The idea of adding luxury to products and services has been around for a while, and there is always a market for the high end luxury product. People want the exclusivity of having something different, and at times are willing to pay the higher price tag for it, even if the product or service itself is not that much different from the mainstream. An example of this can be seen in Juliana Mora’s paper “The Yoga Industry: an conscious luxury experience in the transformation economy”, where she shows 3 different yoga studios aimed at different people or different wealths. This can also be seen in the snow sports industry, where many people in higher classes go to the snow as a lifestyle to show their wealth rather than actually enjoying the activity, an example of this is Courchevel in France, where it was originally planned to be a haven for skiers and to create jobs, but somehow it transformed into a luxury resort with 9 out of the 50 total 5-star hotels in France, and 3 Michelin starred restaurants (Harneis 2010) . Another industry where this is currently emerging is in wearable technologies, where companies, Apple in particular, is trying to move further up the market toward the high end and to produce products that are aimed squarely at the upper class, with its exclusivity and connection to the luxury brand, Hermes. 

In recent times, more recently with the release of the Apple Watch, Apple has slowly shown that it is no longer just a company that makes electronics, and is now more known as a brand and a status symbol. It is becoming more about the brand than the products itself, but it has been marketed towards the mainstream. At the top of all these design decisions is the Chief Design Officer Sir Jonathan Ive, where he has revolutionised the way we buy technology. As much as he would like to deny, the brand has become more about the aesthetic of the Apple experience, from its minimalistic store designs to its patented shopping bags, all the way to the experience of being there itself (The Fashion Law 2018). This is a similar approach to a yoga studio by HummingPuppy, where the design of the surroundings are able to change the experience of being there, with its space can be easily confused with that of a fashion boutique. (Mora 2018) With the introduction of the Apple Watch in collaboration with fashion brand Hermes, they have added a luxury element to the product without adding functionality, and the experience of using it isn’t any different, just the increase in the appearance.  

The product that my group is currently working on is focused on the customisability of ski poles, where people can cater their poles for different uses, and one of the biggest markets that we have found through our research and interviewing store owners is the upper class, where they want something to stand out from the crowd. Currently on the market the difference between poles are mostly colour and design, with no change to its usability other than height adjustment in some models. We were thinking of adding features that may not only add to functionality to the product, but also features that increase comfort and allows its users to stand out. To execute the plan of allowing the user to stand out we sought to create an experience around the ski pole what sets it apart from others, this can be through colour, textures and also some technology to aid in comfort. This approach is similar to a reference in Juliana’s paper, where it states that it is based on an emotional experience rather than a rational experience (Featherstone 2014). We aim to use the customisability of our product to allow for consumers to add modules where they desire and this will increase the luxury experience for them, even if it means the ski poles themselves do not increase in its functionality. The biggest insight to our research was what the product suggested about the user, and what it can say about the user rather than what it can do for the user. The functionality of the ski pole can be basic similar to others in the market however the story of the product and how it makes people feel and how others perceive you with the product can make a big difference in the success of the product. This is in line with the ambience of HummingPuppy, where the surroundings, it studio layout and spatial distribution, along with its lighting and sound create an atmosphere in which the experience feels more upper class and exclusive. Another aspect of luxury comes from temperature control, where our ski pole seeks to include an attachment that can warm up the handle to help skiers escape the cold. When skiing, participants hardly notice the cold in their hands, focusing mainly on the activity, however the lifestyle travellers who go to the snow for leisure and don’t participate as much are able to feel the chill. In HummingPuppy’s situation, the ability to keep the room at a stable and comfortable temperature is expected (Mora 2018). 

The design practice shown through my design project is clearly aimed at finding out who the demographic of the market are, and finding a niche in the market that sets us apart from everybody else. We aim to add a bit of luxuriousness to the product that has a history of being simple and bland, and using materialistic properties in order to market the product. Similarly, the yoga studios in Juliana’s paper and Apple with its Watch are trying to set itself apart from the other by offering a service and product that appeals to all our sense as consumers, even if it doesn’t add any value to what they are selling, it adds value to how we and others perceive the brand, and to introduce new aspects to what we know as luxury.

References

[1] Featherstone, Mike. “Luxury, Consumer Culture and Sumptuary Dynamics.” Luxury 1, no. 1 (2014): 47–69

[2] Mora, Juliana Luna. The Yoga Industry: A Conscious Luxury Experience In The Transformation Economy, 2018.

[3] “Is Apple A Luxury Brand? That Depends On Your Definition Of Luxury.”. The Fashion Law, Last modified 2018. http://www.thefashionlaw.com/home/is-apple-a-luxury-brand-it-depends-on-who-you-ask-. (Accessed 7 April 2019)

[4] Harneis, Robert. “Courchevel: A Winter Playground For The Rich And Famous”, Last modified 2010. https://www.onthesnow.co.uk/news/a/11708/courchevel-a-winter-playground-for-the-rich-and-famous. (Accessed 7 April 2019)

From Bark to Neon: Indigenous Art from the NGV Collection is an exhibition running from 3 November 2018 to 14 July 2019 and seeks to display the evolution of Indigenous Art in Australia. It presents artists from all over Australia, coming from different backgrounds, from individuals working in Aboriginal art centres to art school graduates working independently (NGV  2018).  Like the title of the exhibition states, it shows the evolution of artworks from traditional forms such as cave paintings to a more modern interpretation through the use of neon lights, as shown in Brook Andrew’s Polemic (Figure 1), which utilises neon and mirrors to convey his ideas. This exhibition’s intentions align with those of the Australian Indigenous Design Charter (AIDC), where they seek to promote the representation and commission of Australian Aboriginal and Torres Strait Islander culture through design (AIDC 2016) Where artists wish to convey their experiences through their artwork, the AIDC wishes that more designers would promote ethical use of these experiences in their design work, while still capturing the raw essence.  

Before looking into the displays, walking around the exhibition there is definitely a sense of theming in the layout of the rooms. From the outside, the exhibition appears to be lively and joyful, with light coloured walls and brightly lit rooms. However, that changes when you enter the exhibition, past the first wall hides a detour towards a darker room (Figure 2) with less light, darker walls and less vibrant artworks. This seeks to represent the darkness and suppression that was evident in the history of the indigenous population.  The lighting that was used throughout the exhibition was effective in creating an ambience to the room and evoking emotions toward certain artworks that otherwise may seem normal. The path to take through the exhibition is entirely up to the audience, they can either start with the more joyful rooms then the darker rooms, or take a detour into the darker room and finish up with a smaller, lighter room. The course you wish to take will no doubt change your emotional standing at the end of the exhibition. The darker rooms also felt more cramped with less space to move around, where as the last section (Figure 3) is a light and airy space. 

In the last section, there was a piece in particular that stood out, one of the first pieces to be seen coming out of the darker room, with your attention directed at its vibrancy. Figure 4 shows an artwork by Sally Gibori that represents her husband, Pat Gabori’s Country on Dulka Warngiid (Bentinck Island), Dibirdibi, and tells a story where a Rock Cod ancestor of the same name has been said to have carved up the South Wellesley Islands using its fins and ultimately ending up on Sweers Island where he was caught and eaten (QAGOMA 2016). This story, among a couple others, is important to note as it creates the basis of which most of her paintings are derived from. This artwork is constructed by using synthetic polymer paint on canvas and was made on Mornington Island, located in North Western Queensland in the Gulf of Carpentaria, in the same area in which the artwork is representing.

Looking closely at the artwork, the brush strokes on the canvas are mostly harsh , and where the colours change, there is a buildup of paint. This could be a result of extreme emotions by Sally when the painting was created, and can be represented by the hardships she may have experienced in her life. This is important in the recreation of experiences through art as it allows for the audience generate their own emotions toward the artwork. 

In relation to the intentions of the AIDC, although the artwork may not directly impact the designs of others, It allows for the audience, who may well include designers, to take into account these experiences to be reflected in their design. In that case the procedure in the representation of the Aboriginal and Torres Strait Islander culture in their design practice is encouraged by the AIDC through ethical and sound principles. They have been conceived to be an agent of change and to help the indigenous reconciliation process in Australia, and to encourage cultural innovation through inclusiveness (AIDC 2016). 

For both the artwork and for design practices, respect and recognition are key aspects to the success of works. It is important to try and understand the culture and experiences of Indigenous Australians, and to represent this in the most ethical and accurate way. In the same way that Sally Gabori and other artists represented in the exhibition has tried to communicate her experiences, we as designers must recognise these experiences and to try to keep the emotion as raw as possible and to not dilute their views with that of our own. The AIDC intends to be used as a best practice guide when interacting with the indigenous people and representing their culture and provides framework in which to adhere to when attempting to express indigenous culture and our national identity. 

References

[1] National Galley of Victoria, “From Bark To Neon: Indigenous Art From The NGV Collection – Artwork Labels” 

[2] Indigenous Design Charter, “Protocols for sharing Indigenous knowledge in communication design practice”  p5-6

[3] Queensland Art Gallery, ANCESTRAL STORYS AND PERSONAL HISTORY OVERLAP IN SALLY GABORI’S ART. https://blog.qagoma.qld.gov.au/ancestral-story-and-personal-history-overlap-in-sally-gaboris-art/ (Accessed 28 March 2019) 

[4] Indigenous Design Charter, “Protocols for sharing Indigenous knowledge in communication design practice”  p8-9