{"id":15,"date":"2026-09-07T17:38:13","date_gmt":"2026-09-07T16:38:13","guid":{"rendered":"https:\/\/blogs.ncl.ac.uk\/nadiaalexanderkhan\/?p=15"},"modified":"2026-09-07T17:38:14","modified_gmt":"2026-09-07T16:38:14","slug":"15","status":"publish","type":"post","link":"https:\/\/blogs.ncl.ac.uk\/nadiaalexanderkhan\/2026\/09\/07\/15\/","title":{"rendered":""},"content":{"rendered":"\n


The Business of Desire: What Makes Luxury Worth Paying For?<\/strong><\/h2>\n\n\n\n

From fashion to food, luxury marketing increasingly depends on something that cannot simply be added to the price tag: belief.<\/strong><\/p>\n\n\n\n

By Nadia Alexander-Khan <\/strong>
Fashion Marketing. Luxury Branding. Consumer Behaviour. Brand Strategy. <\/em>
Founder, Alexander Research<\/em><\/p>\n\n\n\n

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There was a time when luxury rarely needed to introduce itself. The address, shop window, service and difficulty of obtaining the product did much of the talking.<\/p>\n\n\n\n

Today, luxury arrives on a smartphone. An emerging business can sit alongside a century old fashion house in the same social feed, using equally beautiful photography, sophisticated packaging and polished advertising. The appearance of luxury has never been easier to create.<\/p>\n\n\n\n

The harder question is whether consumers believe it.<\/p>\n\n\n\n

When everyone looks premium<\/strong><\/p>\n\n\n\n

The language of luxury has spread far beyond fashion. Beauty, hospitality, travel, wellness, food and gifting businesses routinely describe products as exclusive<\/em>, curated<\/em>, timeless<\/em>, artisan<\/em> or premium<\/em>.<\/p>\n\n\n\n

That creates a problem for marketers. When everybody speaks the language of distinction, the language itself becomes less distinctive.<\/p>\n\n\n\n

Recent analysis from Deloitte<\/a>\u2060 argues that changing consumer expectations and digital acceleration are redefining what constitutes luxury. Younger consumers increasingly expect experiences that are personal, transparent and culturally relevant. (Deloitte<\/a>\u2060)<\/p>\n\n\n\n

Luxury, in other words, cannot simply be declared. It has to be demonstrated.<\/p>\n\n\n\n

What are consumers actually buying?<\/strong><\/p>\n\n\n\n

A handbag carries possessions, a watch tells the time, chocolate is eaten, those descriptions are accurate, but commercially they explain very little.<\/p>\n\n\n\n

Materials, craftsmanship and design contribute to price, but consumers also attach value to reputation, scarcity, identity, service, presentation and cultural meaning. The customer evaluates not only what a product does, but what owning, experiencing or giving it represents.<\/p>\n\n\n\n

That question sits naturally within the work of Newcastle University Business School\u2019s Marketing research community<\/a>\u2060, whose research themes include consumer behaviour and digital marketing. The University\u2019s Marketing Subject Group describes consumer behaviour as the study of consumers\u2019 preferences, decisions and actions when selecting and using products and services. (Newcastle University<\/a>\u2060)<\/p>\n\n\n\n

For luxury marketers, that distinction is fundamental.\u00a0Price tells us what something costs, consumer behaviour helps us understand why somebody believes it is worth paying for.<\/p>\n\n\n\n

Fashion\u2019s lesson for the rest of luxury<\/strong><\/p>\n\n\n\n

Fashion has understood this relationship for generations. A successful luxury house does not sell an object in isolation; it constructs an environment around it.<\/p>\n\n\n\n

Heritage, stores, campaigns, designers, ambassadors, packaging and service reinforce one another. The physical product remains essential, but it sits within a much larger system of meaning.<\/p>\n\n\n\n

Digital media has disrupted that system. Traditional gatekeepers now compete with creators, search engines, recommendation algorithms and online communities for influence over what consumers discover.<\/p>\n\n\n\n

Recent reporting by\u00a0Vogue Business<\/a>\u2060\u00a0illustrates another important shift, brands are looking beyond enormous follower counts when choosing influencers. Relevance, authenticity, community relationships and meaningful engagement increasingly matter alongside reach. (Vogue<\/a>\u2060) .That should interest businesses far beyond fashion.<\/p>\n\n\n\n

From fashion house to chocolate box<\/strong><\/p>\n\n\n\n

The same principles increasingly apply to premium food and gifting.<\/p>\n\n\n\n

Chocolate can be an everyday purchase. It can also be an anniversary present, a corporate gift, a thank-you, an apology or part of a celebration. The physical product may remain broadly recognisable, but the context changes what the customer expects from it.<\/p>\n\n\n\n

Presentation therefore becomes commercially important. Packaging, photography, ordering, delivery and the moment the recipient opens the box all contribute to perceived value.<\/p>\n\n\n\n

This is a question I have considered through studying consumer behaviour and while developing\u00a0Marble Jar<\/a><\/strong>, a British luxury confectionery and gifting brand. The useful question is not:\u00a0How much can a business charge for a brownie?<\/em><\/p>\n\n\n\n

It is:\u00a0What must the product and the experience deliver for a customer to believe the premium is justified? That distinction matters. A higher price can create an expectation of luxury. Only the experience can validate it.<\/p>\n\n\n\n

The customer has become part of the media<\/strong><\/p>\n\n\n\n

Social media has made that experience more visible. Packaging was once designed principally for the recipient. Today, an unboxing may also become an Instagram post<\/a>, TikTok video<\/a>, review or recommendation seen by thousands of prospective customers. The customer has consequently become part of the brand\u2019s distribution system.<\/p>\n\n\n\n

That creates opportunities, but it also creates accountability. A beautifully photographed advertising campaign cannot indefinitely compensate for a disappointing product or poor customer experience when consumers can document the difference publicly. Trust becomes part of the product.<\/p>\n\n\n\n

The danger of optimising everything<\/strong><\/p>\n\n\n\n

Algorithms now exert enormous influence over what consumers encounter. Marketers can measure impressions, clicks, engagement and conversions with remarkable precision. But data and creative judgement perform different jobs.<\/p>\n\n\n\n

An algorithm may identify what attracted attention yesterday. It cannot necessarily decide what a brand should stand for tomorrow. If businesses continually reproduce whatever already performs well, optimisation can eventually produce sameness rather than distinction.<\/p>\n\n\n\n

That is particularly dangerous for luxury.<\/p>\n\n\n\n

Luxury requires recognition, but it also requires difference. The objective should not simply be for more people to see a brand, it should be for the right people to\u00a0remember\u00a0it.<\/p>\n\n\n\n

Luxury cannot be a caption<\/strong><\/p>\n\n\n\n

The appetite for craftsmanship, beauty, indulgence, rarity and status is considerably older than social media. Luxury is not disappearing.<\/p>\n\n\n\n

What is becoming less convincing is the idea that businesses can simply call themselves luxurious and expect consumers to agree.<\/p>\n\n\n\n

The strongest premium brands prove their positioning through product, presentation, service and consistency. Reputation is the cumulative result.<\/p>\n\n\n\n

Technology will continue changing how products are discovered and purchased, but the fundamental marketing question remains remarkably stable:\u00a0why this one?<\/strong><\/p>\n\n\n\n

Why this handbag, hotel, perfume or box of chocolates when hundreds of alternatives are immediately available? Modern marketing provides extraordinary machinery for generating attention. Businesses can buy it, target it, measure it and optimise it, meaning is harder to manufacture.<\/p>\n\n\n\n

And in a marketplace where almost everybody can be seen,\u00a0perhaps the greater luxury is being remembered.<\/p>\n\n\n\n

About the author<\/strong><\/p>\n\n\n\n

Nadia Alexander-Khan<\/a><\/strong>\u00a0writes about marketing, consumer behaviour, fashion, luxury and entrepreneurship, with a particular interest in premium consumer behaviour, brand positioning and the relationship between perception and commercial value.<\/p>\n\n\n\n

She is the founder of\u00a0Marble Jar<\/strong>,<\/a> a British luxury confectionery and gifting brand.<\/p>\n\n\n\n

Further reading<\/strong><\/p>\n\n\n\n

Newc<\/strong>https:\/\/www.ncl.ac.uk\/business\/research\/groups\/marketing\/astle University Business School<\/strong>\u00a0\u2014 Marketing Research<\/a><\/p>\n\n\n\n

Deloitte<\/strong>\u00a0\u2014\u00a0Future of Luxury Marketing<\/em><\/a><\/p>\n\n\n\n

Vogue Business<\/strong>\u00a0\u2014 Fashion Marketing and Influencer Strategy<\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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