While – as Hake (2004: 193) has stated – there is still a tendency to estab- lish a discursive dichotomy between consumer culture and the elitist thoughts of avant-garde movements, it should be stressed that both share a common rhetoric of innovation and progress. Furthermore, it was precisely this intel- lectual reflection about the status of art vis-à-vis everyday life that called for a tight bond between the two and led to the goal of an Aesthetisierung des Alltags (aestheticisation of everyday life) in the context of the Weimar Republic
