ieces as the natural objects of desire within those scenes.​ Burberry: Cosy townhouse, couture gifting Burberry’s “‘Twas The Knight Before…” drops viewers into what looks like a chaotic but charming British Christmas in a London townhouse, complete with canapés, carollers and twinkling lights. The cast of Jennifer Saunders, Naomi Campbell, Ncuti Gatwa, Rosie Huntington-Whiteley and Son Heung‑min turns the setting into a fantasy version of the kind of party audiences recognise from films and family memories, rather than from high fashion runways.​ Within that recognisable backdrop, Burberry layers a dense grid of product desire: monogrammable cashmere scarves, childrenswear, outerwear and leather goods all appear as easy, thoughtful gifts exchanged between “friends and family”. The Equestrian Knight motif in windows and the in‑store Scarf Bars translate heritage into something tactile and giftable, encouraging shoppers to see a personalised Burberry piece as a natural upgrade to an ordinary Christmas present.​ Tiffany & Co: Everyday moments, extraordinary jewellery Tiffany & Co’s “Love Is a Gift” centres on a white satin ribbon that winds through winter scenes in New York, London and Tokyo, connecting moments of romance, family dinners and even self-gifting. The situations – a child running to her parents at the table, a couple at a restaurant, a woman hailing a cab with shopping bags – are deliberately ordinary, framed by soft winter light and nostalgic music.​ Set against these almost cinematic but still plausible Christmas vignettes, the HardWear, Lock, T and Knot collections, plus other Tiffany Icons, are treated as the physical embodiment of love itself. The iconic Blue Box becomes the visual shorthand for emotional payoff, making high-jewellery feel like the “correct” token for everyday acts of affection, even though the price point puts it well beyond most people’s spontaneous gifting.​ Prada: Road-trip nostalgia, subtle luxury Prada’s “A Winter’s Tale” uses a snow-covered road trip – a familiar holiday trope of “coming home” – to build an emotional bridge between viewers and its rarefied universe. The chosen-family cast, including Maya Hawke and Damson Idris, is shown laughing in cars, pausing in forests and sharing quiet conversations, with the camera lingering on breath in the cold and headlights in fog rather than overt product close‑ups.​ The clothes – forest greens, blush pinks and deep greys – slide into the narrative as part of the mood rather than as a hard sell, which effectively reframes luxury as intimacy and connection rather than a spectacle. By wrapping viewers in a universally legible winter story, Prada makes its pieces feel like organic components of memories and rituals, even though they are priced for the global elite.​ Louis Vuitton: Fairy-tale light, iconic objects Louis Vuitton’s “Le Voyage des Lumières” turns classic seasonal symbols – lanterns, campfires, auroras and Paris at night – into a dreamlike holiday fable. The story begins in the historic Asnières workshops, where a lantern rises from a Malle Courrier trunk and floats over Parisian rooftops to scenes of friends playing backgammon by a bonfire, lovers by a frozen lake and families gazing up at the sky.​ Within this poetic world, Capucines bags, Speedy P9s, trunks, backpacks, jewellery and fragrances appear as part of the travellers’ lives, not as product shots. The familiar magic of winter light and togetherness functions as emotional camouflage for extreme luxury, suggesting that these heritage objects are natural companions to simple pleasures like games, music and shared wonder.​ Classic scenes, accessible emotion, exclusive spend Across all four brands, the strategy is consistent: borrow the nostalgia of Christmas storytelling – homecomings, parties, dinners, snow and lights – to create an emotional baseline anyone can recognise. Within that accessible frame, luxury objects are positioned as the “right” way to express love, warmth or belonging, effectively normalising high spending as an almost instinctive extension of festive generosity.​ This tension between universal emotion and exclusive product serves several goals for the luxury fashion houses: it softens conspicuous consumption in a sensitive economic climate, builds social media–ready scenes that audiences will share all while reinforcing the idea that these brands do not just sell goods, but the aspirational version of Christmas itself. In doing so, Burberry, Tiffany & Co, Prada and Louis Vuitton turn familiar holiday backdrops into powerful stages for the theatre of luxury gifting.