Studies in Communication Sciences 18.2 (2018), pp.

307–324

European luxury fashion brand advertising and marketing

relating to nostalgia
Pelin Ok, Pompeu Fabra University, Department of Communication
[email protected]

Abstract
This research seeks to examine how European luxury fashion brands use nostalgia in their advertising and
marketing, and the benefits of using nostalgia by analyzing selected adverts from Vogue magazine. The re-
search adopts Narrative Transportation Theory, aims to create a model which develops Van Laer, de Ruyter,
Viscanti and Wentzels’ (2014) “Extended Transportation-Imagery Model”, and provides managerial implica-
tions. Qualitative content analysis of imagery was conducted to analyze 60 adverts of five luxury fashion
brands between 2010–2016. This research offers a different product category to investigate for nostalgia
literature: luxury fashion brands’ advertising, a different cultural context: European luxury fashion brands,
and examines luxury fashion brand characteristics within the adverts’ narratives by semiotics discipline.
Research identifies how nostalgia theme was used in these adverts, provides an understanding among the
themes, and adverts’ analysis in terms of luxury brand characteristics, narrative, and semiotics.

Keywords
Luxury fashion advertising, luxury brand characteristics, nostalgia, brand heritage, emotional branding,
semio­tics, narrative transportation theory

1 Introduction content, and techniques, which are more

concerned with the aesthetics, tonality,
The luxury market usually associated with and narrative (Flueckiger, 2009). Common
exclusivity, and privilege which also pro- characteristics of luxury fashion brands
vides a lifestyle to the customer, has been are focused on a distinct brand identity:
a growing sector over the years; even the country of origin, heritage, and craftsman-
global recession is not an obstacle for ship: role of the designer (Hines & Bruce,
this market growth which overall exceed- 2007). Thus the difference in advertising
ed € 1 trillion in 2016 (Bain & Company, approach of luxury fashion products oc-
2016). Specifically, personal luxury fashion curs as a necessity for representing lux-
goods “ballooned to more than € 250 bil- ury products in an appropriate way by
lion in 2016, more than tripling over the emphasizing exclusivity, rarity, and brand
past 20 years” (Bain & Company, 2016, heritage characteristics (Okonkwo, 2007),
p. 5). Advertising of luxury fashion prod- however also focusing on the experience
ucts has been crucial for luxury brands by the aim of selling the experience as a
since it triggers this market growth by in- lifestyle (Hansen & Wanke, 2011). While
creasing brand awareness. luxury advertising represents a lifestyle
Fashion advertising in research has experience (Flueckiger, 2009), it also in-
been discussed as not a separate section cludes traditional, and cultural symbolic
of advertising. However, it is different values (Freire, 2014) which are different,
than regular advertising since fashion and specific to each luxury brand gener-
advertising includes, and uses specific ated in advertising by using specific types
techniques such as shock advertising (An- of nostalgia: personal, historical (Stern,
dersson, Hedelin, Nilsson, & Welander, 1992a), or collective (Baker & Kennedy,
2004), and extraordinary and discrepant 1994) as a theme to persuade the custom-
images (Phillips & McQuarrie, 2011). Fur- er via reminiscing his/her past. Nostalgia
thermore, luxury fashion advertising has generated in advertising invokes familiar-
https://doi.org/10.24434/j.scoms.2018.02.007
© 2019, the authors. This work is licensed under the “Creative Commons Attribution –
NonCommercial – NoDerivatives 4.0 International” license (CC BY-NC-ND 4.0).
308 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

ity (Van Laer et al., 2014), so that the au- the rationale of conducting this research
dience empathizes with the content. This comes from the curiosity, and wish to an-
process leads to narrative transportation alyze luxury fashion advertising relating to
(Green & Brock, 2000) of the audience nostalgia in great detail which promotes,
which results in persuasion of the cus- and triggers luxury fashion market’s suc-
tomer. This research seeks to answer the cess. While the research aims to contribute
research question: How do European Lux- to narrative transportation, and nostalgia
ury Fashion Brands use Nostalgia in their literature in terms of advertising; it also
Advertising, and Marketing? Furthermore, draws managerial implications for mar-
the research aims to analyze how Europe- keters, and advertisers.
an luxury fashion brands use nostalgia as a
theme in their advertising and marketing,
and to analyze the benefits of using nos- 2 Literature review
talgia theme in these adverts. The research
has three objectives: firstly, to identify, and 2.1 Luxury brand characteristics
analyze various European luxury brands’ There are various core characteristics that
advertising relating to nostalgia from a fashion brand must obtain to achieve an
Vogue magazine by a content analysis of authentic luxury brand status. Okonkwo
imagery. Secondly to create a model which (2007, p. 105) describes these character-
develops Van Laer et al.’s (2014) model istics of luxury fashion brands’ anatomy:
which is an extended version of Narrative “Innovative, creative, unique products; a
Transportation Imagery Model (Green & heritage of craftsmanship; a distinct brand
Brock, 2002), and finally to provide man- identity; high visibility; premium pricing;
agerial implications beyond the theory for emotional appeal; a global reputation;
advertisers, and marketers in terms of pro- consistent delivery of premium quality; ex-
moting nostalgia for luxury fashion adver- clusivity in goods production, and tightly
tising field. controlled distribution”. These character-
Nostalgia research commonly focused istics are crucial for luxury fashion brands
on brand advertising of comfort food because they are the source of power,
(Stern, 1992a). There is a gap in the nostal- which provide a distinctive brand value
gia research in luxury fashion brands’ ad- for the brand, and emotional attachment
vertising. Furthermore, the research aims for the customer. Another study relating to
to fill the gap in research suggestions: to luxury fashion brands suggests the follow-
explore other cultural contexts in terms ing six elements: “Excellent quality, high
of nostalgia and heritage, and to research price, scarcity & uniqueness, aesthetics &
a brand’s heritage via content analysis polysensuality, ancestral heritage & per-
in brand’s advertising (Merchant & Rose, sonal history, and superfluousness as key
2013). Finally, the gap in the research of characteristics” (Dubois et al., 2001, cited
Kim, Lloyd, and Cervellon (2016) by ana- in Hines & Bruce, 2007, p. 131).
lyzing the luxury brand characteristics in Country of origin “provides a nation-
the advertising narratives in depth. Thus, al identity and attitude, associated with
this research has an original value since it the brand” (Hines & Bruce, 2007, p. 136).
fills the gap in literature by offering a dif- While this distinct national identity en-
ferent product category to investigate for ables luxury brands to distinguish its iden-
nostalgia literature: luxury fashion brands’ tity among its rivals in the competitive
advertising, and from a different cultural luxury fashion market, it also increases
context: European luxury fashion brands, brand awareness by attracting custom-
and brands which target the European er attention via familiarity of historical
market. Furthermore, it aims to analyze background. In addition “association with
luxury brand characteristics in further de- a country of origin that has an especially
tail. The persuasion power of luxury fash- strong reputation as a source of excel-
ion advertising is impressive, and differ- lence in the relevant product category”
ent from regular advertising. That is why (Nueno & Quelch, 1998, p. 63), is a sign of
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 309

product quality. Another key characteris- (Oswald, 2010) in fashion advertising in

tic: “Heritage of the brand and the history order to increase brand awareness, and
associated with its founder and its crafts- target a broader audience.
manship are built into the luxury brand” However, luxury fashion brand adver-
(Nueno & Quelch, 1998, cited in Hines & tising is more concerned with protecting
Bruce, 2007, p. 132). Particularly brand the exclusivity of luxury products (Hines &
heritage refers to “a dimension of a brand’s Bruce, 2007), aesthetics, and narrative
identity found in its track record, longevi- (Flueckiger, 2009) of the advert, presenting
ty, core values, use of symbols and partic- the product in a story since it is not com-
ularly in the organizational belief that its pletely product focused, but mainly expe-
history is important” (Urde et al., 2007, rience focused. Luxury adverts provide an
p. 4). Heritage, and craftsmanship do not abstractness (Hansen & Wanke, 2011), and
only tell a story of a luxury brand’s history, “mythical history” (Freire, 2014) of the lux-
and guarantees longevity; but also points ury brand to the audience. The aim of sell-
out the rarity, and exclusivity of the luxury ing the experience that a consumer might
products. Furthermore “the retention of have by possessing the product rather
heritage has the ability to create nostalgia than selling the product is crucial for a lux-
and credibility for a brand, and is often ury fashion brand to achieve in their ad-
correlated to the heritage of the country of vertising approach.
origin” (Fionda & Moore, 2009, p. 352). As a “In the luxury domain in recent
result of these crucial characteristics: “The years, a certain type of advertisement has
luxury fashion brand becomes a lifestyle emerged that relies almost exclusively on
statement that permeates across other as- the evocation of pure sensations” (Flueck-
pects than apparel” (Hines & Bruce, 2007, iger, 2009, p. 196). Sensations provoke the
p. 138). Furthermore, examining these audience to connect, and emphasize with
characteristics in luxury fashion advertis- the structure of the adverts. Such structure
ing narrative is a subject which requires includes characters, product, plot, back-
further investigation because of the lack of ground, narrative, and music which lead
research which combines these two areas. to sensations as an outcome. Sensations
are supported by “aesthetic features of
2.2 Luxury fashion style such as depth of field, diffusion, co-
advertising and marketing lour or light enhance the spectator’s sen-
Even though research in advertising is very sorial response” (Flueckiger, 2009, p. 196).
broad; research in fashion advertising is Different than fashion advertising, luxury
surprisingly narrow, and does not go be- advertising is close to lifestyle advertising
yond examining fashion imagery as an since the product, and its functional infor-
advertising type which mainly does not in- mation are slightly mentioned.
clude text but includes extraordinary, and On the other hand, Hansen, and Wan-
discrepant visuals (Phillips & McQuarrie, ke (2011) argue the abstractness of luxu-
2011), has an aim to shock the audience ry. Abstractness in their research refers to
with contents such as violence (Andersson both the distance between the non-target
et al., 2004), and is shaped through aes- audience, and the luxury product phys-
thetical concerns (Wallerstein, 1998). On ically and psychologically. The distance
the other hand, fashion imagery’s social between the product, and non-target au-
impact on women, and society has been dience occurs physically since “luxury is
researched in many perspectives. For in- something inessential but conductive to
stance, its impacts such as stereotyping pleasure and comfort or something expen-
idealized women (Stokrocki, 1988, cited in sive or hard to obtain” (Houghton Mifflin
Phillips and McQuarrie, 2011), including Company, 2000, cited in Hansen & Wanke,
thinness: Hunger, and unsmiling models 2011, p. 790). Thus luxury is only obtained
associated with looks called heroin chic, by a limited audience, so that the regular
and junkie look (Wallerstein, 1998), and customer feels both physically, and psy-
representation of alternative sexualities chologically distanced from the world of
310 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

luxury. The research also points out that style. “The power of narratives to change
“advertisers tend to use more abstract beliefs has never been doubted and has al-
language when they describe their luxury ways been feared” (Green and Brock, 2000,
products” (Hansen & Wanke, 2011, p. 794). p. 701). For a narrative to be powerful it is
Since the product representation includes important to be able to transport the cus-
exclusivity, rarity, and a premium priced tomer via empathy, and imagination. Nar-
luxury product, the language also reflects rative transportation theory constitutes
these characteristics. While luxury adver- the core of this research. Gerrig (1993)
tising represents a lifestyle experience; described transportation as an experience
it also includes traditional, and cultural which a traveler (a metaphor for a read-
values which are different, and specific to er), moves away from his world of origin
each luxury brand. “Luxury advertising is by the experience of reading (travel), and
particularly image-dependent and vehicle this experience changes the traveler. Al-
their messages by interpreting represen- though Gerrig’s research correctly iden-
tations and cultural symbols supposed to tifies transportation, it fails to consider
be known by the consumer” (Freire, 2014, consequences, and components of this ex-
p. 2668). Therefore, emphasizing, and rep- perience. However later Green and Brock
resenting roots, and historical values of (2000), further developed Gerrig’s descrip-
these brands via advertising is crucial as a tion of narrative transportation; defining
message. Adopting symbols within the ad- it as a convergent mental process which
verts serves for this purpose. might occur as a result of both fictional
or non-fictional narratives. By focusing,
2.3 Semiotics transportation causes the reader to lose
Semiotics discipline enables this research information of real world, and changes the
to make solid comments on symbols, and reader’s beliefs & attitudes based on the
cultural references located in the adverts. narrative as consequences. Transportation
“Semiotics is a discipline that provides a makes the persuasion possible by reduc-
structure for studying and analyzing how ing cognitive responding since it decreas-
signs function within a particular en- es counterarguments, negative thoughts,
vironment” (Zakia & Nadin, 1987, p. 5). and makes the narrative look like a real life
Within a structure provided by semiotics, experience. Green and Brock (2000) estab-
commentary on the signs gains value. Ac- lished that transportation can be achieved
cording to the first semiotician Ferdinand by not only reading but also by listening,
de Saussure, signs had 2 elements in their and viewing the content without a written
structure: the signifier, and the signified. material, while Escalas (2007) also argues
The signifier refers to the part of commu- that narrative transportation is possible
nication which carries the message, and via adverts if the adverts lead the customer
the signified refers to which is communi- to construct a narrative. Thus it explains
cated by the signifier (Hall, 2012). Fashion, the transportation power of fashion adver-
and luxury fashion advertising frequently tising which do not have texts.
adopt semiotics since they use various Phillips and McQuarrie (2010) identi-
symbols. Especially luxury fashion adver- fy how the grotesque imagery can provide
tising which is more concerned with the narrative transportation to the customer.
narrative (Flueckiger, 2009), having an ab- The authors outline five modes of engage-
stract representation (Hansen & Wanke, ment which make persuasion possible.
2011), representing brands’ heritage, and Even though their research connects fash-
mythical history (Freire, 2014). ion advertising to narrative transportation
in grotesque imagery; it fails to consider
2.4 Narrative transportation luxury fashion brands’ anatomy, and char-
Narrative in advertising is crucial for a lux- acteristics. Van Laer, De Ruyet, Visconti &
ury brand. It is not only a way to introduce Wetzels (2014) provide an extended ver-
their product but also a way to express the sion of narrative transportation theory
brand’s identity, culture, heritage and life- by developing a model about its anteced-
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 311

ents, and consequences. Lastly, Kim et al. to “bittersweet yearning for the past which
(2016) introduced luxury fashion branding represents a culture, a generation, or a na-
to narrative transportation by researching tion” (Baker & Kennedy, 1994, p. 171). Even
narrative-transportation storylines in lux- though nostalgia has been increasingly
ury brand advertising, focusing on themes used as a theme in advertising and mar-
which emerged from their interviewees’ keting; research of nostalgia’s impacts on
descriptions. However, further research in advertising is limited and relatively new.
this area is necessary, since their research Havlena and Holak (1991, 1998) as well as
is limited to the themes they identified, Stern (1992a, 1992b) are the first authors
and it does not offer an insight into the who focused on nostalgia from a market-
characteristics of luxury brands. er, and advertiser’s perspective rather than
nostalgia research in psychology (Daniels,
2.5 Nostalgia 1985), and sociology (Davis, 1979) fields.
Nostalgia used in advertising stimulates Stern (1992a) identified benefits of
empathy with the customer via his past, using personal, and historical nostalgia
and the customer experiences narrative in advertising separately since they are
transportation by the nostalgic advertis- appropriate for certain products from dif-
ing narrative. “Marketers can promote a ferent categories. The author claims that
brand’s heritage by evoking the brand’s personal nostalgia is more useful for “co-
history and/or a brand’s origins through cooning or nesting products that are so-
vicarious nostalgia based advertising” cially inconspicuous, but that provide the
(Merchant & Rose, 2013, p. 2624). There- benefit of comfortability” (Stern, 1992a,
fore; narrative transportation, brand her- p. 19). For instance: comfort food. Since
itage, and nostalgia theme in the adverts’ these products speak to target audience’s
narratives are linked together to persuade self-concept and is associated with their
the customer. past: childhood, and home. However his-
Nostalgia is a yearning for yesterday torical nostalgia suits representation of
(Davis, 1979). “A sentimental or bitter- products which are more concerned with
sweet yearning for an experience, product, “status claims, and appeals to the con-
or service from the past” (Baker &Kenne- sumer’s ideal social self-concept” (Stern,
dy, 1994, p. 169). Marketing, and adver- 1992a, p. 19). Whereas Stern overlooked
tising practices have started to include nostalgia’s emotional impacts as a conse-
nostalgic themes increasingly in adverts quence of advertising, Havlena and Holak
since the 90’s, therefore it is a relatively (1991) focused on benefits of nostalgia in
new application. Stern (1992a), identifies advertising in terms of evoking positive
two types of nostalgia: personal, and his- emotions related to the customer’s past.
torical. Personal nostalgia refers to ideal- “Advertising for products may consciously
izing “the personally remembered past” evoke past associations and memories or
(Stern, 1992a, p. 16) while historical nos- create or recall positive affective respons-
talgia refers to desire for returning to a es” (Havlena & Holak, 1991, p. 325). It is
time in the past before the audience was crucial for a nostalgia themed advertising
born. This is supported, and further devel- to be able to filter negative thoughts that
oped by Baker and Kennedy (1994) who a costumer might possibly have about
identified three types of nostalgia: real, his/her past. The authors identified three
stimulated, and collective. Real nostalgia possible cases which might occur: having
is similar to personal nostalgia, its stimuli neutral, negative or positive memories,
can evoke vivid memories since it is expe- and emotions about the past.
rience based. Stimulated nostalgia which Merchant and Rose (2013), provide
is similar to historical nostalgia, refers to knowledge about the effects of historical
“yearning for the indirectly experienced nostalgia in advertising on brand heri-
past” (Baker & Kennedy, 1994, p. 171). Fi- tage. Research reveals “the relationship
nally, collective nostalgia which is a con- between nostalgia proneness, and brand
tribution to Stern’s categorization, refers heritage highlights the importance of ef-
312 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

fective advertisements in creating and agery Model (Green & Brock, 2002), estab-
enhancing brand heritage and deepening lished by Van Laer et al. (2014) was used
brand attachment” (Merchant & Rose, as a model to follow since the advanced
2013, p. 2624). Further research sugges- model provides specific antecedents, and
tions offer exploring other cultural con- conse­quences of narrative transportation
texts in terms of heritage, and nostalgia via in great detail from both the storyteller’s,
content analysis (Merchant & Rose, 2013). and story-receiver’s perspective. The au-
Research for nostalgia in advertising, and thors confirmed by their research that
marketing is limited, and open to further these antecedents affect, and increase
investigation especially in different prod- narrative transportation. As consequenc-
uct areas, and brand categories. There is es; audience’s beliefs, attitudes, and pur-
a gap in the nostalgia research in luxury chase intentions change since narrative
fashion advertising which requires further transporta­tion increases affective respons-
research since heritage, and origins of lux- es, and decreases cognitive responses and
ury fashion brands are important charac- critical thoughts (Van Laer et al., 2014).
teristics; emphasizing brand heritage via The research focuses on the story­ teller
advertising with nostalgia theme is cru- components.
cial for a distinctive luxury brand identity. As seen in Figure 1, storyteller anteced-
Therefore, consistent with the further re- ents are identifiable characters, imagin-
search suggestions, this research aims to able plot, and verisimilitude. “Identifiable
investigate European luxury fashion brand characters affect narrative transportation
advertising relating to nostalgia, and how because story receivers vicariously experi-
these brands use nostalgia theme in their ence characters’ beliefs and emotions, em-
marketing, and advertising. pathize with them, and become engrossed
in the story” (Slater & Rouner, 2002, cited
in Van Laer et al., 2014, p. 802). Imagin-
3 Methodology able plot makes narrative transportation
possible since “stories resemble real-life
3.1 Research question experiences” (Green, 2006, cited in Van
Laer et al., 2014, p. 802). Finally, verisi-
How do European Luxury Fashion Brands use militude refers to lifelikeness of the story
Nostalgia in their Advertising, and Marketing? which persuades audience that the story
has a possibility to occur in real life. These
storyteller components were examined as
3.2 Philosophy themes by a content analysis of imagery in
The research adopts social constructivism luxury fashion adverts relating to nostal-
philosophy which is a worldview where gia. Because identifiable characters whom
“individuals seek understanding of the the receiver can empathize with; imagin-
world in which they live and work” (Cre- able plot which also proposes a lifestyle
swell, 2014, p. 8). The reason for adopting to the receiver; and verisimilitude are the
social constructivism is that this philoso- themes which the receiver can empathize
phy enables the researcher to develop sub- with by reminiscing his/her past, and can
jective, and multiple meanings from their be found in nostalgia related advertising.
experiences (Creswell, 2014). Familiarity story receiver antecedent was
also mentioned in this research, since it
3.3 Theoretical framework refers to “the degree to which a story re-
Narrative Transportation Theory, con- ceiver has prior knowledge about or per-
stitutes the core of this research which sonal experience with the story topic or
provides a framework in order to under- genre” (Green, 2004, cited in Van Laer,
stand, and investigate the narratives of 2014, p. 803). Nostalgia provokes famil-
the selected luxury fashion advertising iarity which leads to narrative transporta-
relating to nostalgia. Accordingly, an ex- tion of the receiver. Provoked nostalgia in
tended version of the Transportation-Im- this case of familiarity might be personal,
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 313

Figure 1: Extended Transportation-Imagery Model

Storyteller
–Identifiable
characters
–Imaginable plot
–Verisimilitude Consequences
–Affective response
Story-receiver –Critical thought
Narrative –Narrative thought
Transportation –Belief
–Attitude
–Intention
Story-receiver
–Familiarity
–Attention
–Transportability
–Age
Measurement scale
–Education
–Sex

Adapted from Van Laer et al., 2014, p. 801

historical, or collective. Nostalgia type de- verts. A table for each advert was made
pends on the receiver’s past experience, which was inspired by Roland Barthes’
and triggers familiarity. (1964) Signifier and Signified Table and
semiotics table of Freire (2014) in terms of
3.4 Research method: content analysis structure.
Definition of content analysis has been Sample: For the qualitative content
changed over the history since the devel- analysis of imagery, 60 print adverts from
opment process goes on. According to Italian Vogue between 2010–2016 were
Holsti (1969), content analysis is a tech- examined. The adverts of 5 luxury fash-
nique, which enables making inferences ion brands targeting the European market
by identifying specific characters of mes- were analyzed. Dolce & Gabbana, Gucci,
sages objectively and systematically. Holsti Louis Vuitton, Chanel, and Tommy Hilfiger
(1965), groups 15 uses of content analysis brands were chosen; because their adverts
into three main categories. The category: are located in the first main pages of Vogue
“To describe trends in communication magazines, and they use nostalgia as a
content” is chosen. This category helps theme in their advertising the most since
investigating the differences, and simi- these brands have a strong brand heritage.
larities among the findings; since content
analysis is a useful technique for analyzing
trends, and patterns within the text. The 4 Findings
analysis was done in 2016, and to ensure
cross-coder reliability; the results, and This research used content analysis of
themes were crosschecked with a super- imagery to identify nostalgia in Europe-
visor, and a group session activity in class. an luxury fashion brands’ adverts. Firstly,
descriptions of images were made; key
3.4.1 Semiotics themes, and words were formed as nodes
Research adopts semiotics discipline to in content analysis. Secondly, the software
analyze 20 luxury fashion adverts with NVIVO was adopted to import the adverts,
prominent symbols out of 60 selected ad- highlight, and code the adverts’ descrip-
314 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

tions. NVIVO is an advanced qualitative Table 1: Final key themes and words
research software which enables the user
Final key themes Final key words:
to import, and analyze documents, im-
(Categories) for each key theme
ages, and audios according to themes via
Nostalgia Experience
coding (Qrinternational, 2015). The high-
Memories
lighted content from the descriptions were
Old
analyzed. The results were examined to Vivid
understand nostalgia’s use, and benefits Past
in luxury fashion advertising. Vogue was Birth
used for this purpose since the magazine Vintage
is published internationally, has a high Antiques
circulation rate, and reputation for adver- Bitter-sweet
Home-sick
tising various prestigious luxury brands Souvenir
over the history (Conde Nast, 2016). Vogue Culture National Food
issues (72 issues) were examined to choose Music
desired nostalgia related adverts. Luxury Tradition
Origin
fashion adverts from selected issues be- Home
tween 2010–2016 were scanned, and im- Family
ported. Two adverts per brand, and year. Dinner
Children
60 adverts in total were examined to en-
Movie reference
sure parity. The reason for this timeframe History Historical Buildings
is the increase observed in the use of nos- Events
talgia theme in luxury fashion advertising Ceremony
Childhood
in this period. To discover the trends in the
Celebration
communication content, the descriptions Historical
of the scanned 60 adverts were coded ac- Heritage Personality
cording to the key themes and words. Text Longevity
Search Query, and Word Frequency Query Rarity
Craftsmanship
features were used by searching the se- Lifestyle Travel
lected words among the initial analysis Escape
data. Key themes, and words were select- Youth
ed again for the text search query option. Holidays
Friends
Accordingly, the most frequently used key Exclusivity
themes, and words related to nostalgia for Freedom
each luxury fashion brand were found. College (University)
Afterwards, a new version of major key Fantasy Dreams
Exotic
themes, and words were revealed (See Ta- Empathy
ble 1). The reason for narrowing down the Aesthetics Symbols
number was to maintain the focus of this Abstractness
research: nostalgia. Verisimilitude
(Life-Likeness)

4.1 Analysis of adverts

4.1.1 Louis Vuitton adverts
The main themes are travel, freedom, and a desert background. For 2012-December
escape. The models represent youth, nat- advert (Vogue.es, 2012) is a red hot air bal-
ural beauty; their attitudes are fearless, loon, and Louvre Museum. Another com-
and adventurous. However, the themes mon point is Louis Vuitton garments, bags,
mentioned are represented by different and suitcases located in these adverts.
symbols. In 2012-September advert (Ta- They represent heritage quality, crafts-
ble 2) (See Wwd.com, 2012) the symbol manship, exclusivity, and brand history as
which represents travel, escape, and free- luxury brand characteristics. Their sym-
dom is “an old train”; for 2014-April ad- bolic meaning is that they provide a “sup-
vert (Buro247.me, 2014): a safari car, and port mechanism” for the models in their
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 315

Table 2: LV advertisement 2012 september

Personage/Object Symbolic Meaning Icon’s contribution to luxury Icon’s contribution to

(Icon/Signifier) (Signified) and Narrative brand characteristics Nostalgia Literature

Young Models Youth, beauty, fearless, Beauty, brand identity, rebellious Youth, dreams, abstractness
adventurous, freedom
Louis Vuitton Bags Travel, holidays Authenticity, quality, innovation, Traveling: Escaping from the
heritage, craftsmanship present to the past, home-sick
Old Train Background Travel, escape, freedom, Brand history, origins, roots, Nostalgic, antiques, old
nostalgic, timeless, historical lifestyle

journey, and adventure. These symbols, house as a background. It is a symbol for

and themes make the narrative stronger, home, unity, and tradition. This symbol
and abstract. Furthermore, they contribute represents brand heritage, and history as
to nostalgia literature since they represent luxury brand characteristics; unity, tradi-
travel, which is an escape from the present tion, and home-sick memories as nostal-
life. The reason for that could be longing gia literature contributions. The models
for, and missing one’s past, and old memo- are in traditionally designed lace clothes
ries. Nostalgic, vintage inspired garments, which represent brand heritage, origins:
and suitcases; backgrounds such as an old Sicily, and craftsmanship. There is a little
train, and Louvre Museum (2012-Decem- boy who is a symbol for childhood, inno-
ber) in these adverts are other evidences cence, and freedom. It can be interpreted
for valuing the past. Such backgrounds, as innovation as a luxury brand character-
especially Louvre Museum are historical, istic; future, and freedom as contributions
and cultural references which represent to nostalgia literature. The “white bow”
the past, and origins of the luxury brand. which is on the little boy’s suit is a symbol
for the event: “first communion” It rep-
4.1.2 Dolce & Gabbana adverts resents the respect for Italian traditions,
The main themes are family, home, Ital- and culture as contributions to nostalgia
ian tradition, and culture. The models literature; brand’s roots, and culture as lux-
represent natural beauty, traditional Ital- ury brand characteristics.
ian women, and confidence. For the ad-
vert 2010-September (Porcelainista.net, 4.1.3 Chanel adverts
2014) the model (Madonna) represents a The common themes are nostalgia, histo-
traditional Italian mother. She is in D&G ry, and freedom. Adverts represent the Pa-
garments which have a traditional Italian risian lifestyle from different time frames.
style. They represent brand heritage, ori- Models represent youth, freedom, con-
gin, and craftsmanship. The background fidence, and iconic Parisian beauty and
is a traditional Italian family house which style. They are in iconic Chanel garments
has nostalgic decoration inspired by which emphasize brand identity, heritage,
D&G’s origin: Sicily. The baby is a symbol and craftsmanship. The advert: 2015-Feb-
for childhood, innocence, and family that ruary (Conversationsabouther.net, 2014)
represents innovation as a luxury brand takes place in front of the iconic Parisian
characteristic; family, future, and birth as café: Café de Flore. This café is a symbol
nostalgia contributions. The representa- for the classical Parisian café culture, and
tion of an Italian woman who is bonded lifestyle. It represents brand history, and
to her family, and traditions becomes a Parisian roots as luxury brand characteris-
powerful narrative, and represents a tra- tics. The bag in the advert is a symbol for
ditional Italian lifestyle which is nostalgic escaping, and traveling. It represents es-
since it is different from today’s Italian life- caping from the present, going back home,
style. In the 2012-January advert (Table 3) and being home-sick as contributions to
(Yatzer.com, 2011), there is a crowded Ital- nostalgia literature.
ian family in front of a traditional Italian
316 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

Table 3: D&G advertisement 2012 january

Personage/Object Symbolic Meaning Icon’s contribution Icon’s contribution

(Icon/Signifier) (Signified) and Narrative to luxury brand to Nostalgia Literature
characteristics
Young Models Youth, traditional beauty Youth, traditional beauty, Youth, freedom, life-like
perfection
Walk-on: Family Family, home, unity, tradition, Brand history, heritage, Unity, home, home-sick,
family gathering (for church) origins, roots tradition, memories
Little Boy Childhood, innocence, Innovation, future, freedom Home, family, childhood, future
freedom, future
White Bow (on little boy) Church event: First Communion Respect for traditions, Tradition, culture, respect
and brand’s roots: Italy
D&G Garments Traditional Italian style, origins Brand heritage, craftsmanship, Heritage, personality
history, brand identity
Italian House Background Family, home, unity, culture, Brand history, origins, roots, Tradition, culture, family,
Italian tradition and lifestyle Italian lifestyle home-sick, memories

Table 4: Chanel advertisement 2012 november

Personage/Object Symbolic Meaning Icon’s contribution Icon’s contribution to Nostalgia

(Icon/Signifier) (Signified) and Narrative to luxury brand Literature
characteristics
Young Model Youth, freedom, confidence, Brand identity, beauty, Youth, dreams, abstractness, past
fearless, beautiful, nostalgic personality, rarity
18th Century Costume A reference to the 18th Century Authentic, longevity, brand Old, antiques, vintage, history,
in Paris identity, brand origins, crafts­ Tradition
manship, exclusivity
Chanel Suit-Jacket Nostalgic, vintage, old, iconic, Tradition, craftsmanship, Vintage, old, past, antiques,
antiques, reminds of Coco Chanel heritage, longevity, brand identity, heritage
the designer rarity, personality
Palace Background Historical, reference, origins, Brand origins, brand history, Historical, old, past, abstractness
Parisian heritage, roots, longevity

Table 5: Gucci advertisement 2012 october

Personage/Object Symbolic Meaning Icon’s contribution Icon’s contribution to Nostalgia

(Icon/Signifier) (Signified) and Narrative to luxury brand Literature
characteristics
Young Model Youth, natural beauty Brand identity, beauty, Youth, freedom, life-like
personality
Gucci Horsebit Loafers Recreation of Gucci Horsebit Brand history, heritage, Vintage, Antiques, past
Loafers from 1953 craftsmanship
Record Player and Records Vintage, antiques, old, Brand history, longevity, Vintage, Antiques, memories
memories, souvenir personality
Home Background Family, home, unity Family lifestyle, comfort Family, going back home,
home-sick, memories

The advert: 2012-November (Table 4) ground, and costumes provide contribu-

(tatajazzblog.blogspot.com, 2012) has a tions to nostalgia literature since they are
pa­lace background. The 18th Century in­ inspired from the past, and the French
spi­red costume of the model, and the heritage historically.
background with antique possessions,
represent the 18th Century in Paris. This 4.1.4 Gucci Adverts
era is important for the narrative since it The advert 2015-July (Businessoffashion.
emphasizes the brand’s origins. The back- com, 2015) has travel, and escape themes.
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 317

The subway is a symbol for escaping from Furthermore, in Gucci, and Louis Vuit-
the present, and for freedom which are ton adverts; craftsmanship, and product
nostalgia contributions. The bag, and quality especially in terms of leather prod-
shoes are prominent; they represent brand ucts were strongly emphasized within the
heritage, and craftsmanship. narrative. Since leather products are the
The advert: 2012-October (Table 5) iconic products for both of the brands,
(Pink­fishmedia.net, 2012) has home, and and for Louis Vuitton leather travel-goods
family themes. The model is in a family were its starting point-origin. Therefore,
house which represents family, and unity. the research agrees with “association with
There are vintage records, and a record a country of origin that has an especially
player in the background. They represent strong reputation as a source of excellence
history, and memories as nostalgia con- in the relevant product category” (Nue-
tributions; longevity, and brand history as no & Quelch, 1998, p.63). It can be inter-
luxury characteristics. The model is in Gu- preted as the respect to the brand’s country
cci Horsebit Loafers which are recreations of origin. Heritage was the most important
of the original shoes from 1953. They rep- characteristic among them since it was
resent heritage, craftsmanship, and brand frequently used to represent the brand’s
history. history. Exclusivity by representing an ex-
clusive lifestyle, and rarity by providing
4.1.5 Tommy Hilfiger adverts rare luxury products were emphasized
The advert: 2011-December (Cdn.style- commonly as seen in Louis Vuitton, and
frizz.com, 2011) has family, and holidays Chanel adverts. Also quality of the product
themes. The models in festive Tommy Hil- was strongly emphasized. Furthermore,
figer garments represent youth, and free- youth was one of the most frequently used
dom. They have a carefree, and exclusive words to describe the models, and chil-
lifestyle. There is an old male model who dren. It can be interpreted as innovation:
is the father of the family. He represents innovative designs of these brands.
guidance to the youth, the past, and unity Common points of research in luxu-
as nostalgia contributions. There are also ry fashion characteristics were a distinct
children who represent innocence, and brand identity, country of origin, heritage
future; innovation as luxury brand char- and craftsmanship (Hines & Bruce, 2007).
acteristics, and future and childhood as Furthermore, as Fionda, and Moore (2009)
nostalgia contributions. There is a house identified heritage characteristic has the
background which is decorated for Christ- ability to create nostalgia, and credibility
mas. It represents family, home, holidays, for the brand; and it is correlated to the
and unity as nostalgia contributions. brand’s country of origin. It is also found
in this research since heritage, nostalgia,
and country of origin characteristics were
5 Discussion inseparable in these adverts. According to
Urde et al. (2007), brand heritage refers to
5.1 Representation of luxury core values, use of symbols, and brand his-
brand characteristics tory which is evident in the findings of this
Luxury brand characteristics: Heritage, research suggesting that heritage char-
craftsmanship, exclusivity, rarity, brand acteristic was represented via symbols,
identity, brand origin, and longevity were and values which tell a story about brand
highlighted in these adverts in the find- history in these adverts. Finally, Kim et al.
ings. By the strong narrative, and themes; (2016) introduced luxury fashion brand-
brand origin, and heritage and craftsman- ing to narrative transportation by focus-
ship characteristics were emphasized by ing on themes which emerged from their
representing the brand’s country of origin interviews. Their research was limited to
as frequently seen in D&G adverts with these themes. Thus this research fills this
the representation of Sicilian inspired gap by analyzing the luxury brand char-
lace clothes, and background decoration. acteristics in the advertising narratives in
318 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

depth. According to analysis, luxury brand According to the findings, and analy-
characteristics were emphasized via cer- sis: Heritage theme as mentioned in lux-
tain symbols embedded within the narra- ury fashion brand characteristics repre-
tive of the advertising. The outcome of the sent the brand’s identity, craftsmanship,
advertising which is strengthened by vari- longevity, and rarity. Heritage provides an
ous luxury brand characteristics provides emotional bond to the brand’s culture, in-
a lifestyle to the customer. As a result, the forms, and makes the observer be a part of
brand becomes a lifestyle statement for the brand’s history. That is why this theme
the observer which makes the brand more was frequently linked to culture, and his-
than apparel (Hines & Bruce, 2007). tory themes in these adverts. Culture
theme was used to represent customs, and
5.2 Luxury fashion advertising traditions of the brand’s country of origin
In the findings, the themes structured as frequently seen in D&G, and Chanel ad-
were nostalgia, culture, history, heritage, verts. They emphasize the importance of
lifestyle, fantasy, and aesthetics. The life- family bounds, national tastes, and coun-
style theme was frequently used in order to try of origin. This theme makes the observ-
represent exclusive, and various lifestyles er feel familiar with the content due to his
specific for each culture such as Parisian, cultural background, advert’s imaginable
and Italian cultures. Travel, holidays, es- plot, and identifiable characters as family,
cape, youth, and freedom were other sub so that the luxury brand does not look like
themes used in the adverts along the life- a distant, and abstract aspect anymore.
style theme. This result is consistent with Furthermore, the theme history educates
the suggestion of Flueckiger (2009) related the observer in terms of the brand’s his-
to luxury fashion advertising being strong tory, or country of origin’s history via us-
in narrative, and presenting the product ing masterpieces as backgrounds such as
in a story such as a lifestyle. These themes The Louvre Museum, and Café de Flore in
represent a free, adventurous, and exclu- Paris in Louis Vuitton, and Chanel adverts.
sive lifestyle to the luxury customers. It can Knowing the history of the brand makes
be interpreted as a longing for youth, and the observer feel connected to the brand
a carefree lifestyle since the luxury cus- on a personal level. The aesthetics theme
tomers might have a busy lifestyle instead. includes the symbols, abstractness, and
Thus this research agrees with the refer- the verisimilitude (life-likeness) aspects.
ence on the luxury commercials depicting According to these themes, the adverts
a form of travel which represents “expe- which included cultural, and nostalgia
riences that might have occurred in the themes were more life-like which repre-
younger, more adventurous days of a now sent a lifestyle, and imaginable plot to
successful audience stuck in conventions” the customer while the rest of the adverts
(Flueckiger, 2009, p. 206). Thus emotional had an abstract representation. Symbols
connection to the advertising might lead were frequently used in these adverts to
to the thought of obtaining a free lifestyle strengthen the narrative, and the themes
by purchasing, and being a part of these mentioned; no matter if they were ab-
brands. This theme is frequently used in stract, or life-like. According to the analy-
Louis Vuitton adverts. Another key theme: sis, symbols have made the narrative more
Fantasy was used to represent dreams, and powerful, and provided cultural referenc-
empathy that an observer might have. This es. Being concerned with the aesthetics:
theme combined with the lifestyle theme Symbols, and narrative have made these
provides an exotic, abstract, and a dream- adverts a form of art and presented emo-
like world to the audience. Due to these tional content to the customer which leads
certain themes which represent abstract- to more powerful emotional branding, and
ness, the research partially agrees with the brand loyalty.
statement of Hansen and Wanke (2011) As Flueckiger (2009) suggests in lux-
which identifies luxury fashion advertising ury domain, the advertisement relies ex-
as an abstract type of advertising. clusively on the evocation of pure senses,
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 319

aesthetics, and narrative. This research is place where the childhood memories re-
in keeping with this as, according to the main. However, in terms of Louis Vuitton
findings, aesthetic values such as sym- adverts, the main theme was travel, and
bols, representation of important themes escape due to the brand’s travel-goods ori-
strengthen the narrative, and also these gin. One desires to travel, or go on holidays
aspects rely on evocation of senses. Fur- when he/she needs a break from his pres-
thermore, Hansen, and Wanke (2011) state ent lifestyle. This can be also interpreted as
that the luxury advertising is abstract due nostalgia since the person wants to travel,
to the exclusivity of the products. This re- and escape from his present lifestyle since
search partially agrees on this statement the present lifestyle does not satisfy him.
because of the certain symbols, and some- Different from the others; Chanel, and
times abstract narrative and themes such Gucci adverts adopted nostalgia to repre-
as fantasy, found in these adverts. How- sent their brand heritage. Using nostalgia
ever certain themes such as culture, and theme for emphasizing heritage is pow-
nostalgia provide an emotional connec- erful for the narrative since it structures a
tion to the observer due to having a warm, story about the brand’s roots, and history.
and welcoming representation which are For Chanel, representation of the country
imaginable, and life-like rather than ab- of origin’s history via constructing narra-
stract. Therefore, the research also strong- tives inspired from the 18th Century France
ly agrees with the statement of Flueckiger was a way to use Nostalgia. Gucci adverts
(2009) which suggests luxury advertising focused on vintage Gucci products with
presents the product in a story such as nostalgic backgrounds which represented
a lifestyle. Finally, different from the re- brand heritage, craftsmanship, and prod-
searchers’ opinions; this research states uct quality.
that certain themes: Nostalgia, and cul- When the observer experiences the
ture might bond the observer emotionally nostalgia themed advertising, the adver-
to the content; and the use of aesthetics tising has an emotional impact on him/her
makes the adverts a form of art instead of via reminding of his past through the nos-
regular informative advertising. talgia theme since the plot is imaginable.
The impact depends on the observer’s
5.3 Nostalgia: how luxury fashion brands past, memories, and the degree of familiar-
use nostalgia as a theme in their ity he/she has with the nostalgia themed
advertising advertising content. Emotional bonding
According to the findings, nostalgia theme is a desired outcome for brands via using
was frequently used in the selected adverts emotional branding paradigm. “Emotional
with the key words: past, vintage, antiques, branding focuses on brand meanings that
bitter-sweet, memories, birth, experience, interact with consumer lives and inspire
and home-sick. This major theme rep- their passion, lifestyle, memories, and ex-
resents a longing for the past. Consistent periences” (Thompson et al., 2006 cited in
with the adverts’ analysis, nostalgia theme Akgün et al., 2013, p. 504). As seen in this
was frequently used to represent the research; the emotional content used for
brand’s country of origin’s traditional life- emphasizing luxury brand characteristics
style, as can be seen in D&G adverts em- such as heritage, and themes as nostal-
phasizing Sicily. The main emphasize was gia, build an emotional bond between the
on traditional Italian women, family, and brand, and observer which helps build-
lifestyle. It can be interpreted as a respect ing brand attachment, and brand loyalty.
from the brand to its root, a longing for “Emotional branding is a consumer-cen-
family, traditions, and traditional Italian tric, relational, and story-driven approach
lifestyle. Similar to D&G, Tommy Hilfiger to forging deep and enduring affective
adverts adopted nostalgia to represent the bonds between consumers and brands”
importance of family, unity, and home. (Roberts, 2004 cited in Thompson et al.,
One usually feels nostalgic when it is time 2006, p. 50). Due to being a story-driven
to go back home for holidays, since it is the approach; narratives, and the degree of
320 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

empathy and familiarity used in the ad- in advertising via content analysis (Mer-
vertising content to emotionally affect the chant & Rose, 2013). Because this research
observer is crucial. Brands should focus on examined the advertising of luxury fashion
telling stories which inspire their costum- brands targeting the European market as
ers, and these stories should contain a true a different cultural context via content
understanding of the observers’ lifestyle, analysis of imagery. On the other hand,
aims, and dreams (Thompson, 2006). Stern (1992a) suggests using nostalgia in
Therefore, nostalgia theme also provides advertising is more beneficial for nesting
benefits for branding, and marketing via products, and comfort food. However, this
strengthening emotional branding. research does not agree on Stern’s general-
Stern (1992a) identifies 2 nostalgia ization, since this research fills the gap in
types: Personal nostalgia refers to ide- nostalgia literature in terms of luxury fash-
alizing the personally remembered past ion brand category by showing that this
while historical nostalgia refers to desire field also adopts nostalgia for promoting
for returning to a time in the past before brand heritage, and products by also using
the audience was born. In the analyzed nostalgia as a theme for reminding of one’s
adverts, both nostalgia types can be seen. past, and childhood. Furthermore, Havle-
Since some of them represent a closer na, and Holak (1991) suggest that nostal-
time in the past as the 70’s, 80’s, 90’s life- gia evokes positive emotions, and filters
styles; while some of them represent the negative thoughts related to the observer’s
18th Century, and before the observer was past. This research agrees on this sugges-
born. However, this research also agrees tion since the analyzed adverts projected a
on the nostalgia definition of Baker & positive representation of the past, and the
Kennedy (1994), in which they identified research states that nostalgia is beneficial
3 types of nostalgia. While real, and stim- to build an emotional bond between the
ulated are similar to personal, and histori- observer, and brand which is possible by
cal nostalgia; collective nostalgia refers to evoking positive memories about the past.
“a bittersweet yearning for the past which
represents a culture, a generation, or a 5.4 Nostalgia, and narrative
nation” (Baker & Kennedy, 1994, p. 171). transportation
Because in the analyzed adverts, there are Narrative is one of the most important el-
cultural references, and symbols which ements of an advert especially for luxury
an observer from a certain cultural back- fashion brands which aim to sell the ex-
ground, a generation, or a nation can only perience. According to the analysis; strong
feel strongly familiar with. key themes and words related to nostalgia,
Furthermore, this research agrees on and symbols are the other core elements
the statement: “Marketers can promote which strengthened the narrative. Using
a brand’s heritage by evoking the brand’s the theme nostalgia provides many bene-
history and/or a brand’s origins through fits to the brand, and some of these ben-
vicarious nostalgia based advertising” efits are the outcomes of narrative trans-
(Merchant & Rose, 2013, p. 2624). This portation.
statement was made for luxury brands; As mentioned; Gerrig (1993), and
however according to the analysis, it is Green & Brock (2000) describe transpor-
also acceptable for luxury fashion brands tation as an experience which a traveler
advertising since the use of heritage, and moves away from his world of origin by
nostalgia together is evidenced; and nos- reading a realistic narrative, and this ex-
talgia becomes a tool to inform the ob- perience changes the traveler’s beliefs,
server about the brand heritage. Thus and attitudes due to losing information
this statement fills the gap in Merchant & of the real world. It makes the persuasion
Rose’s further research suggestions: to ex- possible by reducing cognitive respond-
plore other cultural contexts in terms of ing, and increasing affective thoughts.
vicarious (historical) nostalgia and her- Furthermore, Escalas (2007), and Phillip
itage, and to research a brand’s heritage & McQuarrie (2010) suggest that narrative
 –Familiarity –Intention
–Attention Measurement
–Transportability scale
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 321
–Age
–Education
Figure
–Sex2: Model: Benefits of Using Nostalgia in Luxury Fashion Advertising

Increased familiarity Emotional bond with

due to familiar the observer and
background strong emotional
branding

Nostalgia theme
in luxury fashion
adverts via Life-like and more Effective and Strong narrative
– Symbols powerful narrative persuasive advertising and familiarity
– Other supporting
themes Narrative
transportation:
– Less critical thought
and counterarguments
– More affective
Making the thoughts
Informing the
advertising a form – Change in belief,
observer in terms of
of art attitude and
brand’s heritage
intention

Own illustration

transportation is possible by observing which demonstrates benefits of using nos-

also adverts since they provide necessary talgia in luxury fashion advertising, and
elements to construct a plot, and devel- the connection between nostalgia theme,
op characters. This research was built on and narrative transportation theory. The
their suggestions, and is keeping up with model (Figure 2) starts with: Adopting
their work as the adverts’ analysis pro- Nostalgia as a theme in luxury fashion
vide strong themes, symbols, and char- advertising by also using symbols, and re­
acters as necessary elements to construct lated themes. Then it further explains its
a strong narrative. This research suggests benefits: Informing the observer about the
that using nostalgia theme in luxury fash- brand’s heritage, making the advertising
ion advertising makes the narrative stron- a form of art due to the use of aesthetics,
ger. Because it provides a vivid - life-like symbols and strong themes, building an
(verisimilitude) story by using symbols, emotional bond with the observer on a
and strong themes as nostalgia. So that the personal level via imaginable plot, and
observer feels familiar with the content identifiable characters; strengthening
of the advert which includes “identifiable emotional branding-brand loyalty, in-
characters, imaginable plot, and verisimil- creasing familiarity of the observer to con-
itude” due to his past memories, and ex- tent due to familiar background related to
perience which might happen because of nostalgia theme, and making the narrative
personal, historical, or collective nostalgia life-like, and more powerful. In the end;
depending on the person’s past experi- the advert narratively transports the cus-
ence, cultural background, and age; con- tomer due to its effective narrative, and
sistent with Van Laer et al (2014) model. nostalgic content related to the observer’s
Therefore, this research uses the “fa- past experiences. Finally, according to nar-
miliarity” element from the model of Van rative transportation theory, the observer’s
Laer et al (2014) to structure a new model opinions, attitudes, and beliefs could tem-
322 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

porarily change about the product due to builds an emotional bond between the
less critical, and more affective thoughts. brand and the customer, and strengthens
However, the aims of this research were to emotional branding-brand loyalty. Thus
show how luxury fashion brands use nos- it also provides benefits for branding, and
talgia as a theme in their advertising, and marketing. Therefore, if decreasing the
to analyze benefits of using nostalgia rath- psychological distance between the luxu-
er than testing narrative transportation ry brand, and the customer is aimed; this
theory. Thus this research does not prove theme can be used to increase emotional
that narrative transportation happens at branding. Finally, nostalgia theme can be
the end of this process, it assumes this last used to make the narrative more power-
step: “familiarity” leads to narrative trans- ful, and life-like since it provides a familiar
portation based on the model of Van Laer story to the observer. As demonstrated in
et al. (2014). Figure 2, the narrative supported by nos-
talgia theme makes the advertising more
effective due to familiarity. Thus it has the
6 Conclusion ability to narratively transport the custom-
er. Narrative transportation of the observ-
This research aimed to identify how luxury er results in belief, attitude, and intention
fashion brands use nostalgia in their adver- changes. Therefore, if it is used wisely by
tising, and marketing. Firstly, the research the industry; nostalgia is a crucial theme
analyzed 5 luxury fashion brands’ 60 ad- to make powerful adverts in luxury fashion
verts from Italian Vogue by a content anal- advertising.
ysis of imagery, and semiotics discipline.
This research revealed the importance of 6.2 Limitations and further
luxury fashion brand characteristics for a research suggestions
luxury fashion brand in the adverts’ narra- This research focused on European ad-
tives, identified that nostalgia theme was vertising perspective. Further research
frequently used in the analyzed adverts, should examine other cultural contexts,
and explained the benefits of nostalgia. and product areas of advertising relating
By filling the gap in the research of Stern to nostalgia.
(1992a), the research demonstrated that
also this advertising field uses nostalgia
frequently as a theme, not only nesting References
food. Research identified strong themes,
and symbols’ meanings embedded in the Akgün, A., Koçoğlu, I. & İmamoğlu, S. (2013).
narrative connected to nostalgia theme; An emerging consumer experience:
and structured a model based on Van Laer Emotional branding. Procedia – Social
et al. model (2014). and Behavioral Sciences, 99(6), 503–508.
doi:10.1016/j.sbspro.2013.10.519
6.1 Recommendations Andersson, S., Hedelin, A., Nilsson, A., &
Advertisers, and marketers can use nos- We­lander, C. (2004). Violent advertis-
talgia as a theme in their advertising to in- ing in fashion marketing. Journal of
form the customer in terms of the brand’s Fashion Marketing and Management:
heritage. Furthermore, using nostalgia An International Journal, 8(1), 96–112.
with other sub-themes and symbols makes doi:10.1108/13612020410518727
the advertising a form of art which should Bain & Company: D’Arpizio, C., Levato, F.,
be the aim. Using this theme is especial- Zito, D., & De Montgolfier, J. (2016).
ly suitable for luxury fashion advertising Luxury Goods Worldwide Market Study.
since it should be built along aesthetic Bain & Company, 1–27. Retrieved from
values, and cultural symbols which are http://www.bain.com/Images/BAIN_RE-
more concerned with making the adver- PORT_Global_Luxury_2015.pdf [Accessed
tising an art form. Nostalgia increases fa- 31 Mar. 2015].
miliarity with the customer’s background,
Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324 323

Baker, S. M., & Kennedy, P. F. (1994). Death by analysis. Journal of Business Research,
nostalgia: A diagnosis of context-specific 67(12), 2666-2675. doi: 10.1016/j.jbus-
cases. Advances in Consumer Research, 21, res.2014.04.004
169–174. Gerrig, R. (1993). Experiencing narrative worlds.
Barthes, R. (1964). Elements of semiology. Paris: New Haven: Yale University Press.
Jonathan Cape. Green, M., & Brock, T. (2002). In the mind’s eye:
Buro247.me. (2014). First Look: Louis Vuitton Transportation-imagery model of narra-
Spring/Summer 2014 Campaign. tive persuasion. 315–341.
Retrieved from http://www.buro247.me/ Green, M., & Brock, T. (2000). The role of trans-
fashion/news/louis-vuitton- portation in the persuasiveness of public
campaign-spring-2014.html narratives. Journal of Personality and So-
Businessoffashion.com. (2015). Gucci 2015. cial Psychology, 79(5), 701–721.
Retrieved from https://images.business­ doi: 10.1037//0022-3514.79.5.701
offashion.com/site/uploads/2015/07/ Hall, S. (2012). This means this, this means that.
Gucci_1.jpg?auto=format%2Ccompress& London: Laurence King Pub.
crop=top&fit=crop&h=573&w=1024 Hansen, J., & Wanke, M. (2011). The abstract-
Conversationsabouther.net. (2014). Gisele ness of luxury. Journal of Economic Psy-
Bündchen Poses In Paris for Chanel Spring chology, 32(5), 789-796. doi: 10.1016/j.
2015 Campaign. Retrieved from http:// joep.2011.05.005
conversationsabouther.net/wp-content/ Havlena, W., & Holak, S. (1991). “The Good Old
uploads/2014/12/chanel.jpg Days”: Observations on nostalgia and its
Cdn.stylefrizz.com. (2011). Most Fashionable role in consumer behaviour. Advances in
Christmas Party: Tommy Hilfiger Holiday Consumer Research, 18, 323–329.
2011 Campaign. Retrieved from http:// Havlena, W., & Holak S. (1998). Feelings, fanta-
cdn.stylefrizz.com/img/Tommy-Hilfi­ger- sies, and memories: An examination of the
Party-Holiday-2011.jpg emotional components of nostalgia. Jour-
Conde, Nast. (2016). Vogue | Conde Nast. nal of Business Research, 42(3), 217–226.
[online] Conde Nast. Retrieved from doi: 10.1016/s0148-2963(97)00119-7
http://www.condenast.com/brands/ Hines, T., & Bruce, M. (2007). Fashion market-
vogue [Accessed 5 Apr. 2016]. ing. Amsterdam; Boston: Butterworth-­
Creswell, J. (2014). Research design: Qualita- Heinemann.
tive, quantitative, and mixed methods Holsti, O. (1965). Content analysis [by] Ole R.
approaches. 4th ed. Thousand Oaks, Calif.: Holsti, with the collaboration of Joanne K.
Sage Publications. Loomba and Robert C. North. [Stanford,
Daniels, E. (1985). Nostalgia and hidden mean- Calif.]: Stanford University.
ing. American Imago. Holsti, O. (1969). Content analysis for the social
Davis, F. (1979). Yearning for yesterday. sciences and humanities. Reading, Mass.:
New York: Free Press. Addison-Wesley Pub. Co.
Escalas, J. (2007). Self-referencing and per- Kim, J., Lloyd, S., & Cervellon, M. (2016). Nar-
suasion: Narrative transportation ver- rative-transportation storylines in luxury
sus analytical elaboration. Journal of brand advertising: Motivating consumer
Consumer Research, 33(4), 421–429. doi: engagement. Journal of Business Research,
10.1086/510216 69(1), 304–313. doi: 10.1016/j.jbus-
Fionda, A., & Moore, C. (2009). The anatomy of res.2015.08.02
the luxury fashion brand. Journal of Brand Merchant, A., & Rose, G. (2013). Effects of
Management, 16(5–6), 347–363. advertising-evoked vicarious nostalgia
doi: 10.1057/bm.2008.45 on brand heritage. Journal of Business
Flueckiger, B. (2009). Lifestyle, aesthetics and Research, 66(12), 2619-2625. doi: 10.1016/j.
narrative in luxury domain advertising. jbusres.2012.05.021
Popular Narrative Media, 2(2), 195–212. Nueno, J., & Quelch, J. (1998). The mass
doi: 10.3828/pnm.2009.6 marketing of luxury. Business Horizons,
Freire, N. (2014). When luxury advertising adds 41(6), 61–68.
the identitary values of luxury: A semiotic
324 Ok / Studies in Communication Sciences 18.2 (2018), pp. 307–324

Okonkwo, U. (2007). Luxury fashion branding. AAAAAAAAZJU/FNXXNPOSUeE/s640/

Basingstoke: Palgrave Macmillan. chanel1.jpg
Oswald, L. (2010). Marketing hedonics: Thompson, C., Rindfleisch, A., & Arsel, Z.
Toward a psychoanalysis of advertis- (2006). Emotional branding and the stra-
ing response. Journal of Marketing tegic value of the Doppelgänger brand
Communications, 16(3), 107–131. doi: image. Journal of Marketing, 70(1), 50–64.
10.1080/13527260802503638 doi: 10.1509/jmkg.2006.70.1.50
Payload.cargocollective.com. (2012). Vogue.es. Urde, M., Greyser, S., & Balmer, J. (2007).
(2012). L’invitation au Voyage.Retrieved Special issue papers: corporate brands
from https://www.vogue.es/moda/news/ with a heritage. Brand Management, 15,
galerias/l-invitation-au-voyage-de-louis-­ 1–17.
vuitton/9092/image/667471 Van Laer, T., de Ruyter, K., Visconti, L., & Wet-
Phillips, B., & McQuarrie, E. (2010). Narrative zels, M. (2014). The extended transpor-
and persuasion in fashion advertising. tation-imagery model: A meta-analysis
Journal of Consumer Research, 37(3), of the antecedents and consequences of
368–392. doi: 10.1086/653087 consumers’ narrative transportation. Jour-
Phillips, B., & McQuarrie, E. (2011). Contesting nal of Consumer Research, 40(5), 797–817.
the social impact of marketing: A re-­ doi: 10.1086/673383
characterization of women’s fashion ad- Wallerstein, K. (1998). Thinness and other re-
vertising. Marketing Theory, 11(2), 99–126. fusals in contemporary fashion advertise-
doi: 10.1177/1470593111403215 ments. Fashion Theory, 2(2), 129–150. doi:
Pinkfishmedia.net. (2012). Retrieved from 10.2752/136270498779571149
https://pinkfishmedia.net/forum/ wwd.com. (2012). Louis Vuitton Uses Train-
proxy.php?image=http%3A%2F%2F25. Station Set in Fall Ads. Retrieved from
media.tumblr.com%2Ftum- https://pmcwwd.files.wordpress.
blr_m97rc50vMw1r9e2vfo1_1280.jp- com/2012/06/lv-ad021.jpg?w=1024
g&hash=957241a82e8e6e022e3508f22a4f- Yatzer.com. (2011). Dolce & Gabbana SS2012
9bcf Menswear Campaign Inspired by The
Porcelainista.net. (2014). Mamma Madonna. Italian Cinema. Retrieved from https://
Retrieved from http://www.porcelainista. www.yatzer.com/sites/default/files/arti-
net/wp-content/uploads/2014/04/FW11_ cle_images/2805/Dolce-Gabbana-ss12-
Women_01.jpg yatzer-6.jpg
Qsrinternational.com. (2015). QSR – NVivo Zakia, R., & Nadin, M. (1987). Semiotics, ad-
product range | QSR International. [online] vertising and marketing, Journal of Con-
Retrieved from http://www.qsrinterna- sumer Marketing, 4(2), 5–12. doi: 10.1108/
tional.com/product [Accessed 4 May eb008192a
2016].
Stern, B. (1992a). Historical and personal nos-
talgia in advertising text: The fin de siecle
effect. Journal of Advertising, 21(4), 11–22.
doi: 10.1080/00913367.1992.10673382
Stern, B. (1992b). Nostalgia in advertising text:
romancing the past. Advances in Consum-
er Research, 19, 388–389.
Stokrocki, M. (1988). Understanding popular
culture: The uses and abuses of fashion
advertising. Journal of Social Theory in Art
Education, 69–76.
Tatajazzblog.blogspot.com. (2012). Chanel
resort 2013 campaign with Cara and
Saskia. Retrieved from http://1.bp.blog-
spot.com/-Q9jvpsEuhnE/UH8FeA9Y3ZI/