Emotional Drivers Swarovski
The motives behind consumer decisions to purchase luxury brands like Swarovski have been studied in a number of researches. The general findings of these studies have been that these motives are largely emotional, and that they are evolving as the composition of the luxury market segment changes. De Mooij (2005) defines emotion as an "interaction between cognition and physiology." The characteristics of emotion that or of greater concern to luxury brand managers are that emotions are learned and that they vary from culture to culture.
The mode of expression of emotion also varies by culture. In capitalistic societies, consumption has evolved into a unique mode of expression of self-satisfaction, self-esteem and self-pleasures. These buying motives shape the perceptions of various brands among consumers, along with brand loyalty and brand image. De Mooij (2005, p. 116) explains luxury brand buying motives in terms of collectivism/individualism and masculinity/feminism. Conformance may be the dominant buying motive in collectivistic societies such as the emerging Asian markets of China, Russia and India. Hence, the buying motive here may be the expression of status or social class.
This is an important point for Swarovski if it wants to enter the large markets for luxury goods in these countries. On the other hand, in individualistic societies, uniqueness is valued and so self-expression or self-pleasure may be an important buying motive for luxury brand consumers.
Kapferer (2008, p. 107) has also attempted to identify the buying motives for luxury brands on an individual level by segmenting the luxury consumer market into four categories. According to the degree of separation and the increasing magnitude of the distance with the general market that does not purchase luxury goods, these consumers are motivated primarily by the beauty and the high quality of the luxury product. Thus, for a Swarovski consumer falling into the first category, the buying motive is likely to be the superior quality and the elegance of the Swarovski crystal chandelier.
In the second category, Kapferer (2008, p. 107) places consumers who seek creativity and novelty. They are primarily motivated by the aesthetic and creative attributes of the Swarovski product. They may purchase a radically new design and may be the pioneers among the consumers. The third category of consumers is motivated by the timelessness and the reputation that the brand has earned over the years. These consumers are often termed as old money in common terms. The fourth category of consumers is perhaps motivated least by the functional aspects of the brand and is primarily interested in the scarcity or rarity of the brand. They may be wealthy collectors for whom the product may be a work of art or a valuable specimen.
Chevalier & Mazzalovo (2008, p. 172) help to further elaborate on the buying motives of individual luxury consumers. The buying motives are based on the characteristics of the recently wealthy classes such as the corporate executives and owners of Internet companies. They are motivated by a desire to seek self-improvement and self-elevation. They also seek to develop a distinct identity and stand out from the crowd. They are creative and are attracted towards novelty and a fusion of diverse ideas and styles. They are inspired by aesthetic beauty and seek to improve their appearance and their social status. The purchase of respected luxury brands is one way of signifying to the society and to their reference groups their rise in social status.
Luxury brands like Swarovski are seen to attract the attention of this segment because the brand has been able to successfully reach out to the desire of this segment to assert its individuality by providing designs that are trendy yet elegant. Chevalier & Mazzalovo (2008, p. 173) also make note of the prevalence of older buying motives such as the high price of the product or its rarity. However, these are not perceived to be as dominant as they once used to be and the luxury brands have adapted to this change successfully.
Kapferer (2012, p. 67) also identifies some of the distinctions between fashion, premium and luxury brands. He states that consumer demand for fashion brands is motivated by a desire to imitate and conform. In addition, fashion brands are transient and changes frequently. On the other hand, luxury brands are timeless and go beyond simply high quality and technological sophistication. Demand for them is motivated by a desire to elevate oneself in the social group and to reflect personal taste.
Along with the cultural and individual level buying motives identified above, Patrick & Hagtvedt (2009, p. 270) also distinguish...
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