The concept of luxury is evolving, shifting from material possessions to experiences, ambience, and emotional connections, as discussed by thinkers like Kapferer, Bastien, and Kabakov.
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[...] In this way, luxury becomes a sensory mode of knowing - an emotional knowledge shaped by ambience rather than argument. Secondly, for the philosopher Lambert Wiesing, luxury is not an intrinsic property but a feeling that emerges through an act of perception. Then, luxury is perceived as a visual and cultural construction and is dependent on the receiver's ability to identify the aesthetic value of the experience. A luxury moment cannot be described as itself but happens with a perception deeply rooted in our social, cultural and symbolic education. [...]
[...] This pricing philosophy echoes Kapferer & Bastien's anti-luxury law: high prices are not dictated by cost but serve to symbolically reinforce value. At Villa Dahlia, high prices function as a signal that reflects wealth and cultural awareness: the ability to identify, appreciate and seek out that which is rare and sophisticated. In this context, price becomes a refined social filter, subtly attracting guests who share a particular aesthetic and worldview and preserving brand appeal while remaining beyond the reach of the majority. [...]
[...] SEB Dear CEO, Imagine hosting sound artist Jana Winderen for a creative residency that would transform your headquarters into a multi-sensory space. This immersive atmosphere would reimagine SEB as a haven of innovation, where the worlds of finance and art meet in tranquil harmony. Volvo Cars Dear CEO, Invite sculptor Janet Echelman to create a large-scale kinetic installation for the launch of your next concept car. Her fluid designs would reflect Volvo's commitment to elegance and sustainability, making the launch a major cultural event. [...]
[...] This strategic choice to maintain rarity preserves the quality and authenticity of its products. By renouncing rapid growth, Palmgren nurtures a controlled desire, faithful to the idea that luxury is founded on exception rather than abundance. Complicating the act of purchase: At CFHill, buying a work is not a simple matter: prices are not displayed, an exchange with the curator is required, and each acquisition implies personal involvement. This process, far from being an obstacle, is a strategy aimed at creating an exclusive experience. [...]
[...] A luxurious gift doesn't have to be expensive, it must be unique, thoughtful and meaningful. Here, luxury is about human connection. The most luxurious experiences are intimate and discreet, not meant for public recognition. From this perspective, luxury becomes a refined language of thoughtfulness and restraint. Jaffelin's emphasis on intention and attention as constitutive elements of luxury echoes Strannegard's notion that certain gestures carry epistemic weight. In Senses of Knowing, even a small gesture, such as the way a piece is prepared or a gift is given, can convey tacit knowledge, values and ethics. [...]
