MANAGEMENT REPORT
Bridging this with Masters in Business, Alicia combs through businesses to get to the strategic core of work.
2.0 Management Report
2.1 Financial.
2.1.1 Commitment. Sell only to those who want you.
2.1.2 Desire as Equity. Rarity determines luxury.
2.1.3 Power Relations of a Market. More significant than claimed virtues are the dynamics of the market that determine demand and economic context.
2.1.4 Circumstances of Luxury. Variability dependent on mood and setting. (Chevalier Mention).
2.1.5 Luxury does not sell. Dispensing with confrontation, you guide and shape
2.2 Social.
2.2.1 Efficacy is not dependent on personality. Determinant is luxury house. Society of emblems.
2.2.2 Societal Position. The societal position is a power relation to do with economics but also of taste (Bourdieau)
2.2.3 Authority of Taste. The position of the luxury House is the producer but also advisor of taste.
2.2.4 Automaticity. Whilst many sociological papers see luxury as just status we all know it is not pure expense or empty marketing, though it is emotional there is still a definitve mechanism that works automatically with the system, proven in groups management such as LVMH (Floch, speaking about power of luxury goods groups).
2.2.5 Radical Nature. The fact is that luxury does rest on hierarchy and does operate.
2.3 Management.
2.3.1 Logic of Seduction. The analogy between seduction and management, though we decline it often as senses as ‘base’. Everything is a contribution to elevating desire.
2.3.2 Morale versus capitalists. Views of luxury as either pursuit of value only and no compromise for marketing profit, or as empty pursuit of profit. If something is artificially heightened, it requires constant pressure to keep it afloat.
2.3.3 Compromises and fundamental convergences. That it is a pursuit of passion ultimately and it makes specific sacrifices to be so.
2.3.4 Historical Compromise and Originality. And yet it must operate with a profit and cater to demand to survive and as a result of pressures of economic growth - and we find some wonderful originality.
2.3.5 Art of Seduction. It is possible to falsify but requires constant pressure to keep afloat. So we return to what is the original element, the manipulation of the materials that draw individuals in.
2.4 Product & Materials.
2.4.1 Actualisation of the house. Considers the force of the product, the effect of the house. Luxury not conceived of as a symbol, but as actualisation of a product.
2.4.2 Force of form. The force of form in the products lines.
2.4.3 Tension in the configuration. Differentiations in the product.
2.4.4 The aesthetic setup. How it cuts the market - The medium configuration and propensity for effect.
2.4.5 Difference in the notion of style. House aesthetic and usefulness aesthetic/relevance to culture
2.4.6 Material Resources. Let us go back before it was a ‘luxury good’. Tracing the lifelines in an artists use of materials.
2.4.7 Aesthetic Reduction. The effect of stepping back and reducing the artists work - what it concentrates
2.4.8 Themes in Products The overall movement of the natural materials in use
2.4.9 Effects of Use. The effect of distance - the poetic effect of the art forms that he bridges.
2.5 House Identity & Aesthetics
2.5.1 Technical Lists of Competences. Product lines of what defines the house competences. The fact that the house is comprised in what it produces.
2.5.2 Efficacious dispositions of the hand and of the body. The metiers used to create the collections and the body the combining that creates the look.
2.5.3 Iconic Creations. Positions that best embody the work of the house.
2.5.4 Character. Strategic dispositions in the aesthetic, the character of the house.
2.5.5 Discursive Setup. The narratives from the dynasty of the house.
2.6 Marketing
2.6.1 Common Logic. Management of luxury is critically to do with communications and image. It is all must be part of the common objective to draw light to the material, object or designer. Depending on the narrative different tacts will be used.
2.6.2 Distribution
2.6.3 Retail
2.6.4 Communications
2.6.5 Temporal Management
2.7 International Distribution & Brand Renewal
2.7.1 Investments. The potential for what is invested in the house already.
2.7.2 Variations. The variation through alternations possible in future seasons.
2.7.3 Creative Assets. Endless transformation is unseizability, as opposed to stagnation and worse, repetition.
2.7.4 Creative Potential. Dragon and clouds; we see that things can appear and re-appear like magic; element of surprise.
2.7.5 Patents and importance of void.The importance of void, of not pinning down details - of leaving voids and gaps.
2.8 Cultural Heritage. Situation and tendencies in culture. The historical situation of the metiers. The need for transformation. The logic of reversal. Moral strategy : making it desireable in culture. The forms of renewal in the technique and trends in culture. No end in sight - potentials. Tendencies.
2.9 Sustainability. Note on natural resources. Their history. Their development of cultivation and symbolism. Present risks and future opportunities for development.