New European and US research from TikTok and AYTM shows how the luxury market is evolving to adapt to younger generations with 70% of the luxury buyers on TikTok having spent over £1,000 on a single fashion item.
Reuters
The social media company spoke to over 3,000 adults across the UK, US, France and Italy and said that “younger consumers are helping luxury brands unlock growth”, and those brands “are using social platforms to reach new audiences and convince shoppers that their products are worth buying”.
TikTok said it “has become one of the fastest-growing channels for discovery, decision-making and direct purchase in luxury fashion”. That reflects broader industry patterns, with around two-thirds of those polled citing social media — rather than traditional offline media — as their entry point into the category.
The study summed it up saying that for first-time luxury buyers, “the journey no longer begins with a storefront, but with a scroll”.
TikTok users are more likely to discover luxury brands via social user-generated content (38%) and creator videos (32%) as creators help decode everything from craftsmanship and pricing, to fit and styling, “helping audiences navigate luxury with clarity and confidence”. In fact, 26% of TikTok luxury shoppers said they wait for creator reviews before buying, and a third (32%) discover brands through creators.
And it’s interesting that “the conversation continues in the comment section, with luxury buyers increasingly going there for validation, asking for authenticity checks, sizing advice and peer recommendations”. A 113% annual increase in comments on luxury fashion content “highlights how community discussion is becoming a crucial part of the decision-making process”.
The company said that while sales of global personal-luxury goods declined by 2% in 2023, Europe grew by 3% to an estimated €110 billion, “driven in part by younger consumers who are embracing luxury through digital-first channels”.
Some 15% of users “have purchased a luxury fashion item directly after seeing it on the platform, while many more save content, revisit it, and return ready to buy”.
We’re also told that one in four luxury shoppers now purchase second-hand items inspired by TikTok trends, while one in three act on personalised recommendations surfaced via creator content. “As Gen Z and Millennials — on track to control 60% of luxury spend by 2026 — prioritise transparency, identity and authenticity, TikTok has emerged as a key channel for luxury brands to tap into these priorities with audiences,” the company said.
And it’s interesting that 47% of its users now define luxury as a “form of self-expression, rather than status, associating it with empowerment and individuality”. Meanwhile 59% of luxury shoppers on the platform say their main reason for buying is to reward themselves. Hashtags like #selfgifting have seen a 110% surge in video views, “highlighting the emotional motivations driving this new mindset”.
Kristina Karassoulis, UK head of luxury at TikTok, said: “This research shows that what drives luxury purchases today isn’t polish — it’s proof. People want to hear from peers, not just brands. TikTok has become a place where credibility is built in the comments section and the path to purchase now runs through creators, conversations and community insight. It’s the spark that luxury brands can’t afford to ignore.”
Copenhagen-based fashion house Ganni has announced the appointment of three executives to key roles: Marcelo Noschese as president, Americas; Marie Valot as director of communications and public relations; and Guillaume Dacquet as director of marketing and image. All three will report directly to Ganni’s chief executive, Laura du Rusquec, and will work closely with the Executive Committee.
Marie Valot, Director of Communications and Public Relations, and Guillaume Dacquet, Director of Marketing and Image. – DR
Based in New York, Marcelo Noschese will be responsible for Ganni’s retail, wholesale, and e-commerce operations across the Americas. He has held senior leadership roles at houses including Prada, Louis Vuitton, and Ferragamo. Prior to joining Ganni, he was CEO of Prada Americas, overseeing operations in the US, Canada, and Latin America.
Marie Valot joins Ganni as director of communications and public relations. She has more than 15 years’ experience in brand communications, VIP and influencer strategies, and international partnerships. She previously led international communications for Balmain, Nina Ricci, and KCD Paris, where she spearheaded global campaigns, media strategies, and cross-functional projects.
Guillaume Dacquet has been appointed director of marketing and image. He joins Ganni from Estée Lauder Companies, where he worked on international rebranding initiatives and long-term communications platforms. He has also held roles within LVMH Beauty, notably for the Dior, Guerlain, Givenchy, Fresh, and Stella McCartney brands, in positions spanning strategic planning, consumer research, and innovation.
These three appointments form part of efforts to strengthen Ganni’s global organisation. According to Laura du Rusquec, the company’s chief executive, these hires are intended to support the implementation of the company’s long-term global vision.
Founded in Copenhagen in 2000, Ganni is a contemporary fashion house stocked by numerous international retailers and operating boutiques in Europe, the US, and Asia. A certified B Corp, the company publishes an annual responsibility report and develops initiatives focused on innovation, notably through its ‘Fabrics of the Future’ programme and projects related to the circular economy. L Catterton acquired a majority stake in the company in 2017.
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United Colors of Benetton has partnered with the fifth and final season of television series Stranger Things to launch a collaborative collection for men, women, and children in the Indian market.
United Colors of Benetton’s collaboration with Stranger Things – United Colors of Benetton
The casual wear collection was developed in close collaboration with Stranger Things’ costume designer Amy Parris and was inspired by Benetton’s own style archive, the brand announced in a press release. Some of the looks in the collection are reinterpreted 1980s archive pieces from Benetton, which have already featured the new series of Stranger Things, while others have been created in continuity with the original outfits.
“The connection between Benetton and Stranger Things came about almost by chance, at a vintage market in Los Angeles where I was looking for authentic ’80s pieces for the fourth season and where I repeatedly came across original United Colors of Benetton garments from that period,” said Parris in a press release. “Among them was a sweatshirt with the logo and the classic horizontal stripes, which was chosen for one of the characters and marked the first true encounter between the brand and Stranger Things. That intuition later led us to involve Benetton in creating the outfits of some of the fifth season’s protagonists, giving rise to a collaboration that unites the historical heritage of the brand with the aesthetics of the series.”
The ‘Stranger Colors of Benetton’ collection is accompanied by a campaign which mixes an ode to Benetton’s 1980s adverts with the world of Stranger Things. The selection of short- and long-sleeved T-shirts, sweatshirts, and knitwear has launched at Benetton’s stores and online in India with a second drop planned for February 2026.
The Louvre Museum closed its doors to thousands of disappointed visitors on Monday as staff launched a strike to protest working conditions at the Paris landmark, two months after a shocking robbery.
The glass entrance to the Louvre in Paris, France – DR
Workers are demanding extra staff and measures to tackle overcrowding, adding to the woes of the world’s most visited museum just as France is gearing up for the Christmas holidays.
The strike comes nearly two months after the museum was victim of an embarrassing daylight heist that saw crown jewels worth $102 million stolen.
“We are closed,” a security agent told visitors on Monday morning, according to an AFP journalist. “Come back in a few hours.”
Around 400 employees voted unanimously to continue their strike at a general meeting, the CGT and CFDT unions said.
“I’m very disappointed, because the Louvre was the main reason for our visit in Paris, because we wanted to see the ‘Mona Lisa’,” said 37-year-old Minsoo Kim, who travelled from Seoul to Paris with his wife for their honeymoon.
Natalia Brown, a 28-year-old tourist from London, said she was also disappointed. “At the same time, I understand why they’re doing it, it’s just unfortunate timing for us.”
Speaking on the eve of the action, Christian Galani, from the hard-left CGT union, said the strike would have broad support across the museum’s 2,200-strong workforce.
“We’re going to have a lot more strikers than usual,” Galani said. “Normally, it’s front-of-house and security staff. This time, there are scientists, documentarians, collections managers, even curators and colleagues in the workshops telling us they plan to go on strike.”
All have different grievances, adding up to a picture of staff discontent inside the institution, just as it finds itself in a harsh public spotlight following the shocking robbery on October 19.
Reception and security staff complain they are understaffed and required to manage vast flows of people, with the home of Leonardo da Vinci’s “Mona Lisa” welcoming several million people beyond its planned capacity each year.
A spontaneous walk-out protest on June 16 this year led the museum to temporarily close.
The Louvre has become a symbol of so-called “over-tourism”, with the 30,000 daily visitors facing what unions call an “obstacle course” of hazards, long queues, and sub-standard toilets and catering.
Documentarians and curators are increasingly horrified by the state of disrepair inside the former royal palace, with a recent water leak and the closure of a gallery due to structural problems underlining the difficulties.
“The building is not in a good state,” chief Louvre architect Francois Chatillon admitted in front of lawmakers last month during a parliamentary hearing.
Under-fire Louvre boss Laurence des Cars, who faces persistent calls to resign, warned the government in January in a widely publicised memo about leaks, overheating and the declining visitor experience.
After the memo, French President Emmanuel Macron announced a massive renovation plan for the museum, expected to cost 700 million to 800 million euros (up to $940 million).
Questions continue to swirl since the break-in over whether it was avoidable and why a national treasure such as the Louvre appeared to be so poorly protected.
Two intruders used a portable extendable ladder to access the gallery containing the crown jewels, cutting through a glass door with angle grinders in front of startled visitors before stealing eight priceless items.
Investigations have since revealed that only one security camera was working outside when they struck, that guards in the control room did not have enough screens to watch the coverage in real time, and that police were initially misdirected.
Major security vulnerabilities were highlighted in several studies seen by management of the Louvre over the last decade, including a 2019 audit by experts at the jewellery company Van Cleef & Arpels.
Their findings stressed that the riverside balcony targeted by the thieves was a weak point and could be easily reached with an extendable ladder- exactly what transpired in the heist.
Politics8 years ago