Final Journalism Project on Vintage

Vintage in the modern world

By Konstantina Pyrnokoki

Konstantina Pyrnokoki MA Multimedia Journalism (Print and Online) Student ID: 14563885/1

FINAL PROJECT

INTRODUCTION LETTER

Vintage in the modern world F

rom fashion to music and films, old things have always been popular. Most of us turn to the past because it reminds us of simpler times. Especially during the last couple of decades, vintage markets have flourished and people have demonstrated a greater interest in second-hand items.

Therefore, this project focuses on the growing impact of vintage on our time, whether this means purchasing second-hand clothes and classic cars or watching period films and collecting vinyl records. It becomes clear that vintage is not capable of casting new technologies and trends aside; it is, however, capable of making people feel carefree and unique.

The period examined in the project is mainly between the 1920s and the 1980s, since in fashion, vintage starts from 1920 and ends almost 20 years before the present day. That would take us back to the ‘90s, but this decade’s style is mostly retro, deriving from older trends (thus, ‘retrospective’).

Antique, meaning before the 1920s, and retro references are very briefly included.

With cars, there is a difference, since vintage automobiles cover the period between 1919 and 1930. Nevertheless, the project centres on the ‘vintage feel’ and its relation to modern society; so classic cars, which technically include vintage and post-vintage ones, appear to be a more fitting category (1980s again being the limit).

The latest vinyl revival along with the innumerable period films demonstrate people’s affection for vintage. However, a comparison between costume dramas and Hollywood classics, which represent the ‘real vintage’ (spanning from the 1920s to the 1960s), seems necessary.

So 2014 is not only about computers. For those who look more carefully, it’s still about amazing costumes, turntables and classic cars. As long as there’s nostalgia, vintage will manage to survive in the modern world.

Contents NEWS 3 Is vintage the new modern?

FASHION 4 Why vintage will always be hip 5 In the mind of a true fashion dealer How does it feel to be Linda Bee? 6 Get the vintage look

MARKETS & SHOPS

8 It’s oh so vintage!

These are the best vintage markets in London 12 Four best memorabilia stores in London

MUSIC

14 Tune up your turntable -and put the iPod on hold The vinyl revival is here!

17 Adam Glover (Q&A) The musician shares his thoughts on ‘vintage sounds’

SCREEN

18 Period dramas are today’s most harmless fixation

CARS

21 Engines roar... down memory lane From the inside of a classic car

News

Is vintage the new modern?

A recent increase in the sales of second-hand items raises questions on whether consumers have replaced fashion labels with vintage goods

By KONSTANTINA PYRNOKOKI The annual business survey of the Office for National statistics demonstrated a 50 percent rise in the sales of garments in total in the UK, as compared to 2008. At the same time, the prices of high street shops fell for the 13th consecutive month in May, according to the British Retail Consortium. This comes as the result of bargains, especially in clothing and footwear.

However, buyers are always in hunt for the lowest possible prices, having developed a new liking for secondhand goods. A survey conducted by the Marketing Week

towards the end of 2013 revealed that one third of consumers are now buying more second-hand items than they did in 2012.

This includes vintage items, with women being 10 percent more interested in them than men.

But are all secondhand goods cheaper than the modern ones? An employee at London’s shop Dahlia, which sells contemporary, vintage-inspired clothes, explains that well-preserved, authentic vintage is not cheap at all.

“The high street clothes are more affordable. If a secondhand vintage dress, for example, is well kept,

it will cost the client more than 150 pounds.

A few years ago, we had an authentic vintage department at Dahlia, too, but we had trouble sustaining it, so we closed it down,” she says.

It’s rare -if not impossible- to find non second-hand vintage items, meaning they’ve not been previously used or used only once.

So people accept that in order to get goodquality vintage they will have to pay more. But if vintage shopping is not about the bargain, what explains the rise in sales?

Cathy Bunoti, family support worker, 33, says, “Second-hand is way better than the high street stuff!

Vintage is classic and you can wear it forever.

Especially denim!”

When it comes to clothes, though, not all people are fine with wearing someone else’s garment. Teacher Melanie Coberman, 55, is completely appalled by the idea. “I would never buy secondhand,” she says. “I’m not keen on wearing clothes that other people have worn.”

Others prefer contemporary fashion labels, because they see no point in paying for something old. This is not the case with collectibles, which are considered timeless.

“I don’t buy secondhand clothes,” says architecture student Romina, 24. “Since I’m paying, I might as well buy something new. It’s different with vintage items like paintings, though. They’re valuable because they’re collectable.”

In the end, would consumers choose vintage over their favourite fashion designer brands?

According to the market research company Nielsen, as from 2013, UK consumers do not mind abandoning a brand if they’re no longer satisfied with it. The survey revealed that the British are less loyal

to labels than the rest of Europe.

However, Michael, vintage dealer in Alfies Antique Market, believes that certain consumers are still more interested in the name of a brand, rather than the quality of an item. “Some people are only about the labels,” he explains. “They might say second-hand is disgusting but when it’s Paco Rabanne second-hand, they don’t mind!”

Vintage enthusiasts aside, whether consumers are disappointed in brands or they’re simply in search for bargains, the latest second-hand boom demonstrates a growing affection for vintage. Will it beat high street’s reputation or the fall of shop prices? It remains to be seen.

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WHY VINTAGE WILL ALWAYS BE HIP Konstantina Pyrnokoki reckons old things will stay popular forever...

T

he following image might ring some bells: a closet filled with crop-tops and skinny jeans and, somewhere in the corner, second-hand floral jackets, dating all the way back to the ‘60s. We all have something old in our room. Whether it’s a Beatles vinyl or a 1950s’ cocktail dress, it seems we turn to the past for one simple reason; nostalgia.

What is it that makes vintage so appealing? For older generations, it’s only natural. These people spent their youth in the ‘40s, the ‘50s or the ‘60s and they can’t help but constantly seek for reminders of a prime time. Comparing the noughties to those decades, they will be the first ones to admit that the 21st century is not nearly as exciting as the 20th.

Today, societies look extremely similar to each other, with countries sharing everything, from food to music, films and fashion. The chances of embracing diversity and originality are, therefore, slim. By looking, dressing, smelling and even feeling the same, we created a monster; a consumerist world, guided by mass production and easier profit, which allows little -if no- creativity.

When 2014 is all about endless consumption of identical goods, who can blame our parents or grandparents for hanging onto a time when they actually felt unique? An old clock may remind them of the years when they stopped by their favourite boutique to pick up bespoke suits and dresses by the tailor. A tweed jacket might trigger images of men in vests driving colourful cars and women walking around with

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their paper umbrellas. As they would say, those were the days!

And then, there’s us; the people who got to live in the 21st century and who might have gotten a glimpse of the ‘80s and the ‘90s, if they were lucky. Loving vintage makes sense for us.

Surrounded by technological possibilities that we could never imagine just ten years ago, we feel the need for something simpler; something that does not involve computers and iPhones, busy streets or giant money-generating corporations.

We sometimes wish we lived in the ‘20s, when silent films had just given way to the ‘talkies’ and women would wear their Charleston dresses to fancy ballrooms. That’s why we love feathered hats and embroidered tops so much. Some of us prefer the ‘50s, when Elvis Presley put rock ‘n’ roll on the map, so we dress in leather jackets and striped T-shirts.

Others listen to Bob Dylan and wear hippie clothes to dream of the ‘60s. In any case, if we were given a choice, none of us would prefer to live in the here and now, because it just seems dull.

Very few things about our era are unique...

And while we get to live longer, quality is usually sacrificed in the name of quantity.

Then again, who knows? Maybe in 30 years’ time, we’ll find ourselves missing 2014 and cherishing these moments. After all, failing to live in the present and clinging to the past is in the human nature.

So whether it is for fear of facing a harsh reality or due to a strong desire to feel unique, we’ll keep on searching for a time machine. Until we find it, vintage is as close as it gets.

If there is a time capsule somewhere in London, Linda Bee’s vintage stall has to be it! Stylist meets Grays’ most devoted fashionista and wishes to enter her world Words and photography: Konstantina Pyrnokoki rom the Mews’ entrance of Grays Antique Centre, Linda Bee’s bright pink booth is the one that catches the eye.

Situated a few feet away from Bond Street station, this market has been leading the antique dealing industry since 1977. Linda looks happy in her green printed dress surrounded by sparkling jewellery and vintage Chanel bags. Clearly, this woman has a soft spot for bright colours and peculiar accessories; haricot earrings, spider brooches and piano purses are only some of the highlights.

It all comes down to her artistic roots. “I was born in the ‘40s,” she says.

“Both of my parents were Italian but they got stuck here because of the war.

My father worked for a crocodile handbag eastern European company that had opened before the war and my mother was a couture dressmaker. So as a child I was brought up with clothes and colours and paintings.”

Linda started gathering vintage finds in the mid ‘60s, in a time when England flourished and collecting had just become fashionable. She worked for a hat designer for some time but felt restricted being

F

In the mind of a true fashion dealer

in a warehouse. Eventually, the thrill of finding new things and interacting with people motivated her to start her own business.

“It’s exciting to be able to sell something that you’ve chosen and people coming back and say that they love what you’ve bought. But my great passion is fashion!” she says. “I’m very good at dressing people; putting something together so that they look great, that’s one of my favourite things.”

Being a dealer is not only about the creative process, though. It also involves selling the product while trying to meet the clients’ demands. Over the last years, people have gotten used to discounts so they are willing to bargain for the lowest possible prices; this puts Linda in the uncomfortable position of undervaluing her trade.

“That’s the hard bit; people go ‘oh, that is too expensive’. They won’t

accept the price you said and usually [the prices] they are very fair,” she explains.

Addressing the model of our consumerist society, the fashionista sees vintage as the antidote to ‘massification’. Feeling unique can be quite the challenge in a world of manufactured clothes.

Instead, turning to vintage is probably the best way for people to discover their own personal identity and avoid being led by trends.

“MY GREAT PASSION IS FASHION” “We’ve got so much stuff around that is all the same.

I think that’s quite sad. In London, how I knew it, there were so many individual things and now it’s becoming very corporate. It’s nice to find something that’s a little bit different,” says Linda.

When it comes to online shopping, she finds computers too impersonal. A true romantic at heart, Linda dreams of a future where people will run to a local store and ask for the owner’s advice before purchasing an item; a simpler time without internet addiction and online brands. “I hope that one day we’ll revert to having store shops, because they become your friends and I think people need that,” she says.

“That’s all been taken away now, because governments make everything expensive.”

Hearing her talk so passionately about fashion and people, it’s hard to imagine Linda Bee doing something different.

Whether she was a dressmaker or a pattern cutter, working with people and making them happy would always be her driving force. “I suppose fashion is a way of life,” she tells me, “but also people are my passion.”

STYLIST . CO. UK

GET T H E V I N TA G E LOOK

Treasure hunting for second-hand finds might not be included in your daily routine. But even if you’re rooting for contemporary designers, bear in mind that certain old-school pieces will always upgrade a stylish outfit. Every woman’s wardrobe needs vintage classics, which remain unaffected by trends. That is why modern brands like Topshop are now reproducing clothing patterns coming from the ‘30s, the ‘50s or the ‘60s.

A lot of celebrities, such as Lana Del Rey, Taylor Swift and Dita Von Teese, also opt for clothes and accessories inspired by an older era for their red carpet appearances. Whether you’re looking for the real thing or for a contemporary reproduction, check out our list of vintage must-haves and see which ones are missing from your closet.

1. High waisted bikini and shorts We can imagine it’s hard to look like Ursula Andress in a high waisted bikini, but if you love 1950s’ or 1960s’ swimwear, why not give it a try? Taylor Swift opted for a polka-dot girlie piece and she didn’t regret it. The singer is also fond of high waisted shorts, which highlight her slim frame. All can be found in asos.com or the Brick Lane market if you’re looking for the authentic denim pair of shorts.

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2. Lace, sequin or cocktail dress If you ever decide to tidy your grandmother’s attic, it’s sure you’ll find a beautiful lace gown from the ‘50s that she probably wore to her wedding. If that’s not the case, you can always copy Sienna Miller’s style with a simple lace dress from Alfies Antique Market or the Dahlia store. For a more glamorous outfit, a sequin gown would be perfect, while the cocktail dress is the most classic choice.

3. ‘50s clutch bag The Duchess of Cambridge loves vintage clutches and so should you!

Whether it’s a classic black Chanel leather purse or a ‘50s navy clutch like Kate Middleton’s, this is the ultimate vintage accessory all women should possess. It goes hand in hand with your cocktail dress and it should be easy to spot in markets or etsy.com for a more contemporary version.

4. Floral headband If a big floral crown seems too much but you still envy Lana Del Rey for her hippie ‘60s style, consider the floral headband. This simple hair accessory will remain in fashion for years to come. Wear it with a plain white dress and get ready for a summer festival. Topshop and New Look display a wide variety of headbands, but you can always make them on your own if you’ve got a ribbon and some time on your hands!

5. Pencil skirt Tired of watching Mad Men and wishing you, too, could look like a ‘60s fashion icon? It’s really not that hard to get the look, if you own a pencil skirt. Dita Von Teese is surely the one to set an example when it comes to vintage, going for the classic black pencil skirt. You will find it in any vintage market or in H&M shops. Accessorise it with pumps and you’ll be good to go.

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It’s oh so vintage!

Somewhere between retro and high street shops in London, the city’s vintage markets remain proud and prominent

H

ow would you like to get lost in a vintage parallel universe?

Imagine being surrounded by any type of clothing and jewellery from a different time and place. It could be a spacious ballroom filled with cocktail dresses or a busy street with endless stalls of bric-a-brac.

Time Out has visited some of the best vintage markets in town and we present you with our top five. Enjoy your ride to the past!

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Portobello Market

Portobello Road, Notting Hill, W11 1LJ. Saturdays 09:00-19:00. Notting Hill Gate If you’ve pictured Notting Hill as this calm neighbourhood where Hugh Grant welcomes you to his little bookshop, then you’ve probably never visited Portobello Road on a Saturday. This busy street hosts one of the most famous markets in the world, surprising tourists with its endless options of food and clothing.

You’ll know you’re walking down

Portobello Road from the region’s typical houses with the coloured doors and the hundreds of leather bags. Savanna, which stocks an impressive collection of satchels, is the first shop one sees. However, it sells mostly souvenirs and while the bags are authentic, they’re not vintage. If you’re looking for the real treasure, worry not, because 1950s’ and 1960s’ leather bags are everywhere.

Your walk begins with a little shop full of street signs and pin-up ads. Coca-Cola

Alfies Antique Market sous-plats, coffee and Cadbury posters hang proudly next to the Vespa ad and the Tintin comic print. It’s worth observing the mottos on some of the signs, such as the one that reads ‘Men have feelings too, but who really cares’!

A few feet away, the Rogers Antique Gallery introduces officially the vintage side of the market. The place is full of household and decorative bric-a-brac, such as 1940s’ silver spoons and lighters, frames, brooches, bracelets and Victorian lock-it chains. Tobacco pipes, hand mirrors, hair brushes and hand fans from the ‘20s create an old-fashioned ambiance next to the leather binoculars and the Keystone camera from 1936.

Remember to grab a mouth-watering cupcake from the Hummingbird Bakery before you enter the Chelsea Galleries.

Stocking what must be the largest collection of vintage porcelain tea sets, this place is sure to impress you. The 1950s’ silver cufflinks are every man’s dream and the collection of vintage suitcases is astonishing.

The Henry Gregory Antiques’ leather bags, wallets, golf bats and baseballs clearly indicate it’s a man’s world! If in search for the finest wooden clocks, make sure to visit the Portobello Antiques Store and if you’re looking for art, the paintings of W. Jones and Son Antiques Gallery have this covered. The massive Admiral Vernon

Antiques Market is perfect for bamboo baskets, lace dresses, fabrics and cushions.

Finally, the Red Lion Antiques will take your breath away with the wood and metal type cases that span from the 1890s to the 1950s.

But the walk through the stalls is not over yet. 1930s’ to 1950s’ toy soldiers and tracks, gold vintage clip earrings, second-hand Shakespeare books as well as comics and magazines are few of the surprises. You are also totally allowed to gaze at the original prints of Snow White and Alice in Wonderland, even if it’s not a kid’s gift you’re after!

For one last stop, remember to indulge in some vintage clothing and accessories, with the amazing furs, bejewelled jackets, dresses and sparkling belts of Goldsmith Vintage. By now, you should have finished your cupcake and going back for a different flavour.

Alfies Antique Market

13-25 Church Street, Marylebone, NW8 8DT. 10:00-18:00. Marylebone/Edgware Road Alfies is evidently the largest antique market in the country. This four-floor establishment, which opened in 1976, leaves no one unsatisfied with its vast collection of antique and vintage goods.

Entering the building, you will realise that the 20th century furniture is enough to make you go back in time. But this is only

the beginning; vintage leather luggage and travelling accessories will have you thinking you’re about to board the Titanic.

Golden hand mirrors and porcelain teacups will transfer you in the ‘20s and if you’re more of a ‘60s fan, then have a look at the floral and striped hand mirrors on display. Right next to these, you might take a glimpse of a classic ’68 black wall phone, which could still be lying around somewhere in your grandma’s house.

While on the second floor, it’s hard not to notice the special corner of poster ads, the Dodo Posters shop. Dealer Liz will show you all the different pin-up ads she’s been collecting since the ‘60s, while you’ll be wondering how many cigar posters can there ever be. The shop’s printed storage tins, which used to be offered as presents during Christmas or other special occasions at the time, are sure to get your attention.

But Alfies is not only about the great collectibles. Above all, it’s about fashion.

Stunning Charleston dresses are practically everywhere, in between the stalls of the innumerable sparkling rings and bracelets.

The Sheelin Lace London shop stands out thanks to the marvelous lace gowns, serving as the perfect excuse to buy a wedding dress.

Make sure to pick up the Antiques Trade Gazette from the stands, before entering fabulous Hollywood territory; Velvet

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Atelier is no doubt Alfies’ gem, offering a variety of impressive pre-50s dresses: knitted, sequined or bejewelled, these high-society party frocks will blow your mind. Owners Michael and Anna have been travelling to France and America to select items like these for their amazing wardrobe.

The dresses are extremely well preserved and it’s no wonder, since, according to Michael, they belonged to “rich and educated people who were the only ones who could afford them at the time.”

Designers such as Stella McCartney are frequent customers, although Michael reveals that some of them will only buy the clothes to copy the design for their collections. (We dare you to ask him how Kate Moss came up with her 1920s collection for Topshop -with the risk of upsetting him.)

Last but not least, for those who yearn for something more artistic, there is a whole other world on the fourth floor of Alfies. Exquisite paintings and ceramics by famous artists like Picasso and Jean Cocteau are in such a good condition that might make you doubt their originality -if only for a second. Finally, after gazing at the second-hand books and cartes postales in the opposite room you will be leaving Alfies feeling nostalgic and overwhelmed.

Brick Lane Market

Brick Lane, Shoreditch, E1 6PU. Sundays 09:00-17:00. Aldgate East If you’re new in town, it might take you a while to come to terms with this Shoreditch ‘miracle’. Stepping out of Aldgate East tube station and heading down Brick Lane, you might not immediately realise that this street has a lot more to offer than it initially gives away.

At first, you will see people in shops or walking outside, like it’s a usual day. But it’s Sunday and there’s nothing usual about that. After a ten-minute walk, just as you’re about to give up on finding this famous Brick Lane Market everyone’s been talking about, you’ll start noticing the crowds.

Suddenly Brick Lane is no longer a street, but an endless party with people dancing, singing and playing music. As you’ll be getting deeper and deeper into the crowd and into the infinite food stalls, you’ll be gladly reminded of your purpose: vintage shopping.

First stop, the Vintage Clothing Market.

That’s right, a market within a market, no matter how ‘inceptious’ this may sound!

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Hammersmith Vintage Fashion Fair The Old Truman Brewery has been turned into a massive vintage wardrobe. From checked or Hawaiian shirts to tribal dresses and jumpers, this is one big wild closet! Polka dot, floral or lace crop tops, denim shorts and skirts, colourful tracksuits and sweaters… any kind of vintage clothing is on display!

And if you were hoping for some accessorising, look no further; aviator sunglasses, stunning jewellery, purses and scarves in lively colours ask for your attention. Of course, it’s impossible to miss the great selection of shoes (especially heels), or the amazing swimsuits that promise to make you feel like a Hollywood starlet from the ‘50s.

Before you exit the shop, don’t forget to check the vintage vinyl corner and buy a classic record for only £5!

If you’re more into the collectibles get ready for yet another detour, because the Antiques Shop will happily distract you from the market’s stalls. From transistor record players, vintage posters and suitcases to hand mirrors and teacups, this place is exactly what its name suggests.

It could never outdo the next one, though.

This Shop Rocks (no, we didn’t make that up) actually rocks! Gramophones, turntables, vintage cameras, typewriters and coffee makers will make this place your sacred vintage haven. Items like the 18th century long case clock or the 1930s’ bookcase cabinet will have you staring in awe. Old keys, wooden or tin boxes, flasks and lighters even smell like the past! The shop’s selection of 1960s’ paintings and old encyclopedias is sure to keep you busy.

For those who search for modern pieces coming from reworked vintage ones, the Rokit Recycled and the Vintage Store are your go-to places. Don’t be fooled by the cute sleeveless Ralph Lauren dresses; they used to be men’s shirts once.

As you’re walking through the stalls again, don’t write off Brick Lane just yet. Look around, and you will discover gems such as entire stands of 1960s’ dresses, Briton buttons or used bottles and cans.

Hammersmith Vintage Fashion Fair

Hammersmith Town Hall, King Street, W6 9JU. Next fair date: September 7th.

08:00-17:00. (Admission fee: £10 from 08:00 to 10:00, £5 from 10:00 to 17:00).

Ravenscourt Park/Hammersmith What if there was a paradise filled with vintage dresses? The Hammersmith Vintage Fashion Fair opens the gates to a heaven like this every four to five weeks.

This market will give you the chance to experience time travel for only a fiver.

The Hammersmith Town Hall is being transformed into a ballroom, bursting with colours and precious finds. Whatever you seek for, name it and Hammersmith’s got it! The items span from 1800 to 1980, so there’s probably nothing left behind…

From Victorian and Edwardian costumes to 1950s’ cocktail dresses, the stalls invite antique and vintage suckers to take a bow.

If your formal introduction to society is just around the corner, then a debutante ball dress would be the perfect choice for you. The dealer of Vera Mode Vintage insisted, “Yes, debutante balls are still a thing!” Or maybe you should just consider

a less boring and less white wedding dress alternative.

Don’t forget to take a look at the upstairs wardrobe, for an even larger collection of polka dot cocktail dresses, floral jackets and costumes. This additional floor is also suitable for men; now’s the time to let go of your wife’s hand and start wandering around. Tweed jackets, hats and belts come in all exciting colours and patterns.

And while clothes are the main component of this fair, the wide variety of jewellery and accessories is not to be taken lightly. Cute little buttons and embroidered purses in almost every corner as well as hand mirrors and intricate hand fans revive the ‘30s. Yellow striped or flower-shaped clip-on earrings and Coca-Cola handbags represent the playfulness of the ‘60s.

For those with a more refined taste, the turquoise brooches or the ones made of rare Czech glass, dating back to the late ‘30s, can’t wait to tell their story. According to the dealer whose sources still remain a secret, after the World War II, the Germans closed down all the factories in Czechoslovakia so there was only limited modern production of Czech jewellery, between the ‘50s and the ‘80s. Clearly, there’s an opportunity to be seized.

As with every other vintage market, the French play a vital role when it comes to fashion. The only difference is that Hammersmith offers a separate area in front of the main hall with numerous stalls, full of French goodies. Used paper bags from famous bakeries and bistros in Paris as well as distinctive textiles and cushions with French tags will transfer you to the City of Light within seconds. Of course, the bejewelled and cocktail dresses prevail again, coming from all the different French fashion houses. Scarves in bright colours, belts and watches are included for the appropriate accessorising.

Before you leave, make sure to secure your place for a second visit to the Hammersmith Vintage Fashion Fair for free.

number of its stalls either sell food (which is fine with us!) or retro-style clothes by modern designers.

Nevertheless, watch out for hidden treasures. On Tuesdays, Thursdays and Fridays the market gives in to its vintage identity, with a selection of clothes and collectibles, that’s meant to surprise you.

Wandering around for a while, you may notice beautiful corsets, polka dot dresses, headbands and bows, definitely not from this time and place. Second hand books, swan shaped brooches and vintage watches will set you in the mood.

That’s when the 360 Degrees Vintage shop comes into sight. Whatever you thought was forgotten in time is hauntingly alive.

While memories of the war are never delightful, there are those who will appreciate a good old camouflage jacket or an authentic military uniform from the World War II. As the owner confirms, all these 1940s’ war items are original. So now’s your chance to see what a real British Red Cross uniform looked like back then; after witnessing historic battles, it’s now standing in front of you.

And so are the women’s clothes with the multiple undergarments that must have taken ages to get rid of before sleeping.

Some might see these as the origin of today’s ‘layering’, but they’re definitely better admired than worn. Kilts, cushions and a 1940s’ Naafi radio truly revive the war period (maybe slightly more than one would have hoped for).

Of course, there’s a special place for jewellery and accessories; floral scarves and gloves, men’s straps, belts and ties are blending with the one-of-a-kind rings.

Vases, bamboo baskets, knitting books, vintage bird cages and the lovely old fashioned étagère in the surrounding area recreate an entire 1940s’ room before your very eyes.

But the shop is not only about the war.

Dresses from the ‘30s, the ‘40s and the ‘50s, men’s vests and tweed jackets as well as the more retro knitted sweaters with the Christmas patterns can all be found under the same roof.

Stepping out of 360 Degrees you’ll be happy to see the sunlight again (if there is any) along with the numerous antique stalls. Annabel Hale who runs Lifestyle Antiques might win your heart with chocolate boxes from the ‘30s, green striped tea cups and 1920s’ candlesticks.

The Victorian jewellery box made of shells and the clock ornamented with porcelain birds are the highlights of the stall.

Last but not least, remember to pass by the colourful corner of tins. Perfect for cough pastilles, pills, natural balms or serving as mirror compacts, you will want to have them all!

So the next time you feel like experiencing the entire war illusion or simply indulging in precious vintage finds, remember that Greenwich Market is not only about the food!

Greenwich Market

5b Greenwich Market, SE10 9HZ. 10:00-17.30. Canary Wharf and then DLR Greenwich Somewhere between delicious falafel wraps and spicy empanadas, there’s an entire world of vintage finds. Greenwich Market might not be your first choice when it comes to vintage shopping, given that a

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SATURDAY

Four best memorabilia stores in London From a vintage magazine paradise to a boutique filled with ‘60s collectibles, Konstantina Pyrnokoki picks her favourite memorabilia shops in town 1 Vintage

magazine shop

Ever wondered what it would be like to dress, shop, go to the cinema or listen to the music in the’50s?

There is no better way to immortalise an entire society and its trends than through the pages of a magazine. VINMAG is the ultimate Mecca for journo junkies, stocking an impressive collection of vintage magazines centered on film, fashion and music.

Before visiting the shop’s basement and

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getting lost in the magazine world, it’s worth taking a look around the ground floor to dig up some fine memorabilia.

Biography books and classic posters of rock and roll legends and Hollywood stars of the ‘30s, as well as actors’ original autographs are very well preserved.

Music and film coffee mugs, rock and roll pins, stickers, coasters, celebrity ads and t-shirts attract all kinds of groupies and film maniacs, serving as the ideal vintageinspired gift.

The real treat, though, is by far the magazine collection. Opening the shop in 1977, owner Paul Dempsey was the only one collecting and selling old magazines at the time. And while many vintage stores include some publications in their stock at the moment, VINMAG’s uniqueness lies in its wide variety of issues that cover all entertainment sectors; from the ABC Film Review magazine of the ‘50s and the ‘60s to the innumerable issues of NME and Vogue, there is something for every reader. Rare comic issues are also a must-have for the ever geeky Marvel fans.

The magazines are categorised in decades, which makes it easier to browse through the endless stock. Whether you’re looking for music, fashion or film, make sure to ask Paul

for your favourite decade. An online store is also available through VINMAG’s official website, although the shopping experience is far more rewarding in person.

Details 39-43 Brewer Street, Soho, London W1F 9UD/ Tel: 020 7439 8525/ vinmag.com

2 Radio Days

This is no ordinary vintage store. Run

by Chrissie and Lee, Radio Days opened in 1993, offering the greatest variety of clothing and collectibles that date from the 1920s to the 1980s. Apart from a wide collection of men’s jackets as well as women’s dresses and bathing suits on the lower ground floor, the memorabilia items really make this place stand out.

The store is well known for its seasonal window displays. So right before you enter, you might get a very vivid idea of what lies ahead; old TV sets and mosaic floor tiles set the vintage mood.

Lee will be happy to show you around for an unforgettable journey.

Feel free to flick through the countless vintage magazines, while listening to the

jazz tunes emitted through an old turntable. Radios are obviously the highlight of Radio Days, so it is worth noticing the set behind the mannequin in the checked suit or the radio microphone hanging above Lee’s head.

Classic 1930s’ rotary telephones and colourful poster ads are guaranteed to cause some serious daydreaming. The table display case that’s full of vintage goodies is probably the gem of the shop; from women’s 1920s’ floral compact mirrors and 1930s’ perfume atomisers in all different colours to men’s hip flasks, this case could well serve as a time machine.

The store is not short of household goods, either. If you’ve just started setting up your kitchen, then by all means take a look at the impressive collection of 1950s’ glassware and tinted shot glasses from the ‘60s or the romantic cream floral sets of china from the 1940s.

Also, the lively patterned storage boxes will help retain your items in a safe, nostalgic place.

Details 87 Lower Marsh, Waterloo, London SE1 7AB/ Tel: 02079280800/ radiodaysvintage.co.uk

3 Pop Boutique

If pop art’s ambassador is Andy Warhol, then pop culture’s official store must be Pop Boutique.

The shop opened in Manchester first, in 1994, but it was only a matter of time before London’s Covent

Garden welcomed Pop’s second branch.

This fairly small store is packed with vintage fashion and collectibles, most of which date back to the ‘60s.

The shop window reads ‘Don’t follow fashion, buy something already out of date’; this is how Pop Boutique promises to put a smile on all vintage enthusiasts’ faces. Whether you’re looking for clothes or accessories, the room is full of women’s dresses, skirts and shorts coming from the ‘60s. Floral headbands, sunglasses and hats have never looked so shiny and cool, while little lockets and brooches are sure to style up a retro outfit.

Nevertheless, all of this fades into the background, when compared to the memorabilia. Despite the size of this shop, there is still plenty of room for lamps with patterned shades and kitsch homeware; the outdated sofa and the cushions in all crazy colours obviously make the ‘all is allowed in pop world’ statement. If you’re hoping to vamp up a modern living room, though, make sure

the furniture matches its decoration.

The classic turntables, radios and vinyl records next to the colourful Chuck Taylors clearly revive the ‘60s, while cameras and film projectors offer a sneak peek into the glorious days of Hollywood. The floral picnic sets and trays as well as the marvelous vintage suitcases are perfect for a day trip to the countryside.

Nostalgic cartes postales create a portal into older times and faraway places.

Pop Boutique has also started its own clothing brand. Items of the Pop label can be found in the shop or on the store’s website.

Details 6 Monmouth Street, Covent Garden, London WC2 9HB/ Tel: 0207 497 5262/ pop-boutique.com

4 Retromania

No other shop has the ability to lift your spirit the way Retromania does. Just a couple of minutes are enough to realise there’s something special about this place. All of the pieces displayed in the store have gone through a screening process, after being donated to the Fara Foundation for charity.

This is probably why every little thing seems worthwhile having.

The shop stocks a lot of retro clothes and items, which justifies its name. However, vintage fans will also feel at home with the rare memorabilia. If you manage to walk past the massive wardrobe that’s full of colourful dresses and theatre costumes, you will discover radio sets unearthed from the ‘40s as well as vintage wicker stools. Bird cages and old knitting books create a lovely home atmosphere.

Further down, there is a special corner for the ladies. Wicker berets or hats with feathers and veils from the ‘50s and the ‘60s are on display in front of an amazing room divider with painted hand fans.

The different three-piece

brush sets and the 1950s’ bridal summer headbands complete the romantic setting.

In case you thought Retromania is not for men, that’s clearly not the case. There is an entire lower ground floor with leather brogues, hats and belts as well as scarves, ties and many other accessories for the gentlemen. The more retro issues of Archie from 1987 bring back teenage memories, along with the 45-inch records which will blow your indie minds.

The collectible tour is over, but there’s always some time for fashion! Remember to take a look at the iconic T-strap heeled jelly shoes by Vivienne Westwood from the ‘80s, as well as the beautiful vintage dresses by designers like Pierre Cardin.

Details 6 Upper Tachbrook St., Victoria, London SW1V 1SH/ Tel: 020 7630 7406/ faracharityshops.org/ site/shopsspecial.html

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Music

Tune up your turntable -and put the iPod on hold Vinyl records have found their long lost glory in the ears of 21st century’s romantics. But will they survive the digital age? Konstantina Pyrnokoki on the rebirth of the vintage format

“D

on’t let the noise of others’ opinions drown out your own inner voice.” That’s what Apple’s founder, Steve Jobs, once said.

So we plugged the headphones in our iPod and drowned our thoughts in the music, instead. Most people don’t even remember a life without MP3s, iPods, or Spotify. The digital sound is clearly dominating the music world, the way analogue did until the late ‘80s.

It would be logical to assume that the pushed aside now CD has dragged along vinyl to the land of forgotten music formats. Much to tech maniacs’ surprise, though, the British Phonographic Industry revealed that the sales of vinyl records in the UK doubled last year. BPI’s data show that more than 780,000 LP albums were sold during 2013, which marked the largest annual total in over 15 years.

But what could justify the vinyl revival, in a time when purchasing tracks through iTunes or simply streaming them online has become the norm? First of all, digital recordings are reportedly 14

According to the BPI, the sales of the vinyl doubled in 2013

not capable of capturing the complete sound wave of an original analogue recording (although some sound engineers may disagree).

Either way, quality of sound is not buyers’ main motive; Record Store Day seems to be a bigger one.

The idea of a one-day celebration of independent record stores first came about in the USA in 2007 and was brought to the UK the year after. This created the perfect opportunity for artists to release vinyl and CDs especially for the day, along with other promotional products, to support record shops. People became more and more interested in saving their favourite independent stores from closing down, while the production of vinyl increased.

However, Steve Redmond, PR manager of UK’s Record Store Day, explains that this evident rise in the sales of the vinyl still accounts for 1% of the album sales in the UK overall. “This is ten times its share as recently as 2007, but it is important to remember that the albums market itself has shrunk since

then. It is true that more people are buying vinyl, because there is a lot more product around now, but there are still not that many of them,” he says.

It makes sense. Online platforms and streaming services like Spotify are now more popular than ever, which makes it even harder for vinyl to prevail in the music market.

According to the Official Charts Company, the number of weekly audio streams by music fans increased from 100 million a week in January to 260 million in June. This prompted the company to incorporate online streams in the Official Singles Chart for the first time in July, with 100 streams counting as a single sale.

So what makes these platforms so special? Essentially, it’s certainly much easier for people to access the web and order any album they like at the click of a button than run to the -scarce now- local record stores. Furthermore, vinyl is more expensive than an online purchase of a record or than a CD (which has also lost ground due to the web). Then, there is the obvious risk the moment

someone decides to buy a vinyl; you can’t know up front if it’s worth your money. Online services, on the other hand, give you the opportunity to stream an entire album or at the very least get a taste of it before you buy it.

Spotify is one of the most successful streaming services at the moment. Its undoubted appeal lies in that it offers visitors an unlimited access to albums and singles, in exchange of only five pounds per month.

The platform provides content from record labels like Sony, EMI and Universal, to which it pays royalties. However, a number of artists accuse it for exploiting their work and leaving them underpaid. In response to the criticism, the platform launched a special website towards the end of 2013 to explain how the payment works.

According to Spotify Artists, 70% of the total revenue goes to rights holders, while the service retains the remaining 30%. These rights owners are labels, publishers, distributors and artists themselves, but the royalties’ amount is not equally distributed. The website reveals, “That 70% is split amongst the rights holders in accordance with the popularity of their music on the service. The label or publisher then divides these royalties and accounts to each artist depending on their individual deals.”

More specifically, Spotify disclosed that it pays rights owners between $0.006 and $0.0084 per stream, which is a lot less than a penny. For bands like Arctic Monkeys or Daft Punk, whose albums now experience a huge worldwide success, the profit will be a considerable one, even if the royalties are not evenly split between them and the rest of the rights holders.

This is not the case, though,

‘There is a yearning among some people for the tangibility and physicality which digital services simply cannot offer’

with emerging artists, whose songs won’t get that many ‘hits’ and who will most likely end up unpaid. Musicians like the frontman of Radiohead and Atoms For Peace, Thom Yorke, have openly criticised Spotify multiple times. The singer has removed Atoms For Peace’s music from the platform, while he often uses Twitter to protest against the service. “Make no mistake, new artists you discover on Spotify will not get paid,” he tweeted several months ago.

This constitutes one more reason why many devoted fans would rather buy a vinyl instead of supporting the new digital music era. One of them is 29-year-old Daphne PassisiKokot, who’s been collecting vinyl records from a very young age. “I prefer vinyl, because it sounds better than the CD. I am also against purchasing music from iTunes or Spotify, since artists end up underpaid.

A song might cost you one pound, but only one penny goes straight to the musician!” she says. abels have often been accused of treating artists like products, one way or the other. Towards the mid ‘00s, a growing desire for bigger profits ended in overpriced records. Musicians were poorly paid, while fans could no longer afford their albums. CDs started looking like a rushed effort to compile a record, for the sake of selling. Even their booklets appeared to be neglected, without artists’ images or lyrics to the songs.

It’s no wonder people did not want to invest in a product that felt impersonal and detached.

From that point, illegal downloading began. This was a revolution against companies, but not against musicians; true fans were still keen on showing their appreciation and devotion by going to concerts. When platforms like Spotify emerged,

L

it was the perfect opportunity for them to turn their back on labels and become ‘legal’ again, by paying the artists themselves.

Or so they thought...

Many of them have now turned to vinyl, out of respect for the music itself. Even if it’s a lot more expensive than streaming services, they get to hold the musician’s work in their hands, admire the artwork and support the artist directly. They choose to defy the digital age and honour music’s real purpose, which is first and foremost artistic and secondarily commercial.

Redmond believes that ‘holding the music’ in your hands is what matters the most for a collector. And this is what makes vinyl unique. “In terms of consumer motivation, there is clearly a memorabilia factor; a yearning among some people for the tangibility, physicality and large format artwork, which digital services simply cannot offer,” he says.

For these people, the benefits that come with streaming services are not enough to outweigh a record’s value.

“Spotify gives you the opportunity to get a little preview before you buy an album and I agree that this is very convenient,” admits Daphne. “But if you’re a true collector, you don’t care; you just buy it anyway.”

But what characterises someone as a true collector? In 2014, there seems to be a fine line between loving vintage and pretending to love it just to look ‘cool’. Whether it’s music or fashion, the so-called hipsters of our time are always an easy target. They are the first ones to support anything non-commercial and flaunt a -usually fake- indie kind of lifestyle. So when it comes to buying a vinyl, it’s not always easy to understand if the person is really interested in the music, or if they’re only trying to fit in 15

with a ‘sophisticated elite’.

Daphne explains, “Vinyl has become a trend in London. Some people decide to buy a record, just because they like its cover, or because they took the advice of the knowledgeable employee at the record store. This kind of thinking used to upset me, but now I believe it’s worth buying a vinyl, even if you’re doing it for the wrong reasons. At least you’ll be helping the band survive.”

Whether vinyl’s return is attributed to a call for authenticity or a desperate need to follow the trends, the rise in sales indicates that it is now capable of existing in the digital world. Is it strong enough to survive, though, or is this just a passing phase? Redmond sees no reason why the vinyl revival would come to a halt. However, he acknowledges the practical difficulties which may arise in

the process.

“There are significant limiting factors,” he says. “Manufacturing capacity for vinyl seems close to its limit. Many vinyl production facilities were simply scrapped following the rise of the CD and it is unlikely that further machinery will be built. Also, the ongoing shrinkage in the installed base of record players will put a natural ceiling on the number of people investing in vinyl.”

Only days ago, an artist’s success would be measured in sales; now it’s measured in streams. We can’t go back to a time without iPods or Spotify and maybe we don’t want to. Moving forward seems only natural. What we can do, though, is unearth our old turntable and find some quiet little room to spin our vinyls. After all, who knows how long they’ll be around?

What about the cassette?

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f you thought vinyl sounds obsolete, then you’re probably not a fan of cassette tapes, either. Nevertheless, the iconic Compact Cassette, which experienced its greatest popularity as a music format between the late ‘60s and the ‘90s, marked an entire pop generation; from the Beatlemania to Michael Jackson’s world domination, tapes lived a short but glorious life.

While the fancier CD doesn’t seem so fancy anymore, cassettes have always felt special, if only for those moments of frustration when we hopelessly tried to wind them up using a pencil. They might bring back faded memories of a radio show we recorded every Saturday or a party where we joyfully danced to Ace of Base’s The Sign.

But the format is not dead, just yet. The music industry may have established the CD as the dominant music medium of the ‘90s, but this did not lead to

16

cassette extinction. In fact, a lot of artists have been recording their music on tape, along with their vinyl and CD releases. Alongside them, a number of labels like Burger Records, Kissability and Pink Motel Records started releasing most of their material exclusively on cassettes.

Co-founder of Pink Motel Records Antonis Konstantaras explains what makes the format so appealing. “We grew up in the ‘90s and the early ‘00s when we used to make mix-tapes and listen to music on walkmans. We see the cassette as a more romantic approach to music and artists also find it attractive; they treat tapes more like a ‘collector’s item’ for their fans and friends,” he says.

This sense of nostalgia is what prompted yet another day of celebration. As from 2013, Cassette Store Day aims at acknowledging the value of cassettes, without the need to support independent shops like Record Store Day suggests. The purpose here is to dedicate a whole day of music and tape releases to all those who are still in love with their walkman, as well as, hopefully, make the cassette popular again.

Are people ready for a cassette comeback, though? Konstantaras believes

that most of them appreciate the effort put into reviving the format. “There are many different and interesting reactions that we get from people. Some of them really like listening to music on tape and support us. I believe they like the way that we approach our releases, because we think of them as art projects; we pay as much attention to the sleeves, cases and artwork as we do to the music.

Others, though, don’t see it as a good idea or dislike the format and think of it as a ‘wannabe elitist’ movement,” he says.

While the format has already developed a niche following, further steps are being taken towards its full revival. Sony, which created the revolutionary Sony Walkman in 1979, has now brought a new idea to the table. The company unveiled a different type of cassette during the International Magnetics Conference in May. The new tape can hold 148 gigabytes per square inch, meaning almost 65 million songs. This is about 74 times the amount of data of regular tapes!

Does this mean that we won’t need our iPods anymore? Konstantaras estimates that cassettes could never sell millions of copies again, but he sees the format as a nice way to exchange music and get in touch with the artist’s work.

“A mix-tape, for example,” he says, “is one of the best presents you can give to a person that you love. Because making it takes time and thought; it means that you heard the whole song while recording it and you didn’t just click your mouse a couple of times. Cassette tapes are for the lovers and the pirates and they are both hopeless romantics!”

The young singer-songwriter from Cheshire shakes up London’s music scene with deep, soulful vocals and touches of 1950s’ Hollywood glamour. Adam Glover’s songs echo the simpler times, when truthful lyrics and stripped down melodies were enough to evoke emotion; Home, the ballad he co-wrote with Fiona Bevan, melts the coldest of hearts It seems your music has a vintage feel to it. What period of time do you draw your inspiration from and how would you characterise your sound?

I suppose my music is characterised by my vocal style, which is akin to the artists I grew up listening to; Dean Martin, Perry Como, Bing, Frank, Monro.

All my favourite artists stretch from the ‘20s to the ‘60s with a crooning musical tradition trail-blazed by Bing Crosby.

Although I would never say I was anywhere near as good as them, I’ve developed traits and nuances in my singing style that I learnt from them.

How did you develop a liking for this kind of music?

I was never told to listen to it and my parents didn’t really listen to much music. I stumbled upon my hero Dean Martin by accident, and fell in with everything about him. I would probably boil it down to watching all the old films as a kid. I was never put in front of a TV to watch the latest Disney; it was always an old Elvis film, Westerns like Rio Bravo, High Society, Pillow Talk with Rock Hudson and Doris, Calamity Jane. So listening to that music reminds me of those times -simpler times, for me at least.

Some of your songs appear to be very cinematic and emotional, enhanced by low, dramatic vocals. Have you ever taken part in musicals?

This is actually how I started out. I was playing the lead in The Phantom of the Opera in Manchester. A gentleman approached me after a show and asked if I would sing a few Phantom numbers

Adam Glover at his house, for his wife’s birthday. I, of course, obliged, so I turned up with a karaoke mic and my cassette player plugged into a guitar amp -looking back, it must have been awful. But they kept asking for more. Before I knew it, I began to pull out my favourite songs by Sinatra, Matt Monro, Ella Fitzgerald, and eventually secured two other bookings from the party. I was 18.

Do you find people are fond of older times and ‘vintage sounds’? What do you think they love about your music?

It would certainly seem that way, at least from what I hear at my gigs. I think they love it for the same reason I do; it reminds them of a simpler time in their lives -perhaps their grandparent listened to it- making it a nostalgic journey for them. Or perhaps people are tired of the soul-less manufactured pop they are force-fed on every radio station. Either way, for whatever reason it may be, I’m just glad that I am able to play for appreciative audiences.

Do you also release your music on vinyl?

I plan to release my next album on vinyl.

I think it compliments not just the sound

but the ethos of the sound. But a lot of that sound is already present in my music. If I can replicate it on the digital track it opens it up to a wider audience.

How did the duet with Fiona Bevan come up?

I met Fiona when I went to see her at a music night she was hosting in Dalston (East London). Having so much favourite music in common (not least my favourite song Someone to Watch Over Me by Ella Fitzgerald), we instantly became friends and she invited me round for dinner at her house, a few days later. It was there where we wrote the track.

When can we expect to see you perform live?

I’m concentrating on my album at the moment, working with a lot of songwriters and producers to really fine tune the exact sound I want to create.

But you’ll always find me doing the occasional set near my flat in Dalston.

Adam Glover’s new record is expected for release in mid 2015.

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KONSTANTINA PYRNOKOKI 17

Period dramas are today’s Next to science fiction and action adventures, period films and TV series continue to thrive

By Konstantina Pyrnokoki TURNING ON THE TV, all we see is castles, costumes and antique cars; whether it’s 1920s’ royal dresses or pencil skirts and automobiles from the ‘60s, period drama shows are clearly Nicole Kidman in Grace of Monaco dominating our screens.

Downton Abbey and burst with period Rose’s epic love story?

Mad Men seem to be the films! And we’ve loved Was it the ocean liner’s most popular ones. Set everything, from tragic sinking in 1912? in the post-Edwardian fictional romantic Or was it Kate Winslet’s era and in the 1960s stories set in the breathtaking gowns? respectively, both series ‘20s to war films and It’s probably all those have impressed viewers biographical dramas. things that made you with their astonishing But the ‘period love it. costumes and historical craze’ is not that new.

Period dramas have authenticity.

Remember the time a special effect on When it comes to when we used to reviewers, the one that cinema, period films enact Titanic’s famous stems from nostalgia have attracted an even scene of Leonardo and admiration of bigger following. From DiCaprio shouting “I’m an unknown era. the award-winning the king of the world!”?

Sometimes, even the era The Artist and 12 Years You surely recall itself is not important. a Slave to The Great crying the first time Carson Arthur, who Gatsby, Grace of Monaco you watched that film works at Brick Lane’s and The Grand Budapest back in 1997 –and to Close-Up Film Centre, Hotel, this genre has be honest, you still cry explains that people more than flourished every time you stumble are attracted to a past over the last three years. upon it on TV. time, only because it has What about The Titanic was the nothing to do with Prestige, The Notebook highest-grossing film of their present. or Aviator? If you think all time worldwide until “Everyone likes to be carefully, you will realise Avatar surpassed it in transported to another that the noughties 2010. Was it Jack and world,” he says. “People 18

watch period films and see them as ‘vintage’, because it gets to a point where the time itself doesn’t seem to matter; as long as it’s different from the present. People would enjoy watching The Great Gatsby, for example, not to see people in the ‘20s, but just to see something that’s not 2014.”

Who pays attention to history when you’ve got marvelous costumes and fascinating settings?

A period film’s appeal lies in the illusion it creates; it highlights the charm of the ‘old’ without placing the story into a detailed historical context.

“People can’t really tell when it’s set. To them, something from

the ‘20s looks like it could be from the ‘30s or the ‘40s. When you have a historical film which spans decades, like The Butler, they all get lost in one. That’s dangerous, because people don’t have a sense of history being a transitional movement,” says Arthur.

But if the audience cannot recognise a specific period of time, can they really tell the difference between fact and fiction?

When directors aim to portray the ambiance of an older decade, they usually omit or oversimplify the facts; this can lead to historical mistakes, sometimes subtle and other times serious,

most harmless fixation which misinform the viewer.

Hollywood war films have been criticised the most for not respecting history. Pearl Harbor, for example, which focuses on the attack of the Japanese against the United States’ naval base in Hawaii in 1941, is filled with anachronisms and historical inaccuracies.

For instance, the crop duster shown in the first scene, which is set in 1923, was not available to the US department of Agriculture until 1926. The facts are also slightly changed; Admiral Kimmel, who is shown on a golf course in the morning of the attack, had actually cancelled his game in the news of the strike.

Official historian of the

BBC and professor of Media History at the University of Westminster Jean Seaton believes that some of these films are mostly sentimental and very ‘un-historical’.

“Braveheart is adored by the Scottish nationalists; it is rubbish but they believe it,” she says. “It gives them comfort, as well as an image of themselves that they like. Obviously, the ‘past’ offers pretty clothes and nostalgic settings. But it’s not history, which is myth slaying. This is myth making!”

Period dramas are also known as costume dramas for a reason. Much of their success comes from the characters’ clothes. If Colin Firth

was your main reason for watching BBC’s TV series Pride and Prejudice in 1995, then the beautiful costumes must have been your second most important one!

Women specifically love Edwardian gowns, since they represent a romantic time, when a man would ask a lady to a ball and courtesy was a natural instinct.

A spectacular dress can take their worries away for a little while; they forget about everyday troubles and instead, they daydream about living in a castle. It has the same effect as classic cars have on men.

Furthermore, Arthur believes that costumes indicate a period drama’s historical context. “People only seem to understand

Period films versus old Hollywood

Audrey Hepburn in Breakfast at Tiffany’s WHILE period dramas succeed in reproducing an era on screen through

creative costumes and settings, they could never be compared to classic old films. The

latter are naturally more glamorous, mainly because of the Hollywood stars’ allure during the ‘golden age’, between 1920 and 1960.

Before the invasion of the internet into the lives of celebrities, paparazzi were not able to dig deep into a star’s personality. Most of the times, actors and actresses were highly associated with the characters of their roles.

This is what contributed

history through sets and design,” he says. “They won’t understand a Nazi film if there’s not some heavy Nazi military uniform.”

Period films and TV shows can surely reveal a lot about a certain time. Even when history is distorted, the audience gets in touch with those people’s lifestyle and rules of social status, such as the slaves’ abuse in 12 Years A Slave or the place of a mixed-race woman in an aristocratic society in Belle.

Ultimately, though, it’s not only about getting to know the past or fantasising about the simpler times.

While watching a period drama, we look for something that applies to the present; something

similar to our lives, which reassures us that our reality is not much more complicated than the past. After all, history tends to repeat itself.

“Films of old topics always reflect the present more than the past,” says Seaton.

“History serves as a safe place to escape our time, but also as a re-interpretation that comforts.”

There’s nothing wrong with comfort. If there is an addiction related to nostalgia, then period dramas are the most harmless drug we’ve ever known.

into keeping alive the ‘myth’ which surrounded their name.

The actresses of those years are still thought of as the perfectly polished women who represented the glamour and elegance of a fascinating time. Grace Kelly’s classic beauty or Marilyn Monroe’s unique sex appeal could never be found in modern celebrities, no matter how much we’ve tried to recreate the ‘50s on screen.

Besides, who can

forget Louise Brooks’ bobbed haircut, which is now copied by actresses like Michelle Williams and Carey Mulligan, or Audrey Hepburn’s impeccable style, which has inspired so many women worldwide?

It’s hard to find proper ‘stars’ in modern Hollywood, simply because most of the mystery is gone. So period films can in fact take us back in time, but sadly, they will never be the real thing.

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ENGINES ROAR... DOWN MEMORY LANE You’re driving a blue Ferrari 250 GT California down Sunset Boulevard; the wind in your hair and Marilyn Monroe sitting in the passenger seat. You wake up, but realise this isn’t a dream

STORY BY

KONSTANTINA PYRNOKOKI

Y

ou have always pictured yourself inside a shiny on the London to Brighton Rally, through to the 1920s and car, the kind that gains respect and admiration. the elegant, sweeping curves of the 1930s,” he says. “The Sure, the new Porsche Macan wouldn’t hurt, but 1940s brought hundreds of family cars as motoring got more the charm of a classic car holds a different appeal. affordable and popular, with Morris and Austin dominating And while Marilyn Monroe is gone, the 1950s’ Ferrari of your the roads. The decade of the ‘50s was heavily influenced dreams isn’t.

by America and the space age, so you see fins and chrome A classic car lives on through the people who are still amazed appearing. Then, the 1960s introduced the world to the E-type by its unique growl and marvelous design. A 21st century Jaguar and the Mini. automobile may provide its driver with power and prestige but “So when you sit in a car that is 80 years old, you are it’s not a special part of history, at least not yet. Classic cars somehow transported back to a previous time. The feel and will make you go back in time; they will astonish you with their smell of the car has an enormous power. The engine sounds peculiar designs and lively colours, leaving you wondering and drives just as it would have when it was in regular use. what it must have felt to be alive in those years of glamour You feel part of that and become the next chapter in the and finesse. cars’ history.”

Whether it’s vintage, dating from 1919 to 1930 or postt’s true. Classic cars carry fragments of a time’s social vintage, these cars are considered classic for one simple status and lifestyle through the centuries, along with reason; they are timeless. Picture a Bentley Speed Six ‘Le their company’s identity. A 1930s’ Rolls Royce, for Mans’ Style Tourer, for example. This important piece of British example, represents the people of a wealthy upper class, racing history won the 24 Hours of Le Mans sports car race in who chose to travel in style and comfort. Cadillac automatically 1929. Could it be pushed aside for being ‘outdated’? brings to mind American pin-up girls and high waisted shorts, Obviously not; classic cars’ fans and collectors would be while the Mini Cooper still remains the British icon of the happy to keep ‘her’ memory alive. These motor addicts are 1960s. So when you get inside a classic car, it feels as if you’re likely to be found in auctions staring at rare automobiles back to a happy, exciting place or to another time when you or motoring memorabilia, right before they place their would rather have been born. extravagant order. Brooklands Museum Editor of Classic Cars magazine, Phil preserves such vehicles in pristine Bell, believes in the power of nostalgia.

The feel and smell of the car has condition, allowing visitors to admire “People like to look back at what they an enormous power. The engine and make them their own at the see as better times in their own lives, Historics auction house. For Paul in society in general and the motor sounds and drives just as it would Stewart, the marketing manager of the have when it was in regular use. You industry in particular,” he says. “Like a chart record, a classic car provides museum, loving a classic car simply feel part of that and become the next an instant connection to its era. It also means loving history. chapter in the cars’ history represents a time when the car was seen “The cars at auction range from early as something more personal, being the Edwardian vintage cars – often seen

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product of a designer; a time before the influence of computers, legislation and huge teams of decision makers.”

But wouldn’t you rather let those big decision making companies build the fastest, strongest and ‘coolest’ car for you, so that you can boast about it in front of your boss or your friends? Why would you choose to drive a classic Beetle and not the new one? irst of all, take a moment to imagine the guy who fills up your car with fuel, scratching his head and wondering ‘How did a 1950s’ Beetle land in my petrol station?’ If his priceless reaction still isn’t enough, consider the fact that most classic cars have doubled or even quadrupled in value in the past decade. From an investor’s point of view, they can only be seen as an asset.

One might argue, though, that they are inferior in terms of performance, and they’re actually right.

Calibration engineer at AVL Powertain UK Ltd. Kostas Mantzos agrees. He believes, however, that their attractive design gives them a fair advantage.

“The colours of the cars were fragile in the past; now they’re significantly more resilient to damages or decay.

For safety reasons, modern cars are also bigger, which makes them more comfortable. But then, the design of classic cars is much different and quite unique. In the end, this is what makes them special,” he says.

People are so fond of the look of old automobiles that some companies continue designing similar versions of the same classic car for years, maintaining its popularity and allure. Many famous car models have been around since the ‘50s and the ‘60s, or even the ‘30s, with minor changes to their appearance. For instance, the Mini Cooper, originally designed by Sir Alec Issigonis, looks as attractive now as it did back in 1963!

Another typical example is the Beetle, also known as the Volkswagen Bug. Its production started in 1938 and lasted until 2003. Being highly associated with the

Mini Cooper - 1963 (left) and VW Beetle - 1952 (right)

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Rolls Royce Phantom I - 1929

Ferrari 250 GT California Series I - 1957

CARS ‘hippie’ movement of the ‘60s, this ‘cult’ car has never been out of date. The Fiat 500, first manufactured in 1957, falls in the same category. While its production stopped in 1975, Fiat celebrated the 50th anniversary of the model, releasing its modern version in 2007.

A car model’s revival is indeed possible.

But could the modern successor look and feel exactly as its classic predecessor did many years ago? And if so, would it be friendly to the environment? Car pollution is identified as one of the biggest causes of global warming, so automobile manufacturers should be extremely careful, now more than ever. Mantzos believes that re-launching a classic car, exactly the way it was decades ago, is an impossible task.

“Classic cars are not friendly to the environment. There’s no exhaust gas aftertreatment or engine control unit in most of them. They are mechanically ‘pure’ and that’s what makes them desirable.

Producing the successor of such a car with the same design details and mechanical parts of a past decade, is practically impossible to achieve. The legislation in terms of safety and environmental issues prohibits the use of technologies of the past,” he says.

So what will happen to classic cars if the world is full of new fascinating designs or if we are forced to drive our eco-friendly, dull vehicle on our way to work? Those one-of-a-kind automobiles are an integral part of history and I’d like to think they won’t just disappear. Some of them have managed to survive for decades, being passed on from one generation to the next; so why ‘die’ now? uckily, Bell shares my optimistic approach. “Just like music, from the popular songs of our youth to revolutionary periods like the Bebop era of jazz, great car designs from the past will continue to find new fans. Unless legislation or dwindling supplies of fossil fuels forces them off the road, the future is bright!”

Why not? Everything looks brighter from the inside of a Ferrari California. Think about it; even Marilyn might be a ride away.

FAMOUS CLASSIC CARS AND THEIR MODERN SUCCESSORS 1.

Aston Martin DB5 (1964) and DB9 (2013) DB5 features in Goldfinger alongside Sean Connery; it’s the first Aston Martin to appear in a James Bond film. Its successor, DB9, is the current flagship of the brand.

2.

Jaguar E-Type (1961) and F-Type (2013) A true work of art, the E-Type model is seen by many as the sexiest car of all time. After almost 50 years, Jaguar created its descendant, maybe the best of the brand in recent years.

3.

Mini Cooper (1963 and 2014) Combining extremely small dimensions with attractive design, the Mini was an

instant success. The 4th (3rd modern) generation Mini is bigger in both size and number of variants.

4.

Ford Mustang Fastback 390 (1968) and new Mustang (2014) The greatest pony car of all time, it featured in Bullitt with Steve McQueen.

In 2014, Ford celebrates 50 years of the Mustang with a new model, bringing back the Fastback shape.

5.

Ferrari 250 GT California Series I (1957) and California T (2014) Only 36 examples of Series I were ever produced. For the first time in more than 40 years since the legendary F40, a turbocharged engine is used in a Ferrari, for the new California T.

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Sean Connery in front of the Aston Martin DB5 in Goldfinger

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