f Editorial

Issue 3.2 explores the tension between luxury as an exclusive phenomenon, emerging from artisanal craftsmanship and luxury branded products that originate from conglomerates. The luxury market finds itself at a crossroads, with consumers expressing scepticism about high prices and deteriorating quality, which, in conjunction with other factors, has led to a downturn in the industry globally. While certain brands such as Hermès maintain their position and prestige, Luca Solca provides solutions to promote growth and profitability for other luxury brands, and Christopher Berry delves into the arbitrariness across societies in defining what constitutes a luxury good in the second of a two-part article on luxury consumption, legislation and regulation, focusing on taxation (the first part of the article is in Luxury Studies 3.1).

A major theme in this issue is the performative and experiential nature of luxury as a force that relies on images and significations. This exploration takes readers on a journey where both Frederic Monneyron and Thomaï Serdari examine the multisensorial performance art of Sam Bompas of Bompas & Parr, while Oliver Bradbury revisits Ron Doud’s creation of Studio 54, which provided an immersive sensory experience to its patrons. The issue concludes with Richard Whitby’s analysis of the live adaptation of The Matrix through Free Your Mind; where he argues that live performance is a luxury experience and a unique form of artisanal labour. Additionally, Veronica Manlow reviews Charlie Porter’s book Bring No Clothes, which explores how the privileged members of the Bloomsbury group used clothing performatively within the context of their lived experience to challenge the oppressive norms of Victorian tradition.