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There are many reasons why people choose to buy pricey products, whether that's to impress others (or themselves), to appreciate the feel of the product and its aesthetic, or maybe to simply just buy it. Paul Bloom argues that while all these reasons can coexist with each other, "the pleasure we get from the right sort of history explains much of the lure of luxury items" (Bloom 4). The love for deeper understanding of history attracts us to these items, and Bloom explains why.

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People buy products, specifically expensive products, because of the idea that they want to "signal" others, or in some instances maybe even themselves. This could be whether to flaunt status symbols or if we're looking at it through the evolutionary perspective, to attract a mate. Bloom argues that while this theory may provide some explanation, it continues to tie to the profound explanation of our interest in an object's history.

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"Signaling is a theory with broad scope" (Bloom 3). Signaling is the theory that we are constantly shaping how others perceive us. The broad scope, as Bloom describes it, is the idea that signaling has many different motivations. This could be to signal attractive traits or to signal a specific social status. Advertisement companies are consistently creating "signaling fantasies", as Bloom describes it, by creating images that enhance something to attract consumers.

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"And then there is the psychological data suggesting that status might not be the whole story. If I buy a watch to impress my friends, one can worry about the cost of envy. But what if I buy it because it gives me pleasure? That one child enjoys a teddy bear doesn't seem to detract from his playmate's enjoyment of his own. That no one watches me eat mom's cooking doesn't make it taste any less wonderful. Some goods, including luxury goods, are valued for properties that have nothing to do with what other people think, so worries about arms race just doesn't apply." (Bloom 9)

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"The importance of history is clearest in cases of objects such as teddy bears and JFK's golf clubs because they are unique items with special stories behind them. But it applies as well to kinds of items. After all, a brand is a way of explicitly marking an object's distinctive history. The genius of marketing is crafting the story told about that history." (Bloom 7)

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While signaling might be some people's reasoning for falling into "luxury-fever", Bloom emphasizes that this theory is incomplete when he says, "Some goods, including luxury goods, are valued for properties that have nothing to do with what other people think, so worries about arms races just don't apply" (Bloom 9). Bloom compares status to an arms race--if one doesn't conform to societal norms and purchases these luxury items, they will fail in society. He also describes it as a "zero-sum game", where one's gain is another person's loss. But Bloom later argues this concept and explains that while yes, a good portion of society holds certain products up to a higher standard, like luxury items or trendy clothing, another good portion of society also doesn't care at all about these things. So, to say that someone buys objects to consistently impress others can no longer apply because the judgment of other people is out of their control. One cannot control being categorized into a certain societal status by what they purchase, and they also cannot control if others feel envy from what they have.

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Bloom describes advertisement as a "signaling fantasy", an illustrated image made to make people believe that a certain product will create their life the same way. Marketing companies have always sold their customers dreams and depending on how impactful these "dreams" are, the more sales are created. Bloom doesn't just recognize the signaling fantasies that companies promote, but he also ties marketing back into our love for deeper meaning when he says, "a brand is a way of explicitly marking an object's distinctive history" (Bloom 7). Whether you notice it or not, a company is consistently giving a product that "deeper meaning". Its background and its purpose help deliver that historical context that Bloom claims we yearn for.

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Along with signaling, Bloom introduces the theory that people purchase certain products because of its' aesthetic, or in other words its' "sensory". Something that is more expensive might have a better "feel" to it compared to something that's marketed cheaper. Although some products might have a noticeable difference in its' sensory components, Bloom argues that this theory, along with signaling, is incomplete and doesn't fully explain why people are attracted to these objects.

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"Sensory" describes the idea that certain products hold a higher value of aesthetic compared other products. Bloom explains Postrel's simple idea that people are attracted to certain clothing articles not because they 'are "rich in meaning" but because they are rich in pleasure' (Bloom 5). Certain products are valued more because of its beauty that attracts certain consumers.

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"The pleasure of these objects does feel immediate and sensual. But Postrel is too quick to dismiss Twitchell's claim about meaning. The shoppers know, after all, that they are stroking Armani suits. Would they react the same way if reaching into the discount rack at Marshalls offered the same sensory experience? Probably not. If pleasure is triggered by the physical properties of what we are looking at or touching, then it shouldn't matter what we think it is. But it does matter." (Bloom 5).

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Sensory and signaling both tie into each other. Bloom brings up a good point at the end of this quotation that someone wouldn't purchase something that is priced cheaper compared to something more expensive, even if they both provided the same sensory experience. Even if one tries to defend that something just "feels better", they are attracted the name brand. They know that the name carries a certain weight that reflects something bigger. Both sensory and signaling are interchangeable, and they both are just superficial theories that further expand Bloom's theory that humans are attracted to deeper meaning. "It does matter" Bloom describes, because even if one doesn't realize it, you know that Armani is a largely known brand compared to some clothing brand at Marshalls. While one could continue to describe this as signaling, people know that these are respectable brands because of its history.

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The author recognizes that aesthetics and signaling are both relevant, but Bloom makes it evident that "the pleasure we get from the right sort of history explains much of the lure of luxury items" (Bloom 4). Humans crave deeper meanings, and its historical context not only explains our attraction towards luxury items, but personal objects as well, like a teddy bear or a simple water bottle.

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"History" in the context of this text is the idea of deeper meaning. Every single object has a meaning behind it, whether it's superficial or deep--everything has a story behind it. Bloom describes this historical theory as the reasoning for our attraction to items. Dated back centuries ago, humans have always been intrigued to the context of something. Whether that be a historical site, or an Armani suit, humans are constantly searching for that deeper meaning, which is what Bloom describes as our motive for buying certain products.

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"With fellow psychologists George Newman and Gil Disendruck, I conducted a series of experiments exploring this celebrity-endowment phenomenon. We asked our subjects to name a living famous person they admired. Then we asked how much they would pay for a specific object, such as a sweater, that was owned and used by this person. When our subjects were told that the object would be thoroughly sterilized before it got to them, they dropped their offers by a third." (Bloom 6)

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"But origins matter even for more tradition art. When The Supper at Emmaus was thought to have been painted by Vermeer, it was priceless; when it was discovered to be the work of forger Han Van Meegeren, it became a relatively worthless curiosity. Its appearance didn't change, just its history, but people no longer wanted to look at it. If you were to discover that your Rolex is an inexpensive duplicate, you would experience the same effect." (Bloom 10).

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"The depth of pleasure, and in particular, the importance we give to history, applies to many domains, including food, artwork, and luxury goods. From this perspective, the lure of such goods is not limited to their utility or beauty or to our beliefs that possessing them will impress people. Part of the lure is that we believe these items have a certain sort of history. The pleasure we get from these objects is genuine and aesthetic, not mostly sensory." (Bloom 8.)

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The "endowment effect" explains the idea that you value an object more if you own it. In the context of celebrities, people prefer to have their personal items if they know it was used by a celebrity. A good example of this is when Kim Kardashian wore Marilyn Monroe's used dress to the 2022 Met Gala. When she wore this dress, the public negatively reacted to this, because they knew how significant this dress was to Marilyn Monroe's history. This is relevant to Bloom's theory of deeper meaning because it reflects how significant history is to people. Like the Rolex example, people would not have taken their reactions to the extreme if they found out Kim Kardashian was wearing a dupe of Marilyn Monroe's dress. People appreciate history, whether they directly or indirectly notice it or not.

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kim kardashian wearing marilyn monroes dress

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Bloom continues to emphasize the significance that history plays into our attraction to products. Throughout this quote, Bloom explains that our appreciation for these items can't be fully explained from signaling or sensory theories, because whether you notice it or not, we are constantly yearning for knowledge. Through advertisements, companies help promote their products by feeding into this yearn. By believing that a certain product carries a deeper significance, we are driven by the genuine pleasure that we get from obtaining said product.