We are living in a world that is increasingly digital and undergoing dramatic changes as a result. In particular for luxury fashion, growing numbers of online customers as well as fast changing business environment, luxury retailers face the challenge of differentiating themselves by offering a better online customer experience (Chen et al. 2021). By doing so, luxury fashion retailers are increasingly deploying chatbots in their service encounters to enhance customer experience (Roy & Naidoo, 2021). Chatbots are powered by Artificial Intelligence (AI) (Hoyer et al. 2020) and are an example of AI robot that can provide human-computer interactions on a retail website (Lee et al. 2017). Intended to enhance the online customer experience, chatbots have the potential to provide a better understanding of the product performance, enable efficient use of customer time, and help build crucial customer relationships (Rese et al. 2020; Wilson-Nash et al. 2020; Xu et al. 2022). Therefore, chatbots’ potential has been highly valued by fashion retail industry and academia (Jiang et al. 2022).

We are living in a world that is increasingly digital and undergoing dramatic changes as a result. In particular for luxury fashion, growing numbers of online customers as well as fast changing business environment, luxury retailers face the challenge of differentiating themselves by offering a better online customer experience (Chen et al. 2021). By doing so, luxury fashion retailers are increasingly deploying chatbots in their service encounters to enhance customer experience (Roy & Naidoo, 2021). Chatbots are powered by Artificial Intelligence (AI) (Hoyer et al. 2020) and are an example of AI robot that can provide human-computer interactions on a retail website (Lee et al. 2017). Intended to enhance the online customer experience, chatbots have the potential to provide a better understanding of the product performance, enable efficient use of customer time, and help build crucial customer relationships (Rese et al. 2020; Wilson-Nash et al. 2020; Xu et al. 2022). Therefore, chatbots’ potential has been highly valued by fashion retail industry and academia (Jiang et al. 2022).

As the importance of online virtual spaces increases due to COVID-19, interest in online virtual spaces using 4th industrial technology is increasing. Accordingly, the metaverse that combines virtual and real is becoming an issue. In the fashion industry, marketing using online is gradually increasing, and various attempts are being made by converging with the metaverse to provide new and enjoyable experiences to customers. This study looked at the impact of customer experience of a luxury fashion brand pop-up store on customer satisfaction, affective commitment and brand loyalty in a metaverse environment where utilization is increasing due to COVID-19 and technological development. For the analysis data of this study, a survey was conducted on the users who experienced the metaverse platform Zepeto's ' BVLGARI World'. As a result of examining the effect of the customer experience of a luxury fashion brand pop-up store on customer satisfaction, affective commitment, and brand loyalty in a metaverse environment, some of the customer experiences affect customer satisfaction, and the proposed hypothesis was partially accepted. In addition, it was confirmed that customer satisfaction affects affective commitment and brand loyalty, and affective commitment affects brand loyalty. In this study, we examine the impact of the customer experience of a luxury fashion brand pop-up store on customer satisfaction, affective commitment, and brand loyalty in the metaverse environment, and identify what is needed for more active convergence and activation of the metaverse and fashion brands. Also, we provide practical implications to people who involved in the metaverse and the fashion industry.

Offering a good shopping experience on the web is key for fashion luxury brands. However, it is not a field much analyzed by researchers. This research presents a systematic analysis of the usability of the web and its content in more than 60 fashion luxury e-commerce.

Metaverse provides technology for people to connect, find communities, and grow businesses. Its sales have seen growth during the COVID-19 pandemic. In an era of metaverse, luxury brands such as Gucci, Ralph Lauren, Burberry, Balenciaga, and Dolce & Gabbana are trying to adapt to new changes. They launched NFT(Non-fungible token) goods, digital fashion, and virtual luxury goods on various metaverse platforms such as Zepeto, Roblox, and Fortnite. For example, Ralph Lauren in Zepeto provides various types of luxury items, immerses in virtual performances, and has a game plot interaction. As people immerse themselves in the Metaverse, they feel happy from various activities—such as watching advertisements, drinking juice, and playing with friends. Thus, what factors should be considered when the luxury brands manage the metaverse?

This study was designed to deepen our understanding of contemporary luxury experience based on a systematic literature review. Based on the theoretical review, this study attempted to propose and elaborate two contrasting propositions (i.e., ephemeral vs. perpetuating values) reflecting the evolving luxury market. One key trend is that consumers pursue the value of hedonism providing immediate escapism and satisfaction in luxury consumption. The on-demand mindset of consumers looking for instant desire and gratification can be exemplified by the ‘See-Now, Buy-Now’ trend in the luxury market (Weinswig, 2017). While traditional luxury consumers pursued conspicuous value, consumers of new luxury pursue more self-centric and immersive experience. In line with this perspective, Yeoman (2011) noticed the trend of renting luxury products through online services. Another notable trend is that consumers seek inspirational resources in luxury consumption. For example, numerous luxury brands are showing various art exhibitions, and have their own art foundations, which Kapferer (2014) interpreted as the emergence of luxury brands exploiting artistic aura like art institutions. In addition, luxury brands have extended their products and services to encompass a whole set of lifestyle offerings when seeing the example of flagship store of Fendi, Palazzo Fendi (Waga, 2016). This review used a systematic approach for searching and assessing the existing scholarly evidence base to interpret two emerging trends in the luxury market. The further use of proposed framework and propositions in empirical research would help revealing how consumers subjectively perceive the contemporary luxury experience discussed in this study.

The market for luxury is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012, Ko, Phau and Aiello 2016) as well as the ubiquity of digital marketing channels (Okonkwo 2009). Moreover, social media has transformed the logic of fashion marketing by providing new ways of engaging, interacting, and connecting with customers (Dhaoui 2014) as well as enabling consumers to participate in branding process (Burman 2010). As a consequence, also luxury brands need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). What is more, despite of growing importance of social media marketing in luxury industry, extant research on the topic still remains quite limited (Ko and Megehee 2012). While the previous studies have well documented the benefits of luxury marketing on social media (Kim and Ko 2012, Kim and Ko 2010, Brogi et al. 2013, Kontu and Vecchi 2014, Godey et al. 2016), and their implications on luxury brand management (Dhaoui 2014, Larraufie and Kourdoughli 2014), and even co-creative marketing practices (Choi, Ko and Kim 2016, Tynan, McKehnie, and Chuon 2010), no studies to this date have looked at co-creation from consumer-perspective. This article provides a novel perspective on luxury branding, by following the resource-based theory of consumer (Arnould, Price and Malshe 2006) to study the brand identity as co-created in social media. To do this, visual frame analysis (Goffman 1974, Luhtakallio 2013) is applied on consumer generated images downloaded from Instagram feed of brand exhibition staged by luxury brand Louis Vuitton. Based on the analysis, a typology of co-created brand identities is proposed. The findings indicate that in the branded exhibitions, consumers co-create brand identity by utilising resources available in the experiential brandscape by taking and posting these objectifications of brand on social media (Presi et al. 2016) and in so doing create symbolic/expressive, and experiential/hedonic value (Tynan et al. 2010). Theoretically, this article provides a novel perspective on luxury brand as co-created and in so doing, demonstrates the dynamics of firm-consumer co-creation. What is more, to extend the emerging stream of visual analysis of luxury (Kim et al. 2016, Freire 2014, Megehee and Spake 2012), an application of novel is demonstrated in the article. Managerially, this explorative study provides new insights on luxury marketing in social media by suggesting that branded experiences should be designed in a manner that engages the consumer to actively use the resources available to them. The financial implications of this shift are also significant as according to McKinsey study, three out of four luxury purchases are influenced by social media (Hope 2016)

This research explored how experiencing a country’s cultural heritage influences consumers’ authenticity evaluation of its luxury brands. It showed authenticity was culturally constructed and perception was influenced by marketing means selectively exposing the consumers to different brand attributes. It contributes to transcultural research by linking cultural attributes to brand authenticity attributes.

Tablets and the omnipresent mobile environment create opportunities and challenges for m-commerce (mobile commerce) vendors, seeking to increase their profits. Understanding factors that affect that consumer behavior, positively and negatively, in tablets is essential for vendors in order to provide a fruitful m-commerce customer experience. The objective of this paper is to facilitate the understanding of consumers’ perceptions and behavior in m-commerce and social media on tablets and explore the potential of tablets for m-commerce purposes. The paper reports the findings of two exploratory research studies on wine and luxury goods. The first study examines consumer perceptions of the use of tablets and social media, in the context of m-commerce of wine. The second study relates to selling of luxury goods through the Internet. The results of our qualitative analysis show that user experience and design aspects, such as ease-of-use, are important factors for tablet adoption and use for m-commerce and social media. Adapting web content to tablets is, therefore, critical to enable effective m-commerce on this popular device. Business opportunities enabled by tablets and social media in m-commerce and how these can be leveraged in the wine and the wider luxury goods context are discussed.

The value of luxury brand is always latently charged with elements of sacredness. Fashion expresses symbolic meaning that allows customers’ experience to be sacralized in many ways. Hence, customers’ necessity to express their existence is also possible thanks to luxury brand which is defined as exclusive and image-driven. Building on Georg Simmel’s sociological theory of equalization and differentiation behavior in fashion and René Girard’s mimetic theory of sacred, this paper investigates the sacredness in perception of luxury brands. Different customers stereotypes can be defined resulting in what we conceptualize as the sacred experience framework. Specifically, the authors identify three dimensions of the framework, namely the active and passive attitude, the personal and social motivation, and the idolatrous and realist perspective. The framework can be used for strategic positioning of luxury brand. The focus is on risks and threats related to idolatrous positioning of luxury brand and opportunities related to realist positioning. Luxury brand sustainability is possible by fostering the symbolic myth that reflects customer sacred experience. The aim of this paper is a formulation of a general theory of luxury, which to our best knowledge has not been well defined yet. Such a new theory of luxury requires that customers’ needs and motivations theories show how existential desire should be fueled also by sacredness.

Introduction This article analyzes retail store openings of luxury fashion brands in international markets. Our aim is to point out the relevance of this market entry strategy as well as to highlight the main destination markets and different trends over the 2004-2013 period. More precisely, this article analyzes the role of the retail direct channel as a means to manage relationships with consumers in international markets. The choice to develop retail operations in international markets is considered in this article as one of the key strategies implemented by luxury manufacturing companies. However, it seems to have received minor attention in the academic literature dealing with internationalization (Guercini and Runfola, 2014). Consequently, the main aim of this article is to propose empirical evidence to support the widespread use of this strategy by luxury firms, proposing the analysis of an original database built on the retail store operations of a sample of Italian fashion luxury companies over the period 2004-2013. The retail marketing strategy is a peculiar strategy within the luxury marketing strategies. As stated by Kapferer and Bastien (2012), in fact, through retail store openings (and distribution in general), luxury companies may implement and take advantage from what has been defined by the authors the “watchword of luxury brand management” (p. 233) namely “experience”. In fact, the literature in the field of luxury retailing has pointed out the role of the point of sale from a consumer point of view to experience the value of a company. The discussion on the consumer perspective is increasing in the literature as testified by various contributions aimed at analyzing and discussing how and what kind of experiences could be transferred by the opening of retail stores and in what terms the luxury retail strategy differs from other retail marketing strategies (Dion and Arnould, 2011). The opening of retail stores from luxury companies has been considered within the stream of research on the internationalization of the company. It has been pointed out that companies with luxury positioning can differentiate their offering with respect to mass market retailers and open retail stores even in culturally distant markets (Hutchinson et al. 2009). These openings, however, are considered more as ways of promoting the brand, rather than a structural international retail development (Moore et al., 2010). In fact, it has been noticed that luxury griffes open retail stores quite exclusively in primary locations (Hutchinson et al. 2009) and that most of the internationalization literature on retail stores openings by luxury firms is referred to the opening of flagship stores (Moore et al., 2010), a specific retail store format that from its nature, is mostly related to brand promotion than to an effective and stable retail development. In fact, retailing as international market entry strategy implies significant investment both in economic and cognitive terms (Mattila el al., 2002; Guercini and Runfola, 2010). The study of retail stores opening as an entry strategy in international markets remains an understudied field of study in the academic literature, as evidenced for example by Ilonen et al. (2011) in their study on the importance of branded retail in manufacturers' international strategy. Moreover, the authors point out that among other things, this remains a topic of interest but not yet analyzed in the case of the fashion industry. Following this reasoning, our article aims to answer to the subsequent research questions: RQ1 - What is the evolution over time of the distribution investments of luxury fashion manufacturing companies? RQ2 - Is there a difference between emerging markets and advanced markets for luxury retail store openings? RQ3 - What is the role of metropolitan areas and how does this evolve over time? Methodology and discussion We investigate these research questions in the case of Italian luxury manufacturing companies. In order to study the expansion of Italian luxury companies, we have exploited the information contained in the database that we have created expressly for the purposes of this research. The database has been compiled by examining any news contained in two specialized and highly recognized national fashion-sector publications - Fashion and Pambianco Week - regarding the opening of retail outlets in foreign countries by Italian luxury firms in the decade 2004-2013. For the purpose of this research we have considered as luxury brands those brands that are members of Altagamma, a association whose members are Italian companies that operate at the highest end of the market, and those brands that are recognized globally and by academics and empirical press as luxury brands, although not being members of Altagamma. The above process has identified 594 sales points opened by 39 Italian brands in 62 countries over the period 2004-2013. The top 10 brands for number of store openings over this period are the followings: Prada (64), Salvatore Ferragamo (59), Miu Miu (51), Ermenegildo Zegna (31), Valentino (29), Armani (26), Versace (26), Gianfranco Ferrè (25), Brioni (22), Etro (22). Hereafter we try to describe some preliminary findings regarding the three research questions advanced previously. RQ1 – What is the evolution over time of the distribution investments of luxury fashion manufacturing companies? Our analysis seems to show an evolution in this growth strategy over the period 2004-2013. In fact, if during the period 2004-2008 our analysis shows the opening of 261 single-brand outlets by the enterprises of our sample, during the period 2009-2013 the number of operations became 333 stores. This seems to highlight how, even in a period of international crisis, the retail strategy for luxury companies remained fundamental for growing abroad. The year 2008 is the year with the maximum number of stores opened by our companies (95 stores, roughly 16% of the total 594 stores opened), while the year 2004 is the one with the minimum number of stores opened, only 35 stores (roughly 6%). Moreover, each year from 2009-2011 accounts for over 70 stores. RQ2- Is there a difference between emerging markets and advanced markets for luxury retail store openings? In order to distinguish between “mature”, developed countries and “emerging” ones, we considered the first 24 countries that joined firstly the OCSE as “mature”, while all the remaining countries have been considered “emerging”. Our analysis reveals during the period analyzed a growing incidence by emerging markets compared to mature markets, given that emerging markets account for 60.9% of the openings. Moreover, in each year analyzed emerging markets overcome advanced markets for number of stores opened. However, traditional mature markets for Italian luxury (such as USA or Japan) as well as new emerging markets (such as China and Russia) are within the top destinations all over the period. If we consider only the first three markets for number of retail operations we may note some differences between the two sub-periods. In fact, during the period 2004-2008 the first three markets listed for decreasing number of operations were the USA (45 retail stores opened, 17,2% of the total number of stores), China (29 stores, 11,1% of the total) and India (19 stores, 7,3% of the total). During the period 2009-2013, China increased the number of operations, becoming the leading market with 74 stores, representing 22,2% over the total, followed by the USA (46 stores, 13,2% of the total) and United Arab Emirates (15 stores, 4,5%). The rising of China in the second period, is associated with an increasing importance of other emerging markets such as Brazil and South Korea, that in the previous period were not within the top international destinations. We should however stress that other mature markets, such as France and Japan still have key roles for Italian luxury companies. RQ3 – What is the role of metropolitan areas and how does this evolve over time? Our analysis shows that the major cities world-wide are present in our database. In total the companies in our sample have opened stores in 163 cities. Over the period 2004-2013 the top 10 cities listed for decreasing number of stores are the following: Shanghai (30), Hong Kong (28), New York (25), Moscow (24), Tokyo (22), Paris (21), Dubai (20), London (20), Los Angeles (20), Beijing (20). However, as evidenced by the data, while in the period 2004-2008, the total number of cities targeted by the companies were 83, in the following period 2009-2013 the number cities targeted became 127. This data seems to highlight how, over time, the presence of luxury firms is not only concentrated in the top cities around the world neither only in luxury streets, but affects a larger number of cities and locations. Take for example the case of the new rising Chinese cities of the II, III and IV tiers. To conclude, our research points out how retail strategy implemented by luxury manufacturing companies is one of the driving strategy for relating the company with consumers in international markets. This strategy seems to represent a relevant and widespread used strategy to enter in foreign market and to develop the brand further. Some considerations are due on the limitations inherent in the present study, which can also furnish some useful indications as to future work. The empirical evidence reported here is based on secondary research in market publications. Aside from collecting further, more up-to-date information, future research should be addressed to performing a number of enterprise case studies in order to acquire a better understanding of the phenomena at play through contacts with luxury enterprise managers with whom to share the main aspects involved in establishing sales networks in foreign countries. Moreover, the considerations advanced are based on empirical evidence drawn solely from study of the Italian luxury fashion industry. In this sense, future research should aim to check if any differences exist in retail store openings between the Italian fashion system and the luxury fashion industries of other economically mature nations (e.g., France, the UK, Japan or the USA). Although, our empirical analysis has some limitations, it seems to confirm that the retail market strategy is a key strategy to relate with consumers in international markets and to let them “experience” the brand. For manufacturing companies in the luxury field this strategy should not be considered only in terms of promotion, as typically associated with the opening of flagship stores abroad. Rather, it represents an effective retail strategy with important implications from a managerial point of view. Considering this latter point, future research should be directed towards the study of the different strategic behaviors aiming at pointing out different strategic groups within our companies, for example in terms of company size or destination markets. In general terms, future research should be directed towards the study of the link between retail stores openings and customer experience in international markets. This issue has a particular relevance in the case of the Italian fashion industry, where understanding the retail strategy of luxury companies may contribute to recognize potential bandwagon effects of other companies in this sector, such as small and medium sized companies with other positioning.