A Quote by Priya Sachdev
India now has serious fashion consumers who do not think twice before splurging on an expensive luxury product.
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Most brands that are called luxury brands today are not true luxury brands. The globalization of fashion and luxury means you now find the same luxury brands in every city. The stores look the same, the products are the same. It is still a very good quality product but it is now readily available to everyone. It's a kind of mass luxury.
Consumers will purchase high quality products even if they are expensive, or in other words, even if there are slightly reasonable discount offers, consumers will not purchase products unless they truly understand and are satisfied with the quality. Also, product appeal must be properly communicated to consumers, but advertisements that are pushed on consumers are gradually losing their effect, and we have to take the approach that encourages consumers to retrieve information at their own will.
I told myself that I would not come back to women's fashion until I felt I had something new to say. I feel that fashion has become too serious and that the actual customer's needs have not really been addressed. Fashion needs to make one happy. It is a luxury and should enhance one's quality of life.
If a product is more expensive than another one and more sustainable in ecology, consumers will not buy it. We're in a very sharp competitive market.
When you go to make a purchase, take a look at the product and ask yourself: 'am I being cheated?' If a product from a 'fast fashion' chain is falling apart before you've even bought it, it's not a deal. It's the fast-fashion company trying to get you to buy something that is quick on trend but slow on quality.
I would really think twice about being a fashion designer if I was young right now, especially being an independent fashion designer the way I started it.
I think Seattle has a great sort of luxury and comfort sensibility, which I oftentimes think is lost in fashion for fashion's sake.
I think that gave rise to the type of practice that I - that I do now. I think it was informed by a very Marxist almost "use-value"-driven investigation of painting as agent. These are high-priced luxury goods for wealthy consumers, which are designed to deliver certain communicative effects.
Chinese consumers don't book hotel rooms that are as expensive as U.S. consumers.
Combining technology and fashion shouldn't be about PR gimmicks - they should genuinely enhance the experience of buying, owning and experiencing a luxury product.
I think there needs to be a general consciousness raising among consumers. So many consumers aren't aware of the backstory. They see the end product in the supermarket but don't know all the steps that it took to get it there, who helped to get the food there.
Partnering with Rent the Runway's innovative model, combined with their affinity amongst millennials, provides an exciting opportunity for us. Together, we're helping the next generation of luxury consumers discover and fall in love with designer fashion.
Sometimes I feel fashion is not open-minded enough. We need to push the old crowd to believe in what I believe, in the new generation. I remember when I started, my campaigns and and how I connected my love for music with fashion were a tiny bit controversial because they were like, 'How can you bring hip-hop or music into a luxury world?' or 'How you can be so connected to digital and use social media in luxury world?' Now it's changed, obviously, for the best, but I still think that we could push a bit more.
Just as producers often give consumers things they want but didn't think to ask for, consumers sometimes come up with surprising uses for new inventions. When a new product appears, it can uncover dissatisfactions and desires no one knew were there.
I hate fashion. Or the word fashion, which sounds colorful, extravagant, expensive and gorgeous. “I never wanted to walk the main street of fashion. I have been walking the sidewalks of fashion from the beginning, so I’m a bit dark.
If old consumers were assumed to be passive, then new consumers are active. If old consumers were predictable and stayed where you told them, then new consumers are migratory, showing a declining loyalty to networks or media. If old consumers were isolated individuals, then new consumers are more socially connected. If the work of media consumers was once silent and invisible, then new consumers are now noisy and public.
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