Redefining Luxury: Bridging Cultures and Embracing New Narratives in the World of Fashion
<This speech of Kaori Nakano was given for the British Luxury Business Companies on 24/October/2023, at the Playhouse, Tokyo. Hosted by the Department for Business and Trade, British Embassy>
Ladies and gentlemen,
I want to express my heartfelt gratitude for extending this gracious invitation to me today. It is a true honor to stand before such a distinguished assembly of British luxury companies.
Allow me to introduce myself briefly. I am a fashion historian and journalist, engaging in the art of crafting books, articles, enlightening lectures, and offering counsel to companies at the intersection of the humanities, journalism, business, and lifestyle.
My journey has led me through remarkable experiences. Following my graduate studies, I was privileged to spend nearly a year as a visiting scholar at the University of Cambridge. Subsequently, I had the honor of serving as a specially appointed professor at Meiji University. Today, I enjoy the freedom of being an independent researcher, a pursuit I hold very dear.
Over the course of my career, I have penned 21 books, including translations and supervisory roles. My written words also grace the pages of several prominent media outlets such as Nihon Keizai Shinbun, Forbes, and Japan Business Press, among others. My research has delved into captivating topics, exploring the depth of British culture, the fascinating history of the suit, the evolution of dandyism, the ever-evolving world of fashion, and the timeless allure of British royal style. My latest endeavor revolves around the intriguing concept of "New Luxury."
Furthermore, I had the privilege of supervising the translation of the Mary Quant Exhibition, a global touring spectacle from the Victoria & Albert Museum, which graced Japan at the end of last year. In essence, Mary Quant holds a special place in my heart, as more than 35 years ago, she played a pivotal role in my academic journey. As a humble student, I sought to craft my graduation thesis on "The Social Revolution by Mary Quant." It was an era devoid of internet resources, and the materials in Japan were scarce. Lost in my quest, I penned a letter to the Mary Quant company in London, humbly requesting their aid. To my astonishment, within a month, Mary herself sent me an abundant treasure trove of company documents by airmail. Thanks to her generous assistance, I was able to complete my thesis, a debt of gratitude that lingers in my heart.
The Mary Quant exhibition was a resounding success, underscoring the deep-seated affection that most Japanese people hold for British culture. This affection extends across a myriad of domains. This year, I have had the distinct pleasure of speaking at various events, each a testament to the enduring allure of British culture.
For instance, in May, at the exquisite Hotel Okura, I delivered a lecture on Victorian jewelry during the "Victorian Jewelry of Love" exhibition.
The same month witnessed the coronation of King Charles, celebrated with grand dinners across various places. I was privileged to be invited to the Ritz Carlton Hotel in Osaka to speak at the audience with insights into the King's coronation robes and regal jewelry.
In the previous month, the 60th anniversary of the 007 films was commemorated with a 4K restored version of past films. Before the screening of "From Russia with Love," I talked about the distinct style of the six Bonds and the underlying British culture that shaped them.
From these engagements, it is evident that Japan's enthusiasm for all things British is at an all-time high. Beyond the fascination with the royal family, there exists a fervent devotion to fictional characters, including the iconic Bond, the brilliant Sherlock, the enchanting Harry Potter, and the beloved characters from Downton Abbey. Japanese department stores host British exhibitions of food and drink year-round, drawing massive crowds. Luxury hotels, too, orchestrate successful British fairs. These experiences reflect the Japanese public's desire to immerse themselves in the rich tapestry of British culture.
Turning our gaze to the luxury market, we can discern a unique facet. While it remains robust, supported by a select group of affluent consumers, the Japanese patrons who gravitate toward British luxury products exhibit a distinct maturity compared to their Asian counterparts. They eschew conspicuous consumption driven by vanity, instead seeking British luxury products for their profound cultural connections, and a deep-seated passion for the esoteric.
Apologies for the extended preamble. Today, my aim is to share a glimpse of the essence of the "new luxury" concept expounded in my latest book. "New Luxury" is a movement that has been gaining momentum, not just in Japan but across the world. I had the privilege of co-authoring this book with Mr. Anzai Hiroyuki, a Milan-based business planner. The English title of our work, "Decameron about New Luxury: The Quest of Alternative Economy and Culture," pays homage to Boccaccio's "Decameron," written during the age of the plague. It was fitting, for we penned this book during the COVID-19 pandemic, a testament to our resilience and creativity in trying times.
In this book, we advocate for luxury as a field that keenly senses the winds of change and creates new models that seamlessly weave the past into the present. To embark on this journey of luxury, a fresh worldview is imperative. I'm sure those in the luxury business here in the UK are well-aware that the perception of luxury is undergoing a profound transformation. A certain resistance to the French-centric, conglomerate-driven luxury business model has been stirring.
When I speak of "French-Centric Luxury," I'm referring to the globalized, capital-intensive luxury industry that has flourished over the past four decades, alongside growing financial and social disparities. Last year, LVMH became the first European company to break the $54.9 billion mark, symbolizing this transformation. The foundation of this business category was laid in 1984 when M. Bernard Arnault of LVMH acquired Christian Dior. Subsequently, brand conglomerates proliferated, with M. François Pinault founding Kering and the establishment of the Richemont Group in Switzerland.
The business strategy in this model is characterized by bold PR campaigns driven by substantial capital investments, globalization, and the use of creative directors as pawns. Unfortunately, this approach led to the fast-paced production and disposal of luxury items, resulting in a market oversaturated with mediocrity.
By around 2010, the luxury business had, dare I say, lost its essence of true luxury. Just for convenience, I categorize these business models as "old-type", a label that may never go out of fashion but could face a decline as society progresses toward reduced cultural and social disparities.
Nonetheless, a novel concept has emerged from within the luxury industry, known as "conscious luxury." This new paradigm is driven by social justice issues such as environmental concerns, gender and racial equality, and a commitment to transparency and fairness in the production process. Many companies are awakening to the need for "conscious luxury," with the luxury sector leading the charge.
As the old model undergoes a shift, a new generation of luxury startups is emerging from diverse corners of the globe, including Eastern Europe, India, China, and Japan. These startups are marked by their "new-type" characteristics:
Catholic vs. Protestant
Wealth-centric hierarchy vs. Fair and Diverse
Power to grant privilege vs. Inclusion, Community
Mystique vs. Transparent
I vs. We
Global Strategy vs. Intrinsic Creativity
Political Neutrality vs. Positioning and Social Creation
Extraordinary vs. Everyday Life
Stately Tradition and History vs. Light Time-Space Connection
The old model is gradually adopting features of the new, but both are expected to coexist, each appealing to different consumer preferences.
Striking a balance between business sustainability and social justice, especially when catering to both affluent clients and responsible practices, is indeed a formidable challenge.
One luminary who has risen as the flag-bearer of the new luxury is Brunello Cucinelli. His book, "Humanistic Management," has generated immense interest. Cucinelli's approach values the dignity of craftsmen, ensuring they receive wages 20% higher than the average Italian craftsman. This nurtures a sense of responsibility and creativity among the artisans, leading to the creation of beautiful luxury products. The profits are reinvested into Solomeo, transforming it into a thriving village with cultural amenities. This virtuous cycle, in turn, enhances the brand's value and perpetuates further growth.
While Cucinelli's approach is just one remarkable example, I foresee luxury's evolution towards a culture rooted in locality, ethics, and humanity. The ultimate aspiration is a world where nature, land, history, people, and technology harmoniously coexist.
Japan, too, has witnessed the emergence of luxury startups aspiring to this ideal. I shall highlight three such exemplars today, although my explorations over the past two years have uncovered many more. Time constraints compel me to focus on just these three companies.
The first, suzusan, is built upon Arimatsu shibori, a distinctive form of tie-dye produced in Arimatsu, near Nagoya. Hiroyuki Murase, the fifth-generation head of the company, established this brand in Dusseldorf, and it now trades in 29 countries worldwide, with Europe accounting for 70% of sales and North America for 15%. Murase's journey began with a vision: he observed the deep appreciation the foreign community had for Arimatsu-shibori and ventured to introduce it overseas. Today, Arimatsu is celebrated as a Japanese Heritage Site, and industrial tourism thrives.
Next, we have MIZEN. Their vision is to transform Japanese technology and craftsmanship into a brand. Collaborating with 12 Japanese production centers, MIZEN produces clothing of exceptional quality. The designer, Shunsuke Teranishi, known for his work with Hermes, ingeniously combines traditional kimono and knit with advanced techniques to craft luxurious items.
Kuska Fabrics in Tango presents the third example. For over 300 years, this production center languished as a subcontractor to Kyoto. However, Yasuhiko Kusunoki, the third-generation leader facing a precarious business future, instigated profound reforms. Leveraging his experience in the construction industry, Kusunoki designed a hybrid machine that combines handloom weaving with cutting-edge technology to create fluffy, lustrous silks. The exquisite blue hue, aptly named "Tango Blue," has found its way to Savile Row's Huntsman, commanding a price exceeding that of a Hermes tie.
While the old-fashioned, well-established luxury brands still flourish, diversification remains key in this era. I firmly believe that coexistence between old and new models is both beneficial and necessary.
Japan boasts numerous products with immense potential for luxury, underpinned by exceptional craftsmanship and technology. I sincerely hope that we can explore avenues of collaboration with you, strengthening the bonds between Japan and the UK.
As I conclude, I would like to inquire about the diversification you observe in the UK luxury industry. I eagerly anticipate hearing insights from those who are deeply entrenched in this world.
In conclusion, I am a keen follower of Walpole and frequently read the articles published by the organization. I perceive British luxury as a mature embodiment of tradition harmoniously coexisting with the avant-garde, rooted in individual origins rather than conglomerates. I firmly believe that British luxury, with its focus on cultural context over privilege, resonates seamlessly with the younger generation destined to shape the future of luxury in Japan. If there is a possibility, I urge you all to contemplate collaborations with Japanese production centers, a move I am convinced will not only yield remarkable products but also contribute to the creation of a new cultural tapestry.
Should you seek someone to identify the strengths of such unprecedented collaborations, write about them, and promote them, I am wholeheartedly at your service. Thank you.
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