활용한다. 모리미술관과 테이트모던이 이렇게 국제적으로 높은 대중적 인기를 갖추게 된 데에는 SNS공유 및 콘텐츠 검색이 중심 역할을 했다. 앞서 관람했던 사람들이 좋았던 경험들을 사진, 글, 해시태그로 업로드 하고, 관심 있는 이들을 검색해서 보게 된다. 앞서 경험한 이들이 행복해 보이는 장면을 보고 직접 경험해 보고 싶다는 마음을 품게 되는 것이다. 미술관 관람객들은 그들 스스로 경험할 것을 찾아내고 실천하고 확산시킨다. 우리나라 미술관들도 SNS전략 및 그 기저의 예술의 사회·문화·융복합적 가치를 담은 풍성한 디지털 콘텐츠로 미술관 역량의 확장이 요구된다.