Consumers

The growth of industrialization in the nineteenth century was stimulated by, and linked to, a rising population that created bigger markets. The establishment of modern capitalism grew in association with many of these developments. The innovations within technology and science were not driven only by “pure” experimentation but also by the desire to commercially develop the results. This culture of mass consumption was already advanced in Europe, Canada, and the United States at the beginning of the twentieth century and was initially enjoyed by the middle classes. The post-1945 increase in prosperity allowed more and more working people to purchase consumer durables.

Designers and manufacturers of the earlier twentieth-century domestic appliances were certainly aware of their potential markets insofar as they wanted their products to sell. Nevertheless, what market research that was carried out was largely unscientific and anecdotal. Initially they relied on the nineteenth-century premise that there were “natural” preexisting markets for a product. The role of promotion and advertising was to make sure that the potential customers were attracted to your particular product. Branding, the process of giving a product an identity, was beginning to develop and was accelerated during the Depression years of the 1930s. Economists and politicians looked to increased consumption as a way out of economic slumps. The late 1920s and 1930s saw the introduction of the marketing methods and psychological selling techniques familiar today. There was a change from “getting commodities to consumers” to “getting consumers to commodities.”

This was achieved by advertising techniques that, in the case of domestic appliances, were aimed specifically at women. Advertisements prompted purchase through a combination of guilt and desire. In the United Kingdom and the United States advertisements began to illustrate the housewife, not the servant, using the appliances and exploited rising standards of cleanliness and fears about “household germs.” The increasing use of labor-saving appliances may have saved time in some areas, but social and cultural pressures led to increasing standards and more time spent on other areas of housework. The desire to consume was stimulated by aspirational advertisements and planned obsolescence of products.

As Americans were encouraged to become patriotic consumers many of them felt that they needed to make informed choices about the increasing range of products. In 1926 Frederick Schlink, an engineer from White Plains, New York, organized a consumer club that distributed lists of products that were seen as good value and also those “one might well avoid, whether on account of inferior quality, unreasonable price, or of false and misleading advertising.” Schlink used these lists to produce a book, Your Money’s Worth, which led to the founding of Consumers’ Research and the Consumers’ Research Bulletin in 1928.

The Consumers Union was a splinter group from Consumers’ Research and was established in 1936, following acrimonious labor relations. Its founding group of professors, labor leaders, journalists, and engineers had a mission to “maintain decent living standards for ultimate consumers,” a rhetoric born of the Depression and the strike-breaking tactics of Schlink. It remains independent of both government and industry and depends on membership subscriptions. It first published its magazine Consumer Reports in the same year, establishing a tradition of testing and rating products and services. The initial circulation was around 4,000. Appliances were and continue to be tested for performance, energy efficiency, noise, convenience, and safety. Subscriptions had risen to 100,000 by 1946 and continued to grow, even during the McCarthy era when Consumer Reports was listed as a subversive magazine. The Consumers Union now has over 4.6 million subscribers, a children’s magazine (launched in 1980 as Penny Power, now known as Zillions) and a web site.

In the United Kingdom, the Good Housekeeping Magazine was established in 1922, largely aimed at the servantless middle-class woman. It founded the Good Housekeeping Institute in 1924 to test recipes and “submit all domestic appliances to exhaustive tests and bring those approved to the notice of all housewives,” which it continues to do today. The UK Consumers Association, based on the U.S. Consumers Union was founded in 1956 and first published Which?, a quarterly magazine of tests and reports in 1957. Which? became a monthly magazine in 1959. The UK Consumers Association currently has over a million members. The International Organization of Consumers Unions was established in 1960 and includes consumer associations from the United States, the Netherlands, Belgium, and Australia.

The marketing trends of the 1930s continued after 1945 and in-depth market research developed throughout corporate America in the 1950s. The British Market Research Association was established in 1957, the same year as Vance Packard’s critical study of advertising, The Hidden Persuaders, was published in the United States. The following quotation from Packard’s book illustrates how the advertising industry continued to use the twin themes of guilt and desire in the postwar boom years.

The cosmetic manufacturers are not selling lanolin, they are selling hope. . . . We no longer buy oranges, we buy vitality, we do not buy just an auto, we buy prestige.

If you tell the housewife that by using your washing machine, drier or dishwasher she can be free to play bridge, you’re dead! She is already feeling guilty about the fact that she is not working as hard as her mother. You are just rubbing her up the wrong way when you offer her more freedom. Instead you should emphasize that the appliances free her to have more time with her children and to be a better mother.

Advertisements of the period support this. A Hotpoint ad from Good Housekeeping of June 1951 carries the copy “Save 8 Hours Every Week with a Hotpoint All-Electric Kitchen—Gain Extra Time for All Your Extra Duties.” The time saved, the advertisement suggests, is “for your family as well as the many added duties you’re called on to shoulder these days.” Needless to say, the “you” in question was female.

These quotes reflect a set of cultural values that were already in the process of being challenged by the feminist, civil rights, and youth movements of the 1950s and 1960s. Unsafe at Any Speed, by the American lawyer and consumer advocate Ralph Nader, was published in 1965 and exposed the lack of safety in the General Motors Corvair automobile. Nader joined the Consumers Union in 1967. Congress passed twenty-five pieces of consumer legislation between 1966 and 1973.

The advertisers and manufacturers varied in their ability to respond to these social and cultural changes. The rise of the affluent teenager created a new market, one that clothing, publishing, and cosmetics companies responded to with vigor. The domestic appliance companies also had to change. By the late 1970s the impact of feminism had been such that the latter comment quoted in Packard was no longer tenable as an advertising concept, even though it was still a reality for many women. A mid-1960s ad for a Nevastik Teflon-coated frying pan from the UK Good Housekeeping Magazine had the copy, “Even a Man Can’t Go Wrong with Nevastik Pans.”

Market research had become more sophisticated, and markets were increasingly divided into socioeconomic groups that could become target markets. This analysis became more sophisticated during the 1980s and 1990s as markets were segmented by postal areas and lifestyles.

It has been assumed that manufacturers and consumers stood in opposition to each other, with the consumer organizations acting as monitors and protectors of the latter’s interests. Indeed, the efforts of consumer organizations have led to legislation to improve safety standards and consumers rights after a purchase has been made. But it would be wrong to believe that consumers have been passive recipients of what the producers have given them and that a docile and uncritical public leads to low standards of design. It has been argued that consumers’ desires and needs have been created by the producers and, with the aid of their advertisers, have been satisfied by those producers. This implies that consumption is a less authentic and satisfying activity than, for example, working. It also seems to imply that popular forms of culture and material culture are superficial. Given the sophisticated nature of advanced capitalist societies, this attitude can be contested: needs are often no longer natural, but cultural, informed by the many connections and discontinuities within those societies. Many modern objects do not simply—or, indeed, primarily—have “use or exchange” value but more importantly have “identity” value. This can clearly be seen in some of the more fashionable domestic appliances of the 1980s and 1990s. A Dyson vacuum cleaner or a Sony Walkman is a successful piece of technology, but each equally has become a purchase that reinforces its own brand identity and defines the identity of the consumer. The same can be said of older products such as the Aga cooker or the more self-knowing products from the Alessi stable.

The late twentieth century has produced a society where manufacturers, designers, and consumers are linked, knowingly or not. Companies continue to conduct market research but also are quicker to respond to and appropriate ideas that often bubble up from within popular or mass culture. This “circuit of culture” links the identity, production, consumption, regulation, and representation of a commodity within a circular relationship. This model has increasingly applied to domestic appliances over the last twenty years. Many domestic products that were once almost culturally invisible are now recognized as having a meaning. Consumers are now largely more sophisticated and are able to “read” the intended meanings of the manufacturers and to construct or appropriate their own, which will in turn influence the manufacturers and affect how that product is marketed or modified. Nevertheless, the findings of the 1960 UK Molony Report on consumer protection remain valid.

The business of making and selling is highly organized, often in large units, and calls to its aid at every step complex and highly expert skills. The business of buying is conducted by the smallest unit, the individual consumer, relying on the guidance afforded by experience, if he possesses it, and if not, on instinctive but not always rational thought processes.

The Graphical User Interface

By the mid-1980s, personal computers were becoming common in the workplace, but they were still rare in the home. Expense was not the only factor; other factors were operational skills and functionality. While the microcomputer was domestic in scale, it made few concessions to the casual user in terms of usability. Personal computers were marketed as “user-friendly,” but many people were intimidated by disc operating systems that offered only an enigmatic prompt, signifying the active disk drive, on the opening display screen. Apple again demonstrated its inventiveness when it introduced the Lisa in 1983. The Lisa introduced the graphical user interface (GUI), a screen display that showed program options as graphic icons, pull-down menus from menu bars, and “windows,” screens that could be overlaid and sized. It also offered a pointing device called a mouse as an alternative to the keyboard for navigation and activating menu commands. The computer mouse had been developed in the 1960s at the Stanford Research Institute by Douglas Engelbart, who obtained a patent in 1970. It was commercially developed by the Xerox Corporation in the 1970s, but only became a standard computer device when GUI displays arrived.

Although the Lisa was too expensive to have a major impact on the microcomputer market, the launch of its cheaper sibling, the Apple Macintosh, in 1984 established the GUI as the truly user-friendly face of computing. The Macintosh, familiarly known as the Mac, became particularly popular with graphic designers as it ran the first commercial desktop publishing (DTP) package, Adobe PageMaker. With its streamlined shell, the Mac was also the first microcomputer to be hailed as a design icon. While purist DOS users disparaged the Mac as a WIMP (windows, icons, menus, pointing device), Microsoft was quick to recognize the mass-market appeal of the GUI. As the developer of the Word and Excel applications for the Mac, Microsoft had privileged access to the Apple GUI program code, which became a bone of contention when Microsoft began to develop its own GUI operating system, Windows, for PCs. A legal judgment imposed restrictions on the design of the first version (1.0) of Windows, launched in 1985, but the restrictions ceased to apply thereafter. Nevertheless, it was only with the release of version 3.0 in 1990 that Windows achieved equivalent user-friendliness to the Mac interface. The later versions, Windows 95 and 98, improved the multitasking performance of the interface, which allows separate applications to be open at the same time.

Microsoft’s monopoly of the PC operating system gave it clear advantage in the development of PC applications, as its applications programmers had first access to new code. Microsoft’s first PC application was the PC version of the Excel spreadsheet, introduced in 1987. Since then, its suited Office and Office Pro packages of business applications have become the PC market leaders.

Bang & Olufsen

The Danish company Bang & Olufsen is a leading manufacturer of top quality audio equipment and televisions. Bang & Olufsen products are renowned for their blend of high-tech performance and elegant, minimalist styling, summed up in the slogan it registered in 1931, “B&O—the Danish Quality Brand.”

Two young Danish engineers, Peter Bang and Sven Olufsen, who had met while studying at the School of Engineering in Århus, founded the company in 1925. They were fortunate to have families wealthy enough to back them financially, and their first workshop was in the attic of the Olufsen family’s country manor near Struer. Their first product was a mains radio receiver, that is, one that was powered by a wired electricity supply—unusual at a time when most radios were battery-powered. However, the company’s first commercial success was not the mains radio itself, but its eliminator, the device that rectified the incoming alternating current to produce direct current. B&O began to manufacture the eliminator as a separate device that enabled any battery-powered radio to be run off mains electricity. Expanding production led Bang & Olufsen to open its first factory in 1927 in the town of Gimsing. In 1929, the company returned to producing mains radios with the launch of a five-valve radio that delivered high output.

In the 1930s, Bang & Olufsen diversified into the production of a range of audio equipment, including gramophones, amplifiers, and loudspeakers. The company’s products and advertising graphics were heavily influenced by the design aesthetics of the Bauhaus school. The key design characteristics were simple, geometric lines and detailing that emphasized the function of the product and an absence of ornament for purely decorative effect. B&O was a pioneer of the radiogram, a radio receiver and record player combined in one cabinet. The first B&O radiogram, the Hyperbo, was launched in 1934. The tubular steel frame of the Hyperbo was influenced by the chair designs of the German Bauhaus designer Marcel Breuer. Bang & Olufsen’s first radio with a Bakelite cabinet, the Beolit, was introduced in 1939. From the mid-1960s, the prefix “Beo” was incorporated in all B&O model names. In the same year, B&O’s Master de Luxe radiogram incorporated a feature that became very popular—push-button radio-station selection. The radio was pretuned to 16 radio stations.

Bang & Olufsen went through a quiescent period during World War II because it refused to cooperate with the occupying German forces. Worse still, after liberation from German occupation in 1945, the factory was bombed by Danish Nazi sympathizers. After the rebuilding of the factory, Bang & Olufsen entered the field of television manufacture. In the 1950s, B&O commissioned a number of Danish architects, including Poul Henningsen and Ib Fabiansen, to design the cabinets for its audio and television equipment. It was keen to produce cabinets that were lighter and easier to move around. In 1962, B&O introduced the Horizon TV, its first television to be mounted on a four-wheeled metal stand.

The transistorization of audio equipment and televisions paved the way for compact, modern product designs. The Beomaster 900K, designed by the Danish architect Henning Moldenhawer, was the world’s first low-line radio cabinet, a forerunner of the stereo receivers that formed part of the popular modular hi-fi systems of the late 1960s and 1970s. The designer who did most to establish a distinctive B&O style of audio equipment was Jakob Jensen. His designs, beginning with the Beolab 5000 music system of 1965, were expressive of the technical sophistication of B&O’s products. This system introduced user-friendly sliding controls. The Beolab system was accompanied by cube stereo loudspeakers, with the angular speaker cone mounted on thin stems with a circular base. However, Jensen’s most famous design for B&O was the Beogram 4000 stereo turntable of 1972, because this introduced the world’s first tangential pickup arm. The straight double tone arm was electronically controlled by a spot of light, and its tangential path eliminated the wandering in the groove that curved arms were prone to.

Recognizing that its products were never going to achieve the mass-market penetration of rival Japanese electronics products because high quality meant high prices, B&O concentrated on lifestyle marketing and design. It targeted a wealthy international clientele for whom style and quality were the tantamount product characteristics. B&O’s continuing commitment to functionality and ease of use was exemplified in the controls of the 1976 Beomaster 1900 receiver. The most frequently used controls were mounted visibly at the front for easy access, while the secondary controls were behind, concealed beneath a hinged lid. Similarly concealed controls became standard on televisions in the 1980s. The other innovative feature of the Beomaster 1900 controls was that the buttons were touch-sensitive electronic buttons, not mechanical push buttons. The Beosystem 5000 modular hi-fi system of 1983 eliminated controls from the hi-fi units in favor of a unified remote-control panel. This concept was taken a step further in 1984 with the introduction of the Beolink 1000 remote-control unit that incorporated television as well as audio controls.

In the 1990s, B&O broke away from stacking, modular hi-fi design in order to distinguish its products from those intended for the mainstream mass market. The Beosystem 2500 of 1991 was an integrated unit with the decks mounted vertically and therefore more visibly. The Beosystem 2500 and its successor, the BeoSound Century, also echoed the slim verticality of B&O’s televisions. Introduced in 1984, the BeoVision MX 2000 television was the first of B&O’s slim televisions. Its shallow cabinet and the minimal frame around the screen emphasized the picture, the core function. Audio and television were brought together in the BeoCenter AV5 of 1997, a complete home-entertainment system. As the twentieth century ended, Bang & Olufsen’s final contribution to user convenience was the development of the BeoVision 1 television, which incorporates an intelligent automatic program selection function, whereby the user selects the preferred types of program and the television matches the selection to the programs available.

Computers

Since the creation of the first electronic computer in 1946, computer technology has evolved with unparalleled speed. Conceived as a machine to automate and accelerate the calculation of complex sums, the computer became the universal machine for business and personal use because of its ability to process verbal as well as numerical data. Ownership of computers in the home became feasible in the late 1970s when computers of desktop size were developed. As the price of personal computers plummeted and the functionality of the computer became more diverse, home ownership rose. In 1995, the United States led the home ownership rankings with a 37 percent home ownership rate, while Britain, ranked sixth, had a 25 percent home ownership rate. Today, with appropriate software and peripheral devices, the home computer can provide many services, including processing of household financial accounts, word-processing, electronic mail, entertainment, and information.