Consumer Perceptionsacross Different Age Groups

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Making Sense of Heritage Luxury Brands: Consumer Perceptions across

Different Age Groups
Article in Qualitative Market Research An International Journal · June 2019

DOI: 10.1108/QMR-08-2017-0118
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Qualitative Market Research: an International Journal
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Making Sense of Heritage Luxury Brands: Consumer
Perceptions across Different Age Groups
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Journal: Qualitative Market Research

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Manuscript ID QMR-08-2017-0118.R3
Manuscript Type: Research Paper

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luxury heritage brands, heritage, luxury, age groups, Heritage luxury

Keywords:
dimentions, consumer perceptions
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Page 1 of 16 Qualitative Market Research: an International Journal
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TITLE: Making Sense of Heritage Luxury Brands: Consumer
8 Perceptions across Different Age Groups
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KEYWORDS Heritage luxury definition, heritage luxury characteristics, heritage consumer luxury perceptions.
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15 ABSTRACT:
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17 Scholars have repeatedly concluded that heritage is a significant value driver for luxury brands (e.g., Riley et al., 2004,
18 Fionda and Moore, 2009; Wuestefeld et al., 2012; DeFanti et al., 2014; Ardelet et al., 2015; Dion and Borraz, 2015; Dion and
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19 Mazzalovo, 2016). However, little is known on how consumers of different age group make sense of heritage luxury. The
20 purpose of this qualitative multiple case study is to investigate how consumers of different age groups make sense of her-
21 itage luxury brands (HLBs). To achieve this semi-structured, one-on-one, face-to-face interviews were conducted with
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22 twenty one consumers of HLBs who fell into one of three age groups: Emerging adults (18–25 years), middle-aged adults
23 (33–40 years) and older adults (67 to 74 years old). The findings of this paper explored the different perceptions of the
24 dimension of heritage in relation to luxury among consumers of different age groups. This paper focuses on the pioneer-
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25 ing contributions of Urde, Greyser, and Balmer (2007) in defining the dimensions of heritage brands. Although the di-
26 mensions of heritage brands defined by Urde et al. (2007) were useful as a starting point, differing perceptions among
27 consumers of different age groups emerged which need to be considered. Findings of this study showed that consumers of
28 all three age groups revealed three characteristics of HLBs. These are: Timelessness, quality craftsmanship and prestige.
29 The durability and lasting appeal of HLBs was attributed to their high-quality craftsmanship. Quality craftsmanship, rec-
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30 ognizability, and price contributed to the perceived prestige value of HLBs. It was apparent throughout this study that
31 HLB items helped participants feel connected to others, including their mothers or more remote forebears, their contem-
poraries, and their descendants.
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37 Dion and Mazzalovo, 2016). Although luxury and heritage
38 INTRODUCTION
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concepts originally generate from separate streams of

39 The luxury market environment that has been charac- research they share a common conceptual perspective in
40 terized by dynamism and growth (Phau and Prendergast, terms of their focus on uniqueness (Fionda and Moore,
41 2000; Băcilă et al., 2012), is in a state of transition chang-
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2009) and exclusivity (Alexander, 2009; Fionda and

42 ing the competitive dynamics and nature of research Moore, 2009). In particular, the consumption and use of
43 needed. Luxury is a core branding value traditionally certain brands enhances consumers’ perception of differ-
44 made viable by reinforcing its exclusivity, selectivity and entiation, exclusivity and status (Vigneron and Johnson
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45 limited accessibility (Kapferer and Bastien, 2009; Cheva- 1999, 2004).

46 lier and Gutsatz, 2012). Scholars repeatedly concluded that heritage is a signifi-
47 While luxury brands’ legitimacy has long been subject cant value driver for luxury brands (e.g., Riley et al., 2004,
48 to considerable questioning (Brown et al., 2003; Dion and Fionda and Moore, 2009; Wuestefeld et al., 2012; DeFanti
49 Arnould, 2011), heritage brands carry an association with et al., 2014; Ardelet et al., 2015; Dion and Borraz, 2015;
50 credibility and authenticity (Burghausen and Balmer, Dion and Mazzalovo, 2016). However, the associations
51 2015). This positive association is thought to be the result between heritage and luxury among different age groups
52 of the heritage brand’s image of authenticity (Alexander, are still unclear. For instance, heritage brands face a
2009; Fionda and Moore, 2009), reliability (Leigh et al., unique challenge of preserving an image anchored in his-
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2006) and uniqueness (Fionda and Moore, 2009; Ardelet tory and subject to complex associations (Balmer, 2011).
54
et al., 2015). The ongoing relationships between the past, present, and
55
Within the literature on luxury, heritage brands recent- future (Schultz and Hernes, 2013) was an emergent topic
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ly received considerable attention (e.g., Riley et al., 2004; in the heritage literature.
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Fionda and Moore, 2009; Wuestefeld et al., 2012; DeFanti In this paper we define what we refer to as “Heritage Lux-
58 et al., 2014; Ardelet et al., 2015; Dion and Borraz, 2015; ury Brands” as any luxury brand that has a long history
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Qualitative Market Research: an International Journal Page 2 of 16
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and have successfully retained original features or corpo- higher prices than other products with comparable func-
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rate stories from the past. We are concerned with the tions. Similarly, Nueno and Quelch (1998) described luxu-
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concept of heritage when associated with luxury brands. ry products as “those whose ratio of functional utility to
5 We therefore extend the stream of luxury research that price is low while the ratio of intangible and situational
6 identified heritage as key value driver of luxury brands utility to price is high” (p. 62). Most recent work on luxury
7 (e.g., Riley et al., 2004, Fionda and Moore, 2009; Wueste- emanate from Veblen’s 1899 classic theory of conspicuous
8 feld et al., 2012; DeFanti et al., 2014; Ardelet et al., 2015; consumption. According to Veblen’s conspicuous con-
9 Dion and Borraz, 2015; Dion and Mazzalovo, 2016). sumption theory consumers engage in luxury consump-
10 Given the challenge of sustaining heritage luxury and tion to display their wealth and gain social status. Hence,
11 constantly increasing relevance (Balmer, 2011; Wiedmann the social esteem of consumers, rather than the functional
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et al., 2011; Hudson and Balmer, 2013), this study examines utility motivates conspicuous consumption. As Veblen
13 how consumers of different age groups perceive heritage noted, “the members of each stratum accept as their ideal
14 luxury brands. Specifically, we will address the percep- of decency the scheme of life in vogue in the next higher
15 tions of emerging adults (18–25 years), middle-aged adults stratum, and bend their energies to live up to that ideal”
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16 (33–40 years) and older adults (67 to 74 years old) toward (1899, p. 84).
17 heritage luxury brands. We aims to understand the inter- However, Wiedmann, Hennigs and Siebels (2007) argued
18 play between heritage and luxury, to understand how that an integrative rather than a narrow view will better
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19 luxury brand consumers of different age groups are influ- embrace the multidimensional constructs associated with
20 enced by the heritage dimension. The relation between the luxury concept (Wiedmann et al., 2007).
21 luxury and heritage becomes particularly intriguing when Although the descriptive views of Mc Kinsey (1990) and
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22 we consider how it affects the perceptions of consumers Nueno and Quelch (1998) were criticized on the ground
23 of different age groups. that their view of luxury is too narrow and does not cap-
24 ture the subjective multidimensional nature of luxury
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25 (Wiedmann et al., 2007; Wiedmann et al., 2012; Roper et

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LITERATURE REVIEW al., 2013), their argument that luxury has higher intangible
27 Luxury value was supported by many other researchers (e.g.,
28 Over the past two decades, considerable research effort Grewal et al., 2004; Mbembé, 2004; Dubois et al. 2005;
Wilcox et al., 2009; Bian and Forsythe, 2012; Tynan et al.,
29 was devoted to defining what constitutes luxury. Luxury
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2010; Schade et al., 2016). In the same vein, it has been

30 as a concept was studied by many researchers and has
argued that luxury products’ uniqueness stems from the
31 been associated with different aspects like pleasure (Ber-
higher priority given by consumers to symbolic and social
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32 ry, 1994; Roux and Floch, 1996), beauty (Kapferer, 1997),

exclusivity (Pantzalis, 1995; Phau and Predergast, 2000; added values (Wiedmann et al., 2007; Phau and Prender-
33 gast, 2000). In fact, luxury brands typically compete by
34 Dubois et al., 2005, Fionda and Moore, 2009), and rarity
(Kapferer and Bastien, 2009). However, there’s still ambi- enhancing consumer’s perceived product value though
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guity around what really constitutes luxury (Kapferer, exclusivity, brand identity and brand awareness (Phau
36 and Prendergast, 2000).
37 1997; Miller and Mills, 2012; Kim et al., 2016). Desirable
but not essential (Dubois et al., 2005), luxury remains With exclusivity as a core element, the luxury sector con-
38
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complex and controversial (Wiedmann et al., 2007). Lux- tradicts the dominant logic of market accessibility (Du-
39 bois et al., 2005). The rules of the game are quite different
ury was mainly considered as an abstract concept built on
40 for these brands where exclusivity is a key element. This
consumer perceptions and defined by interpersonal and
41
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personal motives (Vigneron and Jonhson, 2004). challenge of preserving the luxury image was captured by
42 Kapferer and Bastien (2009) when they coined the term
The luxury concept was interpreted through different
43 “Anti Laws of Marketing”. As such, the luxury industry
perspectives and has been the basis of research work in
44 does not follow conventional marketing methods.
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economics (Smith, 1776; Marshall, 2000), history (Berg,

45 2005), cultural psychology (Hudders and Pandelaere, Heritage Brands
46 2012) and marketing (Vigneron and Jonhson, 2004; Kap- Inspired by their initial work on monarchies as “corporate
47 ferer and Bastien, 2009; Kapferer, 2012; Okonkwo, 2016). brands” with “royal heritage”, Urde et al. (2007) explored
48 Accumulated research has found that luxury brands con- the concept of brand heritage. Their main purpose was to
49 nect with consumers on an emotional level through their examine the key dimensions of a heritage brand's identity
50 multi-sensorial and psychological appeal (Dion and Ar- which they identified as its longevity, track record, use of
51 nould, 2011; Heine, 2012). The specificity of luxury is well symbols, core values, and organizational beliefs. They
52 documented in the luxury literature (Kapferer and Bas- asserted that heritage brands are a distinct branding cate-
53 tien, 2009; Kapferer, 2012) and entails a shift from tradi- gory that possess a unique leveraging effect. Since the
54 tional communication strategies (Kapferer and Bastien, publications of Urde et al. in 2007, there have been emer-
55 2009). gent interest in this topic.
56 Luxury brands from an economic perspective were de- Hudson and Balmer (2013) have drawn on Mead’s (1932)
57 fined by Mc Kinsey (1990) as those that can command work on the theory of the past to demonstrate that the
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historical aspect of heritage brands appeals to the con- commitment, and trust towards that brand. Consequent-
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sumer and fosters his engagement with the brand and its ly, brands that have a track record of delivering value over
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history. Again, heritage was mostly perceived as an asset time tend to inspire consumer’s trust and motivate pur-
5 to brands that are able to infuse the present with depth chase decisions (Rose et al., 2016).
6 and history (Balmer, 2011, 2013; Hudson and Balmer, 2013).
7 Temporal Orientation of Heritage
Consumer Perspective on Heritage Brand heritage entails a dynamic celebration of the past
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9 Within the general marketing literature that focuses on through the present and prospective future (Balmer, 2011,
10 products and brands rather than corporate identities, 2013). Accordingly, brands are able to leverage the past to
11 several scholars have implicitly or explicitly acknowl- project a contemporary image based on longevity and
12 edged the value of heritage in enhancing brand worth traditions (Balmer, 2011, 2013).
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13 (Georges, 2004) and brand identity (Keller and Richey, The temporal branding orientation influence on con-
14 2006). sumption and the tension between past, present, and fu-
Perceived by consumers as stable reference points, brands ture have generated a spectrum of marketing strategies
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with heritage usually generate a sense of stability and that have received considerable interest among scholars
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security in changing uncertain environments (Balmer, and researchers (e.g., Havlena and Holak, 1996; Holbrook
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2011). The early roots of heritage provoke brand associa- and Schindler, 1991, 2003; Merchant and Rose, 2013).
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tions with authenticity, sincerity, credibility and reliabil- Elaborating on the temporal orientation of the heritage
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19 ity (Urde et al., 2007). concept, the hereditary aspect of heritage across different
20 These favorable associations were shown to positively generations was explored by Balmer (2011).
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influence consumer buying behavior by helping the con- Consistency and durability of certain traits constitute key
22 sumer overcome the risks associated with the buying aspects of heritage (Urde et al., 2007; Balmer, 2011; Hakala
23 transaction (Kim et al., 2008). Similarly, the ability of the- et al., 2011; Wiedmann et al., 2011). Generally, whenever a
24 se brands to consistently deliver value over time, appear trait endures over at least three generations then it is ad-
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25 to inspire consumers to purchase those brands (Rose et missible to consider this trait as a dimension of its herit-
26 al., 2016). The consumer study of the perception of heritage (Balmer, 2011). Brown et al., (2003) emphasized the
27 age by Wiedmann, Hennigs, Schmidt, and Wuestefeld need to carefully manage heritage brands sometimes even
28 (2011) came to similar conclusions. Wiedmann et al. (2011) by recreating or adapting key attributes to reflect the
29 have investigated both value based drivers and outcomes complexities of different cultures and heterogeneous in-
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30 of brand heritage. Their findings are consistent with the dividuals (Brown et al., 2003).
31 views illustrated by Urde et al., (2007), Kim et al., (2008), Luxury and Heritage Brands Associations
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32 Balmer (2011) and Rose et al. (2016), who recognized her-

Research on both luxury and heritage have widened our
33 itage as a value driver for brands.
view on how certain brands enhance the value consumers
34 Heritage has also been shown to foster individual and
derive from them based on dimensions of authenticity
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collective consumer engagement with the brand (Misiura,

(Wuestefeld et al., 2012; DeFanti et al., 2014; Dion and
36 2006). This engagement through connecting with the
Borraz, 2015; Dion and Mazzalovo, 2016), uniqueness
37 origins of heritage brands is part of consumer and group
(Fionda and Moore, 2009; Ardelet et al., 2015) and famili-
38 identity making (Misiura, 2006). Consequently, the indi-
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arity (Wuestefeld et al., 2012; Ardelet et al., 2015).

39 vidual and collective engagement with heritage brands
A study of Riley, Lomax, and Blunden (2004) identified
40 helps shape consumer identification with those brand,
heritage, craftsmanship and tradition as the main drivers
41 therefore enhancing consumer preference and loyalty
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for luxury brand extension. They identified heritage as a

42 (Misiura, 2006).
sustainable competitive advantage that requires key con-
Merchant and Rose (2013) associated brand heritage with
43 sideration from luxury brand managers prior to any mar-
the construction and accumulation of brand-related sto-
44 ket expansion initiative.
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ries, narratives, and legends, communicated among con-

45 Fionda and Moore (2009) specifically addressed issues
sumers.
46 that are intrinsic to the marketing management of luxury
Rindell, Santos and de Lima (2015) recognized the influ-
47 brands. The focus of their study was to explore key di-
ence of corporate heritage imagery on consumer’s con-
48 struction of brand heritage imagery. They argued that
mensions of luxury brands’ success. Based on their find-
49 consumer’s image of brand heritage is formed through a
ings, they developed a model of interdependent crucial
50 multi-faceted network of previous images gathered from
success elements that includes heritage as one of the key
51 different sources. Hence, present heritage brand experi-
value drivers.
52 Further, the value of heritage to luxury brands is evi-
ences are shaped by past experiences through the accu-
53 denced by Gucci’s branding strategy, which the company
mulated construction of imagery (Rindell et al., 2015).
54 based on a “borrowed heritage” that the company did not
After examining the mediating effects between brand her-
55 possess originally (DeFanti et al., 2014).
itage and purchase intentions, the research experiment
56 Dion and Borraz (2015) observed that heritage premium
conducted by Rose et al. (2016) demonstrated the positive
57 luxury brands often have roots and are mystified to pre-
effect of a brand’s heritage on consumer’s emotions,
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serve their appeal. The historical legacy of luxury brands consider the dynamics of the temporal dimensions in-
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is translated through the sacralization of physical stores volved and draw on significant social values by harmoniz-
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where customers are denied access to certain areas to ing between the former, the contemporary and the pro-
5 reinforce their inaccessibility image (Dion and Borraz, spective (Wiedmann et al., 2011).
6 2015). This phenomena was demonstrated by Dion and For instance, nostalgic branding and heritage branding
7 Borraz (2015) through an analogy with the sacralization of are clearly differentiated in their temporal orientation
8 religious locations. (Wiedmann et al., 2011). While nostalgic branding entails
9 Wuestefeld et al. (2012) explicitly addressed the influence a preference for an idealized past away from a less desira-
10 of brand heritage on the consumer’s perceived value of ble present (Havlena and Holak, 1996; Holbrook and
11 luxury brands. Their study revealed a significant effect of Schindler, 1991, 2003), heritage branding tends to accept
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the brand heritage dimension on consumer’s perceived contemporary consumption behavior and seeks to har-
13 economic, functional, affective and social values. Hence, monize the past with the present (Balmer, 2011, 2013;
14 consumers were found to be highly aware of luxury Wiedmann et al., 2011; Hudson and Balmer, 2013).
15 brand’s heritage as they are strongly influenced by aspects Studies on retro branding (e.g., Brown et al., 2003; Catta-
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16 of familiarity, identity and cultural meanings (Wuestefeld neo and Guerini, 2012; Hallegatte, 2014), and revitalization
17 et al., 2012). of heritage brand (e.g., Dion and Mazzalovo; 2016) also
18 Ardelet, Slavich and Kerviler (2015) argue that a brand’s outline the different approaches to a brand’s past. Alt-
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19 ability to evoke self-referencing narratives enhances con- hough both strategies propose re-launching of brands
20 sumer preference by creating a bond between the con- that are associated with the past, a significant distinction
21 sumer and the brand through common stories. Consumer is that brand revitalization aims to modernize the brand
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22 self-referencing is better induced when the luxury brand identity, whereas retro branding aims to reinforce associ-
23 has a strong heritage thereby increasing the probability of ation with the brand’s past (Hallegatte, 2014; Dion and
24 preference towards such brands (Ardelet et al., 2015). Mazzalovo; 2016).
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25 They conclude that “exposures to brands with strong her- While brand heritage is authentic to the brand’s history,
26 itage tend to encourage the recall of narratives that con- retro branding consists of recently popular marketing
27 sumers build with the brand over time. Hence, the stronger tactics that aim to evoke aspects of the past based on pre-
28 the luxury brand heritage, the higher the capacity of the existing emotional touch points with the consumer such
brand to generate self-referencing narratives and the as old slogans, images or deep-rooted cultural representa-
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stronger the preference for the product” (Ardelet et al., tions (Brown et al., 2003; Hakala et al., 2011).
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2015, p. 2039). In general, scholars have repeatedly concluded that herit-
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In a recent study, Dion and Mazzalovo (2016) investigat- age is a significant value driver for luxury brands (e.g.,
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ed how luxury brands can be reactivated by rearticulating Riley et al., 2004, Fionda and Moore, 2009; Wuestefeld et
33 their unique brand heritage. The image of certain brands al., 2012; DeFanti et al., 2014; Ardelet et al., 2015; Dion and
34 is anchored in individual and collective memories (Brown Borraz, 2015; Dion and Mazzalovo, 2016). However, little
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et al., 2003). Therefore, the key to reviving those brands is known on how consumers of different age group make
36 lies in the way those brands can echo with the collective sense of heritage luxury. In our study, we seek to under-
37 memory (Dion and Mazzalovo, 2016). Heritage luxury stand to what extent emerging adults, middle-aged adults
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brands with the highest awareness in the collective and older adults derive perceived values based on HLB
39 memory of the public are the best candidates for success- dimensions.
40 ful heritage revitalization (Dion and Mazzalovo, 2016). Identity development theory
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Hence, luxury brands can be revitalized by leveraging on

42 According to identity development theorists, one’s age
symbolic and artistic dimensions (Dion and Mazzalovo,
affects one’s personal motivations (Erikson, 1963; Diehl
43 2016).
and Hay, 2011). Waterman (1982) commented that “the
44 Numerous marketing strategies have been linked with
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transition from adolescence to adulthood involves a pro-

45 heritage marketing including, iconic branding (Holt,
gressive strengthening in the sense of identity” (p. 42).
46 2004), nostalgic marketing (Havlena and Holak, 1996;
Identity and sense of self tend to change a person’s values
47 Holbrook and Schindler, 1991, 2003; Merchant and Rose,
and modify one’s human needs over a lifetime (Gutman,
48 2013), retro branding (Brown et al., 2003; Cattaneo and
1982; Sheldon and Kasser, 2001). These needs and values
49 Guerini, 2012; Hallegatte, 2014) and history marketing
often fluctuate during the early stages of adulthood and
50 (Zimmer, 1999; Olins, 2002; Ooi, 2002; Balmer, 2011).
adolescence, and are often stable during one’s middle age
51 Heritage brands as well as retro, nostalgic, historic and
and older adulthood (Erikson, 1963). Grouping consum-
52 iconic brands all deal with the past (Wiedmann et al.,
ers into different age groups helps identify distinct social
53 2011). However, heritage brands remain clearly differenti-
and behavioral characteristics exhibited at each stage dur-
54 ated from related constructs that tend to mostly refer
ing the lifecycle (Silvers, 1997).
55 branding to history (Wiedmann et al., 2011). While iconic,
Previous research on luxury consumption behavior had
56 retro, historic and nostalgic brands live on the power and
focused on particular age groups (e.g., Guido et al., 2015;
57 symbols of the past, heritage brands comprehensively
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Amatulli et al., 2015; Patterson and Pegg, 2009; Grotts and tend to engage in luxury consumption to serve value-
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Widner-Johnson, 2013). expressive functions (Schade et al., 2016). We therefore
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While Guido et al. (2015), Amatulli et al. (2015) and Pat- consider the perceptions of this age segment to under-
5 terson and Pegg (2009) specifically examined the luxury stand and explore how they make sense of heritage luxu-
6 consumer behavior of the older segment of the popula- ry.
7 tion, Grotts and Widner-Johnson (2013) were primarily Given that the weakening of cognitive ability tends to
8 concerned with the perceptions of the millennial group. become more visible at the age of 75 (Chasseigne et al.,
9 Generally, among cross generational literature on con- 1997; Law et al., 1998), Lambert-Pandraud (2011) defined
10 sumer behavior, researchers are inclined to concentrate two groups of old consumers “the old (60 to 74), and the
11 on one or two groups within a single study (Moore and very old (75 and above)” (p. 31) and commented that “Sub-
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Carpenter, 2008). jects aged 60 to 74 are considered separately from subjects
13 above 75” (p. 4).
14 METHODOLOGY For a better understanding of the perceptions of older
15 The purpose of this qualitative multiple case study is to consumers, we purposely focus on the old (60 to 74) in-
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16 investigate how consumers of different age groups make stead of the very old (75 and above) consumer segment as
17 sense of heritage luxury brands. This study will try to we intend to minimize the effect of declining cognitive
18 point to what entices consumers toward or from the her- ability and uncover older consumer’s undisturbed brand
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19 itage luxury brand. associations.
20 The following are preliminary research questions: Instrumentation
21 Q1. How do consumers of different age groups perceive
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In this multiple-case design, interviews with open-ended
22 heritage luxury brands? Q2. What are the main consumer questions constituted the main instrument. The aim was
23 perceived characteristics favorably associated with herit- not to study particular heritage luxury brands or market-
24 age luxury brands? ing strategies, but to understand consumer’s HLB percep-
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25 To learn of how different generational groups make sense tions among different age groups. As such, in depth inter-
26 of heritage luxury brands, we employed a qualitative mul- views with consumers seemed most appropriate, as they
27 tiple case study research design. Whereas quantitative help gain “a more accurate and clear picture of a respond-
28 research presents results in quantities (Patten, 2007), ent’s position or behavior” (Ghauri and Gronhaug, 2002,
29 qualitative researchers use the context or interpretive p.101). The interview questions across three different age
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30 lenses of the data in order to answer “how” and “why” groups: Emerging adults (18–25 years), middle-aged adults
31 questions (Patton & Cochran, 2002; Rossman & Rallis, (33–40 years) and older adults (67 to 74 years old) focused
2003).
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32 on their views, experiences, and brand perceptions.

Within the qualitative methodology, we utilized a multi-
33 Seven participants from three different age groups consti-
ple case study design. This method is a valuable means
34 tuted each case sample. The sample size in this study was
for researchers (a) to answer “how” or “why” questions, (b)
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adequate as it helped capture variations within the age

without manipulating the behavior of the participants,
36 groups. Similarly, Mason (2010) found that a sample size
(c) in a situation where the contextual conditions is rele- of twenty to thirty is most common in qualitative disser-
37 vant to a phenomenon, and (4) when there is a lack of
38 tation. In fact, several qualitative studies on consumer
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boundaries between the phenomenon and its context research have used smaller sample size to explore con-
39 (Yin, 2003). The open nature of qualitative research and
40 sumer attitudes (e.g, Thompson and Haytko, 1997; Eysen-
case study methodology are particularly relevant for this bach and Köhler, 2002; Green and Peloza, 2011; Öberseder
41
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research as it offered flexibility that helps unveil consum- et al., 2011). The sample exhibited some degree of diversity
42 er perceptions. in participant backgrounds including geographic, ethnic,
43 Qualitative research methods have become increasingly and socio-economic. As a starting point, access to partici-
44
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appropriate for examining consumer behaviors. Within pants was gained through personal contacts. Frequent
45 the context of luxury, qualitative market research meth- clients of luxury brands that corresponded to specific age
46 ods have been employed by many researchers (e.g. Dubois groups were considered for interviews. Then snowball
47 and Czellar, 2002; Lisa Maria Turunen and Laaksonen, sampling was used to select participants that were also
48 2011; Cervellon and Shammas, 2013; Kim et al., 2016). frequent clients of luxury brands. The selection criteria
49 While single case studies are often selected for their spec- for participants also included consumers within the spe-
50 ificity and uniqueness, multiple-case studies have the cific age groups of interest for the study.
51 potential to compare and contrast findings (Yin, 2009).
Data Collection
52 Hence, the use of multiple case study methodology allows
53 for a comparison of similarities and differences among Semi-structured, one-on-one, face-to-face inter-
54 and within cases to be conducted (Yin, 2009). Driven by a views were conducted with twenty one participants at a
55 need to express their self-identity (Erikson, 1963) and public place in which privacy was available. The average
56 demonstrate their personal achievements (Lesser and duration of the interviews was 60 minutes, and the inter-
57 Kunkel, 1991; Sheldon and Kasser, 2001), emerging adults views were audio-recorded using a digital recording de-
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vice. No unusual circumstances were encountered during ing an HLB item as, “Something that will stay with you
3
data collection, and there were no deviations from the always and you can pass on to your children and grand-
4
planned data collection procedure. children with love and care. Something that could be inher-
5 ited as it can be passed down to others”. Older adult Suzy,
6 Data Analysis
like middle-aged adult Dana, spoke of the consistency of
7 The recorded interviews were transcribed verba-
design over time:
8 tim, and the interview transcriptions were uploaded into
9 NVivo 11 software for analysis. Interview data were ana- I think that heritage brands keep something that
10 lyzed using the six-step protocol for thematic analysis perseveres...The logo never changes you know
11 proposed by Braun, Clarke, and Terry (2014). The first when you see a print. There’s always something
12 stage of analysis involved reading and rereading the inter- that reminds you that it’s heritage. When you see
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13 view transcriptions to determine patterns. This step was an Hermes you can definitely see consistency
14 followed by the use of key descriptive phrases through (Older adult Suzy).
codes in the dataset. Next, codes were grouped into larg-
15 Middle-aged adult Carla likewise spoke of the design sus-
er themes which lead to the identification of larger pat-
ali
16 tainability of HLB items:
terns in the interview transcripts, followed by a review
17
and revision of themes. The protocol then required a data Hermes, Chanel and the like have a trademark
18
to be thoroughly analyzed in each theme in order to op- the style is recurrent that’s why it keeps its value.
ta
19 timize categories and remove duplicates. The final stage You can wear the same bag for 20 years and it
20 of data analysis included the presentation of the final list still looks timeless because they keep reintroduc-
21
tiv
of recurrent themes across participant cases in according the same styles (Middle-aged adult Carla).
22 ance with existing theory and research.
23 Older adult Maria characterized heritage luxury fashion
24 FINDINGS as recurrent:
eM
25 Characteristics of Heritage Luxury Brands Well I don’t know. The designs of these heritage
26 brands are never lost. Yeah because there’s a cy-
The results showed that consumers revealed four charac-
27 cle in life where everything old becomes in again
teristics of HLBs. These are: Timelessness, high quality
28 especially those heritage brands. In the 50s we
craftsmanship and prestige.
29 had the bucket bag with solid leather once they
ar
30 Timelessness
were a hit and now as you can see they came
31 Participants in all three age groups reported the percep- back again all the vintage design and brands re-
ke
32 tion that heritage luxury brands are timeless. All seven turn. Designer houses like Hermes and Chanel
33 participants in the middle-aged adults’ age group men- had them back then the ones with shoulder
34 tioned this quality. Middle-aged adult Dana attributed straps you know. I’m sure you will find them on
35 the timelessness of HLB items to design consistency over
tR
auction today. Of course all these brand recycle

36 time: “Timeless items since the design is not evolving not their style (Older adult Maria).
37 changing they have classic design”. For middle-aged adult
High-quality craftsmanship
38 Fay, the timelessness of HLBs was due to their never go-
es
ing out of style: “These brands are classics, I can wear One of the reasons HLB items were perceived to be time-
39 less was that they were seen by members of all three age
them for 20 even 50 years”. Middle-aged adult Lina like-
40 groups as being made according to a high standard of
wise spoke of HLB items retaining their value over time,
41
ea
such that they might constitute a legacy for the owner to craftsmanship, which in turn made them durable and
42 consistently attractive. Three members of the emerging
hand down to her grown child:
43 adult group spoke of the quality of HLB craftsmanship.
44 These brands are classic and retain their value
rch
Emerging adult Rim spoke of the quality of the materials:

45 over time. This is why I buy them; I buy the very “When looking at heritage luxury brands I see something
46 high end brand because its fashion lasts. Chanel unique, different and classic. The finishing of the item
47 and Hermes could be passed on to your daugh- makes a big difference from other brands, the leather, and
48 ters. You can keep them for a very long period of even the quality”. Emerging adult Sara spoke of the quali-
49 time. (Middle-aged adult Lina) ty of the materials and also of the care with which those
50 Emerging adult Nour was the only one in this group who materials were assembled, referring to, “The quality of the
51 mentioned the permanence of HLB items, speaking in brand the texture the life span how long it would last.”
52 terms of the classic design of a specific piece: “I like the Three members of the emerging adult group
53 Hermes Birkin bag it’s so classy and I think the design nev- spoke of the quality of HLB craftsmanship. Middle-aged
54 er goes out of style”. Six older adults spoke of the timeless adult Dana attributed the value and quality of the item to
55 quality of HLBs. Older adult Maggie spoke, like middle- the manual method of assembly:
56 aged adult Lina, of the potential for HLB items to be For me heritage brands require craftsmanship
57 passed down to descendants as a valuable legacy, describ- and premium quality of material. Like the classi-
58
59
60
7
1
2
cal Tweed Chanel Jacket is a timeless piece be- not appropriate for young people, Emerging adult Rim
3
cause it’s a handmade piece. There are artisans believed that consumers’ tastes changed with age. For
4
that are making those pieces by hand (Middle- emerging adult Sara, HLBs appealed to older consumers
5 aged adult Dana). as a badge of membership in an exclusive social set.
6 Five middle-aged adult participants believed that con-
7 Middle-aged adult Lina spoke of the durability the items
sumers’ preference for HLBs increased with age, while
8 derived from the quality of their materials:
one middle-aged adult participant believed that tastes did
9 Quality of the leather, the details and accesso- not change, but rather the ability to afford HLBs. For
10 ries. The color doesn’t fade. This is a bag that has middle-aged adult Dana, the ability of HLBs to signify the
11 value. Quality with a trend. Hermes if you go wearer’s maturity caused older consumers to value them
12
Qu
back 40 years ago the design is still the same more:
13 (Middle-aged adult Lina).
14 It reflects their status as you get older you be-
All seven older adult participants referred to the come more established and become more at-
15
quality of craftsmanship in HLB items. For older adult tached to heritage as it reflects your image as a
ali
16
Maggie, craftsmanship, prestige, and attractiveness were mature person. As you get older what matters is
17
all related: “Quality, durability, prestige and beauty. I reflecting a proper image not the design by itself
18
would rather buy one good quality bag instead of 10 cheap- (Middle-aged adult Dana).
ta
19
er bags. I buy mostly heritage luxury brands because of
20 Middle-aged adult Lina believed that tastes changed with
their superior quality and these are also attractive to the
21 age:
tiv
eyes”. For older adult Sophie, the enduring value of the
22 items was related to their being made by hand in regions Of course your taste changes with time... At the
23 known for artisanship. Older adult Suzy spoke of brand beginning you buy things that are cool and funky
24 provenance as a guarantee of durability: but with time you start admiring classic pieces
eM
25 that can become vintage pieces in the future. The

26 Definitely anything that has history is beautiful. You
trend is going boho style. If you are in your 40s
27 feel you have more confidence in the brand, like it gives
you look at heritage like it is a piece. It’s like
28 you trust in the brand. When you think of heritage
when you have an old carpet in your house. Of
29 brands you think of the consistency and how much
course, when you are 20 you want funk (Middle-
ar
30 time and effort they put, how much research they do

aged adult Lina).
(Older adult Suzy).
31
Middle-aged adult Fay believed that the increase in pur-
ke
32 Prestige
chasing power that tended to come with age was more
33 Participants associated the prestige of HLBs with their
significant than the evolution of tastes: Five of the older
34 price, recognizability, and craftsmanship. Five partici-
adult participants expressed the perception that apprecia-
35
tR
pants in the emerging adult group spoke of the prestige of

tion for HLBs increased as consumers aged. Older adult
36 HLBs. For emerging adult Sara, prestige was associated
Sophie said, “Yes I like heritage even more. I think people
37 with recognizability and exclusivity, which was associated
like heritage brands even more as they get older.” For older
38 with the high price. Whereas, emerging adult Rim de-
es
adult Maggie, a more advanced age made the quality of

39 scribed HLBs’ prestige as a result of their permanent rec-
the article more important than its value as a status sym-
40 ognizability as fashionable items.
bol or an attention-getter:
41 Five middle-aged adult participants referred to the pres-
ea
42 tige value of HLBs. For middle-aged adult Fay, prestige Yes [consumers] might buy the heritage brand
43 was associated with recognizability and exclusivity, which when they get older because with the test of time
44 was a function of price. they realize that quality is more important than
rch
Middle-aged adult Dana linked the prestige of HLB di- quantity. In my opinion, when you are younger
45
rectly to its cost: “Its life span how old it is and the premi- you have more communication with people but
46
um price. The higher the price the more heritage it is. It is as you get older your communication becomes
47
directly related to price.” limited..I think you favor heritage brands as you
48
One older adult participant referred to prestige; Sophie get older more because youthful generations
49
associated it with HLBs’ recognizability: “The logo of her- have to learn to love these brands. So as you get
50 itage brands can be distinguished from a million meters, older you know the true value of quality …The
51 even the colors, quality, and craftsmanship”. fashion being older or younger will not influence
52 my choice (Older adult Maggie).
53 Changing preferences
Participants from all three age groups reported that con- Perceptions of specific brands
54
55 sumers’ appreciation for HLBs increased as consumers In addition to discussing their general perceptions of
56 aged. All seven emerging adult participants reported this HLBs, participants described their perceptions of specific
57 perception. To emerging adult Nour, some HLBs were brands. Results associated with this theme include data
58
59
60
8
1
2
indicating participants’ perceptions of their preferred ble (Maggie, Sophie, Maria, Therese, Mary and Suzanne),
3
brands. Also included are results indicating participants’ and subtle (Suzy). Maggie stated, “I love to buy Hermes,
4
perceptions of the HLBs they avoided when making pur- Chanel and Cartier. Hermes has beautiful silk scarves.
5 chases. Chanel and Cartier have very unique designs that I love.
6 The colors are also so unique”. She explained her prefer-
7 Perceptions of preferred brands.
ence for these brands in the following terms:
8 The majority of middle-aged adult participants reported
9 that they perceived their favorite HLBs as attractively de- Quality is super important to me. Like when I
10 signed and trendy. Middle-aged adult Dana said that she shop for luxury brands I want to buy something
11 preferred, “Gucci, Dior and Chanel” because, that is durable something that would last for a
12 long long time. I definitely prefer quality over
Qu
First of all I care about design. What’s in? What’s
13 quantity as it will last longer and won’t lose its
the hit of the season like what’s the latest Gucci
14 value. I prefer to buy fewer things but I would be
trend...Like now everybody is talking about Guc-
sure those would last much longer. So yes quality
15 ci releasing hit styles. The design, the hit, the
over quantity for sure (Older adult Maggie).
ali
16 Number of participants referring to characteristic of preferred tren
17 brands d... Older adult Sophie preferred, “Chanel, Hermes and Chris-
18 I go tian Dior” because of their perceived durability. Older
ta
19 Attrac- High for adult Suzy stated, “Personally I like Giorgio Armani, Dior
Age tively Trendy quality Subtle Dura- Exclu-
20 group de- ble sive
the and Burberry” because they were subtle and discreet:
21 signed tren
tiv
I go for the style that pleases me, luxury is a per-
22 di-
sonal thing for me..For me it’s style first. I can’t
23 Emerg- 4 6 1 1 0 3 est
ing think of anything else when we talk luxury
24 de-
adult brands; it’s quality. I don’t like brands that are
eM
25 sign
too flashy. I like brands that are more discreet I
26 Mid- 6 7 1 0 0 0 (Mi
mean the ones that don’t have logos written all
27 dle- ddle
aged over in a flashy way that’s definitely a deal break-
28 -
adult er for me. I like brands that are subtle (Older
29 age
adult Suzy).
ar
d
30 Older 1 0 6 1 6 1
Perceptions of disliked brands
adult adul
31
t Participants in the middle-aged adult group stated that
ke
32
Dana). they perceived the brands they disliked as cheap (Fay), as
33
having unattractive designs (Dana, Carla, Jasmin and
34 For middle-aged adult Fay, the preferred HLBs were,
Fay), as ephemeral (Dana Fay, Jasmin, Carla and Lina),
35
tR
“Valentino, Chanel, Louis Vuitton then Prada and Dolce

and as not innovative (Dana).
36 and Gabbana” for reasons very similar to those reported
Middle-aged adult Fay spoke of her least favorite brands
37 by middle-aged adult Dana. Middle-aged adult Lina stat-
as being cheap and unattractively designed: “Givenchy I
38 ed that her preferred brands were, “Hermes, Chanel and
es
don’t consider it luxurious. I feel it’s cheap; I don’t like the

39 Charlotte Olympia (trendy one)” and in explaining why
designs. I also don’t like Mumu. I’ve never bought anything
40 she also mentioned design and trends:
from that brand”. Middle-aged adult Lina avoided certain
41
ea
First the design, second the quality and the luxury brands because she perceived their styles as
42 trend. Sometimes they launch the new collection ephemeral: “Prada, Moschino, Chloe change quickly from
43 in a way to makes you buy a brand. Some brands season to season. Their fashion doesn’t last, you don’t en-
44
rch
become a trend each year like this year the hit joy the piece you are buying except for a short time”.
45 was Gucci, three years ago it was Prada (Middle- The majority of emerging adult participants perceived
46 aged adult Lina). the brands they disliked as insufficiently exclusive/too
47 accessible. Least-favorite luxury brands were also per-
Emerging adult participants reported a variety of percep-
48 ceived as too flashy (Nour) or, alternatively, as boring
tions of preferred HLBs, including perceptions that these
49 (Sara). Nour perceived the brands she disliked as too
brands were attractively designed (Rim, Nour, Lara and
50 Stephanie), subtle (Nour), exclusive (Rim, Lara and
flashy and too accessible. Emerging adult Rim also de-
51 Stephanie), trendy on social media (Sara, Rim, Lara, Che-
scribed the brands she disliked as too accessible, and add-
52 rine and Stephanie), and of a high quality/good fit (Sara).
ed that one of the brands she avoided was insufficiently
53 innovative.
Emerging adult Sara preferred, “Louis Vuitton, Chanel and
54 In the older adult group, participants described the
Prada” due to their quality and trendiness on social me-
55 brands they disliked as indiscreet (Suzy) and as poorly
dia. In the older adult group, preferred brands were per-
56 made (Maggie, Therese, Maria, Marie, Adele and Sophie).
ceived as unique (Maggie), stylish (Suzy), of a high quality
57 (Maggie Suzy, Maria, Therese, Mary and Suzanne), dura-
58
59
60
9
1
2
Suzy perceived the brands she disliked as having logos follow trends closely. Am not your typical shopper
3 that buys things because it’s in fashion it’s purely
that were too conspicuous:
4 because I fall in love with it. It’s instant love like
5 Gucci was never a brand that attracted me or wawww it gives me personal pleasure when I buy
6 pushed me to go to shop even... I don’t like something I love (Older adult Suzy).
7 brands with logos sticking out. Like when I go for
Older adult Sophie referred to her fashion choices as a form
8 Louis Vuitton I prefer not to go for the lettered
ones, I go for the simple ones with discreet logo. of self-expression: “I’m different I have my own personality
9 and my unique style. I’m not influenced by family, friends nor
10 Visible logos don’t attract me at all. I prefer dis-
movie stars”.
11 creet luxury that stands out through the quality,
12 fabric and finishing (Older adult Suzy). Number of participants referring to characteristics of brands
Qu
they disliked
13 For Sophie, the brands she avoided were poorly crafted
14 and therefore too accessible (because they were too easy Poor Indis- Boring
15 to copy). Maggie also perceived the brands she disliked as quality Too creet or or not Unat-
ali
Age or acces- “too innova- trac- Ephem
16 exhibiting poor craftsmanship. group “cheap sible flashy” tive tive eral
17 ”
18 How Heritage Luxury Brands Made Wear-
ta
19 ers Feel, by Age Group Emerg- 0 6 1 1 1 0
ing
20 Participants perceived their preferred HLBs as expressions of adult
21 their individuality, such that they felt unique when they wore
tiv
22 their HLB items. HLB items also helped participants feel Mid- 1 0 0 1 4 5
23 connected to others, including their mothers or more remote dle-
forebears, their contemporaries, and their descendants. Fi- aged
24 adult
eM
25 nally, participants perceived HLBs as connecting them to

their own pasts.
26 Older 6 1 5 0 0 0
adult
27
28 Number of participants who reported feeling:
29 Five emerging adult participants perceived HLBs as expres-
ar
30 Connected Connected Connected Connected sions of the wearer’s individuality. Emerging adult Rim de-
31
Age group Unique to fore- to peers to heirs to person- scribed her fashion choices as an expression of uniqueness:
bears al past “People don’t impact my taste but what influences my style is
ke
32
what’s the It in our society. I have my own style when choosing
33 Emerging 5 7 6 1 1
brands”.
34 adult
Emerging adult Nour also felt that her clothes and accesso-
35
tR
Middle- 1 0 4 1 6 ries allowed her to assert her individuality independently of

36 aged adult prevailing media trends: “It’s my taste it doesn’t depend on
37 anyone. Maybe my friends a bit. Close friends mostly. I’m not
38 Older 6 0 0 6 7 influenced by fashion bloggers or celebrities”.
es
adult
39 In the middle-aged adult group, Lina was the one participant
40 who described her brand preferences as an expression of
41 individuality:
ea
42 Brand choices let the wearer feel unique No one influences my choice I mean none of the
people that surround me. I am Avant guardist I dare
43 Six older adult participants saw their brand preferences as
to wear things since I was a child .. Models in maga-
44 an expression of their individuality and uniqueness. Older
rch
zines or in social media but no one around I don’t

45 adult Maggie insisted that she was not influenced by anyone
like to be like others (Middle-aged adult Lina).
46 in her fashion choices and that she selected HLB items ac-
47 cording to her own preference only: Brand choices let the wearer feel connected to
48 Normally I wouldn’t care what other people think
others.
49 All seven emerging adult participants perceived their pre-
because it’s for my personal pleasure. I don’t need
ferred HLBs as facilitating or expressing their connection
50 anyone to be impressed by what I buy. I’m not in-
with their mothers. Nour said:
51 fluenced by anyone I just want to buy things for my
52 own pleasure and enjoyment (Older adult Maggie). I think my mother was the main influencer. She
53 Older adult Suzy was equally vehement in expressing her
used to prefer simple and discreet over flashy. I re-
54 member Hermes, Lancel and Cartier from my
independence from trends:
55 childhood. I like Hermes and Cartier heritage
I guess trends are important for people...In general brands because I saw my mother wearing them (LA
56
you know people go with trends. But I don’t usually Nour).
57
58
59
60
10
1
2
Emerging adult Rim enjoyed shopping with her mother and Older adult Suzy felt that she had transmitted her preference
3 planned to transmit her fashion preferences to her own for one HLB to her daughter: “I buy Louis Vuitton my daugh-
4 daughter. For emerging adult Sara, a single HLB item might ter also likes it”. Only one emerging adult participants per-
5 facilitate connection and continuity over four generations: ceived HLBs as potentially connecting her to future genera-
6 “My mother gave me a black Chanel which was given to her by tions, and also one middle-aged adult participant reported
7 my grandmother. I love it and plan to pass it on to my chil- this perception. Middle-aged adult Lina said, “I buy Hermes
8 dren.” because one day I will give it to my daughters Chanel is the
9 Four middle-aged adult participants saw HLBs as connecting same but because they change so quickly I buy it less.”
10 them to their contemporaries. Middle-aged adult Dana felt
connected through fashion to, “friends who share similar Brand choices let the wearer feel connected to
11 her own past
taste and aspirations for style and fashion” and also to broad-
12
Qu
er social trends, which she became aware of through, “Social Six middle-aged adult participants perceived their favorite
13 HLBs as keeping them connected in some way to their own
media like Instagram bloggers, friends. Since they set the
14 trendy waves... like bloggers they set the trend reflect what’s childhoods or to a more distant past. Middle-aged adult
15 desirable at the moment like the new style of the season”. Dana liked the personal history she associated with preferred
ali
16 Dana also felt connected to friends through the influence her HLBs.
17 brand choices exerted on their tastes: “Of course because I’m Middle-aged adult Fay also admitted that she tended to favor
18 part of a social network I can influence my friends who would the brands that had been familiar since her childhood, alt-
ta
19 be motivated to get the same items. If you wear it fashionably hough she considered individual taste to be a more signifi-
20 it will push others to get the same items”. cant determinant of fashion choices than nostalgia: “I do
21 Middle-aged adult Fay felt connected through her fashion remember some of the brands I was exposed to. In general I
tiv
choices to, “My friends, family and relatives. One of my friends remember those names and favor them, but it really comes
22
is into fashion sometimes I take her advice when I buy expen- down to your individual taste”.
23
sive …it’s not always because of other but I think indirectly For middle-aged adult Lina, preferred HLBs were perceived
24 as facilitating continuity between her mother’s values and
they affect my choice of brands”.
eM
25 Middle-aged adult Fay also felt that her fashion choices in- the values she was transmitting to her own daughters:
26 fluenced, “My friends, maybe; now everybody is into this.”
27 I remember very well my mother used to say save
Six emerging adult participants saw their HLB choices as a
your money for something that will save your mon-
28 connection with their contemporaries.
ey like one selective piece... I am teaching this to
29 Emerging adult Sara said of keeping up with fashion that it
ar
my daughters. My eldest daughter recently bought

30 signified membership in a certain social set.
a Moschino bag and she understands that this will
31 Emerging adult Nour admitted that her taste was influenced
be her bag for a long time (Middle-aged adult Lina).
by, “Maybe my friends a bit. Close friends mostly,” such that
ke
32
33 HLBs were in part an expression of her closeness to those All seven older adult participants perceived their favorite
friends. She also felt that she influenced a younger sibling HLBs as facilitating a connection to the past. For older adult
34
through her HLB preferences: “maybe my younger sister Suzy, the purchasing of HLB items was a lifelong personal
35
tR
mostly as she always takes my advice on what to wear”. tradition:

36 Emerging adult Rim saw herself as broadcasting her fashion
37 choices to receptive passersby:
Considering that I grew up with luxury brands my
38 father being the exclusive agent of luxury cosmetics.
es
39 Wearing a classic Chanel bag with the perfect outfit Definitely I must have been influenced being ex-
gives me a boost of confidence. It sends a message posed to all these brands. If mentally you come to
40
to others by projecting a stylish image. Wearing think about today even the less fortunate consum-
41
ea
something unique and different from the rest will ers are influenced by luxury brands. You have so
42 influence people. Once I borrowed my grandma’s much counterfeit that those people can afford buy-
43 classic Dior bag. My friends really loved that bag ing. Going back to your question yes definitely I
44
rch
(Emerging adult Rim). think I appreciate luxury more as I grew up with it.
45 Like Cartier is a brand that I was exposed to as I
Six older adult participants perceived their HLB items as a
46 grew up. It is still on my top three favorites (Older
legacy that would connect them to their descendants. Older
47 adult Maggie saw her brand choices as a legacy that she
adult Suzy).
48 could pass on to future generations: For older adult Sophie, HLBs maintained a connection be-
49 tween present and past fulfillments of her early ambition to
50 The young generation who has the knowledge of
be fashionable. For older adult Maggie, the connection with
51 heritage. They love to own any piece that has been
the past was in the proud contrast between her impoverished
in the family for so many years. They enjoy it … they
52 childhood and later successes earned through hard work:
appreciate the experience of enjoying heritage.
53 What we pass on to our children and great grand- We weren’t fortunate enough to afford luxury
54 children has a great value heritage wise. (Older brands when I was young I started buying them af-
55 adult Maggie) ter I got married. I learned over the years and
56 through hard work and influential people in my life
57
58
59
60
11
1
2
who taught me the difference between poor and timelessness. This was generally referred to in the literature
3 rich quality (Older adult Maggie). as it was argued that the ability of heritage brands to consist-
4 ently deliver value over time, appear to inspire consumers to
5 The only emerging adult participant who perceived HLBs as
purchase those brands (Rose et al., 2016). More specifically,
6 connecting her to the past was Sara, for whom HLBs evoked
our findings revealed that these brands appeal to consumers
a famous representation of a fashion icon: “When I was
7 because of their recurrent designs that are witnessed by dif-
younger I was fascinated by the Coco Chanel movie where the
8 ferent generations.
main actress showed the real taste of classic. Now I still like
9 Chanel as this movie is vibrant in my mind”.
In discussing their perceptions of specific brands, partici-
10 pants in the middle-aged adult and emerging adult age
11 In summary, participants from all three age groups stated groups emphasized the trendiness and attractive design of
that the HLBs they wore facilitated or expressed a sense of these items, while participants in the older adult age group
12
Qu
connection with other people. For emerging adult partici- placed more emphasis on the high quality and durability of
13
pants, the sense of connection was with their forebears (in- the items. Participants also described how their preferred
14 HLBs made them feel. Participants from all three age groups
cluding mothers, in the case of all seven of these partici-
15 pants) and with their peers, either considered as personal reported that HLBs made them feel unique, although the
ali
16 acquaintances or as an abstract social set in which the partic- older adult participants placed the most emphasis on this
17 ipant signified her membership via her clothing purchases. perception.
18 For middle-aged adult participants, the sense of connection Moreover, the findings of this study indicate that partici-
ta
19 was also with peers and contemporaries, while for older adult pants from all three age groups reported that consumers’
20 participants the sense of connection was with descendants, appreciation for HLBs increased as consumers aged. Similar-
21 and most often with daughters. All participants from the ly, several studies have focused on the older consumer seg-
tiv
22 middle-aged adult and older adult age groups also reported ment and revealed its pronounced preference for long estab-
the perception that HLBs helped them to maintain a connec- lished brands (Holbrook and Schindler, 1991, 2003; Holbrook,
23
tion to their personal pasts, as when they continued to favor 1993; Lambert-Pandraud et al., 2005; Lambert-Pandraud and
24
Laurent, 2010).
eM
brands that they had worn or had otherwise been exposed to

25 Given the focus of our study on consumer behavior across
in their childhoods.
26 different generational groups, the input of Balmer (2011), on
27 the hereditary aspect of heritage was deemed relevant. A
28 DISCUSSION main characteristics of heritage is consistency and durability
29 of certain traits (Urde et al., 2007; Balmer, 2011; Hakala et al.,
ar
Most previous research investigated luxury consumption

30 behavior by examining a particular age group (e.g., Guido et 2011; Wiedmann et al., 2011). Generally, whenever a trait en-
31 al., 2015; Amatulli et al., 2015; Patterson and Pegg, 2009; dures over at least three generations then it is admissible to
consider this trait as a dimension of its heritage (Balmer,
ke
32 Grotts and Widner-Johnson, 2013). A need exists for a com-

33 prehensive analysis of consumer perceptions among different 2011). Balmer (2013) emphasized that the corporate heritage
legacy may manifest itself internally through “internal tri-
34 age group.
generational hereditary” within the corporate sphere as well
35 One of the first fundamental steps in assessing consumer
tR
understanding of heritage luxury brands is gaining a better as externally through “external tri-generational hereditary vis-
36 a`-vis customers and other stakeholders” (p. 312).
37 understanding of the how consumers articulate the concept
of heritage luxury. In addressing this issue it is essential to The findings of Balmer (2011, 2013) are consistent with the
38 present study highlighting the cross generational bonding
es
move beyond a simple description of heritage luxury and

39 focus our study on the how these brands make consumers of triggered by the endurance of heritage luxury items. It was
40 different age groups feel, rather than focusing solely on how apparent throughout this study that HLB items helped par-
41 ticipants feel connected to others, including their mothers or
ea
they define heritage luxury.

42 Our findings indicate that, the attributes of Timelessness, more remote forebears, their contemporaries, and their de-
43 High-quality Craftsmanship and Prestige were identified as scendants. For instance, emerging adult participants saw
44 the key characteristics of heritage luxury brands by partici- preferred HLBs as facilitating or expressing their connection
rch
with their mothers. On the other hand, middle-aged adult

45 pants of all three age groups. These attributes underlie herit-
participants saw HLBs as connecting them to their contem-
46 age luxury dimensions that consumers themselves identified
poraries who felt connected with their friends through fash-
47 to describe product attributes (consistent, classic, durable,
and trustworthy, valuable). The identified characteristics ion. Finally, older adult participants felt connected through
48 HLBs to their descendants.
provide a consumer oriented view on how heritage luxury is
49 Additionally, older adult participants discussed the role
perceived.
50 Findings from the case studies indicate that most partici- HLBs play in transmitting the legacy within the family. Her-
51 pants, regardless of age, associated heritage luxury with time- itage has been shown to foster individual and collective con-
52 lessness and quality. These findings are consistent with the sumer engagement with the brand (Misiura, 2006). This en-
53 views illustrated by Urde et al., (2007), Kim et al., (2008), gagement through connecting with the origins of heritage
54 Balmer (2011) and Rose et al. (2016), who recognized heritage brands is part of consumer and group identity making (Mis-
55 as a value driver for brands. iura, 2006). The collective engagement with heritage brands
outlined by Misiura (2006) resonated with the findings of
56 Our findings also revealed that consistent classic designs
57 were perceived as a testament of heritage luxury brands
58
59
60
12
1
2
this study outlining familial collective inter-generational
3 engagement with heritage luxury brands.
4
5
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Making Sense of Heritage Luxury Brands: Consumer Perceptions across

Article in Qualitative Market Research An International Journal · June 2019

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luxury heritage brands, heritage, luxury, age groups, Heritage luxury

concepts originally generate from separate streams of

2009) and exclusivity (Alexander, 2009; Fionda and

45 limited accessibility (Kapferer and Bastien, 2009; Cheva- 1999, 2004).

25 (Wiedmann et al., 2007; Wiedmann et al., 2012; Roper et

2010; Schade et al., 2016). In the same vein, it has been

32 ry, 1994; Roux and Floch, 1996), beauty (Kapferer, 1997),

economics (Smith, 1776; Marshall, 2000), history (Berg,

32 Balmer (2011) and Rose et al. (2016), who recognized her-

collective consumer engagement with the brand (Misiura,

arity (Wuestefeld et al., 2012; Ardelet et al., 2015).

for luxury brand extension. They identified heritage as a

ries, narratives, and legends, communicated among con-

Hence, luxury brands can be revitalized by leveraging on

transition from adolescence to adulthood involves a pro-

32 on their views, experiences, and brand perceptions.

adequate as it helped capture variations within the age

auction today. Of course all these brand recycle

Emerging adult Rim spoke of the quality of the materials:

25 that can become vintage pieces in the future. The

30 time and effort they put, how much research they do

pants in the emerging adult group spoke of the prestige of

adult Maggie, a more advanced age made the quality of

“Valentino, Chanel, Louis Vuitton then Prada and Dolce

don’t consider it luxurious. I feel it’s cheap; I don’t like the

25 nally, participants perceived HLBs as connecting them to

Middle- 1 0 4 1 6 ries allowed her to assert her individuality independently of

zines or in social media but no one around I don’t

my daughters. My eldest daughter recently bought

mostly as she always takes my advice on what to wear”. tradition:

brands that they had worn or had otherwise been exposed to

Most previous research investigated luxury consumption

32 Grotts and Widner-Johnson, 2013). A need exists for a com-

move beyond a simple description of heritage luxury and

they define heritage luxury.

with their mothers. On the other hand, middle-aged adult

quality and durability of the items. While, trendiness and

centuate this aspect to better appeal to its customers. https://doi.org/10.1509/jmkg.67.3.19.18657

kets. Marketing News, 4(13), 1. Journal of Brand Management, 14(1), 74–81.

amining brand luxury in the fashion market. Fashion Marketing https://doi.org/10.1016/j.jbusres.2015.08.003

32 Misiura, S. (2006). Heritage marketing. Routledge. https://doi.org/10.1287/orsc.1110.0731

12(3), 323–337. https://doi.org/10.1108/13612020810889281 https://doi.org/10.1037/0012-1649.37.4.491

Okonkwo, U. (2016). Luxury fashion branding: trends, tactics, Smith.pdf

45 https://doi.org/10.1057/palgrave.bm.2540075 24(1), 15-42.

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