The market for counterfeit luxury goods is growing rapidly, with estimates suggesting that counterfeit trades are valued at around $4.5 trillion globally, with 60% to 70% of this being made up of counterfeit luxury goods. Research has shown that counterfeits dilute the perceived quality of luxury brands and reduce consumers' purchase intentions. Non-fungible tokens (NFTs) are a form of ownership record that is linked and stored on a blockchain.

This study aimed to identify the effects of shopping environmental stimuli on Chinese consumers’ functional and symbolic value perceptions toward luxury lifestyle fashion stores. An enhanced S-O-R (stimulus-organism-response) model was used as the theoretical foundation. Significant relationships were identified between shopping environmental stimuli and the perceived values.

This study examined whether and how consumers who seek a bargain in their shopping for luxury fashion brands differ from traditional luxury consumers or non-luxury consumers on their market-related attitudes. To do so, this study compared multi-dimensional perceived values, fairness price perceptions, satisfaction with purchase, brand loyalty, and future purchase intention among luxury consumers, luxury-bargain seekers, and non-luxury consumers. Data was obtained from online surveys and the market-related attitudes were compared using an ANOVA test. The comparion of three types of consumers revealed that luxury-bargain seekers and regular luxury consumers are distinct consumer markets. Overall, luxury consumers displayed high perceived values and brand loyalty and were fairly satisfied with the purchase at full-prices. On the other hand, luxury-bargain seekers showed significantly low perceived social value, perceived fairness toward the original price of the brands, and brand loyalty. They were satisfied with the bargain purchase but not likely to purchase the luxury at full-prices in the future. Understanding these distinct types of consumers and targeting them with different product and pricing strategies are important for luxury brands and retailers to expand luxury consumer base without diluting their brands’ prestige image. Potential marketing strategies based on the findings of this study were suggested.

Understanding consumer insight in luxury watch purchase is crucial in the current situation where the industry is recovering from a downturn. Today, the consumer does not only purchase a luxury watch to impress others as in the past. Using the means end chain approach, this study discovers that branding, together with design, function and price are key attributes that customers consider. Consequently, the consumer benefits from having a sense of personal identification. In addition, today the consumer perceives the benefit of luxury watch purchase as an investment. Therefore, they seek product distinction, durability, and a value-work product, in order, to serve the perceived value of capital investment. The results of the study reflect a changing trend in the luxury consumer. Prestige value is not the only key factor determining the purchase decision as was found in previous studies. Therefore, the luxury watch players, in an effort to elicit increased sales, should consistently build the brand profile by offering both functionality and design. Furthermore, communication of focus on quality leads to durability that would be considered as an investment asset from generation to generation. Introduction In the luxury watch industry, despite the start of a recovery, from a downward trend, the growth rate is forecast to be at a slow pace (ReportLinker, 2017; Deloitte, 2016). The global luxury watch players face the challenge of decreasing demand as per the change in consumer behavior (Financial Time, 2017). Like other luxury goods, the luxury watch is considered as a product that is not entirely necessary but the drive behind the buying intention is due solely to the personal desire of the consumer In addition, individual perception as well as consumer purchasing power, has a strong link with decision making. Why a consumer buys a luxury watch today is rather different from why they bought one ten years ago (Adams, 2017). This study is conducted in order to understand luxury watch consumer insight using the means end theory, in ways of appropriation, and examine variations in consumer willingness-to-pay (Gengler & Mulvey, 2017). Luxury consumption behavior There are numerous studies to be found that explore luxury product consumption starting from extrinsic themes like consumer purchasing power (e.g. Veblen, 1899), consumer characteristics (e.g.Dubois & Laurent, 1993); (O'cass & McEwen, 2004), consumer behavior (Vigneron & Johnson, 1999; Kastanakis, & Balabanis, 2012) to intrinsic themes like consumer motivation (e.g.Xiao-hui, 2006; Truong & McColl, 2011), consumer perception (e.g. Zhan & He, 2012; Vigneron & Johnson, 2017) and at a more subjective level of consumer value (Sukhdial, Chakraborty, & Steger, 1995; Moraes, Carrigan, Bosangit, Ferreira, & McGrath, 2017; Vigneron, & Johnson, 2017). This is because the nature of the consumer has changed. The current consumer does not view purchasing a luxury item as a vehicle to impress others but much more to serve their own perspectives (Wiedmann, Hennigs & Siebels, 2009). Thus to cope with this downtrend, it is necessary, nowadays, for luxury brand suppliers to have a deep and detailed understanding of customer insight. Means end chain theory (MEC) and laddering MEC has been regarded as one of the most felicitous theories in consumer research since 1980 (Grunert et al. 2001). It was developed to help understand consumer insight in the decision making process (Gengler, Mulvey, & Oglethorpe, 1999) starting from how the consumer thinks about a product and why they buy it. Through MEC (Olson and Reynolds, 1983; Gutman, 1982; Howard, 1977; Young and Feigin, 1975), the researcher and marketer can discover the salient meanings consumers associate with products, both in services and behavior. The chain explains the linkage; starting from attributes through to consequences, and then to values in the form of a hierarchial model Gutman, 1982; Gengler, Mulvey, & Oglethorpe, 1999; Leao and Mello, 2007). Beginning with the first level, attributes are characteristics of the product/service the consumer is expecting which can be both tangible and non-tangible features. However, attributes will mean nothing to the consumer, without so called consequences (Klenosky, 2002). At the second level of the hierarchical model, consequences are benefits that take part in explaining why those attributes are important to consumers (Olson and Reynolds, 1983). The consumer is looking for particulars benefits when purchasing that certain product or service (Voss and Gruber, 2006). The final level is value. The consumer judges the benefit of the product based on the perceived value, in the mind of the customer (Gutman, 1982; Olson and Reynolds, 1983; Costa, Dekker, and Jongen, 2004). It is notable that the higher the hierarchial level, the greater the level of abstraction (Woodruff & Gardial, 1996). Using the MEC helps gain consumer insight information which allows the luxury brand supplier to offer products which are best suited for their targeted consumers (Petison, Thongthou and Lekmoung, 2012). Methodology By its nature, the MEC is adopted as a qualitative research method. In order to understand why a consumer is interested in a product and makes a purchasing decision (Smith and Swinyard, 1999); the decision making process can be revealed using the laddering interview (Gutman, 1982; Olson & Reynolds, 1983; Ozguven, 2012). Through the laddering interview, researchers decide to apply a soft laddering interview; an open answer question, rather than hard laddering interview; or a fixed answer question, to enjoy the benefits of go by the flow (Ozguven, 2012). Furthermore, soft laddering interview is well suited to the elite in a sense that interviewer can adjust questions depending on answers and ambience (Harvey, 2011). In this study a total of 30 luxury watch consumers; 18 females and 12 males, who recently bought luxury watches in 2017 were interviewed. This is because the researchers want to obtain the most up to date information. This group of consumers tended to purchase a luxury watch every year. The most popular brands these consumers purchased are Rolex, Patek Philippe, Panerai and Audemars Piguet. In face to face time, a semi structure interview was applied based on Reynolds and Gutmam (2001), who suggested questions such as; What affects your purchasing decision?, How do you feel about the product? Why do you want to wear this watch? etc. All interviews were recorded and verbatim transcripts produced. Content analyses were applied following the interviews. The preliminary categorization was into groups of attribute consequence and value, and recurring words with similar meanings collected in clusters. Research triangulation was applied to ensure validity. The researchers created a hierarchical value chain for each consumer then analyzed the findings by using LaddermapTM software. Results According to the content analysis process, a total of 28 attributes, 22 consequences, and 15 values were found in the study. Through the LaddermapTM software analysis only 7 attributes, 11 consequences, and 9 values can be reported as in figure 1. Figure 1: Hierarchial value map of luxury watch purchase Brand is the most important attribute from the viewpoint of the luxury consumer followed by design, price and function. For example, one consumer mentioned that “…brand helps one who wears it by identification…it reflects a certain lifestyle…wearing a Rolex is easy to take care of because of its quality as well as the ease to wear on any occasion…it is value for money… but more than this as it constantly appreciates in value.…” In addition, brand is a key attribute that leads to two most important consequences which are personal identification and investment. However, impressing others, which used to be a key rationale for purchasing luxury product is found to be absent from the top consumer benefits nowadays. However, today, luxury brand consumers are more concerned with distinction, durability, and value-work product as a consequence of watch purchase. For example, one consumer said that “…normally, women do not wear Pannarai. I love to be different…so I bought a limited edition….I wear it constantly for both work and leisure activities…although the price is high, I feel secure with the price paid…it has a warranty and good after- sales service…” Among reported values, monetary satisfaction is found to be the most the important followed by self- image and pleasure. For example, one consumers said that “…I always buy Rolex…my parents also use Rolex. From my parent’s experience of use, it was made aware that the Rolex is fabulous due to its quality and resale price. …I have never ever changed my mind about Rolex…it is excellent value as an investment…I am happy and satisfied with the money I have spent…” This study also found other consumers who expressed their satisfaction with money invested in comparison with another investment options such as gold or stocks. Moreover, it is an investment that can be passed on to their children. Discussions and Implications Nowadays, brand, design, price and function are the key attributes that luxury consumers focus on. Luxury brand suppliers should pay particular attention to a design that reflects the unique identity of the brand and distinguishes it from competitors. This is a consistent finding of Subhadip, Jain, &Matta (2018) that the luxury product ought to reflect its own creativity, artistry, and uniqueness. Moreover, consumers prefer a luxury watch that offers various functions that they can be used with ease on any occasion. In addition, the luxury consumer does not only purchase a watch that represents their self-image and bring in pleasure value, but also monetary satisfaction which is found to be most important nowadays so that the luxury watch player should advertise their brand based on this distinctive study finding. Durability is a reflection of quality brand. Warranty is the linkage between quality and value for money. Monetary satisfactory also comes from the benefits of investment and a generation to generation heritage.

In fashion marketing, celebrity endorsement is a widely-used strategy to gain attention and produce positive brand knowledge (Carroll, 2009). Luxury brands use their social media accounts to post pictures of celebrity endorsers using their products. This is an effective strategy because celebrity endorsement posts could encourage fans of the celebrity to repost, like or comment on this post. This is beneficial for the brand because this results in more brand exposures. The question is how luxury brands can use celebrity endorsements successfully in the digital age. For example, should luxury brands localize the celebrity endorsement in social media? The dilemma of standardization and localization becomes very significant when luxury brands are facing a culturally different market (Liu et al., 2016). This paper examines the effectiveness of localized celebrity endorsements for luxury brands in Chinese social media based on an analysis of online big data and two experiments. First, a multi-level analysis of the posts of 33 luxury brands suggests that localized (Chinese) celebrity endorsers trigger more social media interactions than standardized (Western) celebrity endorsers. Next, the following experimental studies reveal that local endorsers do not enhance perceived brand luxury and individuals’ level of patriotism moderates the effect of localized (vs. standardized) celebrity endorsements on perceived brand luxury. For people with lower level of patriotism, localized celebrity endorsements reduce the perceived brand luxury. In contrast, for people with higher level of patriotism, localized celebrity endorsements lead to higher perceived brand luxury.

Recent research has shown that many companies in the fashion industry are increasingly weaving close relationships with the art world, to appropriate art values and meanings to be associated with their own products and brands (Hagdtvedt & Patrick, 2008a; 2008b). Businesses related to the fashion luxury sector have been especially prone to using such strategies to transform their products into true artworks to address the issue of commodification resulting from high production volumes (Dion and Arnoult, 2011; Riot, Chameret & Rigaud, 2013). Over the past two decades, the luxury market has undergone huge structural changes through mergers and acquisitions that have transformed an industry made up of small, family businesses into major financial conglomerates and brand owners (Roux & Floch, 1996; Crane 2012). Secondly, globalization and openness to new fast-growing markets such as Asia, have led these luxury conglomerates to increase sales volumes, failing in one of the basic characteristics of such goods: rarity. But if the real rarity of luxury products is a promise that companies can no longer guarantee their own consumers, the elitism of these products can be ensured through an artificial rarity. Jean-Noël Kapferer used the neologism artification recently introduced by French sociologists Nathalie Heinich and Roberta Shapiro and applied it to the analysis of luxury goods (Kapferer, 2012; 2014; Heinich and Shapiro, 2012; Shapiro and Heinich, 2012). He stressed that a strategy based on art implemented by luxury companies is useful mainly to support the perception of rarity by the final consumer. Artification is based on the notion that art –related objects or persons are associated with positive values. Enhancing a corporate image in the consumer’s mind means building positive ties to the brand that will initiate a form of benevolence towards the brand, providing the legitimization of corporate actions and, in some cases, resulting in the purchase of goods and services produced and distributed by the company (Keller, 1993; Aaker, 1996; Aaker & Joachimsthaler, 2000; Keller, 2003). We decided to analyse the effect of Artification on brand value by focusing on the four dimensions of Awareness, Image, Quality and Loyalty by using the same CbBE ( Customer-based Brand Equity) structure previous authors tested on country of origin effect on consumers, based on the main hypotheses further explained (Pappu, Quester & Cooksey, 2006). The first hypothesis relates to the dimension of Awareness and aims to test the level of brand recognition in final consumers when the logo is modified by an artist. • H1 – Consumers’ awareness remains strong when the brand is ‘artified’. We analyze then the Image, as the second dimension of CbBE. Due to the complexity of this dimension, we posited two hypotheses connected to it: • H2a – Consumers’ free associations to the brand are connected to the artworld when the brand is ‘artified’ (e.g. consumers indicate words as art, contemporary art or the name of the artist). • H2b – Consumers’ evaluation of the brand image points to stronger positive associations when the brand is ‘artified’ The last two hypotheses we mention are connected to the dimensions of Quality and Loyalty: • H3 – Consumers’ evaluation of Quality increases when the brand is ‘artified’.  H4 – Consumers’ Loyalty to the brand increases when the brand is ‘artified’. • The analysis was conducted through a between-subjects randomized experiment and manipulated art presence (with art versus without art). Starting from the same panel, two groups were created: one including the treatment (visual arts) and one including no treatment at all. Furthermore, we limited ourselves in this experiment to images of products and pattern created by Louis Vuitton that are actually on the market, associating them randomly to the research units in order to obtain two statistically consistent groups subjected to the different treatment (with art or without art)4. The two groups were labelled ‘artified’ group and control group, the first grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product modified by art collaboration with Yayoi Kusama; and the second grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product in its standard design. The questionnaire was distributed between the months of May and June 2015 via Qualtrics survey software. It was divided into four distinct blocks: the first concerned the presentation of the survey, the declaration of authorization signed by the participants and the demographic information; the second and the third blocks of questions were identical, with the same series of questions but based on different images used. There were 880 respondents, 825 of whom correctly filled the questionnaire we submitted to them. The control group was made of 413 respondents, 73.13 % of whom were female and 26.87 % male. The ‘artified’ group was made of 71.60 % female and 28.40 % male. We analyzed the four dimensions of Awareness, Image, Quality and Loyalty individually and in a comparative manner between the control and ‘artified’ groups. In the CbBE model, dimensions are analyzed individually since Awareness and brand Image measures are not comparable because they are collected through different measure methods, respectively through multiple choice and open-ended questions. Such dimensions as Image, Quality and Loyalty which were raised through Likert scales were then subjected to mono multivariate statistical analysis. The main results are shown in table 1. By reading the results for CbBE, Hypothesis H1 [Consumers’ awareness remain strong when the brand is ‘artified’] has been confirmed. The aided brand awareness shows no important differences between the two groups, so visual artists may modify logos or the appearance of luxury products without the fear of compromising brand awareness in the final consumers. Hypothesis H2a [Consumers’ free associations to the brand are connected to the arts when the brand is ‘artified’ (e.g. the word art, contemporary art or the name of the artist)] was not confirmed. Hypothesis H2b was partially confirmed as Generic Associations and Brand Personality were impacted by the use of the visual arts, while Organizational Associations were not. Brand loyalty and Perceived Quality were not impacted by the Visual Arts either, so Hypothesis H3 and H4 were not confirmed. As a main result for CbBE analysis, the Visual Arts have an impact on Customer-based Brand Equity, limited to Brand Image dimensions. The fact that Brand Image is one of the most complex dimensions of brand value opens the way to the development of future analysis and research in the visual arts as external source for brand equity, especially for Brand Personality. The main results of our research show that an artification effect is visible especially at the level of brand image and brand personality, two complex and valuable components of Brand Value from a consumer perspective. This opens to further in-depth analysis of these two components for future research. Large luxury groups (such as Cartier and Prada) have long used an art-based strategy to increase the value of their products, avoiding the risk of a loss of prestige perceived by the final consumer who would no longer recognize the exclusivity of a product that seems to be increasingly more industrial than handmade. Art can therefore contribute to alter and rework the image and market position of a specific brand or an entire product line, ensuring the transition from an ordinary image to a prestigious one, or strengthening the existing prestigious perception (Hetsroni & Tukachinsky, 2005; Lee et Al., 2015). We believe that a strategy based on art implemented by luxury companies is beneficial mainly to support the perception of rarity by the final consumer. Luxury goods would have to be unique or at least not produced in too high volumes precisely because of their craftsmanship and the care with which they are made. Rarity is not compatible with the increase in sales volumes required by the financial holdings that own the same luxury brands (Roux and Lipovetsky, 2003; Kapferer, 2012; 2014; 2015). The artification process we researched would have exactly the dual purpose of improving the brand image of companies that apply it, while increasing the perception of luxury in end consumers. What is more, we believe that the luxury brands from the industry sector that belong to large financial conglomerates now have the strength to simultaneously apply all the components in the artification process, by sustaining activities of sponsorship, philanthropy or generic collaboration with artists. The fact that luxury products are an integral part of the world of visual arts combined with the fact luxury brands have now the strong support base of large financial conglomerates can ensure the right economic and cultural support needed for the application of such a strategy. In the case of fashion companies, we believe artification is a process in itinere. In our experiment free associations to the brand show that only 2 consumers out of 880 remembered or knew the name of the artist (Yayoi Kusama) and 10 people indicated the substantive ‘art’ or ‘contemporary arts’ as free associations in the ‘artified group’ (only 2 in the control group). This shows that luxury brands ‘art-based strategy cannot only concentrate on temporary collaborations with artists. Luxury brands as Louis Vuitton must act as art institutions able to display arts collections to the widest public and bestow art status and global recognition to collaborating artists (Masè and Cedrola, 2017). This strategy relies on LV ability to raise consumers’ awareness of the arts. While the art-oriented public recognizes artistic collaborations, the larger public does not yet is still very much aware of new designs. Novelty is equally perceived by both, but is partially decoded by one category of consumers.

3D printing is an additive software manufacturing technology for designing and creating real objects using a layering technique. Global brands including Coca Cola and Warner Bros have successfully offered the first 3D printing campaigns, but the market is still untapped for using 3D printing marketing in global advertising. Global brands potentially can undertake 3D printing technology campaigns that will offer innovative and strong experiences for enhancing brand values and competitiveness. Luxury brands are particularly recognized for their rarity, uniqueness, innovation, and classic traditions. Luxury brands can thus use 3D printing campaign experiences to expand the cultural imagination in coherence with luxury identifications. The purpose of this study is to examine the effects of 3D printing campaign experience on attitude toward campaigns, perceived value of luxury brands, and purchase intentions. The authors offer implications for advertising practitioners by constructing a theoretical model regarding 3D printing campaigns and perceived values of luxury brands.

When apparel brand managers attempt to raise their brand value, store location is a big concern since they consider it to influence their brand value. Brand managers expect that their store operations in high status location will raise brand status and attractiveness even when the expected rate of return directly generated by the store is very low. In this case, they regard the new store as an effective brand contact point of their marketing communication and expect its comprehensive impact on their business to be positive. In actual business, however, this influence is difficult to compute quantitatively but common to estimate based on brand managers’ experiences: this creates uncertainty for apparel companies whether their investment in the new store is appropriate or not. Besides, it is not certain whether non-luxury brand status is raised by store location status as with luxury brands where store location status is identified as a key marketing driver (Kapferer and Bastien, 2012). This paper focuses on the status of shopping malls and adjacent stores as store location factors and assesses their effects on perceived brand status. In this study, consumer research on three brands with different characteristics (a luxury, a non-luxury, and an unknown brand) was conducted in Japan and the variation of perceived brand status and attractiveness in four location frames (two levels of shopping mall status × two levels of adjacent store status) was analyzed. The result of Analysis of Variance (ANOVA) suggests store location prestige influences perceived brand status and attractiveness of luxury brands more than in the case of non-luxury ones. Moreover, store location status is confirmed to influence unknown brands only very slightly. This result implies that raising the status of non-luxury is difficult just by constructing a new store in high status location following luxury strategy. Also, it may be impossible for a brand whose status is not high to pretend to be a high status brand by launching a new store in high status location of the new market.

Sex appeal advertising has been widely adopted in luxury fashion marketing and yet little attention has been paid to the impact of sex appeal on perceived luxury values. Using a 2(low/high degree of sex appeal) x 2(male/female ad endorser) x 2(male/female ad viewer) factorial design, this study finds that the use of a high degree of sex appeal in an advertisement significantly improves young consumers’ perceptions of the appearance, quality, uniqueness, and conspicuousness value of a luxury fashion brand. The impact of sex appeal on the self-identity, hedonic, materialistic or prestige value perceptions appear to be insignificant. Gender interacts with the degree of sex appeal on the appearance and quality value only. Implications for luxury brand marketers and advertisers are discussed.

Mass customization refers to a strategy whereby online retailers provide individually tailored products and services to their customers and has been implemented by many retailers with the Internet technology. Many luxury brands such as Bottega Venetta, Louis Vuitton, and Salvatore Ferragamo, provide customization programs to better serve their customers, from engraving their initials on a product to creating a new design of a product. However, the expansion of the customization program to the luxury brands raises potential risk, such as loosening the brand identity and inability to satisfy customers. Despite high interests in mass customization programs and popularity of luxury brands, the effect of mass customization in luxury brands has not been explored. Addressing this gap in the literature, this study attempts to investigate how customized products of luxury brands influence perceived value, satisfaction, and loyalty. In addition, this study explores how consumers’ past loyalty toward a luxury brand influences perceived value of the customization. Hypotheses of the study were (1) Perceived value of a mass-customized product has a positive influence on satisfaction with product customization; (2) Satisfaction with product customization has a positive influence on brand loyalty; (3) The influences of perceived value of a mass-customized product on satisfaction and brand loyalty are different as a function of a customer’s past loyalty; (4) The influences of perceived value of a mass-customized product on satisfaction and brand loyalty are different as a function of a customer’s need for uniqueness. The research strategy of this study was survey methodology and the sample of the study was online shopping consumers. Online questionnaires were collected by an online survey firm. After visiting ‘BURBERRY BESPOKE’, a mass-customization program of a luxury brand, survey participants were asked to answer the questionnaire. The instrument tapped perceived value of a mass-customized product, satisfaction with product customization, past/future brand loyalty, and need for uniqueness. A total of 304 female online shoppers participated in the survey. The result of structural equation modeling found the positive effects of hedonic value and utilitarian value on satisfaction with product customization and the positive effect of the satisfaction on brand loyalty. The result of multiple group comparison analyses revealed the moderating roles of past loyalty and need for uniqueness in influencing the effects of perceived value of a mass-customized product on satisfaction. These findings of the study contribute to the literature in luxury brand retailing fields and suggested managerial implications to luxury brand retailers.

Despite the recent economic downturn, the worldwide sales of luxury fashion brands have increased. The luxury fashion market may have become more profitable and yet, at the same time, more competitive. The relationship between consumers and a luxury fashion brand is the type of relation that starts with an affinity towards a particular brand name and is manifested through the purchase of the goods (Okonkwo 2007).Luxury consumption generally involves purchasing luxury products and brands which can symbolise luxury values to an individual. Even though luxury consumption has always been associated with prestige-seeking behaviour, it goes beyond that. Consumers nowadays are looking for luxury brands and goods that are able to fulfil their own functional and emotional values or, specifically, perceived luxury values. Advertising is essential in selling luxury brands and most luxury brands are willing to invest in advertising. One of the main objectives of luxury brand advertising is to help consumers develop a good understanding of the perceived values that luxury brands can offer as compared to non-luxury brands. Only after perceived luxury values are well understood, will consumers be persuaded to purchase the brands. Luxury fashion brands are one of the most profitable and fastest-growing luxury sectors, yet at the same time most researchers tend to agree that the value perceptions associated with luxury fashion brands are poorly understood and under-investigated. Values in general can be regarded as beliefs that guide the selection or evaluation of desirable behaviours or end states (Schultz & Zelezny 1999). Luxury values explain why consumers desire and purchase one luxury brand rather than another. This is because luxury values associated with a specific luxury fashion brand influences consumers’ preference over another brand. There is a wealth of models for perceived luxury values and many researchers have attempted to measure perceived luxury values. Previous research has revealed that luxury values may consist of multiple dimensions. For example, luxury values may involve exclusivity, perceived quality, brand awareness and brand identity (Phau & Prendergast 2000). Vigneron & Johnson (2004) proposed five perceived luxury values which comprise conspicuous value, uniqueness value, quality value, hedonic value, and extended self-value. Subsequent to the study done by Vigneron & Johnson (2004), Wiedmann, Hennigs & Siebels (2007) extended and summarised nine perceived luxury values in relation to luxury fashion brand consumption which are: price value, usability value, quality value, uniqueness value, self-identity value, hedonic value, materialistic value, conspicuousness value and prestige value.Gender, in particular, has not been carefully examined in the luxury context. Since many luxury fashion brands are purchased as gifts for the opposite gender, good understandings of the gender differences in perceptions towards key luxury values becomes essential in this luxury market. Extended from Wiedmann et al.’s study (2007) and using a two (male and female endorser) by two (male and female consumer) factorial and quasi-experimental design, this study examines the impact of gender on consumer responses to seven key luxury values, including the appearance, quality, uniqueness, materialistic, hedonic, conspicuous, and prestige value. The sample included more than three hundred young consumers in Australia. Confirmatory factor analyses were used to test the validity and reliability of each value construct. T-tests were conducted to examine the difference between the male and female consumers with regards to each of the luxury value. The study found that, when exposed to the male-endorser advertisement, male and female consumers have significant different perceptions towards only three key luxury values including appearance, hedonic and prestige value. However, when exposed to the female-endorser advertisement, male and female consumers have different perceptions on all of the key values examined except the materialistic and quality value. The results reveal that gender is a key consideration in luxury brand marketing, particularly in the context of new luxury brand advertising. On one hand, the same advertisement may lead to different consumer perceptions on the luxury values of the advertised brand. On the other hand, some key perceived values (such as quality or materialistic) may not be influenced by gender (neither the gender of the endorser or the consumer). The findings of this study are important as they enable luxury marketers to understand the impact of gender in luxury brand marketing. The implications go beyond luxury fashion brands to other sectors of the luxury market.

This research is to understand luxury consumption values for luxury consumers. The aims of this study is to identify their luxury consumption values and the effects of the values on the perceived acquisition value. This study also divided data into two groups according to the difference between reservation price and actual price; positive reservation price group, negative reservation price group, and analyzed the effects of the values on the perceived acquisition value between two groups. In this study, we used structural models equation and results presented that the conceptual model was a good fit to the data. The empirical results suggested four dimensions of luxury consumption values; symbolic value, innovative design value, quality value and origin value. There were positively significant effects of symbolic value and quality value on the perceived acquisition value. The effects of innovative design value on the acquisition value was significantly negative. Two groups categorized by reservation price depicted the differences on effect levels of symbolic value, innovative design value, and quality value on the acquisition value perception.