COP 3 Proposal

https://issuu.com/stephenjdale/docs/stephen_dale_cop_3_proposal

Study Task 09: Production, Distribution & Reception

Production

In producing the outcomes commercially, both luxury intentions and environmental consideration should be met with the same commitment and care - this seemingly being the only way to adhere to the niche desires of each consumer sector respectively. Production should:

Maximise Energy & Water Efficiency: In order to reduce the amount of energy and water utilised during the manufacturing process without making it costly or compromising the performance of the end product, designers may consider changing the production process or the materials used in production. 

Minimise Materials while Maintaining Luxury sector cues: One of the simplest ways of establishing a more sustainable practice is to reduce materials. Where possible, the total amount of packaging used with a product should be reduced, however should not be taken away altogether with perhaps a greater focus on the functional role of packaging - being to ensure goods are protected from spoilage and damage. Materials should be used considerately.

Use Recycled Materials: The packaging industry’s footprint can be reduced via use of a greater volume of recycled materials that can be designed into the manufacture of packaging - this being due to recycled materials producing less greenhouse emissions because they use less energy than virgin materials.

Use Renewable Materials: Designers should strive to maximise the use of renewable sources and materials such as bio polymers, card and paper in the manufacture of retail packaging products. Reducing energy use can only be achieved by finding ways to use renewable materials, this making for a major contribution towards a more sustainable industry and saving precious natural resources.

Source Materials from Reasonable Suppliers: Where possible, materials should be sourced from companies who have a commitment to environmental sustainability. 


Distribution 

A significant reduction in energy consumption can be made by using a more efficient transport for distribution. Packaging should also maximise the use of space through creation of foldable/flattened formats that can be transported with ease in large quantities.

Bags would be prepared in bulk before being delievered to relevant retail stores making the transition to more sustainable business initiatives. With leading fashion houses such as Gucci and Louis Vuitton beginning to make sustainability a more considered focus on behalf of the sector, it is only a matter of time before others feel the need to follow suit. With sustainability now slowly but surely being introduced in to the industry some deem as the most responsible for environmental damaging, high-end consumers will too be forced to accept new protocols of the luxury industry.

Reception

With the luxury sector having already began its journey to a more sustainable future and environmental awareness being more prevalent than ever, high-end consumers will have no choice but to adjust to the new sustainable luxury climate at some point - be that in the near future or some years down the line. 

Whilst not explicitly luxury in aesthetic, the outcomes created according to feedback sit somewhere in between the two cultural frameworks of luxury and environmentalism. While it is difficult to say that these outcomes would capture the niche desires of the high-end consumer on initial perception with absolute certainty, with more considered appraisal and consideration for the future of the industry they may find purpose in inspiring the emergence of a new cultural framework of environmentally active consumers of high-end products and services.

Additionally, the high-end, upper-class consumers' perpetual endeavour and ambition to own and experience the less ordinary to meet their niche desires may be roused by the introduction of new packaging resolutions that provide them with alternative materials and/or trends to consume.

Study Task 09: Outcome(s) Evalutation & Feedback

The luxury sector by all accounts does not hold sustainability of packaging high within its list of priorities, most probably because the materials and aesthetics associated with the enironmental sector of design do not create appeal to the high-end consumer who revels in the lustre and grandeur of luxury packaging. That being said, it is the fine details, accents, personal touches and finishes that truly encapsulate the niches of luxury brands and the packaging through which they deliver products. Each of the produced outcomes feature application of such accents, personal touches and finishes to retail bags made with sustainable, eco-friendly materials to explore the power these hold in creating appeal to the high-end consumer at point of purchase. 

All materials used in the production of each of the 6 bags are either biodegradable, recyclable or repulpable - if not all three - using no inks, harsh chemicals or excessive energy to produce. The difficulty in creating appeal in eco products to the luxury, high-end consumer is ultimately a result of the contrast is sector cues and visual language, as 'marketing and consumption of Eco-products and nature is within the cultural framework of environmentalism’ (Nayar, 2009: 50) as opposed to within the cultural framework of luxury and excess. Despite this, the outcomes produced, to some extent at least, give the impression of luxury if nothing else. The stocks and materials used do not all appear typical of the commonly regarded interpretation of 'eco' package design, with some in fact appearing somewhat contemporary and/or stylish.

Finishes applied to the bags include embossing, de-bossing, die-cutting, foiling and the addition of a tied bow keeping the bag closed at the centre, all of which are eco-friendly. Each of these finishes, subtle or more prominent, encourage tactile exploration from the luxury consumer whilst enhancing enhancing appeal via establishment of an 'intimate connection between the object and its users.’ (Nayar, 2009: 49) The bow, tied at point-of-purchase by a sales assistant, creates a memorable experience for the high-end consumer while becoming a compound of their perception, memories and feelings towards the brand. This in turn allows brands to establish exclusivity through successful differentiation from others within the same cultural framework, additionally increasing greater market yield potential as ‘Companies perceived to have the highest level of product service quality, excellence and luxury create a very loyal base of customers.’ (Reece, 2013: 34)

While the outcomes may lack the vibrancy and depth of colour featured on bags provided by the likes of Louis Vuitton and Gucci, it would be an injustice to say that the outcomes do not have an air of luxury about them. Though not explicitly luxury in their aesthetic, the devices used enhance perception to a level somewhere in between the two cultural frameworks of luxury and environmentalism. It would be hard to unequivocally say that these outcomes would capture the niche desires of the high-end consumer on initial perception, though when it comes to more considered appraisal thereafter, some of these bags may have what it takes.

Feedback

Would you consider these bags to be within the cultural framework of luxury or sustainability? Why?

• I think they sit in between the two - they aren't what you'd expect from a luxury brand in terms of materials but they are in terms of finishing.
• They look like you'd get them in a more expensive/premium retailer, maybe not luxury though because luxury brands don't really care about the environment.
• I'd say they were sustainable luxury, so either.
• A more specific sector of luxury, eco-luxury - a new framework?
• Both, they fit in to either.
• The ribbons and effects make them luxury.

Do you believe finishing methods featured on the bags impacts your perception of them? Why?

• Yes, you expect those things from luxury brands as it creates the perception of expense.
• Yes, the bow on the top especially. It makes it feel special and it feels nice to open it.
• Definitely, it makes them less standardised.
• Yes, finishes always make things appear more luxury.
• Without the finishes the bags would look cheap, so yes.
• All finishes add a certain luxury because they aren't necessary, they're extra.

Do you believe these outcomes have the potential to appeal to high-end consumers of luxury products and services? Why?

• Yes, the materials aren't cheap and they're made from special papers so they should see them as more special than other bags.
• Maybe, if they're also conscious of the environment.
• I'd say some, but not the super-rich. I don't think they're luxury enough for them.
• Yes, they're different to what they get now and high-end consumers always want new things.
• No, I don't think they have the sheen/gloss to create appeal.
• Yes, but not all of them - maybe people who also consume eco-products?

What more could have been done to achieve sustainable luxury?

• It's difficult to say because I'm not sure if adding anything else would keep them eco/sustainable

Luxury Brand Environmental Rankings

'Rank a Brand' (rankabrand.org) is an independent brand-comparison website that transparently assesses and ranks consumer brands in several sectors on sustainability and social responsibility. 

The Mission

Rank a Brand contributes to a transition towards a sustainable and fair global economy by encouraging brands to continuously perform more responsibly, driven by consumers continuously making more responsible shopping choices. They do this by:  

1.   Creating a large international movement and a well-used tool by and for consumers to assess and compare policies and performance of brands on sustainability and social responsibility.

2.   Creating pressure on brands through consumers, media and competitors to continuously improve their policies and performance on sustainability and social responsibility, and to be fully transparent on this. 

3.   Increasing awareness among consumers of their responsibility and influence on brands, and encouraging and facilitating them to select sustainable and fair brands.

Rank a Brand encourages both consumers and brands to act responsibly, sustainably and fair, directly as well as through publicity and social media. 

Rankings

The website uses a ranking system from A-E, A being the highest and E the lowest in regard to sustainability. 

Luxury Brands

Below is a list of luxury fashion brands alongside their ranking. Findings from this list show that only one brand, Stella McCartney, has achieved a 'C' ranking - this meaning the brand is found to be 'on its way to sustainability, but with more improvement needed.'

Following this, there are few brands who have achieved a 'D' ranking - this meaning these brands have 'started to take sustainability in to account' but still have a lot more to do. These brands include Alexander McQueen, Gucci, Burberry and Louis Vuitton.

All other brands have been given an 'E' ranking - this meaning the brands have communicated hardly any evidence about policies for environment, carbon emissions or labor conditions in low-wages countries, which for consumers is unclear whether they are committed to sustainability or not but is suggestive of the latter. These brands include Marc Jacobs, Fendi, Dior, Chanel and many many more.

The rankings of these brands show that ultimately, sustainability is not the greatest of concerns for any within the luxury sector, with all having potential to do more to contribute to environmental progression. It would seem that sustainable luxury is hard to come by as a result of the niche desires of the high-end consumer for abundance of materials and expectations of grandeur, of which these brands must meet in order to achieve and maintain the greatest market yield. 

The only resolution to this being devices and strategies that have sustainability as an equal consideration to aesthetic and perception that maintain the familiarity of the appearance of luxury and high-end upwards comparison potentials.

Study Task 09: Outcome 06

This bag has been made using 210gsm Khadi handmade cotton rag and banana fibre paper, which is both recyclable and biodegradable due to the natural materials used in the making of the medium. The paper has an undeniable aesthetic of environmental concern as a result of the consistent flecks throughout the paper and neutral colouring, whilst a subtle woven texture further accentuates the natural character of the card.

Featuring contrasting golden herringbone-weave 100% cotton handles and an additional tied bow keeping the bag closed at the centre, the bag prompts the consumer into personal engagement and interaction, which in turn enhances expectation through amplified suspense when opening the bag for the product within. 100% cotton handles can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fibre before being spun into new yarns.

The bag features the word 'eco' foiled in gold onto the surface of the bag, providing example of additional finishing to the bag, creating an enhanced perception of the bag as a result of increased tactile quality and additional craft/process leading to greater consumer appraisal. Perhaps the most luxurious of finishes, the use of foils on packaging and the environmental concerns that come along with this finishing methodology are uncertain to many. However, industry leaders Foilco note on their website that foil stamping is eco-friendly and that designers should have no concerns about any negative long-term effects that their designs will have on the environment as the finish has no apparent affect on biodegradability, recyclability or repulpability of the paper. Additionally, a study carried out by FSEA/PIRA has found that the foil can be successfully removed with no particles remaining once the paper was re-pulped.

Feature of gold foiling and complimentary ribbon immediately provide a more luxurious aesthetic as a result of the semantic field surrounding the precious metal. This finish is sure to enhance appeal to high-end consumers as a result of the familiarity of foiling as one of the luxury sector's most prevalent sector cues.

Study Task 09: Outcome 05

This bag has been produced using 100% recycled (FSC approved) Cairn Eco White 300gsm card, strong and durable (and therefore reusable) in quality while providing a natural yet contemporary alternative to brown recycled substrates. With a chlorine free manufacturing process and acid free resolution, the material is safe for the environment. A rougher surface that accentuates the natural 

character of the card is supplied as a result of the substrate being more fibrous.

Featuring contrasting black herringbone-weave 100% cotton handles and an additional tied bow keeping the bag closed at the centre, the bag prompts the consumer into personal engagement and interaction, which in turn enhances expectation through amplified suspense when opening the bag for the product within. 100% cotton handles can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fibre before being spun into new yarns. The strong contrast between the black cotton and eco white (grey) stock creates a bold, distinct  and sumptuous aesthetic, enhancing appeal to the high-end consumer.

Die-cut into the bag is the word 'Eco,' though backing using the same eco white card provides an elegant subtlety and modern edge/aesthetic. This provides example of additional finishing to the bag, creating an enhanced perception of the bag as a result of increased tactile quality and additional craft/process leading to greater consumer appraisal. 

Study Task 09: Outcome 04

This bag is made from 100% long fibred acid-free cotton rag paper pulp, meaning it is both recyclable and also biodegradable. Due to the pulp's fibre length, cotton rag is far stronger than pulp made from recycled paper. Typically used in the production of paper and for creating paper sculpture, in its natural form this medium is extremely strong and durable. The rag has a rough, stippled texture which encourages tactile exploration from the consumer whilst enhancing enhancing appeal. 

Featuring white herringbone-weave 100% cotton handles and an additional tied bow keeping the bag closed at the centre, the bag prompts the consumer into personal engagement and interaction, which in turn enhances expectation through amplified suspense when opening the bag for the product within. 100% cotton handles can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fibre before being spun into new yarns.

The bright white cotton rag bag and cotton handles create a pure, contemporary aesthetic not immediately recognisable as sustainable or environmentally friendly, having greater likeness to a more typical high-end packaging resolution. Blind de-bossing of the word 'eco' in to the bag showcases additional finishing while enhancing perception of quality supplied through tactile quality and additional craft/process leading to greater consumer appraisal. The blind emboss in conjunction with white colour scheme creates an understated modernity whilst also enhancing the aesthetic of purity. 

Study Task 09: Outcome 03

This bag has been produced using 100% recycled (FSC approved) Cairn Eco Craft 170gsm card, providing an overtly natural, eco-aesthetic that is also strong and durable (and therefore reusable). With a chlorine free manufacturing process and acid free resolution, the material is safe for the environment.  

Featuring beige herringbone-weave 100% cotton handles and an additional tied bow keeping the bag closed at the centre, the bag prompts the consumer into personal engagement and interaction, which in turn enhances expectation through amplified suspense when opening the bag for the product within. 100% cotton handles can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fibre before being spun into new yarns.

The Eco Kraft stock is more fibrous and variable than other substrates, with a rougher surface which accentuates the natural character of card. Embossed on to the bag is the word 'Eco' to provide example of additional finishing to the bag, creating an enhanced perception of the bag as a result of increased tactile quality and additional craft/process leading to greater consumer appraisal. Though the embossing I was able to achieve is not of the calibre experienced by commercial practitioners with professional tools/equipment (die set), the consideration of this finish and its ability to enhance perception is of greater importance.

Study Task 09: Outcome 02

This bag has been produced using a natural corrugated cardboard for strength and durability that is also environmentally effective and extremely easy to recycle since the fibre in cardboard has already been processed. The corrugated texture of the bag encourages tactile exploration from the consumer, which as a result enhances consumer appeal.

Featuring fawn brown herringbone-weave 100% cotton handles and an additional tied bow keeping the bag closed at the centre, the bag prompts the consumer into personal engagement and interaction, which in turn enhances expectation through amplified suspense when opening the bag for the product within. 100% cotton handles can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fiber before being spun into new yarns.

The eco-friendly aesthetic provided by the natural brown colour of the stock and colour-cohesive cotton ribbon is balanced by the finishing (ribbon and texture) of the bag - creating a sustainable resolution that still appears high-quality and well-crafted.

As with outcome 01, the corrugated texture of the medium creates difficulty in suppling typography or detail to the bag which ultimately prevents advertisement of brand through the bag, and therefore isn't a commercially viable option for the packaging resolutions of luxury brands wishing to maximise market yield.

Study Task 09: Outcome 01

This bag has been made using natural grey corrugated cardboard, this material being one of the easiest and most environmentally effective materials to recycle since the fibre in cardboard has already been processed. The natural cool-grey tone of the substrate creates a more contemporary aesthetic not typically associated with environmentally sustainable solutions. That being said, this particular corrugated cardboard is weak and fragile and prone to tearing due to its softer tactility - not making for a successful retail bag needing to carry items within. Additionally, the corrugated texture of the medium creates difficulty in suppling typography or detail to the bag.

Handles on the bag are 100% cotton, which can be recycled by using stripping machines that break the yarns and fabric into smaller pieces before pulling them apart into fiber before being spun into new yarns.

Unfortunately, this particular material's tactile quality simply isn't strong or durable enough to be used in the production of retail packaging, for the luxury sector or any other. The lack of finishing means no appeal is created to high-class consumers looking for emphasis on craftsmanship,  fine details, accents, personal touches etc. This bag would undeniably be subject to downwards comparison against packaging with more superior materials and therefore consumer appraisal.

Finishing Techniques

The term 'finishing' refers to any post-printing operations through which specialised decorative processes are applied to printed materials. 

Embossing / Debossing

Embossing is the process by which dies are used to stamp a relief image on to paper or printed material. Often ink or another substance is used to color or accent the relief image, unless the emboss is 'Blind,' using no decorative inks and keeping the stamped image plain. A similar process, de-bossing, uses a die to stamp a sunken image on the substrate. In either embossing or de-bossing, the substrate passes beneath an embossing plate which carries the engraved die bearing the image. Directly beneath the substrate is a 'counter' die, or a die which bears a relief image of the image engraved on the embossing die. When the substrate passes between these two dies and pressure is applied, forcing the two dies together, a relief image is produced on the substrate. 

Foil Stamping

A process similar to embossing, and often performed at the same time as embossing, is foil stamping. Here, a heated die presses against a roll of foil before contacting the substrate, transferring the foil on the die to the substrate in a pattern corresponding to the design. In foil embossing, the embossing and foil stamping processes are performed simultaneously. 

Die-cutting

The process of die-cutting uses a different type of die, one which contains knives or creasing rules to cut a pattern into a substrate, or to cut the substrate into a particular pattern. The dies themselves are prepared and engraved for specific jobs out of a variety of materials and in a variety of ways.

Coating & Laminating

A variety of coatings can be applied to printed products, either for extra protection or for decorative purposes - such as creating a high-gloss finish. Combination coatings used for both protective and/or decorative purposes include lacquer coatings and o

verprint varnishing. Overprint varnish may be applied to the entire surface of a printed material, or to only select portions, which in this case is called spot varnishing. Laminating differs from coating in that lamination involves the adhesive bonding of two separate materials or layers of material together. Often, laminating in the finishing sense refers to the sealing of a substrate between two layers of a plastic material.

Irma Boom - Chanel: Livre d'Artistes

Irma Boom, described as the ‘The Queen of Books,’ is a Dutch graphic designer who specialises in book making. Throughout her career, the Amsterdam-based designer has made more than 250 books, with an impressive 20% having found a home in a permanent collection at MoMA. 

Books created by Boom are characterised by the immersive experience she instills within them, such as the completed work commissioned by Chanel, the Parisian fashion house, for its Chanel No. 5 perfume. The 300-page book has no ink—each of the crisp white pages are embossed (even the copyright pages) with a line drawing or quotation that bring to life the story of Gabrielle Chanel, founder and namesake the brand. Clean, understated and ephemeral - the book encapsulates all that Chanel is, and is underpinned by design decisions that are innovative, genius even, in their representation of the high-fashion houses most famous scent.

The concept for the ink-less embossed-content book came directly from Boom's consideration of perfume - being that 'you don't see it, but it's there,' creating a more 'mysterious' resolution that enhances interest and appeal. The effect this has is pages that almost appear as textile. Additionally, Boom designed the book to be 5cm deep, in signifying and reinforcing the scent Chanel No. 5.

The book provides clear insight in to the power of finishing techniques (such as embossing) in the production of luxury material. In terms of sustainability the book also welcomes praise as a result of its no-ink production methodology.

ZARA: Boxes with a Past

In 2016, as part of a greater sustainability initiative (Join Life) introduced by the Spanish clothing and accessories retailer, Zara launched new packaging with environmental concern leading the campaign - of which is titled 'Boxes with a past.'

Made with 100% recycled cardboard, all of which carries the FSC® (Forest Stewardship Council®) certification, the international PEFC standard or an equivalent standard that promotes sustainable practices in forests around the world, the packaging boxes that arrive in Zara's stores are used up to 5 times before being recycled - where the 'Boxes with a past' name derives from. They pass through suppliers, distribution centres and central warehouses before arriving in stores, where they are reused while they are still in good condition for transporting clothes and store materials. When they can no longer be reused, the store recycle them and transform them into new cardboard to produce new boxes that are used to send online orders.

Despite being 100% recyclable and therefore sustainable, the packaging still appears stylish, contemporary and distinct - in keeping with the Zara brand. With limited feature of a bold, post-modernist aesthetic created via a white-printed sans-serif typeface communicating typographic information on the packaging, the boxes are understated, ultra-modern and effective in their simplicity.

According to the retailer’s website, 56 percent of all online orders are currently delivered in these recycled boxes. Zara also teamed up with a number of current designers, photographers, and creatives—such as interior designer Ciszak Dalmas and photographer Pierre-Ange Carlotti—to turn the recycled boxes into 'ultrachic' DIY projects complete with make-it-yourself tutorials on its website.

Chloé: Luxury Packaging Extravagance

Chloé  is a French luxury fashion house founded in 1952 by Gaby Aghion. After moving to Paris from her place of birth (Alexandria, Egypt), Aghion moved to France in 1945 before founding Chloé in 1952 with a vision to offer Ready-To-Wear, a new concept at that time.

Prior to Chloé's launch, luxury fashion houses had only ever produced Haute Couture clothing (custom-fitting). Aghion identified a gap in the market and decided to create a line of off the rack, high quality, soft, body conscious clothes from fine fabrics, which she called 'luxury prêt-à-porter,' giving birth to the Prêt-à-Porter (Ready-To-Wear) market we know today.

A recent purchase by a friend shows the true extent of Chloé's retail packaging, which seemingly lacks restraint in use of materials and resources. Like many luxury brands, Chloé's retail packaging features and abundant of materials including the following:

• Large (oversized) box featuring print and embossing.
• Cotton ribbon, for finishing and enhancement of consumer receival.
• Multiple card inclusions featuring print and embossing.
• Printed sticker.
• Tissue paper.
• Printed protective bag.
• Product, bearing tags featuring embossing.

The extravagance of materials used by Chloé, and many other fashion houses, for their luxury retail packaging is a strategic device used to successfully create appeal to the typical upper-class consumer, exploiting an abundance of available materials and finishing techniques and their ability to be used in forming both tangible and emotional relationships with consumers through theatrics and manipulation of luxury sector cues. It is the fine details, accents, personal touches and sheer volume of materials that truly encapsulate the niches of luxury brands and the packaging through which they deliver products. This type of packaging from an environmentalist point of view is unnecessary, boastfully extravagant and grotesquely grandiose — however, to restrict these devices and materials would be to disembody the soul of luxury packaging altogether.

Study Task 08: Pitching Your Ideas - Feedback

Idea 01

Luxury packaging by its very nature is twinned with the idea of excess materials. The impact of such an overabundance of packaging on the environment is clear, however it is this excess that differentiates luxury from the ordinary. Idea 01 proposes the re-creation of retail packaging (bags, boxes, wrap etc.) used by luxury fashion houses such as Louis Vuitton, Gucci, Chanel, Dior etc. using sustainable, recyclable materials to analyse the impact these have on brand perception from high-end consumers while exploring the debate between sustainability and luxury. Exploration of only  environmentally friendly and sustainable materials, such as recycled papers/cardstock, textiles and eco-friendly finishes instead of un-recyclable substrates, satin/cotton mix handles, and lamination /gloss finishing. Can the sector cues of environmentalism be appropriated by the luxury sector?

Feedback

Feedback received regarding idea 01 suggested that while the re-creation of retail packaging used by luxury fashion houses using sustainable, recyclable materials would allow for exploration of the debate between sustainability and luxury, it would be difficult to analyse the impact this would have on brand perception from high-end consumers as this would require attaining feedback from

individuals not within reach. 

Idea 02

Upon receival of luxury goods, consumers of high-end products can expect to be faced with multiple layers of packaging - most typically boxes within boxes within bags. This overabundance of packaging can be represented by Russian Matryoshka Dolls, repeatedly placed inside one another just as a luxury product is within any of its numerous packaging solutions. Idea 02 proposes a Russian doll style showcase of luxury packaging materials and finishes through this metaphorical strategy. Featuring embossed stocks, foiling, embossing, lamination and glossing in this format would capture all that luxury packaging seeks to provide to high-end consumers, whilst also signifying the enhanced sales appeal and greater consumer appraisal evoked as a result of heightened suspense of receival and/or ownership provided by such packaging.

Feedback

While the identified metaphor of Russian Matryoshka Dolls for the overabundance of packaging repeatedly placed inside one another was receieved well, it was thought that the ambiguity of the final resolution would make it difficult to understand the idea without prior explanation. Additionally, the form/shaping of the dolls would be hard to create and apply finishes to, making the idea redundant.

Idea 03

The luxury sector by all accounts does not hold sustainabilty of packaging high within its list of priorities, most probably because the materials and aesthetics associated with the enironmental sector of design do not create appeal to the high-end consumer who revels in the lustre and grandeur of luxury packaging. That being said, it is the fine details, accents, personal touches and finishes that truly encapsulate the niches of luxury brands and the packaging through which they deliver products. Idea 03 proposes application of these accents, personal touches and finishes to packaging made with sustainable, eco-friendly materials to explore the power these hold in creating appeal to the high-end consumer at point of purchase. Use of only environmentally friendly and sustainable materials, such as recycled papers/cardstock, textiles and eco-friendly finishes are to be used in production of this packaging.

Feedback

Idea 03 was identified as that with the most synthesis with my critical analysis content. This idea provides ample opportunity to explore different environmentally friendly, sustainable and recyclable materials, stocks, finishes etc. whilst analysing the possibilities of appeal to high-end consumers through upwards comparison potentials supplied through details / accents / personal touches / finishing. It allows for commentary on both the sector cues of the luxury packaging industry as well as environmental considerations.


Following this, further research into sustainable materials will be undertaken and their suitability for packaging.

Louis Vuitton: Imperial Saffron Retail Packaging

Louis Vuitton is an internationally renowned luxury fashion house known for signature monogrammed luggage, handbags & more.

Louis Vuitton’s heritage as a trunk maker preceded even the founding of the company.  In 1837, 23 years prior to the establishment of the brand, a 16-year-old Louis Vuitton Malletier arrived in Paris by foot and started apprenticing for Monsieur Maréchal after deciding he would become a trunk-master, a decision that would not only change his own life but the lives of his sons and future generations. 

At the time, horse-drawn carriages, boats and trains were the main modes of transportation, and baggage was handled roughly, leading travellers to call upon craftsmen to pack and protect their individual objects. Louis Vuitton quickly became a valued craftsman at the Parisian atelier of Monsieur Maréchal. This was the foundation of his highly specialised trade; the beginnings of his career in an artisinal industry that called upon skills to custom design boxes and trunks. 

Louis Vuitton stayed for 17 years before opening his own workshop at 4 Rue Neuve-des-Capucines near the Place Vendome.

In 2016, the brand introduced a new range of packaging named 'Imperial Saffron' which remains true to the house’s origins as a packer and provider of custom luggage.

The iconic brown chocolate color of Louis Vuitton packaging has been replaced by a bright saffron shade named 'Safran Impérial,' specially selected to create a distinctive new visual signature woven into Louis Vuitton’s history for over a century and a half. The color first appeared early in the history of the House, and can be seen in many iconic heritage pieces - the 'Citroën' trunk made by Louis Vuitton for an expedition to Africa organised by the French automobile firm in 1924 in particular.

The new retail packaging includes feature of another historic color, a complimentary striking blue used in early personalisation details from 1854 onwards and also for the House’s ribbons for many decades. The signature combination of the two colours creates a modern yet timeless aesthetic that is reminiscent of the golden age of travel.

Feature of a lighter tone on the sides and interiors of the new packaging echo the natural cowhide leather used by Louis Vuitton since 1860. 

Heavier materials, including thicker paper and cotton ribbon handles, and new formats have been designed to fold/fit conveniently in to luggage in keeping with the Louis Vuitton spirit of travel whilst allowing greater resilience during transport. The use of raw cotton and a flat-pack collapsible design are part of a greater focus on sustainability on behalf of the House, though symbolic signs of luxury have been maintained via appropriation of typical luxury semantics and signature style.