奢侈之舉 真誠回饋

Wynn Magazine - - CONTENTS - By Todd Plum­mer

對於奢侈品牌而言,利用其深遠的影響力幫助有需要的人群,品牌自身也從中獲益良多。而且對於品牌消費者來說,這樣的舉動已經不僅是意料之外的驚喜,更是一種理所當然的期待。

當今世界的消費格局和人道主義氣息變得越來越複雜,奢侈品牌深知他們既有權力、也有義務擔當推動社區慈善福利的角色。他們已經意識到,透過奢侈品傳遞回饋社會的善念,是品牌內涵裡極為重要的組成部分。

For lux­ury brands, us­ing their con­sid­er­able clout to help peo­ple ben­e­fits more than just the bot­tom line. And for con­sumers, it’s no longer a bonus­— it’s the ex­pec­ta­tion.

當今世界的消費格局和人道主義氣息變得越來越複雜,奢侈品牌深知他們既有權力、也有義務擔當推動社區慈善福利的角色。他們已經意識到,透過奢侈品傳遞回饋社會的善念,是品牌內涵裡極為重要的組成部分。時尚界的領袖們也認識到回饋社會的重要性。美國時裝設計師協會將今年首個施華洛世奇積極變革獎頒給Ken­neth Cole, 表彰他帶頭以設計作品支援美國愛滋病研究基金會的努力。諸如Lem­lem, Ur­ban Zen這類『道德品牌』的崛起,讓顧客清楚知道自己花的錢在慈善上的去向。從當前市場研究結果中能看出一個明顯趨勢:佔世界人口比例四分之一的千禧世代,每年消費總額超過一萬億美元,這種強大的消費力也在影響著奢侈品牌,最近針對千禧世代的市場營銷研究表明,如果購買一件奢侈品能支持某項慈善活動,近半數的人會更樂意考慮。顧客們清楚知道,他們買一個名牌手袋不僅是買下那些皮革和構成部件,更是買下了一個夢想。奢侈品牌要盡量將這個夢想的價值主張變得更加多元化,這一點至關重要。品牌想要建立自身識別度,投身慈善事業是必不可少的一步。善意已成為貨幣,慈善事業已成為品牌價值。但就此斷言奢侈品牌回饋社會的努力就是為了建立品牌識別度,未免過於偏激。那些長期堅持為慈善事業貢獻價值的公司,會將慈善的精神融入品牌DNA, 而且不計較回報。正如永利拉斯維加斯總裁Mau­rice Wood­en所言,慈善事業往往從自家起步。自2014年起Wood­en親力推動永利渡假村與拉斯維加斯Dean Petersen小學之間的合作。當時學校的運營狀況已經頗為艱難,『學校從政府處得到的支援有限,在我們的社區裡屬於極需幫助的機構,』他回憶說,『我們開始調用永利的倉庫物資和人力。例如派出影音工程部為學校修復對講機系統,還把倉庫裡的新地毯捐贈給學校。』隨著合作關係的發展,永利除了捐贈物資,開始為學校提供更多幫助。Wooden 介紹說:『永利拉斯維加斯上下各個部門紛紛加入與小朋友們互動的志願行動。宴會活動策劃團隊負責其中一班,俱樂部僱員團隊負責整個年級。』到目前為止,永利已經捐贈了數千件學校用品,為學校建築進行修繕改良工程,永利僱員們自願騰出了總共超過3000小時的私人時間照顧學校的小朋友。『這不是我們的公關花招,』Wood­en說,『這是出自真心的行動。我們的員工喜歡並且享受參與慈善活動的過程,對我們來說已經是最好的回報。』最重要的是,永利僱員完全是出於自發參與活動。一個企業如何看待『奢侈』這個概念,往往會影響他們回饋社會的方式。服務的精神深深地根植於永利的品牌DNA,也無縫地融入酒店對外界社會的回饋服務。對於設計師Brunello Cucinel­li來說,只有將僱員視作珍貴的藝術家一樣培養,才能成就一個真正的奢侈品牌。這就是他在意大利翁布裡亞的中世紀小鎮Solomeo為僱員打造烏托邦之城的原因。他限制工作時長,建立僱員專屬的劇院和禱告花園,並堅持90分鐘

In the world’s in­creas­ingly com­pli­cated po­lit­i­cal and hu­man­i­tar­ian cli­mate, lux­ury brands un­der­stand that they have the power—and re­spon­si­bil­ity—to be a force for good in their com­mu­nity. They re­al­ize the cru­cial na­ture of de­liv­er­ing a lux­ury prod­uct with a side of good karma. Im­por­tant stake­hold­ers in the fash­ion world rec­og­nize the im­por­tance of giv­ing back, too. The Coun­cil of Fash­ion De­sign­ers of Amer­ica gave its first Swarovski Award for Pos­i­tive Change this year to Ken­neth Cole, rec­og­niz­ing his lead­er­ship in the fight against HIV/AIDS through his work with AMFAR. The rise of “eth­i­cal brands” such as Lem­lem and Ur­ban Zen, has given shop­pers a win­dow into where their money is go­ing and who it’s help­ing. It’s a trend that jibes with most cur­rent mar­ket­ing stud­ies, to be sure: Where the mil­len­nial gen­er­a­tion com­prises a quar­ter of the pop­u­la­tion, spends more than a tril­lion dol­lars an­nu­ally, and in­flu­ences lux­ury brands, a re­cent Mil­len­nial Mar­ket­ing study shows that nearly half would be more will­ing to make a pur­chase if it sup­ported a cause. Cus­tomers know that when you buy a lux­ury bag, you’re buy­ing more than the leather and hard­ware hold­ing it to­gether. You’re buy­ing a dream. But in­creas­ingly it has be­come cru­cial for lux­ury brands to di­ver­sify the value propo­si­tion of that dream. Phi­lan­thropy has be­come an in­dis­pens­able way to build a brand’s iden­tity. Good­will has be­come cur­rency, and phi­lan­thropy has be­come value. But build­ing brand iden­tity is a cynic’s way of look­ing at the power of lux­ury to give back. The com­pa­nies whose char­i­ta­ble ef­forts have last­ing value have phi­lan­thropy baked into their Dna—re­gard­less of the ca­chet it af­fords them. As Mau­rice Wooden, Pres­i­dent of Wynn Las Vegas, has come to know, that phi­lan­thropy of­ten starts at home. Since 2014, Wooden has per­son­ally over­seen a part­ner­ship be­tween Wynn Re­sorts and Las Vegas’s Dean Petersen Ele­men­tary School, which had been strug­gling to serve its stu­dents. “This school was very chal­lenged with re­spect to what they were re­ceiv­ing from the government and was in a very chal­lenged part of our com­mu­nity,” says Wooden. “We started by tak­ing ad­van­tage of re­sources avail­able in our ware­house. We had our AV depart­ment come in and fix the school’s in­ter­com sys­tems that weren’t work­ing. We brought in new car­pet that we al­ready had.” As the part­ner­ship grew, it be­came about much more than sim­ply pro­vid­ing ma­te­rial goods. “Our spe­cial-events team adopted a class, our night­club team adopted an en­tire grade, and all th­ese dif­fer­ent groups through­out Wynn Las Vegas started to come out and vol­un­teer with the kids,” Wooden says. To date, Wynn has do­nated thou­sands of school sup­plies and pro­vided im­prove­ments and re­pairs to the school build­ing, while Wynn em­ploy­ees have vol­un­teered over 3,000 hours of their time with the chil­dren. “This isn’t a PR stunt for us,” Wooden says. “This is real. We’ve ben­e­fited from giv­ing back be­cause our em­ploy­ees love it and are ex­cited to be a part of it.” Im­por­tantly, Wynn em­ployee in­volve­ment in the com­mu­nity is driven by the em­ploy­ees them­selves.

的午餐休息時間,讓僱員可以與家人相聚,振奮精神;僱員的薪酬水準也比其它設計公司更高。他說:『我希望將尊嚴重新帶回這個行業,因為它對我們的經濟和傳統有重要的內在價值。我們在堅守一種傳統,這種傳統讓我們在業界居於獨特地位,我們僱員值得因此受到尊重。』時裝機構日漸發現,他們有獨特的潛力成為藝術界的重要推手。例如目前世界最大奢侈品牌家族Louis Vuit­ton Mo ët Hen­nessy集團, 2014年在巴黎建立的路易威登基金會,一躍成為歐洲當代文化的重要地標之一。由Frank Gehry設計的玻璃建築宏偉大氣,既是配套設施先進的公共空間,亦是當今巴黎最出色的博物館之一。LVMH旗下品牌在這裡舉行過各種時裝秀、Kanye West演唱會和鋼琴家Evgeny Kiss­in的音樂會等等, 1993年Prada文化藝術基金會( Fon­dazione Prada)在米蘭成立,過去二十年間舉辦過無數場藝術展覽和演出, 2014年在Prada全球總部開設的永久藝術空間更被評為意大利最重要的現代藝術博物館之一。卡地亞基金會Cartier pour l’art Con­tem­po­rain在1984年創立,多年來一直為當代藝術提供展覽和演出場地。支持創意新生力量,對奢侈品牌來說同樣重要。2013年LVMH集團設立了面向新興時裝設計師的LVMH獎,得獎者包括設計的希望之星Thomas Tait, Si­mon Porte Jac­que­mus, 以及Mar­ques’almei­da的聯合創始人Marta M ar­ques和Paulo Almeida,每年的冠軍都能獲得30萬歐元獎金。據LVMH總監兼執行副總裁Del­phine Ar­nault介紹:『LVMH年度時裝設計師獎的獲得者還能跟隨LVMH的專業人士進行為期一年的培訓。這將有助於他們將來發展自己的公司。』這些投入對品牌來說物有所值,並且非常重要。Ar­nault說:『我們決定設立這個獎項,是因為創造力一直是LVMH的核心。我們受熱情所驅使,更受責任感所驅使,去持續發掘年輕設計師人才,並幫助他們發展壯大。』奢侈品牌深知他們需要擔負的普世責任不僅限於時尚界,對全球貧困人口也同樣負有責任。高級定制鐘錶品牌IWC每年都會發行特別系列,銷售所得用於支持世界各地的兒童慈善機構。 而卡地亞則於2012年創建卡地亞慈善基金會,在基金會主席Pas­cale de la Fré­gonnière的推動下,致力於支持全球弱勢群體,尤其是婦女群體。Pas­cale de la Fré­gonnière曾經是聯合國兒童基金會法國委員會的籌款領袖,主持過的項目包括2015年尼泊爾地震緊急援助,向秘魯咖啡農民提供小額貸款支援,提升塞內加爾和世界其他貧困地區的醫療保健服務等。無論是為藝術界新星提供世界級的展覽空間,資助新生創意人才抑或只是簡單地幫助自家後院附近的學校,關鍵都是找到能引起各方認可和共鳴的項目,才是真正有價值的慈善之舉。奢華的酒店住宿,貴重的手袋,限量版的手錶,這些奢侈品背後都傾注了慈善的意義,正是這些獨特的意義,為奢侈品帶來了更高價值。 How com­pa­nies view lux­ury of­ten in­flu­ences the way in which they give back. A cul­ture of ser­vice is so em­bed­ded in Wynn’s DNA that it trans­lates seam­lessly into ways to serve out­side the ho­tel. For de­signer Brunello Cucinelli, lux­ury would not be pos­si­ble with­out nur­tur­ing his em­ploy­ees as valu­able ar­ti­sans, which is why he has cre­ated an en­tire utopian ex­is­tence for them in the me­dieval town of Solomeo in Um­bria. As well as cap­ping his em­ploy­ees’ work hours, build­ing them a theater and prayer gar­den, and in­sist­ing on a 90-minute lunch to re­ju­ve­nate and spend time with fam­ily, he pays them more than other de­sign houses. “I wanted to bring dig­nity back to this trade be­cause I rec­og­nize the in­trin­sic value that it holds for our econ­omy and tra­di­tion,” he says. “They should feel val­ued for con­tin­u­ing a tra­di­tion that al­lows us to be spe­cial in our field.” Fash­ion houses are find­ing that they have a spe­cial power to be se­ri­ous pa­trons of the arts. Con­sider Louis Vuit­ton Moët Hen­nessy, the world’s largest fam­ily of lux­ury brands. Since LVMH opened its Fon­da­tion Louis Vuit­ton in Paris in 2014, it has be­come an es­sen­tial part of Europe’s con­tem­po­rary cul­tural land­scape. Its dra­matic Frank Gehry-de­signed glass build­ing is a state-of-the-art pub­lic space where LVMH brands have staged fash­ion shows, per­for­mances by the likes of Kanye West and pi­anist Evgeny Kissin, and now serves as one of Paris’s most ex­cit­ing mu­seum spa­ces. Es­tab­lished in Mi­lan in 1993, Prada’s Fon­dazione Prada has or­ga­nized count­less art shows in and around that city over the last two decades, and the per­ma­nent space it opened in 2014 at Prada’s global head­quar­ters is re­garded as one of the most sig­nif­i­cant mod­ern art mu­se­ums in Italy. Cartier’s Fon­da­tion Cartier pour l’art Con­tem­po­rain was cre­ated in 1984 to pro­vide ex­hi­bi­tion and per­for­mance venues for an ar­ray of con­tem­po­rary arts. Supporting a new cre­ative gen­er­a­tion is also im­por­tant to lux­ury brands. In 2013, LVMH in­sti­tuted the LVMH Prize, a com­pe­ti­tion for emerg­ing fash­ion de­sign­ers. Win­ners have in­cluded promis­ing de­sign stars Thomas Tait, Si­mon Porte Jac­que­mus, and Marta Mar­ques and Paulo Almeida of Mar­ques’almeida; each year’s win­ner walks home with a 300,000 euro grant. Ac­cord­ing to Del­phine Ar­nault, Direc­tor and Ex­ec­u­tive Vice Pres­i­dent of LVMH, “The LVMH Fash­ion De­signer of the Year will also have a year of coach­ing with LVMH pro­fes­sion­als. It will help them grow their com­pany” —a sig­nif­i­cant in­vest­ment that is not only worth­while but nec­es­sary. “We cre­ated this prize be­cause cre­ativ­ity has al­ways been at the cen­ter of ev­ery­thing that we do at LVMH,” she says. “It’s pas­sion, of course, but it’s also a re­spon­si­bil­ity to discover the young de­sign­ers of to­mor­row and help them grow.” Lux­ury brands rec­og­nize their global re­spon­si­bil­ity not only to the fash­ion world, but also to pop­u­la­tions in dis­tress. Each year, the haute watch com­pany IWC releases a spe­cial col­lec­tion of time­pieces whose sale sup­ports chil­dren’s char­i­ties around the world. And Cartier cre­ated the Cartier Char­i­ta­ble Foun­da­tion in 2012 to fo­cus on supporting vul­ner­a­ble global pop­u­la­tions, es­pe­cially women, with pres­i­dent Pas­cale de la Fré­gonnière at the helm—she was pre­vi­ously a fundrais­ing leader for Unicef France. Pro­jects un­der her lead­er­ship have in­cluded earth­quake emer­gency as­sis­tance in Nepal in 2015, mi­cro­fi­nanc­ing loans to Peru­vian cof­fee farm­ers, and in­creas­ing ac­cess to health­care in Sene­gal and other un­der­served parts of the world. Whether it’s pro­vid­ing world-class space for up-and-com­ing artists, fund­ing new cre­ative tal­ent, or help­ing a school in your own back­yard, the key is to find a project that cre­ates syn­ergy—be­cause those are the ven­tures that add real value. The lux­u­ri­ous ho­tel stay, the sta­tus hand­bag, the ex­clu­sive watch—all are im­bued with spe­cial mean­ing that makes them far more valu­able.

裝置藝術「TV 70: Francesco」將在米蘭的Prada基金會展出至9月24日。作者及作品名稱: Mario Schi­fano, Pae­sag­gio TV, 1970。Mario Schi­fano, Pae­sag­gio TV, 1970, part of “TV 70: Francesco Vez­zoli guarda la Rai,” on view at the Fon­dazione Prada in Mi­lan through Septem­ber 24.

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