Analysis On The Cross - Border Cooperation Between Luxury Brand And Contemporary Artist

The history of luxury goods is a long one, with origins as of status to becoming an integral part of macro-economy and cultural production. The rise of democracy in the 20th century, increase in consumption capacity, globalization, and advances in communication technology became the four major impetuses for growth in the luxury industry. The rapid development of economic globalization and consumption of luxury goods worldwide allowed luxury brands to cater to their consumers and focus their strategies around consumer buying behavior. This sudden increase in demand for luxury motivated luxury brands to explore new strategies to stimulate consumption by exploring all forms of art and possibilities for cross-border cooperation.Luxury goods can be organized and understood by three key aspects:rarity, time and dream value. The founder of each luxury brand tells a story through a design and aesthetic unique to the brand, and consumers place most value in a brand’s history, cultural value, aesthetics, and enjoyment of possessing the luxury item. These factors put together act as a presentation of the consumer’s self-value. According to the mechanism theory, art is defined as some sorts of form that reflects social life and personal thoughts and feelings. Artists are recognize as the "social recorders", those who can create a representation of contemporary social phenomena, tradition customs and aesthetic needs. In this paper, the luxury brand cross-border cooperation artists are those who have been authorized by the art institution as an art creator. The consumption of luxury goods contributes to cooperation between artists and brands. According to Maslow’s Hierarchy of Needs, the consumption of products that have been jointly made by artists and designers indicates an improvement in aesthetic demand, that a stable demand of luxury goods have achieved a status of being able to satisfy the consumers’aesthetic demands, and that the touch of an artist can increase a product’s value and increase in the level of Maslow’s Hierarchy of Needs. In the 1980s, Alain Dominique Perrin, former president of the Cartier group, established the Cartier Foundation for Contemporary Art. The foundation’s mission was to finance artists, thereby pioneering the collaboration of luxury brands and artists.This paper aims to examine the relationship and cooperation between luxury brands and art, two seemingly unrelated and contrasting fields. The study will be conducted with the definitions of luxury, art, and artists, sponsorship of the arts, the establishment of art awards, corporate collections, art galleries, art foundations, product design; six types of cross-border cooperation. This paper will analyze the cases of Louis Vuitton and Cartier to more deeply understand how cross-border cooperation ushered in more young consumers between 2001 and 2008, while breaking from traditional screen printing into creating wearable works of art. The case study on the Cartier Foundation for Contemporary Art will focus on how funding artists and advocating cultural creation opened a new chapter in art by bringing in infinite new possibilities for contemporary art. The collaboration between art and luxury was beneficial to both sides:artists can make the brand appear more "artistic," while luxury brands can act as a philanthropist by assisting in rapid integration into new markets and new opportunities. Collaboration with luxury brands also provides artists with a platform to showcase their work, making luxury brands a key contributor in the development of contemporary art.