I’ve Never Called My Work Luxury. Here’s Why.
My Interior Design BA (Hons) Dissertation from 2011. A few things feel very “of their time”, but the design thinking still holds up.
Luxury is one of those words that gets used a lot in interiors. Everyone seems to be offering it. Websites, brochures, Instagram bios. It’s everywhere. I’ve never really described my own work that way. Not because I don’t believe in good design - more because I think luxury means something different to everyone. I wrote this dissertation (below) back in 2011 when I was studying Interior Design, looking at what luxury actually meant beyond the obvious price tag version. Even then I was more interested in how spaces feel than how much they cost.Fifteen years working in the industry (and now running my own business while raising three kids) hasn’t really changed that thinking. Most people don’t come to me asking for “luxury”. They want homes that function better. Spaces that feel calmer. Rooms that make everyday life easier. Most of the time, what people really mean by luxury is just thoughtful design. Good flow. Nice light. Materials that feel good to live with. Things that have been properly considered. I’m sharing this because it shows where my thinking started. Long before I had my own business, I was already thinking about what actually makes a space feel good to be in.
I still don’t really use the word luxury. I just try to make things feel right.
My dissertation is pasted below if you fancy a read. It’s from 2011 and it’s not short - if you make it to the end I owe you a coffee. If you’re an interior design student looking for dissertation inspiration, I hope it helps.
What Is ‘Luxury’ in Interior Design? Can thoughtful design create a sense of luxury through experience rather than expense?
March 2011
A dissertation for the course of BA (Honours) Interior Design at UCS.
Acknowledgements
I would particularly like to thank everyone who took the time to complete my questionnaire on luxury within design. Their contributions allowed me to explore a wide range of personal viewpoints and preconceptions surrounding the concept of ‘luxury’.
Introduction
In a world increasingly influenced by celebrity culture, wealth and image, luxury remains a topic worthy of investigation. Luxury is a word frequently used but rarely clearly defined. Within design, it is often associated with cost, exclusivity and status, yet increasingly it is understood through experience, comfort and emotional response. As expectations of design continue to evolve, understanding what luxury truly means - and whether it can be intentionally created - remains an important question for designers.
In the modern era lower price points have made traditionally “luxury” products and services more accessible than ever before. Luxury continues to adapt to changing economic and social conditions, while individuals increasingly pursue idealised lifestyles through the ownership of possessions and association with iconic brands. As Tungate suggests, luxury is something that ‘flexes easily with the times’.[i] Luxury is also highly subjective and shaped not only by social standing but also by culture, religion, gender and personal experience. For example many people in Western societies take for granted elements such as safety and stability within their everyday lives, yet these may represent unobtainable luxuries for those from less privileged backgrounds. Similarly a feeling of contentment after a stressful day may itself be considered a valuable luxury.
Each individual therefore possesses their own personal luxuries and their own understanding of what the word means. Luxury may imply exclusivity, refinement or sophistication, yet its meaning is far from universal. The term is widely used in everyday life and advertising, attached to everything from yachts and cars to bedding and household products. This widespread use often reinforces the assumption that luxury is primarily connected to wealth.
For the purposes of this investigation, the term luxury will be used broadly due to the difficulty of defining it in a way that reflects everyone’s personal perspective. Ultimately luxury remains an elusive and somewhat ambiguous concept.
The dictionary defines luxury as: ‘abundance, sumptuous enjoyment… a choice of costly surroundings, possessions or food… something desirable for comfort or pleasure but not essential.’[ii]
These definitions strongly associate luxury with extravagance. However this does not fully reflect the broader interpretations identified through initial research and questionnaire responses (which will be discussed later in this report). To explore more contemporary interpretations, I also considered definitions from the online Urban Dictionary. While not an academic source, it provides insight into how the public informally define terminology. Definitions are submitted and voted on by users, offering a snapshot of popular opinion. The definitions of luxury included: ‘to be on top of the world’, ‘an indulgence’, ‘something rare and difficult to obtain’, and ‘something very expensive that brings comfort and ease’. These interpretations arguably reflect modern perceptions more closely than traditional dictionary definitions.
The aim of this investigation is to determine whether designers’ luxury products and services are capable of creating a genuine sense of wellbeing or “luxuriousness.” Can designers introduce luxury into everyday experiences? Which designers successfully represent luxury? Coco Chanel famously stated: "Luxury is a necessity that begins where necessity ends." This raises further questions. Does upbringing influence how individuals define luxury? Does personal background shape expectations? While some definitions overlap, most remain deeply personal.
The Dutch philosopher Bernard Mandeville (1670–1733), author of The Fable of the Bees (also known as The Grumbling Hive) suggested that humans are naturally driven by self-interest and desire, and that the pursuit of luxury reflects these psychological motivations.[iii] For designers, understanding these perceptions is essential. Luxury carries expectations, and successful design must not only meet these expectations but exceed them. While many designers describe their work as luxurious, not all products will be perceived that way by every individual. Increasingly, luxury has become closely associated with the term designer, sometimes as a genuine reflection of quality and sometimes as a marketing strategy.
Textiles provide a clear example. Historically, materials such as silk, satin, angora and velvet have been associated with indulgence and luxury, while materials such as cotton or hessian are often perceived as more utilitarian. The use of silk curtains, for example, can create a tailored and refined impression within an interior while also softening the atmosphere of a space. Each material has a role within design, and when used appropriately, textiles can significantly enhance the enjoyment and experience of an interior. As Guild notes, ‘the layering of pattern adds to the air of romantic luxury.’[iv]
For this investigation, three designers will be examined: Paul Smith, Anne Kyyro Quinn, and the Italian furniture company Edra. Each represents a different approach to design and luxury. Through research into their work, alongside public questionnaires, this study aims to explore how luxury is perceived and whether design can actively create a sense of it.
To address the main research question, I will examine a broad range of perspectives, including contemporary social and political issues connected to perceptions of luxury. These include the MPs’ expenses scandal, in which politicians were criticised for claiming public funds for unnecessary personal purchases, highlighting issues of excess and entitlement. I will also examine the banking bonus controversy, where large personal bonuses during economic recession raised public debate about fairness and inequality. Similarly, footballers’ wages remain a subject of discussion, with many questioning whether such earnings are justified when compared with other professions. While professional athletes may have relatively short careers, the scale of their earnings often fuels debate about wealth, value and what constitutes a “luxurious” lifestyle.
This study will also explore social class differences to understand whether material possessions are viewed differently across economic groups. It will consider whether luxury is more closely associated with possessions among higher income groups, and whether simpler aspects of life may be considered luxuries among working-class communities. As Frank suggests, ‘no matter where you stand on the income scale… you cannot have escaped the effects of changes in the spending environment.’[v]
Finally, I will research the three selected designers in greater depth and, where possible, attempt to contact them to gain insight into their own definitions of luxury and their intended markets. Each designer approaches their work differently, and their perspectives may provide valuable insight into how luxury is interpreted within contemporary design practice.
History of Luxury
The history of luxury can be traced back to ancient civilisations. As early as Roman times, displays of wealth and indulgence were closely associated with power and status. By 476 AD, it has been suggested that the pursuit of pleasure and excess contributed to the decline of the Roman Empire. The availability of rich food, entertainment and elaborate social rituals often reflected the economic development and cultural priorities of a society.
Roman bathhouses, for example, were early demonstrations of luxury as experience rather than simply possession. These spaces combined architecture, engineering and social interaction to create environments centred on comfort and wellbeing. Trade also played a significant role in defining luxury, as rare and imported materials became symbols of wealth. As noted by Berg and Eger, ‘amber, ivory, incense, pepper and silk were the priorities of Roman trade’, and ownership of such items signified power and influence.[vi]
By 1453, European contact with the Muslim world had expanded trade routes, increasing access to spices, silks and other luxury goods from Asia. These imported materials became highly desirable due to their rarity and craftsmanship. Later, in 1912, the launch of the luxury ocean liner Titanic demonstrated how luxury had evolved beyond objects into experiences, combining engineering, interior design and service to create a highly aspirational environment.
Ancient Egyptian burial practices also demonstrate how luxury historically symbolised prosperity and status. Tombs were filled with jewellery, decorative objects and personal belongings intended to signify power and importance in both life and the afterlife. These burial practices reflected a highly structured and hierarchical society. Royal tombs often contained ritualistic objects believed to assist rulers in the afterlife, alongside everyday possessions, reinforcing the idea that wealth and status extended beyond death.[vii]
It has been suggested that ‘luxury as we know it today is rooted in old Europe’s royal courts’, where wealth, craftsmanship and patronage shaped early definitions of refinement.[viii] This influence can still be seen today, particularly in the restoration of Victorian and Edwardian buildings. Many designers seek to reintroduce elements of historical luxury through the careful renovation of period properties, preserving architectural detailing while adapting interiors for contemporary use.
Museums such as the Victoria and Albert Museum in London demonstrate how luxury objects and interiors once associated with elite society continue to influence modern design. Restored interiors and historical artefacts highlight how craftsmanship, material quality and decorative detail have long been associated with luxury environments.
The restoration of historic buildings also demonstrates how luxury can be connected to heritage and authenticity. By respecting original architectural features, designers can reintroduce a sense of character and timelessness. Older buildings often possess a depth and individuality that modern construction sometimes lacks, and careful restoration can re-establish a sense of prestige and atmosphere. Through thoughtful preservation, designers can create interiors that feel both historically significant and contemporary, reinforcing the connection between luxury and longevity.
Throughout history, luxury has also faced criticism. Religious and moral commentators have often argued that excessive consumption encourages inequality or moral decline. At the same time, economic theories such as historical materialism suggest that culture and social values often develop in response to economic conditions. From this perspective, luxury can be understood as a reflection of wider social and economic structures rather than purely individual behaviour.[ix]
Preconceptions of Luxury
Understandably, people hold a number of preconceptions about luxury, the most common being its association with money. This has increasingly become a dominant cliché. Over time, the context of luxury has become difficult to define precisely, yet the assumption remains that luxury requires significant financial investment. There is a widespread belief that a person must be wealthy to purchase or even consider products described as luxurious.
Luxury is highly subjective, yet it remains an important and integrated component of the modern world, particularly within the design industry. As designers, understanding these perceptions is essential because they shape expectations and influence how people interpret products, services and spaces.
Interestingly, luxury is not always defined by cost. Discount retailers such as Poundland, for example, often sell products marketed as “luxury” despite their low price point. This raises questions about whether luxury is truly about cost or whether presentation and perception play a greater role. Products may be inexpensive but packaged in a way that increases their perceived value, or they may be branded goods offered at a reduced price, creating the perception of a bargain luxury.
Packaging plays a significant role in this perception. Gift wrapping, presentation boxes, ribbons, tissue paper and other embellishments can elevate the perceived status of a product. Through careful presentation, retailers and designers can create a sense of occasion around a purchase, making products feel more special and desirable. In this way, visual presentation can increase the perceived value of a product regardless of its actual cost.
The high street retailer La Senza provides a good example of this approach. Their gift-wrapping services enhance the purchasing experience by adding a sense of care and attention that may otherwise be absent from fast-paced retail environments. Although their products remain affordable, the presentation elevates the experience, giving the impression of boutique or premium retail. This demonstrates how luxury can be created through experience rather than price alone.
As Malamed suggests, ‘an increased awareness of how people process visual information can help designers create meaningful messages that are understood on both a cognitive and emotional level.’[x] Designers must therefore remain aware of people’s expectations, beliefs and preconceptions. Without this understanding, it becomes difficult to meet emotional as well as functional needs.
Luxury does not necessarily need to be defined by expensive products. It can also exist within the quality of service provided. By exceeding expectations and creating thoughtful, enriching experiences, designers can introduce a sense of luxury through service, attention to detail and the overall client experience. In many cases, it is this level of care that ultimately creates the strongest sense of luxury.
Luxury Fabric
Fabric is present throughout everyday life, from furniture and bedding to clothing, automotive interiors and flooring. The UK clothing and footwear market alone was estimated to be worth approximately £46.05 billion in 2009.[xi] Within this context, so-called “luxury” fabrics are generally expected to demonstrate a high level of quality, exclusivity and durability.
In addition to meeting public expectations of what constitutes a luxury product, textile manufacturers must also meet practical requirements such as fire safety regulations and care labelling, which are now essential legal standards. Within interior design, textiles provide an effective way to introduce colour, texture and depth, while also contributing sculptural and tactile qualities to a space.
Tricia Guild, founder of Designers Guild (established in 1970), describes how materials such as silk curtains and sheer voiles can ‘create an atmosphere of intimacy, privacy and serenity’, and how fabric can contribute to ‘an air of quiet comfort.’[xii][xiii] Guild’s work demonstrates how carefully selected materials can shape the emotional atmosphere of an interior. Through the considered use of colour, texture and layering, fabrics can evoke particular moods and associations.
Material combinations also play an important role. The juxtaposition of crisp and smooth textiles, for example, can create visual interest while reinforcing a sense of comfort and refinement. Through thoughtful layering, designers can create a cohesive visual language that contributes to the overall perception of luxury within a space.
Today, there is an extensive range of textiles available, offering designers significant creative freedom. Selecting the right material is particularly important when designing interiors intended to feel luxurious. Even with a substantial budget, poor material choices can undermine the overall quality of a design. Conversely, thoughtful selection of appropriate fabrics can significantly enhance the final result.
Wedding dresses provide a clear example of how fabric is often associated with luxury. For many individuals, a wedding dress represents one of the most significant clothing purchases of their lifetime. Events such as the Designer Wedding Show at Battersea Park highlight how design, craftsmanship and individuality contribute to perceptions of luxury within fashion.[xiv] A luxury wedding dress is typically expected to combine individuality, quality and aesthetic appeal, helping the wearer feel confident and special on an important occasion.
However, luxury is not always associated with new or expensive materials. For some, vintage fabrics represent a different form of luxury. Reclaiming and repurposing older materials is often viewed as both environmentally responsible and aesthetically desirable. Vintage textiles offer uniqueness and individuality, ensuring that garments or interiors incorporating them are unlikely to be replicated. The website Luxury Vintage, for example, describes its products as ‘previously owned treasures’, reinforcing the idea that rarity can contribute to perceived value.[xv]
This connection between rarity and luxury is increasingly relevant in contemporary design. Restoring or repurposing existing materials can create distinctive outcomes that combine historical character with modern aesthetics. Similarly, introducing antique or vintage pieces into contemporary interiors can provide contrast and depth, often becoming subtle but important focal points within a space.
Fabric production methods also influence perceptions of luxury. As noted by Yates, fabrics are typically produced in lengths ranging from 30 to 80 yards depending on weight and production complexity.[xvi] In contrast, handmade or hand-printed fabrics offer greater flexibility and individuality, making them particularly attractive for bespoke design projects.
For designers working with high-end or bespoke projects, sourcing appropriate materials is essential. Carefully selected textiles not only meet functional requirements but also contribute to the overall experience of the space. Ultimately, the considered use of materials plays a significant role in shaping how luxury is perceived within both fashion and interior design.
Three Chosen Designers
Paul Smith
Paul Smith is an English fashion designer who was knighted in 2000 and is highly respected within the global fashion industry. This reputation alone contributes to the perception of his products as luxurious, reinforcing both their designer status and associated price point. Smith initially became known for his menswear collections, but his brand has since expanded into fragrances, accessories, furniture and lifestyle products.[xvii]
In an interview with Gisele Scanlon, Paul Smith described luxury not in terms of material possessions, but through experiences such as “time, silence, wild flowers and fields.” He further explained: "The preconceived idea of luxury is something that costs money, but for me the privilege of freedom is luxury… the privilege of silence, the privilege of being able to make your own decisions. It’s very different to a lot of people’s luxury."[xviii]
Smith’s perspective highlights an important distinction between material and experiential luxury. Rather than focusing purely on possessions, he associates luxury with independence, freedom and personal wellbeing. This reflects a broader understanding that luxury can be defined by quality of life rather than simply financial wealth.
Smith has also spoken openly about his practical approach to building his business:
"The reason I've been successful is because I've just got on and packed boxes… I've sold on the shop floor, I've typed invoices… at some point I've done everything."[xix]
This hands-on approach reinforces the importance of authenticity and craftsmanship within luxury branding. Smith’s success appears rooted not only in design talent but also in a strong understanding of the retail experience and customer expectations.
His personal blog, along with contributions to platforms such as Vogue.co.uk, further strengthens his brand identity by offering insight into his creative inspirations and interests.[xx] By sharing his design influences and creative process, Smith creates a personal connection with his audience, reinforcing brand loyalty and enhancing the perceived value of his work.
Given his international reputation, customers naturally expect a high level of quality and service that aligns with the prestige of the Paul Smith brand. This demonstrates how reputation itself can become a defining component of luxury.
Anne Kyyro Quinn
Anne Kyyro Quinn is a London-based textile designer known for her distinctive three-dimensional fabric designs, particularly her sculptural cushions and acoustic wall panels. Founded in 1999, her studio represents a smaller, more specialised design practice compared to the larger brands examined in this research.[xxi]
Although Quinn does not explicitly market her work as luxury, her designs possess qualities often associated with luxury products, including rarity, craftsmanship and artistic value. Her textiles demonstrate strong sculptural qualities and can often be viewed as functional artworks rather than conventional fabrics.
Quinn’s approach differs significantly from traditional textile design. Rather than relying on printed patterns, she creates texture and pattern through the physical manipulation of the material itself. Many of her designs use single-colour felt, with the visual interest created through three-dimensional surface structures rather than applied decoration. This approach results in highly distinctive and visually striking textiles.
Felt, her primary material, is typically made from wool fibres such as merino wool. Beyond its aesthetic qualities, felt also offers practical advantages, including acoustic absorption and flame-retardant properties. This combination of functionality and visual impact demonstrates how luxury can be created through performance as well as appearance.
A key aspect of Quinn’s work is the level of craftsmanship involved. Many of her pieces are hand-finished, making them difficult to mass produce. This level of labour and attention to detail contributes to their exclusivity. Unlike large retailers focused on rapid production cycles, Quinn’s work reflects a slower, more considered design process.
The vibrant colours and sculptural flexibility of felt allow Quinn to create highly individual pieces that would be difficult for larger manufacturers to replicate. This reinforces the connection between luxury and uniqueness. Her work demonstrates how luxury can emerge from innovation, craftsmanship and originality rather than simply brand recognition.
Because Quinn operates a smaller studio, she is also able to work more closely with clients, offering bespoke solutions and a more personalised service. This level of direct collaboration can itself be considered a luxury experience, as it allows clients to participate in the design process and receive highly tailored outcomes.
Edra
Edra is an Italian furniture design company founded in 1987, known for producing high-end, experimental furniture that combines craftsmanship with innovation. While less familiar to the general public than some brands, Edra is highly regarded within the design industry for its commitment to quality and originality.
The company works with a range of internationally recognised designers and craftspeople, producing distinctive, often bespoke furniture pieces. Edra describes its work as combining ‘a priceless combination of natural and man-made materials’ to achieve ‘unrivalled excellence.’[xxii] Their philosophy centres on pushing material possibilities and exploring new approaches to comfort and form.
Although Edra’s products are typically positioned at a high price point, their value lies in their individuality and craftsmanship. Many of their pieces are produced in limited quantities or made to order, making direct comparison with mass-produced furniture difficult. This exclusivity contributes significantly to their perception as luxury products.
Edra’s work has been exhibited in major international museums, including the Museum of Modern Art (MoMA) in New York and the Centre Pompidou in Paris. Such recognition reinforces the idea that their products exist at the intersection of design, art and innovation.
Unlike furniture that focuses purely on function, Edra places strong emphasis on both comfort and emotional experience. Their work demonstrates how technical innovation and human-centred design can coexist. The company refers to this philosophy as creating a form of “contemporary comfort,” combining ergonomics with visual experimentation.
Edra has also collaborated with Swarovski to produce its “Diamond Collection,” incorporating crystal elements into furniture designs. These pieces demonstrate how material experimentation and decorative detailing can elevate furniture into statement objects, further reinforcing associations with luxury through craftsmanship and exclusivity.
The company has collaborated with numerous respected designers, including art director Francesco Binfaré, who has previously worked with Le Corbusier; Masanori Umeda, a former consultant for Olivetti; and architect Massimo Morozzi. The involvement of such experienced designers reinforces the credibility and prestige of Edra’s work.
Through its focus on craftsmanship, innovation and collaboration, Edra demonstrates how luxury can be defined through design excellence rather than brand visibility alone.
Different Relationships With Luxury
Luxury is often historically discussed in relation to social class, but contemporary society shows that attitudes towards luxury are more accurately shaped by lifestyle, personal priorities and individual values rather than rigid class structures. While income can influence access to certain products or services, it does not necessarily determine how luxury is perceived or experienced.
Rather than being defined purely by wealth, luxury is increasingly connected to quality of life. For some individuals, luxury may mean comfort, stability and security. For others, it may represent time, freedom or the ability to enjoy meaningful experiences. This suggests that luxury is not simply about financial position, but about what individuals personally value.
For those with limited disposable income, luxury may be found in everyday comforts such as a welcoming home environment, time with family or small personal rewards. These forms of luxury are often overlooked when luxury is framed purely in financial terms. However, they demonstrate how emotional comfort and wellbeing can be just as significant as material possessions.
For individuals with greater financial flexibility, luxury may shift away from ownership and towards experience. Research and questionnaire responses suggested that many respondents valued intangible luxuries such as time, health and personal freedom more highly than material goods. This supports the idea that once basic needs are met, luxury often becomes more experiential than material.
As Nicolas Barbon observed as early as 1690: “The wants of the mind are infinite… as the mind becomes more refined, desires increase for things that provide ease, pleasure and comfort.” [xxv] This observation remains relevant today, suggesting that luxury evolves alongside personal development and changing priorities.
Increasingly, traditional social boundaries are becoming less relevant to how luxury is experienced. Modern consumers are more likely to define luxury through personal meaning rather than social hierarchy. Regardless of background, many individuals place the greatest value on factors such as health, time, family wellbeing and personal happiness.
Common expressions such as “money cannot buy happiness” reflect this understanding. While financial security can provide comfort and opportunity, it does not necessarily guarantee fulfilment. In many cases, financial stability simply allows individuals to focus more on non-material luxuries such as wellbeing and personal relationships.
For designers, this shift has important implications. Understanding a client’s values, lifestyle and expectations is often more important than understanding their financial position alone. A successful design outcome depends not only on budget, but on how well a space supports the way someone wants to live.
Ultimately, luxury appears to be less about status and more about experience. Regardless of background or income, people tend to value environments that make them feel comfortable, understood and supported. This reinforces the idea that luxury is best understood not as a fixed category, but as a personal and evolving concept shaped by individual priorities.
Luxury in Advertising
The terms luxury and designer have become increasingly intertwined within the design industry, often being used interchangeably. For many consumers, designer branding has become synonymous with luxury, largely due to the status associated with recognised names. This association becomes even more powerful when such products are perceived as financially attainable.
Luxury goods have increasingly come to function as symbols of identity and social positioning. As access to branded goods has expanded, luxury has become less about exclusivity alone and more about perceived lifestyle and personal aspiration. As consumers, we are naturally drawn to beautiful objects and environments, often seeking experiences that extend beyond basic necessity.
As Patrizia Pressimone, director of architecture at the Paris department store Printemps, states: “Luxury is not measured in dollars – it is measured in details.”[xxvi] This highlights the importance of craftsmanship, presentation and experience in shaping perceptions of luxury.
Perfume provides a clear example of how luxury is communicated through advertising. Fragrance marketing frequently relies on sensual imagery, cinematic storytelling and aspirational lifestyles to reinforce the perception of luxury. Perfume itself offers an intangible experience - scent cannot be seen or touched in the same way as physical products - yet it is strongly associated with indulgence and personal identity.
Historically, perfume has long been connected with luxury. As Tungate notes, ‘pretty glass bottles were prisms through which everyday consumers could glimpse a life of luxury.’[xxvii] The presentation of perfume, particularly through carefully designed packaging, reinforces its symbolic value. This connection can be traced back as far as Ancient Egypt, where glass containers were used to preserve valuable fragrances.
Despite this association, perfume is not an essential purchase. More affordable alternatives are widely available, yet designer fragrances from brands such as Chanel, Yves Saint Laurent and Tom Ford continue to command premium prices due to their brand reputation and perceived prestige.
Promotional strategies also play an important role in shaping perceptions of luxury. For example, a television advertisement from December 2010 promoted Estée Lauder products by offering a complimentary “luxury” gift bag with purchases over a certain value. This raises an interesting question: if a luxury product is offered as a free incentive, does this affect its perceived exclusivity?
Such strategies demonstrate how luxury can be constructed through marketing language and presentation. While exclusivity traditionally relied on scarcity, modern advertising often balances aspiration with accessibility, allowing consumers to feel connected to luxury brands even through relatively small purchases.
Fashion and Trends
As noted by Berg and Eger, ‘new trade in luxuries in the eighteenth century stimulated innovation in technologies, products, marketing strategies and commercial institutions.’[xxviii] These same drivers continue to shape the luxury market today. Luxury remains closely linked with fashion and trends, not only through aesthetics but also through comfort, experience and marketing.
Fashion plays a significant role in how individuals present themselves. First impressions are often influenced by appearance, and clothing can act as a visual indicator of identity, taste and social positioning. In contemporary society, image has become increasingly important, whether in fashion, media or digital culture. It is not uncommon for individuals to be judged, consciously or unconsciously, based on what they wear.
Luxury within fashion is often associated with ideals of beauty and desirability. Advertising reinforces this relationship by presenting carefully styled imagery that connects fashion with aspiration. As Holt suggests, ‘people identify strongly with cultural icons and often rely on these symbols in their everyday lives.’[xxix] The use of well-known figures such as David Beckham or Kate Moss in advertising campaigns reinforces consumer confidence by linking products to recognised personalities and lifestyles.
Luxury fashion trends encompass a wide range of designers, styles and influences. Purchasing a garment from a recognised brand such as Chanel, for example, carries not only an expectation of quality but also an association with the brand’s heritage and reputation. Brand prestige often plays a significant role in shaping perceptions of luxury.
The importance of brand reputation is further demonstrated by the response of fashion houses to public controversy. For example, Christian Dior dismissed its creative director John Galliano following allegations of racist remarks, reinforcing the importance of brand values and public image.[xxx] Luxury brands rely heavily on maintaining credibility, and reputational damage can have significant commercial consequences.
Another example of evolving luxury trends can be seen in the popularity of customisable jewellery, such as charm bracelets from brands like Love Links and Pandora. These products allow consumers to personalise their purchases, creating a sense of individuality and emotional connection. This reflects a growing trend towards accessible luxury, where personalisation and self-expression contribute to perceived value.
The relationship between luxury and the internet has also evolved significantly. Initially, many luxury brands were reluctant to establish an online presence, as exclusivity was traditionally associated with controlled access and physical retail experiences. As Okonkwo notes, ‘most luxury companies were initially reluctant to adopt the internet until they realised that the wealthy consumer segment was increasingly online.’[xxxi]
This hesitation reflected a perceived contradiction: luxury traditionally depended on rarity and exclusivity, while the internet is inherently mass-accessible. As a result, some brands initially questioned whether online retail could align with luxury values. However, as digital platforms developed, many luxury companies recognised the opportunity to expand their reach while maintaining brand identity. Today, digital presence is an essential component of luxury brand strategy.
My own experience working part-time as a style advisor for Arcadia Group Ltd., one of the UK’s largest privately owned fashion retailers, provided practical insight into how trends are developed and marketed. Arcadia operates several well-known high street brands including Topshop, Miss Selfridge and Evans. Through this role, I observed how collections are presented through themed style groupings designed to create cohesive visual narratives.
For example, Spring/Summer 2011 collections included themes such as Modern Romance, described as relaxed daywear with a contemporary, minimalist aesthetic, and Nomad Spice, inspired by African prints and characterised by neutral tones combined with rich greens and warm spice colours.[xxxv] These themed collections demonstrate how storytelling and visual merchandising contribute to consumer engagement.
The grouping of clothing, accessories and colour palettes encourages multiple purchases by presenting coordinated looks. This approach not only enhances the customer experience but also increases average transaction value. Fashion media such as Vogue further reinforce these trends by presenting key shapes, colours and materials emerging from international fashion shows.
The experience of shopping itself can also be considered a form of luxury. The anticipation of new collections, the visual presentation of garments and the process of selecting items all contribute to the emotional appeal of fashion consumption.
While much fashion is mass-produced, limited edition collections and boutique ranges continue to appeal to consumers seeking exclusivity. Purchasing from boutique collections often provides a sense of individuality, as limited production reduces the likelihood of widespread ownership. This reinforces the connection between rarity and luxury, demonstrating how exclusivity continues to influence consumer perceptions.
Authenticity
As Phillips notes, ‘the knockoff economy is already so huge that it supports entire regions, even countries.’[xxxvi] Despite this, most consumers continue to value authenticity, not only those driven by status or materialism. One of the primary reasons for this preference is the assurance of quality that accompanies genuine products, compared to the uncertainty associated with counterfeit goods.
Authentic products offer reliability, craftsmanship and brand integrity, whereas counterfeit products often involve financial risk and uncertainty. Beyond financial considerations, authenticity also carries emotional and psychological value. While some consumers may be motivated by status, authenticity also relates to trust, longevity and the reassurance of owning a legitimate product.
Imitation products, even when visually convincing, often lack the intangible qualities associated with genuine design. Counterfeit goods may replicate appearance, but they cannot replicate heritage, craftsmanship or brand identity. As a result, ownership of counterfeit products may undermine the very sense of value or prestige that consumers seek.
The issue of counterfeiting has become significant enough to warrant institutional attention. The Union des Fabricants in France, for example, established the Museum of Counterfeiting to raise awareness of the impact of imitation goods. Consumers are increasingly educated about the risks associated with counterfeit purchases, although some still unknowingly purchase fake goods due to the appeal of lower prices. As Phillips observes, ‘delight at a discount price can overrule suspicion.’[xxxvii]
The global counterfeit trade is also associated with wider ethical concerns. The production and distribution of fake luxury goods has been linked to illegal trade networks and exploitative labour conditions in developing economies. As Phillips argues, ‘there are no good counterfeits. Fakes destroy honest companies and harm innocent people. When you buy them, you support this activity.’[xxxviii]
Regulatory frameworks such as import controls, intellectual property protections and quality standards exist to protect both consumers and legitimate businesses. These measures help ensure that products meet expected standards of quality and authenticity, reinforcing trust in recognised brands.
Historically, luxury has often been associated with desire. However, as Berry notes, this association was not always viewed positively. Prior to the eighteenth century, luxury was often considered morally questionable or socially harmful.[xxxix] Today, however, luxury is more commonly viewed as an expression of quality, innovation and design excellence.
Contemporary discussions of luxury increasingly emphasise authenticity, sustainability and ethical responsibility. Organisations such as the Authentic Luxury Association (ALA) advocate for a definition of luxury based not only on quality and exclusivity but also on social and environmental responsibility. The organisation states: ‘Luxury must be something meaningful and lasting… superior social and environmental performance is becoming a defining aspect of elite design and consumer experience. Luxury should lead, not lag, in the transition to a fair and sustainable world.’[xl] This perspective reflects a growing expectation that luxury brands demonstrate not only aesthetic excellence but also ethical credibility. Increasingly, luxury is associated not only with beauty and desirability but also with integrity, responsibility and long-term value.
Related Contemporary Issues
Expenses Scandal
The recent expenses scandal is something which involved MP’s claiming selfish, and in some cases ludicrous objects. I read in January this year that ‘Chaytor [became the] first politician to be sentenced over the expenses scandal’[xli] and more recently the former labour MP Eric Illsley has been jailed for twelve months due to claiming £14,000 worth of tax payers money. But there were so many other unnecessary claims made by other MP’s and remarkably by their families also. Even the former Prime Minister Tony Blair claimed expenses of seven thousand pounds worth of roof repairs just two days before he stepped down as prime minster on the 27th June 2007[xlii].
Eddie McGrady, a Northern Ireland MP chose a five star boutique hotel in which to stay that cost the public tax payer £315 a night[xliii], as well as thousands of pounds for food and other personal services within the hotel. All of these affairs were seen to be extremely unfair to the public, who were amazed by the fact the MP’s thought they would get away with their fraudulent claims. The system appears to be failing in many respects; MP’s are becoming able to use money which is not rightfully theirs to purchase costly yet unneeded luxuries for themselves.
David Ruffley
Having contacted the local conservative Member of Parliament Mr. David Ruffley, a friendly e-mail (see appendix 1.0) back was received where Ruffley explained briefly his personal viewpoints on the recent expenses scandal; he however did not wish to comment on his own personal ‘luxuries.’ He explained that ‘652 Members of Parliament in the last Parliament had their allowances individually audited by an independent auditor, Sir Thomas Legg QC.’ Ruffley himself was one of the mere ninety MP’s whom Sir Thomas deemed to have kept to the rules regarding claims. Ruffley went on to say, ‘Sadly, the same cannot be said of members of the current cabinet’.
Bankers Scandal
During the hard financial times of 2010 there was a public outcry about the banker’s scandal, where bankers were getting paid extremely high personal bonuses which were not justified, in the middle of a hard hitting and currently on-going recession. This seemed fundamentally unfair to every working person. Commercial markets are declining and money and mortgage lending has dropped among our society, yet bankers seem unaffected.
The personal annual bonuses being paid annually to bankers are substantial funds and a ‘luxurious’ sum. An article in the Telegraph[xliv] for instance showed that Royal Bank of Scotland paid huge individual bonuses to their work force, and at least one hundred of their employees received in excess of one million pounds each.
On the other hand, for the reason regarding the expense and money related risks incorporated in banking and the financial sector, Barclays Bank PLC were recently fined approximately £7.7m for failing to properly inform investors and their wide customer base of potential risks. As well as Barclays failing to train their staff sufficiently, that equated to them offering poor financial advice to potential and current clients. Although bankers are very qualified in most cases, the average banker is paid £100,000 annually; usually their bonus is 10% of the money which they have made for the company[xlv] which could be considered as extreme wage inequality. ‘The growth in inequality has been driven by the increasingly large bonus payments made to the better off,’[xlvi] this signifies that the less well-off are losing out as a result.
Footballers Wages
Touching briefly on Football, which is without a doubt a global phenomenon. Footballers’ high and ‘luxurious’ salaries are ever-increasing, but can these honestly be justified both financially and ethically? Today, the highest earning footballer in the world is said to be Cristiano Ronaldo (Real Madrid) who earns approximately £12m[xlvii] in a year’s salary, excluding huge advertisement fees and funding via sponsorship. Professional footballer’s may have a short career span compared to most, but the vast sums of money they are getting paid is outrageous. Comparing their annual salary to that of a skilled professional, highly qualified doctor or a soldier on the front line proves unbelievably shocking results.
However, capping the wages of the average footballer would affect the financial environment as the tax that footballers bring to the country is a vast amount of money. There will always be a number of contrasting view points, because of how popular football is among its fans. Remarkably the monthly wage of soldier is roughly £1150, to that of a footballer which is approximately £298,766. Online there is a FacebookÓ petition group to swap these two monthly salaries around, with a massive 141,108 (on 3rdFebruary 2011) of the internet-using public in agreement. There is also an online group which expresses desire of giving a footballer’s monthly pay to the ‘Help for Heroes’ charity. Therefore it appears people feel the money being given to footballers is required elsewhere and in some cases more important places.
Luxury in Different Cultures
Luxury is also a cultural phenomenon. A long-established global consumer culture connects countries, industries and individuals through trade and exchange. As societies develop, so too do their definitions of luxury. Historically, luxury has often been associated with foreign or imported goods. As Berg and Eger note, ‘from the earliest times the concept of luxury was associated with foreignness,’ with archaeologists and anthropologists identifying strong connections between luxury goods and international trade.[xlviii]
Rare and highly valued objects historically encouraged long-distance trade, with materials such as muslin, porcelain and lacquer imported from Asia becoming highly desirable in European markets. As noted in historical accounts, ‘Eastern and Oriental imports were part of the classical Western definition of luxury.’[xlix] Global exchange of materials and ideas has therefore played a significant role in shaping modern perceptions of luxury.
Without international trade and cultural exchange, many of the materials and products used in contemporary design would not exist. Improvements in transport and global supply chains have made these goods increasingly accessible, demonstrating how luxury can shift from rarity to relative accessibility over time.
Understanding how luxury is perceived across different cultures is essential, particularly for designers working in global markets. Cultural awareness helps avoid misinterpretation and ensures sensitivity to differing values and expectations. Standards of living, social structures and cultural priorities vary widely across the world, meaning that what is considered a luxury in one context may be viewed very differently in another.
For example, a technological product such as satellite television may be considered an everyday convenience in the UK, yet in less economically developed regions basic necessities such as food, healthcare or security may themselves be considered luxuries. This highlights how luxury is fundamentally relative and shaped by context.
In some developing economies, tourism provides an important source of income. Traditional crafts and handmade goods are often produced for visiting tourists, supporting local economies. While this demonstrates how luxury consumption can support livelihoods, it also highlights the uneven distribution of access to luxury experiences globally.
For many disadvantaged communities, access to what others might consider luxuries may be limited or non-existent. However, this does not necessarily mean an absence of contentment or quality of life. Cultural values, community structures and differing expectations all influence how wellbeing is understood.
Tourism itself can also be viewed as a form of luxury. Holidays abroad and leisure travel were frequently mentioned in questionnaire responses as personal luxuries. However, tourism also raises environmental concerns. Environmental researchers have highlighted the ecological impact of global travel, including carbon emissions, environmental degradation and habitat disruption. Approximately 900 million international trips were recorded in 2008, with this number continuing to rise.[l]
As environmental studies note, ‘tourism can damage coral reefs, pollute beaches and destroy wildlife habitats.’[li] This raises questions about whether certain forms of luxury consumption may have unintended environmental consequences.
At the same time, tourism remains economically important for many regions. A significant reduction in travel could negatively affect communities that depend on tourism for income. This demonstrates the complexity of luxury consumption, where economic benefit and environmental responsibility must be carefully balanced.
Ultimately luxury within a global context highlights the importance of perspective. What is considered a luxury is shaped not only by income but by culture, opportunity and circumstance. Recognising these differences reinforces the idea that luxury is not a fixed concept, but one that continues to evolve alongside global society.
Feedback on Public Questionnaire Results
An online questionnaire exploring public perceptions of luxury was created and distributed across various internet forums and social networking platforms. The responses proved insightful, revealing a wide range of perspectives and highlighting the subjective nature of luxury.
Responses to the question asking participants to list six personal luxuries were particularly varied (see Appendix 5.5). The answers ranged from gym memberships and beauty treatments to more intangible responses such as dancing, relaxation and warmth. This diversity of responses reflects the broad range of personal interpretations of luxury, as well as the influence of individual lifestyle, priorities and experience.
As expected, several respondents identified well-known designer brands as personal luxuries. Examples included L’Occitane cosmetics, Apple iPhones, Tiffany & Co. jewellery, Twinings tea and Chanel products. These responses reinforce the continued association between luxury and brand recognition.
Cars were another frequently mentioned luxury item, although many respondents did not own traditionally high-end vehicles. While brands such as Maserati or Porsche are typically associated with luxury, many participants considered their own everyday vehicles to be luxuries due to the comfort, convenience and independence they provide. As Frank notes, ‘our cars are not only faster and more luxuriously appointed, but also safer and more reliable.’[lii] This suggests that perceptions of luxury may be shaped more by personal value and utility than by price alone.
Among the fifty-five responses received, only one respondent described luxury negatively, referring to it as representing “selfish items.” Interestingly, the same respondent also identified warmth and clothing as personal luxuries, demonstrating how definitions of luxury can sometimes contain internal contradictions. This further reinforces the idea that luxury is a highly personal concept shaped by individual circumstances.
More broadly, responses revealed inconsistencies in how luxury was defined. Some respondents strongly associated luxury with wealth, while simultaneously identifying everyday possessions as personal luxuries. For example, a respondent might define luxury in financial terms while also considering their own car a luxury due to its comfort or reliability rather than its price.
When asked to define luxury in their own words, many respondents referred to expense or financial value, which was anticipated.
However several responses offered more experiential definitions. Notable examples included:
‘being pampered in a busy world’
‘having the freedom to stop working’
‘the finer things in life’
‘something meaningful and always appreciated’
‘something well made’
‘something above usual standards’
‘goods that cannot be easily replaced’
Interestingly, many definitions described luxury simply as “something,” reflecting the difficulty respondents faced in clearly defining the term.
When asked whether luxury is related to money, just over half of respondents (51.9%) agreed. Only 5.6% strongly disagreed, while 18.5% selected “not sure.” These findings suggest that while financial associations remain strong, there is also significant uncertainty surrounding the role of money in defining luxury.
Graphs illustrating the questionnaire results are included in Appendix 5.0. Overall, the responses demonstrated considerable variation in opinion, reinforcing the idea that luxury is closely connected to personal values and individual priorities. The findings strongly support the argument that luxury cannot be defined by a single universal meaning, but instead remains deeply subjective.
Further Research / Towns and Cities
Urban environments also play a significant role in shaping perceptions of luxury. Cities are not simply collections of buildings but centres of culture, innovation and experience. As Wetherill notes, towns have historically been ‘places in which new ideas and new ways of life are first introduced,’ often encouraging visible displays of wealth and status.[lv]
London, for example, continues to hold significant cultural and commercial prestige. As the capital city, it offers access to global brands, cultural institutions and unique retail experiences. Locations such as Harrods, often described as the world’s most famous luxury department store, demonstrate how place itself can contribute to the perception of luxury.[lvi] The experience of visiting such environments can itself be considered a luxury, shaped by atmosphere, service and architectural character.
Urban environments are often perceived as socially and economically advanced compared to rural settings, influencing consumer behaviour and expectations. As research suggests, towns have historically played an important role in shaping consumption patterns and economic activity.[lvii]
Interestingly, even luxury retailers sometimes avoid using the word luxury directly. When Selfridges opened its premium retail space in 2007, it deliberately avoided the term, instead naming the area The Wonder Room. Creative director Alannah Weston explained this choice as an attempt to create something “special, accessible and exciting.”[lviii] This demonstrates how the meaning of luxury can sometimes be strengthened through experience rather than terminology.
So What Is Luxury?
Through extensive research into how people perceive and define luxury, it is clear there is no single universal definition. The questionnaire findings strongly support the idea that luxury is highly personal and shaped by individual values, experiences and expectations. Luxury has evolved into a concept with many meanings, making it difficult to define in absolute terms. As Berry suggests, the appeal of luxury appears to be ‘deeply rooted in human nature.’[lix]
This raises the central question of this investigation: can luxury products and services make us feel better?
Research suggests that, in some cases, they can. Certain products and experiences can contribute to comfort, confidence and wellbeing. Studies suggest that spending in certain areas can contribute to improved quality of life.[lx] However, the findings of this research also suggest that luxury is not always dependent on cost. Instead, it is often defined by the quality of service, attention to detail and the experience created by designers and providers.
For designers, this suggests that luxury is not simply about specifying expensive materials or products. A luxurious interior can be created by carefully understanding and exceeding a client’s expectations. Thoughtful spatial planning, appropriate material selection and careful attention to atmosphere can all contribute to a sense of luxury without necessarily increasing cost.
Often, it is the smallest details that create the greatest sense of refinement. Unexpected design features, carefully balanced materials, subtle transitions between spaces and the considered use of lighting can all contribute to a more enriching experience. Even simple elements such as natural light and shadow can dramatically influence how a space is perceived.
Importantly visual expense does not always equate to luxury. A space may appear opulent yet feel uncomfortable or impersonal. Conversely, a well-considered interior using modest materials may feel far more luxurious if it provides comfort, harmony and emotional satisfaction.
Luxury within design therefore appears to depend on thoughtfulness, time, care and creativity. It is not defined purely by cost but by the experience created. As this research suggests, luxury can in some cases provide what has been described as a ‘spiritual edge,’[lxi] reflecting its connection to emotional and psychological wellbeing.
This leads to an important consideration for designers. While opinions on luxury may differ, expectations of quality service remain consistent. As Kapferer suggests, ‘customers expect service to be at the same level as the creations brands are promoting.’[lxii] Luxury therefore often depends as much on service and trust as it does on the product itself.
Ultimately, luxury may be best understood not as a product but as a feeling. Consumers often value products not only for their function but for what they represent.[lxiii] While trends, finances and markets may change, the human desire for comfort, quality and meaning remains constant.
Luxury should therefore be considered an important part of the design process -not necessarily through cost, but through care, understanding and attention to experience.
Because ultimately, luxury may be defined not by what something costs, but by how it makes someone feel.
Perhaps the real question isn’t just what luxury is. But whether we are creating spaces that genuinely feel worth it. And whether we as designers are worth it too.
Appendices + References I have decided not to include.
If anyone is interested I can email you a full copy, just ask.
