Andre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeAndre Tan @ affordable art fair SingaporeConceptualized for brand-conscious societies, Andre constructs complex witty tableaux.
Pop artist Andre Tan’s parody riffs on luxury logos.
A major portion of Singapore pop artist Andre Tan‘s parody riffs on the logos of international luxury brands like HERMÈS, CHANEL, LOUIS VUITTON, SUPREME, in combination with a number of comic and cartoon characters. These animated personalities interact with the luxury brands in anarchically improbable ways, generating a wink and a smile as recognition, then humor strikes its audience. Both brands and characters have high recognition factors in fields as varied as fashion, film, music, animation, and gaming, drawn from both Western sources as in comics and cartoons, or Eastern ones as in Manga or Anime. As such, they are drawn from the very fabric of contemporary popular culture, placing Andre firmly in the genre of pop art.
Andre Tan questions our negotiation of self- identity in the context of a mass- media economy.
Conceptualized for brand-conscious societies as ourselves, Andre goes beyond the mere juxtaposition of disparate images to construct complex witty tableaux as desirable as the products they parody. He blurs the boundaries between reality and the unreality project projected by the mass and consumer culture and questions our negotiation of self- identity in the context of a mass- media economy that remain largely driven by Western culture.
Everything You Need To Know about the most famous accessory in fashion history.
One could say that the CHANEL 2.55 is the eighth (fashion) world wonder. Why? Because it is a work of art, making it undoubtedly the most famous accessory in fashion history. But what makes the CHANEL 2.55 It-bag so unique? Here are some fascinating facts about the surprising past of the bag and Gabrielle’s personal influence on it.
Gabrielle “Coco” Chanel with her original 2.55 Bag
The original CHANEL 2.55
A rectangular shape made of quilted leather, with an all-chain strap and the Mademoiselle lock – these are the most popular characteristics to identify the original CHANEL 2.55 bag. It was designed by Gabrielle Chanel herself in February 1955, at the age of 71. It wasn’t one of her first designs, but it was the creation that dominated the fashion scene for many years to come. The name of the accessory refers to the date and year the bag was created – a wonderful number combination that still hasn’t lost its spark until today.
What was the inspiration behind the CHANEL 2.55?
To understand why the CHANEL 2.55 BAG has increased in value in the past +60 years, one has to look at the handbag designs of the late 18th century. Handbags at that time were designed for the elite, the wealthy and mainly society ladies. The shape was boxy, and neoclassical, lacked in feminine silhouettes and didn’t allow women to walk hands-free. They were carried either on the crook of a woman’s arm or with both hands. It was one of the many reasons why Gabrielle was so eager to design a bag that could be better – classy, lightweight yet easy to carry around.
CHANEL 2.55 characteristics
The Exterior
It is no secret that the CHANEL 2.55’s elements have their roots in Gabrielle Chanels’s humble beginnings. Before its big debut in 1955, the CHANEL bag’s previous version, worn by the Gabrielle Chanel since the 1920s, was initially made of quilted wool. Gabrielle was always known for being very fond of equestrian sports and attended horse races frequently.
For the debut in February 1955, she opted for firmer materials, primarily black quilted leather with a diamond and herringbone pattern.
It is where she took inspiration for the exterior of the 2.55 – specifically jockey jackets and saddle blankets, to make up the soft silhouette. However, for the official debut in February 1955, she opted for firmer materials, primarily black quilted leather with a diamond and herringbone pattern. It proved to be a timeless material that would suit its wearer’s style and taste, no matter the occasion.
THE CHANEL 2.55 COMES IN BOTH DIAMOND- AND CHEVRON-QUILTED LEATHER.
The Interior
The interior of the traditional Chanel 2.55 unveils the true charm of the It-bag. It is inspired by Coco Chanel’s memories, mainly the convent orphanage where she was raised.
CHANEL 2.55 lamb dark red
The traditional CHANEL 2.55 is widely known as a Double Flap Bag, meaning it consists of an exterior flap and interior flap, plus a spacious compartment. The interior of the bag features a subtle burgundy red, inspired by Gabrielle’s Catholic school uniform. Another surprising little secret awaits on the inside of the front flap – a zip pocket that was added by Gabrielle to store secret love letters.
The Mademoiselle Lock
Many believe that the interlocked CC closure had been the original hardware since its debut in 1955. However, it wasn’t until the 1980s, that Karl Lagerfeld added the signature CC closure. The traditional lock of the Chanel 2.55 is known as the ‘Mademoiselle Lock’, an elegant rectangular clasp, referring to the fact that the female designer never married.
CHANEL 2.55 Reissue
The Reissue is a recreation of the classic CHANEL 2.55 from 1955 by Karl Lagerfeld. This term is mainly used to describe the models that were launched as part of the 50TH ANNIVERSARY of the brand in 2005. The Reissue commemorates the original and features the same details as the original bag, like the iconic Mademoiselle Lock and an all-metal chain strap.
However, since the launch of the 2.55 in 1955, newer models of the It-bag were released, featuring many variations to the iconic design. This includes everything from fabric to change of the chain strap and closure. It has often caused confusion among CHANEL fans.
The CHANEL 2.55 classifies as a Double Flap Bag. The same can be applied to the Classic Flap and the Reissue model. However, there was a time when 2.55 bags featured a single flap – with only the exterior flap closure and a spacious single compartment. They were discontinued in 2014, as they were being seen as deviating from the original. Since then, the double flap has become a standard element and a must-have feature in CHANEL bags.
CHANEL 2.55 vs. Classic Flap vs. CHANEL 2.55 Reissue
Here are some of the most significant differences to look out for:
CHANEL 2.55 (since 1955)
The CHANEL 2.55 has the following characteristics:
Has the iconic Mademoiselle Lock
Features the signature all-metal-chain
consists of exterior and interior flap compartment, classified as double flap
Despite economic uncertainty and digital disruption, luxury brand stalwarts DIOR GUCCI and CHANEL SAINT LAURENT also remain resilient in their leadership.
A lot has changed in luxury over the past six months, with Covid restrictions easing in China, corporate reshuffles at LVMH, the acquisition of TOM FORD by ESTÉE LAUDER and the departure of Alessandro Michele from GUCCI. The top four brands of the VOGUE BusinessIndex have nonetheless remained the same, defending their positionings. Look under the hood, though, and some changes seem to be happening, with purchase intent down for most major players (except in China) and diminishing scores across many of the consumer metrics tracked.
Few luxury consumers want to switch brands but may shop differently if prices increase, with a readiness to wait for sales.
Survey data shows few consumers want to switch brands as economic instability continues but may shop differently if prices increase, with a readiness to wait for sales. Brands should continue to grow their digital reach, being mindful of the fastest-growing channels, and working with culturally important figures and collaborators in spaces like gaming, film/TV, hospitality, and leisure to cement their appeal even if times are tough.
1. LOUIS VUITTON
LVMH
Rank change: 0
A leader in almost all areas covered by the VOGUE Business Index, LOUIS VUITTON maintains its spot at the top of the rankings. Enthusiasm for the French Maison among luxury consumers only grew over the course of 2022, and its score on the innovation pillar improved too. New CEO Pietro Beccari has the strongest of foundations from which to work.
2. DIOR
LVMH
Rank change: 0
Beccari’s former home came incredibly close to unseating Louis Vuitton, but it was not to be this time. DIOR is once again the standout digital performer in the Index and even ranks slightly ahead of LOUIS VUITTON on purchase intent. One reason for its failure to take the top spot is it’s underdeveloped omnichannel (or cross-channel) shopping experience when compared to its peers.
3. GUCCI
Kering
Rank change: 0
Creative director Alessandro Michele has left, and GUCCI is at a crossroads. Demand for the brand has diminished among consumers across almost all of the major markets tracked, upping the pressure on Kering to pick an exciting successor. Despite this, GUCCI remains incredibly well-liked among luxury consumers worldwide and a pioneer across ESG (environmental, social, and governance), as well as all things digital.
4. CHANEL
Chanel Limited
Rank change: 0
Little has changed for CHANEL. Its resistance to digital sales and innovations like resale makes it a laggard in some of the key metrics tracked. The brand nevertheless impresses consumers more than any other when all VOGUE Business Index survey questions are taken into account, leading on awareness, recommendation, and purchase intent.
5. SAINT LAURENT
Kering
Rank change: +2
As the hype around Gucci has become more muted, SAINT LAURENT has been a bright spot for parent company Kering. It takes the fifth spot in the ranking from RALPH LAUREN in this edition of the Index. Consumer appreciation for the brand has increased over the course of the year and its digital performance has also improved. A new approach to ESG scoring that takes the work of parent companies like Kering more into account also helped SAINT LAURENT’s score. It continues to be a low scorer on innovation, with room for growth in this space.
When we think of luxury messenger bags, we don’t think of a schoolbag meant to carry the miscellany required for a long day of college classes. No, we don’t think of the practicality of them at all. Rather, when we think of messenger bags, we actually think of one messenger bag in particular. The only messenger bag that ever mattered.
Ok, ok, we are a little dramatic, but immediately what comes to mind at the mere mention of a messenger bag is the Chanel Graffiti Messenger bag from Spring/Summer 2015. The messenger bag was released a year after one of CHANEL’s most divisive bags to date, the Graffiti Backpack of Spring/Summer 2014, presumably to capitalize on the backpack’s demand and sales success.
We loved the messenger bag just as much as we loved the backpack, and we still feel a pang in our stomach when we see a rare one IRL. Today, the messenger is making a comeback, which has us all in our feels for the greatest messenger bag there ever was.
The Modern Messenger
With the return of big bags and designers paying more attention to functionality than the trend towards micro-minis, messengers, too, are having their second-coming. It makes sense, because alongside the return to more practical silhouettes is fashion’s constant obsession with nostalgia, and messenger bags were once a highly-beloved silhouette.
From the runways of GUCCI and PRADA to the latest and greatest bags from BOTTEGA VENETA, we’ve been seeing a return to the casual-cool messenger bags popularized in the 2000s and 2010s. The ideal messenger bag is a perfect combination of utilitarian and fashionable, a perfect shape for a day bag. As spring assortments are slowly trickling out, you can bet we’ll begin to see more messengers too. Take a look below at our favorite so far.
Markets have undergone pretty big changes since millennials entered their prime earning years.
The Luxury Industry is One Millennials Haven’t Killed, and People Are Still Mad About It. Remote work, online shopping, and social media have all affected consumer spending habits to the point of detriment to specific industries while causing a boom for others.
Now marketing professionals in every sector are stuck trying to figure out how to please a generation under-40s that has more access to goods and services than previous generations but less disposable income to spend on them.
Consequently, this leads to much commentary about what 20 and 30-somethings choose to or not to spend their bit of money on. We see this with all those articles about them killing the casual dining/ cable TV/ whatever industry, and it’s almost always framed as a bad thing. But in truth, some sectors are better at catering to these Millenials (and Gen Z) than others. The camping, skincare, and luxury goods designer bags industries are doing just fine.
The luxury industry was particularly innovative and had the strongest branding throughout the pandemic.
We accept that in the free market, only those who’re the most innovative and have the strongest branding and ability to navigate economic downturns can come out on top. – something the luxury industry was particularly good at throughout the pandemic. But I’ve noticed Millenials’ spending habits seem to face a bit more scrutiny than others did at their age due to the particular economic concerns that prevented them from obtaining more traditional markers of adulthood like home ownership. Whenever we spend on something, topics surrounding housing, marriage, or starting a family are also brought into the conversation and often lead to many snap judgments about Millenials’ perceived irresponsibility or misaligned priorities.
Millennials and Gen Z seem to have no problem spending some of their disposable income on luxury goods
A great example is when Fortune magazine recently revealed data showing that Millenials and Gen Z seem to have no problem spending some of their disposable income on luxury goods, but only because they save so much money by living at home with mom and dad.
As you can imagine, these findings made their way around the internet. As any Millennial-focused topic does, it got some pretty unsavory reactions from those who misunderstand the motivations of younger generations.
For better or worse, Millennials are an economic force to be reckoned with, and I think understanding their approach to work and life is key to understanding why they would choose to spend on things like luxury goods and leisure activities over putting as much energy into more traditional markers of success.
Even in places with more moderate housing prices, a luxury designer handbag is still cheaper than a home.
Many Millenials – especially those on the coasts and HCOL areas – have accepted the economic realities of their lifetime and have begun to make tradeoffs for the sake of still wanting to live fulfilled lives, even if it means becoming a permanent renter or living with their folks.
If you feel like you’ll never be able to own a home no matter how much you save, at some point, you’ll simply stop aiming to do so and divert your money and attention elsewhere. Even in places with more moderate housing prices, a luxury designer handbag is still cheaper than a home.
Cultivating Cultural Capital
Never underestimate how having the right tastes, preferences, and interests can help move you forward. For some industries like real estate, banking, and advertising, projecting an image of success is somewhat necessary to get ahead (meaning eventually making more money to be able to move out of your parent’s house) so looking the part can be a strategic move to show you mean business or that you’ve still managed to make it.
Gone are the days of waiting for a CHANEL bag from your employer alongside a fat pension. You’ll have to figure out how to get that CHANEL flap bag yourself.
Home is Where the Heart (and Your Luxury Collection) Is
Low or high income, debt or no debt – I always feel like articles about adults still living at home ignore the fact that some people prefer living in households with their parents, children, and other relatives.
According to the World Economic Forum, one-quarter of U.S. adults ages 25 to 34 lived in a multigenerational family household as of 2021. And for many of those households, remaining at home isn’t only considered to be the financially savvy thing to do. Still, it is encouraged and embraced, if not outright expected (depending on the culture.) Because even if it doesn’t save money on rent, it sure does on child and elder care.
I’m not writing this to encourage anyone to spend outside of their budget or at the expense of their financial well-being. I don’t feel like these headlines ever tell the whole story.
I’m in my own home now but wouldn’t feel bad about moving back in with family if my spouse or I ever needed to – there’d be more love and LOUIS VUITTON to go around.
