The following chapter, “Sustainable Luxury, Craftsmanship and Vicuna Poncho”,
written by Roxana Amarilla, Miguel Ángel Gardetti, and Marisa Gabriel, explores the
theoretical framework to subsequently delve into the Vicuña Poncho universe. It
offers a description of both this object, highlighting its historic and current symbology, and the ancient aboriginal practices still used by artisans, to conclude with
thoughts about the importance of sustainable luxury and the appreciation of the
Vicuña Poncho to empower artisans and expand their horizons.
Then, Dr. Cindy Lilen Moreno Biec develops the chapter titled “Unwritten: The
Implicit Luxury”. It describes and analyses how ancestral communities developed
unwritten languages through textiles and how understanding, engaging with, and
preserving the dynamic they used can help us connect with others in the deepest
way. It explores its potentials to be considered a new form of luxury, one that is no
longer about buying things but about understanding and reacting to the needs of
both people and the environment in a holistic way.
Subsequently, the purpose of Matteo De Angelis, Cesare Amatulli, and
Margherita Zaretti’s work “The Artification of Luxury: How Art Can Affect
Perceived Durability and Purchase Intention of Luxury Products” is to present and
explore the idea of associating luxury products and brands with the concept of art
and artworks might help luxury companies tackle “democratization” of luxury, their
need to reinforce aesthetic, moral and symbolic value, and the growing consumers’
concern about the social and environmental impact that luxury brands’ activities
bring forth.
Moving on to the next chapter, “Lasting Luxury: Arts and Crafts with Xia Bu 夏布,
a Traditional Handloomed Ramie Fabric”, the author, Ying Luo, present ramie and
traditional craftsmanship techniques, for example, on a woman’s clothing piece from
Han Dynasty (206 BC–220 AD) made from natural fibre and no colour. This chapter
analyses ramie fibre, presents its characteristics, and explores its potential as luxury
fibre emphasizing on artisan techniques.
The following chapter entitled, “Luxury Craftsmanship as an Alternative to
Building Social Fabric and Preserving Ancestral Knowledge: A Look at Colombia”,
by Alejandra Ospina and Ana López, explores the strong link between handicrafts
and luxury, and between creators and creations, and the value of generating
products with personal history and durability over time. Sustainability, luxury, and
ethics initiate a permanent and unalterable dialogue in the reconfiguration of the
fashion system. This dialogue allows addressing in a meaningful manner the creation of pieces aligned with responsible processes allowing environmental and
social balance in a society where luxury cannot exist without sustainability.
Finally, Annette Condello in the chapter entitled “Crafting Luxury with ‘More-ish’
Qualities at the YSL Museum: An Organic Approach” analyses the “more-ish”
qualities, defined herein as causing one’s impulse to create handsome foci (as opposed
to the Moorish, which is culturally based), inherent in the YSL Museum from an
vi
Preface
written by Roxana Amarilla, Miguel Ángel Gardetti, and Marisa Gabriel, explores the
theoretical framework to subsequently delve into the Vicuña Poncho universe. It
offers a description of both this object, highlighting its historic and current symbology, and the ancient aboriginal practices still used by artisans, to conclude with
thoughts about the importance of sustainable luxury and the appreciation of the
Vicuña Poncho to empower artisans and expand their horizons.
Then, Dr. Cindy Lilen Moreno Biec develops the chapter titled “Unwritten: The
Implicit Luxury”. It describes and analyses how ancestral communities developed
unwritten languages through textiles and how understanding, engaging with, and
preserving the dynamic they used can help us connect with others in the deepest
way. It explores its potentials to be considered a new form of luxury, one that is no
longer about buying things but about understanding and reacting to the needs of
both people and the environment in a holistic way.
Subsequently, the purpose of Matteo De Angelis, Cesare Amatulli, and
Margherita Zaretti’s work “The Artification of Luxury: How Art Can Affect
Perceived Durability and Purchase Intention of Luxury Products” is to present and
explore the idea of associating luxury products and brands with the concept of art
and artworks might help luxury companies tackle “democratization” of luxury, their
need to reinforce aesthetic, moral and symbolic value, and the growing consumers’
concern about the social and environmental impact that luxury brands’ activities
bring forth.
Moving on to the next chapter, “Lasting Luxury: Arts and Crafts with Xia Bu 夏布,
a Traditional Handloomed Ramie Fabric”, the author, Ying Luo, present ramie and
traditional craftsmanship techniques, for example, on a woman’s clothing piece from
Han Dynasty (206 BC–220 AD) made from natural fibre and no colour. This chapter
analyses ramie fibre, presents its characteristics, and explores its potential as luxury
fibre emphasizing on artisan techniques.
The following chapter entitled, “Luxury Craftsmanship as an Alternative to
Building Social Fabric and Preserving Ancestral Knowledge: A Look at Colombia”,
by Alejandra Ospina and Ana López, explores the strong link between handicrafts
and luxury, and between creators and creations, and the value of generating
products with personal history and durability over time. Sustainability, luxury, and
ethics initiate a permanent and unalterable dialogue in the reconfiguration of the
fashion system. This dialogue allows addressing in a meaningful manner the creation of pieces aligned with responsible processes allowing environmental and
social balance in a society where luxury cannot exist without sustainability.
Finally, Annette Condello in the chapter entitled “Crafting Luxury with ‘More-ish’
Qualities at the YSL Museum: An Organic Approach” analyses the “more-ish”
qualities, defined herein as causing one’s impulse to create handsome foci (as opposed
to the Moorish, which is culturally based), inherent in the YSL Museum from an
vi
Preface