Wanting What You Can’t Have (Article)

WANTING WHAT YOU CAN’T HAVE

Fashion and the Human Psychology

Photography- Amber Bennett Models- Nina Anna Kapalkove, Madeline Mooney Stylist- Xintong Wan

BY HELENA OH

The term unmasking suggests a veil or layer on the surface that, once removed, might reveal something that lies beneath. The global luxury industry unmasked discloses a complex yet intentional manipulation of the human psychology that sustains its oplent and lavish exterior image.

Marketing luxury is not the same as marketing fast fashion: below the obvious explanation of simply a difference in the target audience, there lies a clever manipulation of human psychology to lend a restrictive, thus more special undertone, to high fashion. The image of exclusivity is indispensable to the profitable aspect of many brands, and this level of irresistible inaccessibility could be seen as originating from the workings of the Parisian haute couture houses. Only creating hand-made, custom-fitted clothing tailored for one individual client results in solely around 4000 haute couture customers in the entire world. The fashion houses thereby produce an exclusive community that with its ritzy and elegant appearance, market the brand image. It is expected that people are drawn to what they are unable to access.

Human beings psychologically dislike the feeling of being excluded – any type of exclusion feels threatening to reputation, status, and social relationship, which puts consistent pressure upon those who are left out of a circle to find an opening. This opening, for many, might be the purchasing of products from brands that maintain haute couture lines, the name becoming a label for entry into the exclusive group that has been formed.

Many shows and novels deal with notions of exclusivity – so much of the media revolves around high society or restrictive communities, whether it be Gossip Girl, the overboard high fashion consumption seen in Keeping Up With the Kardashians, or even new reality shows such as Bling Empire. The fascination can again be explained in the same way: people are drawn to what they may lack access to. Due to there being a natural curiosity that is derived from subconsciously wanting to learn what those in powerful circles engage with, a glimpse into the world of those deemed elites could attract an audience and drive fan culture or simply a loyal following. Fashion is a primary mode of expression for many and therefore, an Instagram photo showcasing a new item of clothing or bag from a high fashion brand will result in the feeling, albeit temporary, of being a part of an exclusive group. For many, this emotional reward of feeling important and respected results in luxury fashion becoming a method to prove oneself, which may explain the size and visibility of logos growing larger over time and new designs that stray further from the delicate nature of haute couture houses. The aspiration for inclusion drives desirability, which in turn drives sales.

In recent generations, this manipulation has grown to take on different forms, an example being utilizing the inaccessible yet alluring images of certain celebrities or specific fan cultures for collection drops in order to maintain a high level of following. While high fashion brands usually appeal to a certain niche, many have been experimenting recently with wider target audiences by employing new techniques in their marketing tactics.

An example could be the variety in global brand ambassadors that have been hired for different events; at the Met Gala 2021 that celebrated iconic moments in American fashion, YSL’s creative director Anthony Vaccarello brought K-pop girl group Blackpink’s Rosé as his plus one. K-pop fandoms are already infamous for their devotion and commitment in supporting their idols, and this event caused a high amount of enthusiasm: we can tie this back to the original idea of exclusivity in a different manner.

This new audience already views idols as elusive role models or figures of adoration and associating them with images of high fashion brands turn them into symbols of covetousness, motivating fans to purchase luxury goods. Saint Laurent’s Women’s Brand Fashion Show this summer reached a soaring amount of over 100 million views due to Rosé’s appearance – she “generated a significant engagement”, according to the house, which again illustrates the effect that social media and celebrity impact has on high fashion marketing. Furthermore, different age demographics have also been targeted through new forms of social platforms such as Tiktok, where influencers such as Charlie D’Amelio have been partnering with luxury brands. These influencers or idols have a hold on the younger generation, who admire or look up to them: they create their own versions of exclusive communities that now appeal to younger age groups as well who want to be close to their idols and take part in their fame and glory.

Underneath the surface exterior of global luxury, there lies a system that is built on and operates within the term exclusivity, as well as the attraction of products that are in limited supply. Haute couture builds a client base by utilizing marketing tactics to enhance scarcity and cultivate aspiration for the product, which triggers the competitive reflex that lies hidden in the subconscious of many.

While it may be problematic, the fashion industry, in general, is kept sustained with this idea, since as humans, we seem to value exclusivity more than inclusivity, and in However, global luxury thus raises the question of whether what you seemingly are unable to have loses its value once it is attained. How long will this marketing tactic be able to continue, once the mask of opulence is removed to reveal there is nothing behind the door of exclusivity but merely feelings of self-approval?

“Fashion is the most powerful art there is. It shows the world who we are and who we’d like to be.”