To sustain their relevance in unpredictable times, big names in the fashion world are turning to artistic, theatrical and culture-oriented experiences.

Brands have long been content creators. If there were ever any doubts, Mattel extinguished them in a puff of pink smoke with the release of the Barbie film last year. Young and old flocked to cinemas the world over, driven by their own desire or to simply see what all the fuss was about. According to Parrot Analytics (PA), the film was most popular among Gen Z (defined by PA as 13 to 22 years of age) – presumably a generation ‘too old’ to play with the dolls themselves yet eager to be part of what became a cultural phenomenon. Targeting a new audience was indeed one of Mattel’s goals: as reported by Forbes, Mattel chairman and CEO Ynon Kreiz said the movie ‘has broadened Barbie’s fan base’. Another goal, no doubt, was to increase earnings: the film and its associated product and merchandise sales reportedly boosted Mattel’s revenue by $125 million. What’s more, Mattel executives expect Barbie ‘to be a catalyst to drive sales for years to come’. 

Owning – and selling – the narrative

This is not to say that every brand can nor should make a movie. No one wants to be a copycat, and the medium won’t be every brand’s best bet. But there’s a lesson to be learned in the power of a brand taking charge of its own narrative in a new way. Whether you loved or hated Barbie, it told a story.

Cover and above: Presented in Shanghai and London, Gucci Cosmos, designed by contemporary artist Es Devlin and fashion theorist and curated by Maria Luisa Frisa, presents the brand's history as a journey through a series of different ‘worlds’, depicting Gucci’s past, present and future.

In the enduring era of the experience economy, luxury fashion brands are searching for their own ways to capitalize on the power of storytelling to navigate unpredictable times. Although McKinsey & Company’s ‘The State of Fashion 2024’ report predicts global growth for the luxury fashion segment this year, the growth rate (3 to 5 per cent) is expected to be lower than that of 2023 (5 to 7 per cent) ‘as customers rein in spending after a postpandemic surge’. McKinsey & Company believes one of the key strategies for the year ahead will be a switch from performance marketing (concentrating on measurable actions and immediate results) to brand marketing (creating long-term brand awareness, loyalty and positive associations through storytelling, emotional engagement and a holistic brand experience). ‘In an uncertain world, consumer discretionary spend will be weighted toward trusted categories and brands,’ write the authors of ‘The State of Fashion 2024’. ‘[Consumers] prefer emotional connections and authenticity over celebrity endorsements.’

Photos: Courtesy of Maison Margiela

Cinema Inferno, an immersive installation marking the relocation of Maison Margiela’s Tokyo Omotesando store was based on a performance and exhibition from the mind of creative director John Galliano that presented the brand’s 2022 Artisanal collection.

Higher-end happenings

To appeal to their discerning clientele, luxury fashion brands are looking to artistic, theatrical and culture-oriented experiences to forge such emotional connections and underscore their authenticity. Think exhibitions, installations and multi-sensory experiences. ‘Luxury houses infuse artistic and cultural meaning into their lines when holding an exhibition,’ writes Lisa Nan for Jing Daily on how the likes of Gucci, Chanel and Prada are wooing China’s Gen Z with in-person exhibitions. ‘By doing so, they further fuel the “uppertendom [the highest social class] dream” they want people to aspire to through consuming their products. The idea is to make their product collectible in the eyes of shoppers, just like a piece of art, so that consumers are eager to pay a premium.’ As with Barbie, it’s also about brand reach. In-person occasions offer a chance to connect with those who prioritize experiences over products, or with fans unable to ‘pay a premium’ for the goods themselves. One ticket to the La Galerie Dior exhibition in Paris? €12. One Dior bikini top (the lowest-priced item in Dior’s webshop at the time of writing)? €550.

Photos: Annabel Elston.

Ibby Njoya was asked to interpret Hermès’ Brides de Gala scarf – designed in 1957 by Hugo Grygkar – for Brides de Galaxy, an event recently held in an industrial London studio. An immersive set reminiscent of a dreamscape desert planet emerged from this commission, activated by performances.

The drivers are similar to those behind the infusion of hospitality into retail, which we reported on in Frame 142: ‘To solidify themselves in the retailtainment category as e-commerce escalates, brands are playing host, inviting customers to engage with them on a deeper level in physical spaces. A meal in a restaurant is multisensorial; a great night away [in a hotel] gets stored in your memory bank.’ Similarly, a physical experience with a well-woven story is more than a transaction. And satisfied event-goers will pass the story on, becoming word-of-mouth (or social media) ambassadors.

Getting personal

These types of extensions – perhaps adopting the role of ‘expert’ by showcasing their history, expertise and craftsmanship – will come naturally to many luxury fashion houses, which have storied heritages they can draw from. But how can they ensure the exercise doesn’t read as blatant self-indulgence? How can they make customers – or visitors – feel special? Rather than getting lost in their legacy, brands can move ahead by tapping into the contemporary desire for customization. ‘Personalization is crucial to ensure exhibition attendees feel seen and valued,’ writes Nan. ‘A well-curated and executed exhibition is all well and good. But to move beyond the power of edutainment, brands can leverage customer data and insights to develop targeted follow-up communications, personalized offers or recommendations, and ongoing engagement through digital platforms or loyalty programs.’