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This study aims to provide a historical understanding of conspicuous consumption phenomena in the context of the UK, between 1945 and 2000. It considers how status-driven consumption has been shaped by economic, technological and cultural factors.

Adopting a periodization scheme, concerning two time structures between 1945 and 2000, this paper is based on research stemming from a wide range of data such as academic studies, research articles, narrative history books, past advertisements, novels and biographies. Rich interdisciplinary data from the realms of political economy, sociology, cultural geography and consumption studies have been synthesized so as to provide a marketing-oriented historical outlook on conspicuous consumption phenomena.

Status-driven consumption in the UK has been heavily influenced by economic policies, cultural changes and public perceptions towards wealth during the second half of the twentieth century. Post-war rationing, youth-driven fashion, free-market economics and technological advances have played a crucial role in forming consumers’ tastes and engagement with ostentatious economic display.

Although the vast majority of marketing studies have approached luxury consumption through a psychological angle, this examination identifies the capacity of historical research to uncover and highlight the interrelationships between socio-economic factors and status-motivated consumption.

This study aims to elaborate on the interface between water scarcity and consumption and, specifically to focus on, how consumers’ perceptions and views towards (un)sustainable water consumption can inform the development of sustainable water practices and environmental policies.

A qualitative methodology was adopted, consisting of 34 in-depth interviews with consumers, in four cities in the United Kingdom (UK). The semi-structured interviews sought to examine sustainable water consumption practices in more depth within an unexplored context, and secondary data were also used to explore the phenomenon in more depth.

The findings provide novel theoretical and empirical insights around the invisibility and imperceptibility of (un)sustainable water consumption. The findings suggest how interdisciplinary and collaborative practices can enhance more responsible and sustainable consumption of water resources in the UK.

The study can inform marketing strategies on community engagement with localised water sustainable actions and encourage policymakers to develop concrete marketing communications and increased public awareness regarding water scarcity.

Considering the slow growth of water scarcity, the findings can prompt marketing scholars to explore similar phenomena, within seemingly unaffected countries, urban centres, industries and marketplaces.

Previous studies focused on the measurement of household water consumption in the water-scarce context of the Southern Hemisphere. Challenging geographical perceptions of water shortage, this study focuses on the UK and highlights how the multidimensional, finite and invisible nature of water consumption requires collaborative efforts in tackling water scarcity.

Employing the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.

Secondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.

First, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.

Focusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.

The purpose of this paper is to show and critically discuss the motivations, conflicting narratives, practices and effects around the marketisation of cultural heritage. The work focusses on the exemplar case study of the ancient temple of the Athenian Parthenon, as a proto-brand, to explore ancient, medieval and modern marketing forces and practices through which various stakeholders have promoted, gifted, commercially traded, exchanged, acquired and illegally removed national cultural artefacts and historical monuments.

The study is based on a structured historical periodisation that covers three main eras – classical age, late antiquity and modern period – that triggered the marketisation of the ancient temple in diverse ways. First, historical research was conducted through the use of a range of secondary sources and archives. Second, observation techniques were used to study heritage marketisation practices at the New Acropolis Museum and the Parthenon in Athens and the British Museum in London. Third, visual material further facilitated the analysis.

This paper identifies multifarious institutional forces, political interests, technologies and sociocultural events that shape the commodification of history and marketisation of heritage offering a broader discussion on the evolution of early marketing practices and brands used to promote particular values, cultures and places, as well as the emergence and growth of illicit arts and antiquities markets.

Considering the lack of marketing research on the commercialisation of heritage, the work discloses novel insights around the use of cultural proto-brands and the formation of illegal markets and questionable arts trade practices. It, therefore, questions the ethical, socio-political, economic and aesthetic implications of the extensive marketisation of history and raises issues around the legitimate ownership, promotion and consumption of heritage.

Conspicuous consumption refers to the competitive and extravagant consumption practices and leisure activities that aim to indicate membership to a superior social class. Studies examining the symbolic role of luxury brands and status symbols, and the importance of interpersonal relations and upward social mobility via consumption choices, have been widely discussed in the marketing and consumer behaviour literature. There is, however, limited research on how the all‐encompassing concept of “conspicuous consumption” has evolved since the introduction of the term by Thorstein Veblen in 1899 in The Theory of the Leisure Class. This paper seeks to review some of the issues.

Using a chronological periodization the paper examines and discusses the impact of wider institutional and socio‐economic forces on the evolution of conspicuous consumption phenomena. The paper adopts a historical framework related to economics and marketing.

The paper shows how the concept of “conspicuous consumption” has been reinvented with different terminology during the twentieth century by marketing and consumer behaviour theorists.

The paper discusses and examines the socio‐economic factors behind the changing consumption patterns of “conspicuous consumers” throughout the twentieth century. It is valuable for marketing academics, students and marketing practitioners interested in the evolution of status symbols.