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Prior research on consumer agency has tended to focus on contexts where there are few restrictions on the type or number of people who can consume a desired object, provided they have adequate resources. This study develops theoretical insights into the modes of consumer agency adopted by consumers who desire a commodity that is in scarce supply, and to which access is restricted by powerful agents. Based on interviews and archival data from the fashion modeling industry, and drawing on Bourdieu's praxeology, this paper identifies distinct modes of consumer agency that are manifest in a context characterized by enforced scarcity. Depending in part upon initial human capital endowments, in part upon conditions in the field, and in part upon deliberate choices, models adopt different modes of agency in order to survive, thrive in a highly restricted aesthetic field and ultimately consume the coveted good, which we refer to as the “model life.” This paper thus contributes not only to our understanding of consumer agency in an under-studied type of context, but also to our understanding of the seemingly burgeoning phenomena of the quest for fame, celebrity, and status.

The term “fashion” triggers images of frivolous symbolic production with a particular impact on women, quite a world apart at first sight from high technology and mobile telephony that traditionally tend to be associated with science, rationality and masculinity. Surprisingly, we show in this paper that the field of mobile telephony has, for a number of years now, been impacted and significantly transformed by the transposition of fashion logics. We deconstruct the process of logic transposition, considering key moments and key actors, key modes and mechanisms. The comparison of multiple case studies within the mobile telephony industry also points to the limits of transposition and to varying degrees of hybridization and logic co-habitation. This process of logic transposition is, we argue, profoundly transforming the mobile telephony industry, bringing it closer, on many counts, to “cultural industries”. In the end, we draw a number of theoretical conclusions on logic transposition as an important mechanism of institutional change.

How do cultural organizations handle the competing demands of isomorphism and differentiation? Strategic balance theory is a promising point of departure. Proponents argue that while isomorphism contributes to legitimacy, differentiation minimizes competition through innovation or niche control. However, most research has focused on successful cases of optimal performance in core or world cities. I introduce data from three seasons (250+ hours) of ethnographic research on fashion weeks in both a core city and semi-peripheral city. I find that geography acts as a structural barrier to competition: while semi-peripheral producers pursue some standards of fashion capitals in world cities, they cannot compete on the basis of style. Rather than optimizing through strategic balance, cultural organizations embrace a double edge of legitimation. Their sub-optimal vision of organizational survival cultivates legitimacy from available but symbolically polluting sources. Imperfect imitation is suggested instead as a viable legitimation strategy. I call for more attention to semi-peripheral geography and imperfect imitation in culture industry research.

One of the many paradoxes of fashions is that consumers’ choices change rapidly and with an astonishing degree of synchronization. What is successful or socially acceptable in one period is considered the opposite in the next. This paradox has brought economists and other social scientists to conceive of fashions and fads as one of many forms of irrational behavior. Herd behavior and weakness of will, a desire to conform or, conversely, to distinguish oneself, have all been invoked to explain the rapid evolution of modes of behavior that emerge and more or less suddenly disappear. In this paper we try to show that fashions, even if fragile and transient, might nonetheless be rational. It is a rationality, however, that has to include something overlooked in most economic writing: the desire for novelty and variety. In fashions this desire takes the form of coordinated behavior that both facilitates consumption and destroys its novel content, thus paving the way for new fashions to appear.

Fashion/textile small- to medium-sized enterprises (SMEs) are currently adding value to previously discarded textile waste by applying practical skills, knowledge and expertise to rework and reuse this material. As a result, sustainable design strategies such as zero-waste pattern-cutting, design for disassembly and upcycling are beginning to emerge. However, the scope for redesign will always be limited and the complete lifecycle of the material used needs to be considered at the front-end of the innovation process, to optimise material lifespans and reduce consumer waste. Further work is also required to inspire and educate the next generation of designers to the creative potential of reuse, and help the industry to understand its viability, scalability and role in the future. This chapter explores how the principals of the circular economy might support business model innovation within fashion and textiles. To this end, an exploratory canvas tool for SMEs, ‘Circular by Design’, was devised to aid SMEs to embrace closed-loop systems and to identify the most appropriate sustainable design strategies for their business.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.