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托斯丹·凡勃伦:有闲阶级论·摘录 80

托斯丹·凡勃伦《有闲阶级论》· The Theory of the Leisure Class · 投资

For a creative principle, capable of serving as motive to invention and innovation in fashions, we shall have to go back to the primitive, non-economic motive with which apparel originated--the motive of adornment. Without going into an extended discussion of how and why this motive asserts itself under the guidance of the law of expensiveness, it may be stated broadly that each successive innovation in the fashions is an effort to reach some form of display which shall be more acceptable to our sense of form and color or of effectiveness, than that which it displaces. The changing styles are the expression of a restless search for something which shall commend itself to our aesthetic sense; but as each innovation is subject to the selective action of the norm of conspicuous waste, the range within which innovation can take place is somewhat restricted. The innovation must not only be more beautiful, or perhaps oftener less offensive, than that which it displaces, but it must also come up to the accepted standard of expensiveness.

出处: https://www.gutenberg.org/ebooks/833
定位:Excerpt 80 · 核对日期:2026-10-19 · 核验:短摘录

白话

要找一个能推动时尚不断翻新的创造原则,得回到服装起源时那个非经济的动机——装饰。凡勃伦说,不必细究这个动机如何在“昂贵法则”下起作用,大致可以讲:每一次时尚创新,都是想找到一种比旧样式更符合我们形式感、色彩感或效果感的展示方式。不断变化的款式,表达的是对某种能取悦审美的东西的不安分的寻找。但每次创新都要经过“炫耀性浪费”标准的筛选,所以能变的空间有限:新款式不仅要更美,或者更常见的是不那么难看,还必须达到公认的昂贵标准。

上下文

凡勃伦《有闲阶级论》分析时尚变迁的动力,指出审美追求始终受炫耀性浪费的约束。

今日一问

你最近一次为“好看”买单,有多少是审美,有多少是怕显得不够贵?

公版作品;原文逐字取自 Project Gutenberg,仅摘录段落并附全书链接。

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