The desire for the new Its nature and social location as presented in theories of fashion and modern consumerism

Beyond Contested Exchange: The Importance of Consumption and Communication in Market Exchange

“…The power to define and represent this consumer image resides in the corporation, in marketing and sales departments (Ewen 1976;McCracken 1988;Leach 1993). This ignores the ways in which consumers participate in redefining commodities, redefining the images received or consenting to the definition of commodities and images created by the capitalist firm (Campbell 1992;Pietrykowski 1994a). …”

“…I argue that neither approach allows for a representation of consumers as active social agents participating in the identification and construction of their needs and desires. See Campbell (1992) for a critique of Veblen's theory of fashion and McIntyre (1992) for a critique of Galbraith. For a critical alternative to general theories of consumption, which tend to neglect differences across products and individuals, see Fine and Leopold (1993 relationship, as a gift.…”

Fashion, Sociology of

“…Researchers who today see fashion as breaking current rules usually identify groups other than the socioeconomic upper class as leading fashion. Campbell (1992) has criticized the class differentiation theorist's explanations and identifies different types of 'new': the new, the innovative, and the novel. The novel -new as different -is central to fashion as it breaks with what already exists.…”

Technological adoption and use after mass market displacement: The case of the LP record

“…First, the music-buying public had already demonstrated their strong preference for the CD over the LP as the technology of choice. Second, and more broadly, the general theorization about the nature of consumerism suggested that people crave for something new, and not old (Campbell, 1992). And third, during the early years of the 2000s, it was generally conceived that the music industry was in the process of making the transition -though in this case an involuntary one (Knopper, 2009) -from music embodied in physical media to music T. Nokelainen, O. Dedehayir / Technovation ∎ (∎∎∎∎) ∎∎∎-∎∎∎ disentangled from any particular media (Straw, 2009;Styvén, 2007).…”