Vintage revival essay by Bukola Bankole

VINTAGE REVIVAL: THE PAST IN THE PRESENT

THE COLLECTOR

BUK OLA OLA BAN BISI KOL E

September 2013

Issue Number: 3

bukkyrulz@yahoo.co.uk

Seen from the recent vintage revival, various notions of ‘the past’ have been constantly used and interpreted in design. Particular historic objects and stylistic design movements have been rediscovered and recreated by maker and consumers.

Focusing on at least two specific examples, discuss how design or style of the past has been recreated and reinterpreted and investigate cultural meanings of such revivals.

HEADLINES JOURNEY FROM THE PAST

“RETROMANIA3 HAS HELPED FORM US INTO A WORLD OF COLLECTORS....”

Continued on Page 5

THE PRESENT IS IN THE PAST

“WE’RE NOW HIP DEEP, IF NOT DROWNING IN THE EXPERIENCE ECONOMY” Continued on Page 11

THE PAST IN THE PRESENT

“THIS FASCINATION TELLS US MORE ABOUT OUR INTERESTS IN THE PRESENT THAN IT DOES ABOUT HISTORY” Continued on Page 16

Fig 1: Image showing a retro typewriter

Figure 1

INSIDE!

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TABLE OF CONTENTS 1. List of Figures.....................................................................................................Page 3 2. Introduction....................................................................................................... Page 4 3. Journey From the Past.........................................................................................Page 5 4. The present is in the Past...................................................................................Page 11 5. The Past in the Present......................................................................................Page 16 6. The Future ........................................................................................................Page 17 7. Bibliography..................................................................................................Page 18-22

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INSIDE!

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LIST OF FIGURES Fig 1: A retro typewriter..............................................................................................................................Page1 Fig 2: Old newspaper advert for the Leonard Cleanable Refrigerator.......................................................Page7 Fig 3: Restored antique fridge by The Vintage Fridge Company...............................................................Page7 Fig 4: Reproduction icebox made to look like an original by Antique Vintage Appliances.......................Page7 Fig 5: Repurposed Icebox: a Sub Zero disguised as an icebox..................................................................Page 7 Fig 6: Illustration of a typical 1950s Bathroom Decor............................................................................Page 10 Fig 7: Retro-modern bathroom furniture by Marco Poletti.....................................................................Page 10 Fig 8: Victorian style bathroom basin and toilet by Thomas Crapper.....................................................Page 10 Fig 9: The Queen of love pink intimacy chair........................................................................................ Page 13 Fig 10: Louis XIV Ghost Armchair........................................................................................................ Page 13 Fig 11: Replica French Rococo style arm chair....................................................................................... Page 13 Fig 12: Louis XVI armchair (1800 - 1899)............................................................................................. Page 13

INTRODUCTION

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Reflecting on peculiar notions of the past invariably challenges the whys and wherefores of vintage revival. Thus, historical scholars have argued that vintage awareness links us to interests in cultural heritage and deepen our understanding of the context in which these objects were designed. Some believe that the revival of past styles is a refuge or means of self expression for those who cannot keep up with or even make-meaning of the fast changing contemporary culture of our time. In the verge of this, many others are of the notion that both the historians fixated with heritage and the past abiding refugee’s are camped in a culture that is doomed to be stuck in repeat. Does our desire for retro things mean that we are on the verge of a culture in decline? If not, why devote time to the past, why not apply new solutions in future design?

By directing energy on vintage-retro objects, this essay aims to examine the way recent designers have applied their personal approaches to design history by remaking, reusing or otherwise adapting historical forms in contemporary art and design e.g Phillipe Starck, and company’s like Fabulous and Baroque, The Vintage Refrigerator Company, and Thomas Crapper amongst others. The objective is to get close to revival culture and to understand why it still has an enduring appeal in the face of such controversy.

JOURNEY FROM THE PAST JOURNEY FROM THE PAST

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PAGE PAGE 5

It is well established1 that vintage-retro consumption is a symbolic and material way of associating with the grandeur of history and heritage2. In line with this, Raphel Samuel(1994) expressed that: “Retro chic has helped form us into a world of collectors, and has not only assisted in the retrieval of the recent past, but also its interpretation” 3 More recent debates4 have suggested that vintage objects are material and cultural recollections, accountable for the evolution of meaning and heritage that occurs, over time5.

The presentation and representation of these artistic and cultural inventories enables society to understand the dimensions6 of a vintage product 7. This suggestion is based on the notion that vintage revivals have become a strong influence on cultural reproduction and sensation for past style8.

1 In terms of symbolism and materiality of antique and classic objects of design 2 Sarah Elsie Baker “Retailing Retro: Class, cultural capital and the material practices of the (re)valuation of style.”

European journal of cultural studies (2012) 15(5) 621-641.

3 ‘Retro Chic’ In: Raphael Samuel (1994). Theaters of Memory: Past and present in contemporary culture 51-199.

4 As in Debates in SEIF Congress Circulation. (Lundahl, Bohlin, and Appelgren 45), (Brembeck, and Hansson 45), (Handberg 45), (Bohlin, and Appelgren 45) and (Debary 45).(2013) 5 Through the transfer and exchange of certain objects from one period to another as they shift owners snd contexts 6 Historic, cultural, economic, and social context through which they represent the quality, standard, fashion, design and aesthetics of the era they were made.

7 Jeff Soule, Kimberley Hodgson,and Kelly Ann Beavers . Community Character: How Arts and Cultural Strategies Create, Reinforce, and Enhance Sense of Place.<http://www.planning.org/research/arts/briefingpapers/character.htm> (2011) 8 Orlando Patterson The mechanisms of Cultural Reproduction: Explaining the puzzle of persistence. (2010) 139-151.

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For example, In 2009, John Bodrell founded The Vintage Fridge Company9, this business idea was ignited by his endless search for a modern equivalent to the look of the original Ice Box,

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as in Fig. 2 and 3. By enhancing the product identity, uniqueness and cultural assets of the ice box, he created a platform that enabled consumers to understand the design context, celebrate its character, and ultimately reinforce its heritage11.

Parrallel to this argument, scholars

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are of the notion that nostalgia leads to interest in present

style. They found that historical elements provide alternatives to the cold monotony of contemporary culture that is rammed in domestic technology today. For instance, instead of using “ease of use” as a criteria to buy a fridge, their customers decide on the rudimental, yet enjoyable aspects of a restored or reproduced ice box design that technology removed (See Fig. 3 and 4). Owning a one of a kind or limited refrigerator like this allows consumers to distinguish themselves from mass taste.

Furthermore, questioning historical styles can cause designers to deliberate on potential design ideas, as in (Fig. 5) a designer used historical references he got from a period movie to envision a future domestic life without the cultural expectations of technology. He explained the rationale for his approach to his design saying:

9 A company that specialises in the preservation, refurbishment and supply of original “Ice Box's” and vintage refrigerators.

10 An icebox is a kitchen furniture or appliance that was invented between 1850 and 1860 and remained in production in a similar form until domestic electric refrigerators became available in the early 1900s. <http://salvo.co.uk/news-6.html? &lang=en_us&output=json> 11 Soule, Hodgson,and Beavers (2011) 12 Susan Wyche, Phoebe Sengers and Rebecca E. Grinter "Historical Analysis: Using the past to design the future."

UbiComp: Ubiquitous Computing. (Springer Berlin Heidelberg 2006).35-51.

VINTAGE REVIVAL: THE PAST IN THE PRESENT

Figure 2

Figure 4

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Figure 3

Figure 5

Fig 2: Old newspaper advert for the Leonard Cleanable Refrigerator Fig 3: Restored antique fridge by The Vintage Fridge Company Figure 4: Reproduction icebox made to look like an original by Antique Vintage Appliances Figure 5: Repurposed Icebox: A Sub Zero disguised as an icebox

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“The point of this entire kitchen design was to make it look like it had existed for nearly a century. No islands with bar stools, no visible microwaves, all signs of modern conveniences gone. Even the Sub Zero was disguised.

The choice of an AGA range, despite its weight, price and many special requirements was completely worth it to achieve this timeless look.”13 Another example is of a company, Thomas Crapper & Co., they didn’t just restore an historical object but restored a whole brand and production line from the past. Through intensive development and research on the indigenous Thomas Crapper brand and history14, they went into the supply of period bathroom fittings and accessories for luxury suites, they have since offered a small yet extraordinarily authentic set of new Victorian/Edwardian sanitary ware.

They remain obstinate by making a stand on historical accuracy, even when they could have easily given to the demands of current production methods. Instead, they count it a privilege to have acquired the old firm, and would not be tempted to manufacture ordinary reproductions Many reviewers have attested to the quality and heritage of their products, showing that indeed the quality or value placed on a historical product lingers even after the price is forgotten.

According to one of their customers, David Eveleigh15; "...these products are not generalised patterns made in the usual diluted 'heritage' style; they are almost identical to those in 1880s - 1900s catalogues. The attention to detail is quite remarkable. A skillful blending of modern materials with careful attention paid to the original designs.”

13 As in rudimental living 14 Thomas Crapper promoted sanitary fittings in his time and invented water-waste-preventing cistern syphon.

15 Social historian, curator and author of 'Bog, Baths and Basins'. Thomas Crapper & Co Ltd. Introduction. Web. <http://thomas-crapper.com/introduction.asp>.

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This Company not only creates awareness for their products in particular, but perhaps triggers their consumerâ&#x20AC;&#x2122;s general interest in the era itself. Knowledge of the historical heritage of these and many other replica products has let out restoration, continuation of a production line, and innovative possibilities which in turn has led to the creation of exact working replicas, and even the reinterpretation of the original design context, as seen in figure 6, 7 and 8.

In this vein, other than justifying a measure of equally significant motives16, vintage revival has more positive cultural ramifications than we think and perhaps this is what induces makers and consumers to take the persistent design decisions to revive the past.

16 Financial, sustainability, ethical, ecological and anti-ostentation motive. Discussed in Dominique Roux and Guiot, D. "Measuring second-hand shopping motives, antecedents and consequences." Recherche et Applications en Marketing (English Edition) (2008) 23.4 : 63-91.

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Figure 6

Figure 7 Fig 6: Illustration of a typical 1950s Bathroom Decor Fig 7: Retro-modern bathroom furniture by Marco Poletti Fig 8: Victorian style bathroom basin and toilet by Thomas Crapper

Figure 8

THE PRESENT IS IN THE PAST

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Contrary to the above, reviewers have opposed the above claims and are of the notion that vintage revival is less about continuity than it is about change, they sense that the linearity of these revivals have undermined the fundamental differences between reproduction and original.

According to Baker, 2012, these backward glances leave a bitter taste of proliferation of vintage design and tends to position the notion of “style” at the centre rather than that of meaning as demonstrated by the companies mentioned above. This suggests that the current turn to historical styles in the present day captures several other contemporary cultural dynamics other than appropriating history, or inspiring innovative design ideas.

Recent revivals have witnessed a persistent evolution in the subject of value and class and as a result, rather than being limited to the overtly hierarchical dealings of valuing the grandeur of antique objects like an original Louis XIV chair for its association with high culture and heritage17, it has morphed into an omnivorous and mass-produced cultural phenomena that has extended even as a lifestyle for some consumers.

The cultural meaning and context of these period objects have been transformed from a conservative production and consumption of antiques as in the renaissance and other Neo classical revivals to subsequent stylistic continuities that value rustic and quirky versions of history.18

17 Sarah Elsie Baker “Retailing Retro: Class, cultural capital and the material practices of the (re)valuation of style.”

European journal of cultural studies (2012) 15(5) 621-641.

18 For instance, the term vintage is now applicable to a wider variety of objects, including second hand clothes, charity furniture, and everyday household goods in flea markets - that may or may not be antique

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For Example, the queen of love armchair, designed by Fabulous and Baroque for Linvin, see figure 9. Its design is an ironic revisiting of the seventeenth century French style with bright, modern, and an excessively plastic appearance.As regards resemblance, only the exaggerated contours and intricate details give a hint of its relatedness to a Louis XV style armchair.

When observing its form, one can see that although it bears a clear cut resemblance to the original French rococo style armchair, in terms of context, it has little or no connective attitude to the classicism movement that dominated Europe for hundreds of years19.

For this amongst other reasons, critics are not convinced that consumers understand the true historical value, of these “retro” designs, but believe they are carried away by the fickle fads (French country or shabby-chic trends) or the avant-garde status of their designers and manufacturers.

Taking a look at a similar reworking on the classic Louis XVI armchair, the Louis ghost chair by Philippe Starck for Kartell, is yet another witty reinterpretation which has been said to: ‘Pare the original design back to the merest shadow of its lines.’20 One would expect a deeply rooted outlook from a French designer and perhaps a little more account and cultural reference to the classical French movement.

19 The Louis XIV and XV style can is known for its Magnificence, Balance, and Originality. It should be luxurious, luxury, sculptured and ornamental without being excessive.This is what makes it a true classic.

20 According to descriptions as seen in The Conran

Shop. Louis Ghost Chair. <http:// www.conranshop.co.uk/175067/LOUIS-GHOST-CHAIR-TRANSPARENT/Product>

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Figure 10

Figure 9

Figure 11

Fig 9: The Queen of love pink intimacy Fig 10: Louis XIV Ghost Armchair Fig 11: Replica French Rococo style arm chair Fig 12: Louis XVI armchair (1800 - 1899)

Figure 12

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Although these retakes of the French style are not vintage in actual terms, they are an embodiment of â&#x20AC;&#x153;retroâ&#x20AC;? connected to its historical references and inspiration.

It is true that dozens of truly iconic chairs have been created and recreated throughout the centuries, but as much as their functionality have remained the same, reinterpretations of these chairs have only evolved to reflect changing styles over time. Rather than preserving or conserving history as suggested earlier, each interpretation seems to have its distinct meaning and mirrors the identity of the designer, perhaps because they have been created and sustained within a subculture of the past in the present.

The aim is not to undermine the intents of these designers, but to increase the awareness of how these objects are transformed when they are transferred from one context to another. With this in mind, Bohlin and Appelgren, 2013 also inferred that the historical references of the old are reincarnated and not preserved in the various re-workings and phases of use, reuse and interpretation.

This is yet another justification for those, who like Geffery (2006) are keen on the notion that retro products are not here to enrich the knowledge of cultural heritage, but instead are results of â&#x20AC;&#x2DC;trends dictated by designers that mine up just about every culture, decade and mood to create a distinct anything goes aesthetic that sells.

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Furthermore, critics do not share in the sentiments of the notion of vintage circulation as a constructive effort to resist the present day rate of consumption, a refuge for followers of voluntary simplicity and an expression for those in search of a unique identity 20. In turn, Manufacturers in the know of this so called movement21 deliberately evoke subversive meanings in their products. By recreating perceived nostalgic customer experiences, they are able to promote “new” goods under the banner of sustainability, uniqueness and quality of the past22.

Owing to this, an allegiance to these so called “vintage” products invariably defeats the purpose of this nonconformist ideology because in a way the culture is a resistance of mass consumption and simultaneously an expansion of capitalism. Moreover, in a bid to reject and express their distaste in the present, practitioners have discovered a new identity, one that has no sartorial existence of its own but simply made up of patches and pieces of other people's individuality.

Indeed our explosive desires for all things retro is conceivably a pointer that we are on the verge of a culture in decline.

In the long, the insistence that vintage culture is a safeguard of cultural heritage seems to be informed by outmoded notions of sociocultural distinctions. Nowadays, artist, designers and manufacturers have capitalised on using the past to grease the sales of their contemporary “retro” objects. Indeed vintage revivals are no longer about meaning but an adaption of historical forms dictated by trends and social interaction.Invariably the past has become the present and it is clouding our ability to build a unique now.

20Roux and Guoit "Measuring second-hand shopping motives, antecedents and consequences." Recherche et Applications en Marketing (English Edition) (2008) 23.4: 70.

21 Based on ethical, ecological and anti-fashion motivations as discussed in Roux and Guoit (2008) 69-70 22As in Diller, Steve, Nathan Shedroff, and Darrel Rhea Making meaning: How successful businesses deliver meaningful customer experiences. (2005)

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In reconciliation of the above dialogues between historic and contemporary design, one can perceive that although there is an apparent change in context and significance of what each revival represents, there is still a link between these interpretations and their purposeful originals. For example, taking a close look at articles in some newspaper lifestyle supplements23, one notices that most retro inspired illustrations feature rooms surrounded by objects from various decades. The motives behind these eclectic mix of vintage styles is no different from that of a collector and his one of a kind medieval Ice box. 24 Ultimately, the past has either been used to inspire design ideas that reinforce an object’s heritage or has become a good narrative or rationale behind “retro” objects. Given these alternatives, the retro phenomenon is both a form of public history and a “nonhistorical way of knowing the past”(Guffery, 2006). It simply demonstrates that different designers will interpret and discover the past according to the extent of their social knowledge, the same way consumers will appropriate social meanings based on their different nostalgic preferences.Perhaps this fascination tells us more about our interests in the present than it does about history.

e.g Guardian Weekend Magazine (May 26,2007), The Independent Magazine (March 1,2008) in Baker (2012) “Retailing retro: Class, cultural capital and the material practices of the (re) valuation of style.” European Journal of Cultural Studies 15.5 (2012) : 621-641.

24 Although they may vary in context 23

THE FUTURE

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In conclusion, through close engagement with examples from the decorative art and design, this essay has engaged key questions that open new ideas in the design of the past in the present.

The persistence of vintage revivals is therefore not a puzzle, but a physical evidence of the cultural reproduction of social identities and supports the various interpretive claims on the various ways that value is conferred on objects.

As such, a creative design vision ought to evolve continually and embrace new ideas by finding a compromise between the inbuilt conflicting nature of past, present, and future community values and culture.

Word Count: 2180 words

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European Journal of Cultural Studies 15.5 (2012) : 621-641.Print.

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WEBSITES & BLOGS Bobby Berk Home.The Queen of Love Pink Intimacy. Web. Accessed 13 September 2013, 20:56. <http:// www.bobbyberkhome.com/product/lounge-chairs/10328-34933/linvin-the-queen-of-lovepink-intimacy.html > Fabulous and Baroque: Queen of Love - Candy Pink.Web. Accessed 8 September 2013 00:32 <http:// www.fabulousandbaroque.com/products/queen-of-love-candy-pink> Hutcheon, Linda. “Irony, Nostalgia, and the Postmodern, ”. Web. Accessed 14 September 2013, 08:48. <http://www.library.utoronto.ca/utel/criticism/hutchinp.html> “Past in Present » Towards a Neo-Victorian Interior.” Web. Accessed 14 September 2013, 08:48. <http:// pastinpresent.courtauld.ac.uk/past-in-present-iii/>.

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Fabulous and Baroque “the-queen-of-love-pink-intimacy”. Web Accessed 11 September 2013 12:18.<http:// www.fabulousandbaroque.com/products/queen-of-love-candy-pink>.

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Bibliography My Antique World. French Rococo style in furniture .Web. Accessed 13 September 2013, 08:48. <http://myantique-world.blogspot.co.uk/2012/01/french-rococo-style-in-furniture.html.>.

Old newspaper advert for the “Leonard Cleanable Refridgerator”. Web. Accessed 4 September 2013 23:25. <http://www.thevintagefridgecompany.com/history-origin.aspx>.

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