T
he following attempts to explore the the critical,
essential, and relevant items we seek out to add substance to our lives. Its title, Material, references the popularization of resale, second hand, thrift, retro, and vintage clothing throughout the past century. I endeavor to examine the intrinsic quality of why these materials are so indispensable, and why their role in establishing uniqueness and authenticity is relevant not only in the United States, but across the globe.
Sara Claire Bannon
Editor & Designer
Baltimore, Maryland
Spring 2017
TABLE OF CONTENTS
01
02
Introduction ... 4
History ... 18
03 Community ... 54
04
05
The Reasons Why ... 64
Affects ... 80
4
01 Introduction Concept
6
Terms
7
Age Affects
10
Objects and Emotions
11
Skill
13
Cycle of Consumption
16
"Vintage is about looking forward through the window of the past" -John Walsh
Concept Simon Reynolds contends that through television, film, and the Internet, yesteryear’s images and music have come to dominate popular culture. In the 1970’s old television shows returned to air as re-runs, and films from the 1930’s-1950’s became available to anyone and everyone. People of all ages began to listen to the music of past decades, sorting through album covers, all the while taking note of the fashion displayed. Widespread access to the Internet greatly increased the ability to view imagery from the recent past, making the fashions and culture more available than ever in human history. In this cultural context, the past became an essential component to contemporary popular culture. Sale of thrift, second-hand, resale, and vintage fashion began to grow at a pace of five percent per year, according to the National Association of Resale and Thrift Shops. As John Walsh noted in an article in The Independent on August 28, 2010, for many vintage consumers, “vintage is about looking forward through the window of the past.” This window has become more widely admired due to the many different ways people have begun exhibiting their treasures.
6
Terms Before getting into any analysis of such things, it is
7
differentiated from historical, antique, second-hand,
important to establish the basic vocabulary that will be used to
consignment, reused or resale clothing. In apparel, vintage
discuss the subject. These terms have had many different lives in
usually involves the recognition of an individual type or model
world of the lexicon, due to the ever-changing nature of
and knowing and appreciating such specifics as year or period
language, therefore it is essential to pinpoint the manner in
when produced or worn.” Wearing vintage is primarily about
which they will be used in this text. Antique is thought to be any
being involved in a change of status and a revaluing of clothing
item that is one hundred years or older, and it is discussed that
beyond the original period or setting, and only secondarily about
these items become historic at this time because the original
markets for resale of clothing.
maker or owner of the item is most likely no longer around. Heike Jenss (2005: 179) characterizes retro as, “an all-encompassing catchword that involves: …the construction of past images and historical looks which can be achieved with original objects as well as with new ones that look historic. It uses the potential of dress as a cultural signal of time and a major component of cultural memory, historical consciousness and imagery.” McRobbie, a Professor of Communications and Media at the University of London, described the search for vintage as “ransacking history for the major items of dress in a seemingly eclectic and even haphazard manner.” The term “vintage” has quickly morphed into an abstract category regularly describing old clothing, and no longer necessarily referred to the purchasing of new clothes as an investment in the future. DeLong, Heinemann, and Reiley (2005: 23) describe the general category of vintage as follows: “When used to refer to clothing, vintage is
Antique 100 years before date of purchase that is bought to increase aesthetic, economic, and social value of the owner.
Retro
of or designating the style of the
older time in order to create a new
Vintage Used to denote something authentic from a past era. Used in the industry to define a piece twenty years or older.
production of an old look
Seconhand Stores
26-28 29-30
250
Vintage
200
22-25 18-24
Non-Vintage 150
Boutiques 100
29-30
26-28
50
0 1-9
20-39
40-59
60-79
Age Group
22-25 18-24
80-99
+100
Age Effects Vintage breaks all of the molds of the market of clothing
It is hard to pinpoint specific groups, because largely
sales formed in the early 1980’s, as there are no rules as to
students and young people shop in vintage stores, but is it
who can shop it. Both high class and lower class people have
because they are on a budget, or because they are more open
an equal opportunity to hunt for treasure at a fair price.
to the idea of breaking societies holds on their fashion
Finding good pieces at a vintage place is more about patience,
choices? Is it a perfect storm? It might also come down to the
knowledge, and skill, rather than money. The reason why
fact that older generations do not want to relive the past in
there was so much revolt against the dominance of
their wardrobes. Re-wearing something they wore in their
department stores in the second-hand clothing business in
twenties, in their forties and late fifties may seem
the 1970’s and 80’s, was due to the betrayal of the actual
unnecessary, especially when they might already have saved
reasoning behind shopping in that manner.
some of those pieces in their wardrobes to be used in
People believed that vintage was to be shopped by the everyday person, rather than alternative. Having to pay inordinate amounts of money for things that had already been worn was no longer sustainable in their minds. This paired with the widespread rejection of the expensive boutique vintage shops, led to some large divides int the industry. There is a significant distinction as to who shops where. When it comes to boutique stores, the clientele is made up of primarily older, more established clients. However, when it comes to bargain places, small grunge vintage shops, and second-hand stores, students of the ages of eighteen to twenty-one are the ones to visit most frequently.
everyday occasions.
10
Objects and Emotions Objects, especially those that are so close to us on a daily
11
when I was little. It is these items that ride along for our lives,
basis, henceforth become historically, socially, and narratively
and I think that it is one of the many reasons why people are
embedded in society. When imagining the past, it is seen
attached to vintage in such a manner. We like the things we
through visuals replayed in our minds. Memories become
wear to have a story, and it is the items that we tell have had
attached to things we wore in the moments that they were
one, that we are attracted to the strongest. In order to find
created. The connection makes it particularly hard to let go of
those articles a considerable amount of skill is needed.
certain items. Emotions also tend to attatch to clothing that was purchased for a special event, handed down to us, or gifted by a special person in our lives. It feels wrong to get rid of something that has been held so dear. This connection is what makes it particularly hard when dealing with the clothing of the deceased. Family and friends believe that they must do right by an object or article of clothing that once belonged to a loved one. We feel as though a piece of that person lives on in the item, and that by extension, there is a piece of them held within. I have a pair of pearl earrings gifted to me by my grandmother on my eighteenth birthday, that I wear on days when I know I will need an extra dose of luck. There are items of clothing of my mothers that I had pulled out of piles headed to second-hand shops because I remember her wearing them
A
B
i
ii
a 1
b
2
3
I
4
5
II
6
7
8
Skill The quest for vintage begins to develop not so much
13
haphazard as a rather complicated process involving the consumer and connoisseur. Along with the accompanying aesthetics, taste, clever dressing, historical curiosity, and ability to discriminate the authentic product and revalue it in a new setting, vintage shopping and dressing necessitate knowing how to mix and match old items with new for a fashionable look. It also may require the ability to correctly match garment to a period and distinguish between retro reproductions and “authentic” vintage. Many also learn that pieces from certain eras go together because one influenced by the other. For example 20’s and 80’s, and the 60’s and the 90’s, the 90’s and 70’s and present culture. According to Nicky Gregson, Kate Brooks and Louise Crewe, Retro consumers mobilize the authentic as a means of demonstrating individuality, knowingness, knowledgeability and discernment, as an expression of their cultural capital, and as a way of constructing difference from others. Combined with many individual’s concern for shopping “well” and the ability to hunt for the best deal, vintage shoppers do not get as substantial credit as many believe they deserve.
Worn by Many
Found by Few
The Cycle of Consumption Economic growth has come to depend on the continued marketing of new products and disposal of old ones that are thrown away only because stylistic norms promote their obsolescence. Clothing goes through numerous different cycles throughout its life. When an individual determines that an item is no longer of great use, there are three situations in which for it to settle. Firstly, clothing may be resold by the primary consumer to other consumers at a lower price. In this case, it will be re-bought at a lower price and added back into the wardrobe of another citizen. Secondly, it may be exported in bulk for sale in developing countries. For example, certain brands and rare collectible items are shipped to Japan, the largest buyer regarding dollars of vintage or American high-end fashion.Thirdly, it may be chemically or mechanically recycled into raw material for the manufacture of other apparel and non-apparel products.
16
18
02 History Social Standing
20
Neccesity
21
Popularity in Media
24
Timelines
25
50's
25
60's
28
70's
31
80's
35
Eras
38
1920
39
1930
40
1940
41
1950
44
1960
45
1970
48
1980
49
1990
52
“Clothing makes the man. Naked people have little or no influence on society� -Mark Twain
Social Standing Fashion helps us define ourselves free from the systems
By the late nineteenth century, clothes had gradually
instituted by status, class, and family history. It is an
become cheaper and therefore more accessible to lower class
ostensible repercussion of an internal fight for social
levels. As the first widely available consumer item, clothes
recognition; this is why we have such an attachment to it.
were sometimes an indulgence for rich and poor alike. The
Bourdieu defined the field of fashion as “the unequal
availability of inexpensive clothing meant that those with
distribution of cultural capital between high and low ‘couture
limited resources could find or create personal styles that
houses,' presenting the structural components of the social
expressed their perceptions of their identities rather than
structure in general�. Fashion is then inherently contradictory,
imitate styles originally sold to the more affluent.
simultaneously providing both social cohesion and individual expression. Fashion is employed by the upper class as to show their superiority over lower ones. This may explain the brand fetishizing of current youth, as it is an imitation of a higher class. Distinctions in class through fashion do not happen in a direct line from high to low. Technology has broadened the ability for a lower class to see high fashion, and therefore for cheaper copies to be made and bought by those not able to buy the high fashion options. An indication of one's social status could be identified down to the line and fabric of a jacket from a period too recent to be fashionable or classic immediately indicated that the wearer was drawn from the lower classes. It was a stigma of which people were painfully aware.
20
Neccesity The ethos of make-do-and-mend supported the lower
21
it becomes obligatory” and resulted in an approximate 10%
classes to position the wearing of old clothing as thrifty and,
reduction in the production of trash. Those days in a comparison
during wartime, patriotic. However, it was very specifically old
between the world of fast fashion, things not being made to last,
clothing that was passed down through families. It wasy, rarely
has become painfully obvious.
purchased.
The trend of it being a symbol of social status only to wear
Consumers of old clothing were, then, considered to be those
an item of clothing once would make our family members that
seeking to give an impression of higher social status, the
went through the depression and war times sick. This is why I
destitute, or actors, and consequently were treated, in some
believe in present generations there has been such a large turn
ways, as suspiciously as those who sold them the garments.
back to the ideals of the past and henceforth more of an
Susan Strasser, a professor of history at the University of Delaware, traces the “progressive obsolescence” of clothing and other consumer goods to the 1920s. Before then, and especially during World War I, most clothing was repaired, mended, or tailored to fit other family members, or recycled within the home as rags or quilts. During the war, apparel manufacturers reduced the varieties, sizes, and colors of their productions and even urged designers to create styles that would use less fabric and avoid needless decoration. The government’s conservation campaign used slogans such as “Make economy fashionable lest
investment in the items that fwere produced in it.
Yes Other
Do You Read Magazines?
Magazine Preference
Other, never Vogue
Vogue
No
Social Circle No All Three Media
Do You Keep Up with Current Trends?
Sources
Local Stores
One or Two
Only Magazines
Yes
Popularity in the Media The media performs an important role in creating the
audience penetration and postmodern imagery changed the
meanings of garments and combinations of garments. The
diffusion of fashion and redefined issues of democratization.
increasingly complex links between subcultural fashion and
This can be seen in the vintage fashion business very clearly,
two major popular culture industries, music and clothing, take
as its emergence onto the scene can be traced back to its very
two forms. On the one hand, modern popular culture has
first presence.
endowed certain types of clothing with subversive meanings.
The following pages show the most notable examples of
On the other hand, new ideas generated by these subcultures
this througout the past century, grabbing information from
are continually co-opted and recycled by various forms of
important newspapers, magazines, and other popular media
media culture and the clothing industry.
sources, paired with what was happening in the textile
Popular music performs an important role in identity creation for contemporary adolescents, because it is the most available and accessible form of media culture for them and, as such, a rich source of cultural meanings and standards to assimilate or resist. They create looks that are so successful at expressing the adolescent identity that they are believed to presage the way the average youth will dress in later seasons. The development of powerful electronic media with enormous
industry.
24
25
Corporations start to take up all the textile businesses
1950
Fiber reactive dye
1953
Post-war
First commercial
abundance left
polyester fiber
second hand to
production by
the needy with
DuPont.
exception of antique items, especially furniture. Vintage not yet defined as its own market.
invented.
1954
5
28 Article establishes upscale resale shops as “bargain hunting for the highly fashionable
1960
Used clothes are
and fickle.No more
The cover of The
than two seasons
Beatle’s Sgt.
out of fashion,
Pepper album puts
worn by those
dressing in a past
“weird” or
fashion in the
“theatrical”
1963
1967
A New York Times
still thought to
article laughs at
only have a need
the quirky youth
to be bought if one
for idealizing old
requires charity
time clothing and wearing it comfortably in public. Rise of anachronistic dressing.
mainstream media.
7
“Something New at
31
Altman’s : Shop That Has Authentic Old Clothes”: a large scale department store opens a vintage boutique on its 6th
Vintage Levi’s are
floor “Yesterday’s
1970
embroidered and
News”. At this time
Vintage shops
sold at a very high
vintage is looked at as
start being posted
price at Lord and
something
as destinations in
Taylor and Saks
authentically old.
neighborhoods
Fifth Avenue
Literature and film
Youth in California
Handmade vs.
based in war times
wishing to dress as
machine made is
starts to populate
anti-establishment
highly attractive to
the popular
as they can.
customers and
culture, pushing
textiles are much
images of people
more vibrant and
in past fashions
textured.
into people’s minds.
1973
32
Vintage really takes off in its own right, and starts alarming the few stores that started the practice as sellers of vintage start to get a bad reputation for selling rags at rich prices. Everyone is trying to get their hands on pieces before their investment is no longer in trend. Department stores also begin sinking
1975 “Cheap Chic” is published by
their claws into the business, causing
Essence publishes
prices to skyrocket, as it becomes
an article on “Retro
harder for small stores to break even.
1977
1979
Dressing”
Vogue admits and announce a boom
Catherine
in vintage clothes,
Millionaire and
citing 60’s
Carol Troy as the
costume parties for
first guidebook to
the rise in the
shopping at thrift
trend.
and vintage stores, and that implies that these actions require skill to carry out
Boston globe -
35
“Fashions for the Classes of ’82: What’s Happening in College? A Look That’s Vintage Chic”. Harriet Love
The idea that one
also puts out her
should dress to suit
book “Harriet Love’s
themselves, rather
Guide to Vintage
than a trend,
and Antique
comes strongly
Clothes”
1980
1983
into culture.
“First Price Guide
Vintage thought of
to Vintage Chic” by
as a “fahion
sales in second
Trina Irick-Naur
statement
hand clothing are
that details the
critiquing
up 100%, at the
way in which
conspicuous
same time Vogue
sellers should price
consumption and
realizes that it no
their clothing for
materializm.”
longer has to
the best
publish articles on
results.Embroidery
what Vintage is,
, lace, tailoring,
but rather where
and natural fibers
their readers
are highly popular.
Money Magazine announces that
should go to find the best pieces at the best price.
1982
36
Fashion really takes off, sparking fashion designers to start looking into the past even further for inspiration in their
1987
The New York Times publishes an article titled “In Schools, Fashion is Whatever is Fresh� that looks into the fashion statemnts made by students at local schools, and how these looks were inspired.
new lines
1990 - Present
Perception of Definition Based on Era
120%
100%
80%
60%
40%
Out of Date
20%
Retro Vintage Antique
0 1920's
1930's
1940's
1950's
Year
1960's
1970's
1980's
1990's
Eras Over a period of time, through a process that has been called “semiotic layering,” items of clothing accumulate connotations from many different contexts. This contributes to their usefulness for both creators and consumers of clothing, who can manipulate different meanings in the same garment. Items of clothing that were worn in films, on television, or in concerts by popular musicians have acquired meanings associated with these forms of popular culture. These meanings and esthetics have been categorized into the different era by year, and everyone seems to know an understand what “personality” an era took on. This personality is then referenced when purchasing, repurposing, or wearing an item from the said time. There has arisen a new instance of different eras being “on trend.” This can be paired with the necessity of earning that pieces from compatible eras go together because one influenced the other: for example 20’s and 80’s, and the 60’s and the 90’s, the 90’s and 70’s and present culture.
38
1920's For nearly one hundred years, 1920s fashion has been
39
straps and lots of ornamentation. The T-strap heel came into
known as one of the most glamorous and innovative periods in
fashion, as the addition of the strap allowed footwear to stay
modern fashion history. After World War I, the fashion
on throughout a night of dancing. Headbands also became a
landscape shifted like tectonic plates. Once reserved for
popular accessory during this decade, and many featured
aristocrats and the affluent, high fashion had taken a
feathers and jewels to match the ornamentation of flapper
noticeably more attainable turn, allowing middle class men
dresses. Beauty from the 20’s is very recognizable today, as
and women in on the fun. Some luxurious textiles were finally
the bobbed cut with finger waves, dark pointed lips, luxurious
affordable, making it possible for fashionable items to be
lashes, and plucked, well-defined eyebrows became almost a
created at home. In the 1920s it was still quite common for
uniform for the flapper.
clothes to be handmade. With the incitement of prohibition
While women’s fashion was busy breaking new ground,
and increasing women’s rights, 1920s fashion was marked by
men’s fashion stayed relatively unchanged. Fashion for men in
rebellion and the aim for equality. From the simple drop waist
the 1920s was not known for its individualism. There were
dresses of the first half of the 1920s to the festive fringe
designated times when a man was supposed to wear a suit, a
dresses of the flappers in the latter half of the decade, the
flannel shirt, and so on. Most men did not deviate from these
drop waist dress was a rejection of female social norms. The
societal “uniforms.” When looking at pictures of large crowds
corset was abandoned and figure-hugging dresses were
of men from the 1920s it is strikingly obvious how similarly
replaced with loose, slimming outfits that focused on a more
most men dressed.
boyish appearance. Decorative elements of Art Nouveau,
But the lack of individuality certainly didn’t equate to a lack
geometry, and surrealism were incorporated into clothing
of elegance and design. Men in the 1920s were arguably the
designs.
best dressed men in the history of mankind. Custom tailoring
The most stunning thing you will notice about 1920s
was extremely important. Clothes that were too loose, too
fashion is the shape of the silhouette. It is strikingly straight
short or too long were looked down upon. When a man
and flat. As with dresses, 1920s skirts were shorter than those
bought a suit coat or pair of pants, he always had them
of the previous decade, hitting the calf instead of the ankle.
hemmed to the proper fit, with or without cuffs. Attention to
Many skirts during this era still had a higher waistline and a
detail was another trademark of 1920s clothing. No stitch
fuller form than the dresses of the time, but they were often
should be out of place. The wardrobe was a collection of
worn with baggy blouses and sweaters to give a drop waist
several layers from the fur felt hat to the leather lace Oxfords.
effect. Coco Chanel also paved the way for women’s trousers by donning them herself! The shoes of the 1920s focused on
1930's The changes in fashion that occurred in the 1930s
and hats, worn on one side of the head, look almost
are essential to vintage inspired clothing today.With
like vinyl records. Many women curl their hair like Jean
the onset of the Great Depression, many people were
Harlow, wear red lipstick, rouge and nail polish. Most
forced to give up a lavish lifestyle, but an era of big
women also penciled in the eyebrows. Towards the
bands and nightlife remained. Women’s fashion
end of the decade, nylons became every woman’s
shifted to a wardrobe of femininity, and at the start of
wardrobe staple as they provided a modest way to
the 1930s, trends emphasized the natural waistline,
wear shorter dresses and skirts. While we no longer
Feminine butterfly sleeves, and sophisticated elegance
wear nylons on a daily basis, tights play a significant
as a way to close out the boyish look of 1920s fashion.
role in Ruche fashion, as they can be paired with any
Hollywood movie stars played an influential role in
dress or skirt for a chic look, a touch of color, and a bit
1930s style as well, and what was worn on the screen
of extra warmth. When searching for 1930s
became acceptable on the streets. With the Clara Bow
accessories, gloves are a must-have! Gloves were
flapper look becoming passe, the new rage is the
extremely popular during this decade and were worn
sophisticated Garbo look. The silhouette is tall and
with both day dresses and evening gowns. Daytime
slender, emphasizing broad shoulders, a small bosom,
gloves were short, while evening wear gloves were of
streamlined hips and a standard waistline. Both hair
the elbow length variety that we now associate with
and hems were longer in 1930. The more slim skirts
Old- Hollywood starlets. Women also began matching
widen softly below the hip and then stop at mid-calf.
their gloves, hats, and purses.
New fashion accessories include
For men, hair was worn short and natural, parted
suede gloves with matching bag and shoes, a red or
on the side. Men left their pomade in the cabinet,
gray fox fur flung over one shoulder, batik scarves,
going for the natural look a la Charles Farrell or Buddy
large rings and watches set with gems. There was a
Rogers. The older gentlemen still sported a mustache
two-way stretch and the new, all-in-one, full-length
while carrying his cigarette case, wallet, signet ring,
corset with Lastex bra and six suspenders to hold up
cuff links and two handkerchiefs; one in the pocket
stockings. Bolero jackets and puff sleeves are in style,
and one, for actual use, in the coat sleeve. The hearty
as are short, fitted sweaters. In the evening, necklines
man appears with a double-breasted, dark colored
are high in the front and very low in the back. Large
suit and the hat brought down over the top of his face.
brimmed hats reinforce the long silhouette. In 1934, hair was pushed back across the head at a sharp angle
40
1940's Fashion in the 1940s was a good mix of comfort and
41
netted neatly at the back of the neck, or twisted in tight, neat
glamor. There were specific outfits that were meant for
braids. Hats fitted close to the skull were hot. Little felt caps;
specific times of the day. Men were still pretty dressed up.
coifs bound tight around the hairline, broad bands of material,
Men relaxed in a chevron-weave smoking jackets made of
called “curvettes,” worn over the top of the head and tied
spun rayon and wool in darker, more subdued colors. Women
under the hair in back with strings of felt or velvet ribbon.
wore dresses and skirts — they still didn’t wear slacks yet, and
Jackets became very prominent, with three main shapes.
always wearing gloves, preferably a pair that matched their
Three jackets, in particular, marked a development. First, the
outfit.
short, fitted jacket, nipped in snugly at the waist, slightly
Fur was very popular, as were animal skins. Crocodile
flared out over the hipbones. Second, the bolero, fitted close
purses, wombat collars, lambskin lining, and leather sleeves —
to the lines of the figure after the authentic Spanish fashion.
no animal was off limits. Gowns in star sapphire blue, purple
Thirdly, the box jacket, extremely young and casual, its
or black, with swirls of gilt and coral at the deeply slashed
squared-off lines accentuating the slimness of the skirt.
throat, is an example of something a woman would relax in.
With the end of the war, designers were finally able to dip
When going out, a smooth dinner jacket, with it lapels and
into their array of beautiful fabrics again. Fine Irish linens
cuffs encrusted with glittering “jewels,” would be worn. Shoes
returned and were used for simple things like day dresses, or
were often one of three popular color choices: red, white or
for extravagant lace.
blue. Later, two very distinct dress silhouettes emerged over the
Embroidery was seen in almost every form: passementerie, jet beading, silk tassels, ball fringe and more. Flowing capes
year. One was tubular, slim, reedy, exemplified in straight
draped over day dresses and evening gowns alike.
chemise dresses cinched in at the waist by a belt, not fit; in
Dior showed the first short-and-long evening dress, spiraling
knitted dresses that pulled on over the figure like knee-length
from above the knee to train length.
sweaters. The other silhouette was chunky, bulky, giving the effect of fullness without gathers robust box coats in wool or fur, or wool lined in fur; wool dresses cut with the generosity of officers’ greatcoats, then decisively belted in. With either silhouette, the look of the head was decidedly neat and small, the hair folded up off the ears and moored on top of the head,
Christian
1950's Clothing experimented with a variety of silhouettes and
match outfits. The sleek and alluring pencil skirt was often
styles, so options were incredible! The “New Look,” as coined
paired with a peplum top or loose blouse. Other skirts of this
by Christian Dior, became a popular clothing aesthetic early in
decade were ankle length with full volume, similar to dresses
the decade. Dresses became rounded, with ballerina length
of the time. People became interested in casual sportswear,
hems and cinched waists for a delicate, feminine hourglass
ankle length pants, pedal pushers and Bermuda shorts came
look. The sheath dress was another design that created the
into fashion. These styles of cropped pants and shorts were
desired silhouette of the decade, as the form-fitting material
paired with simple, patterned blouses or knit tops for a chic,
clung to natural curves. Ornate necklines also came into
casual look.
vogue; many dresses were constructed with jeweled or peter
The notable trend in men’s style was the almost complete
pan collars or jazzed up with low-cut necklines for a feminine
abandonment of the matching waistcoat, for a garment in a
touch. Lace and organdie floated over narrow summer
complimentary or contrasting color for wear with the
dresses. Loose coats in thin silk were worn over suits, and the
two-piece lounge suit for business and semi-formal
prettiest evening coats were those who added no whit of
occasions. In a variety of materials waistcoats made a big
extra warmth but floated with the transparent buoyancy of
contribution towards more brightness in men’s apparel, a
balloons over narrow or crinoline evening dresses. Many suits
trend which gained momentum during the year. Bolder
were open to the waist and buttoned importantly below it.
designs and colors on shirts, socks, and ties were to be seen in
Skirts remained narrow, as did the majority, jackets took to
even the most conservative quarters. The stylish
flaring out above them from a once more nipped in waist, and
double-breasted lounge suit had the jacket in button-2,
tunics with bell-shaped peplums cut across their pencil
show-3 style, with relatively long collar and lapels. In
straightness at mid-thigh level.
single-breasted suits, the vogue was for a rather low waisted,
As the decade continued, so did the feminine dresses, but
button- 1 style. The shoulders were broad and sloping, and
with more styles. Halter style dresses that developed earlier
the pockets were cut straight or slightly on the slant. Trousers
received a more casual approach. The shirt dress also came to
were quite narrow. For leisure wear, the corduroy jacket was
be during this era as a casual-yet-cute option for
much in favor. With side vents and jetted pockets, it was
homemakers. And as daytime clothing and evening wear grew
worn with worsted trousers with deep turn-ups. Crepe soled
further apart in dressiness, the cocktail dress came about as
suede shoes and a light-weight cap or a hat matching the
the answer to fashion qualms of what to wear to semi-formal
color of the jacket completed the picture.
events. Many variations of skirts, pants, and shorts became popular, paving the way for a wider selection of mix and
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1960's Fashion in this era was bi-polar in just about every way.
45
painted their face or bodies with peace symbols or other
The early sixties were more conservative and restrained; while
meaningful designs. The late 60s brought a whole new set of
the late 1960s were the exact opposite: bright, swirling colors
trends. Women wanted to feel free and show off their
and psychedelic, tie-dye shirts and long hair and beards were
individuality. Hippie clothing items included bell-bottomed
commonplace. For the first time in the 19th Century, London,
jeans, tie-dyed shirts, long flowing dresses, gypsy skirts,
not Paris, was the center of the fashion world. The British
fringed vests, and peasant blouses.
Invasion didn’t stop with The Beatles. It swept into all parts of life, especially clothing. The 60s are known as one of the most fashion conscious
The most important change in hairstyles during this period was that men and women wore styles that resembled each other. It was the new fashion for women used to cut their hair
times in history. One of the biggest impacts was the
short and close to their heads. Head coverings changed
introduction of the mini skirt. Originally created by designer
dramatically towards the end of the decade as men's hats
Mary Quant, the skirt fell six to seven inches above the knee.
went out of style, replaced by the bandanna, if anything at all.
Often paired with tights and go-go boots, the mini skirt
As men let their hair grow long, the Afro became the
started a phenomenon that still exists today. Baby-doll
hairstyle of choice for African Americans. Mop-top hairstyles
dresses with round necks and fitted waists of all ages and
were most popular for white and Hispanic men, eventually
sizes. These cute dresses were found in prints and solids and
evolving into an unkempt hippie version. Facial hair, evolving
in both pastel and vibrant colors. Hot pants took the term
in its extremity from simply having longer sideburns, to
shorts to another level. These short shorts were seen in bright
mustaches and goatees, to full-grown beards became popular
colors and made a fashion statement on whoever dared to
with young men. Women's hair styles ranged from beehive
wear them. Culottes were another popular clothing item. They
hairdos in the early part of the decade to the very short styles
had the look of a full skirt but were more versatile, like a
popularized by Twiggy and Mia Farrow just five years later to
trouser. Tie-dyed shirts allowed for personal expression and
a very long straight style as popularized by the hippies.
individuality in the wardrobe.
Between these extremes, the chin-length contour cut and the
A subgroup of the 1960 culture were the hippies. This group rebelled against the war, promoted peace, love, and
pageboy were also popular. The pillbox hat was fashionable, due almost entirely to the
made a huge fashion statement. They opted for fashions that
influence of Jacqueline Kennedy, who was a style setter
were natural and comfortable. Seen in tie-dyes, free-flowing
throughout the decade.
skirts and beads, the hippies’ psychedelic style was as unique as their personalities. They often wore flowers in their hair and
1970's Fashion was all about freedom, a variety of colors, eclectic looks and a tendency to mix and match different styles with each other. All about timeless and mild earth tones, from
denim skirts, especially midi or maxi ones with buttons on the front, chambray shirts, denim vests, jackets and dungarees. The pant suit gained a big popularity in the beginning of
various shades of brown and cream to khakis, gold, sunflower
the decade, coming to revolutionize the modern woman’s
yellow, sand hues, antique red, denim blue and Lilly orange.
style. While it was always considered to be a wardrobe basic
Coming to spice up the warm earth shades, various vibrant
for men, slowly women also started to wear pant suits and
kaleidoscopic prints and patterns are often used in the
three-piece suits, matching them with strict or flirty feminine
seventies style too. Think colorful brushstroke prints,
shirts and scarves. Another typical garment is the turtleneck
geometric motifs, ethnic patterns, checkered prints, audacious
sweater, coming in a myriad of colors, as well as the peasant
abstract and floral designs. Utterly romantic and sensual,
blouse featuring embroidery or patterns, ruffles and frills.
these details are mostly characteristic of the boho-chic style
Disco clothes worn by women included tube tops, sequined
of the seventies fashion, appearing on dresses, tops, vests
halterneck shirts, blazers, spandex short shorts, loose pants,
and other clothing pieces. It can be some small detail attached
form-fitting spandex pants, maxi skirts and dresses with long
to a matching or contrasting fabric and looking fresh and
thigh slits, jersey wrap dresses, ball gowns, and evening
extremely fanciful. Quite often they come accompanied with
gowns. Shoes ranged from knee-high boots to kitten heels,
sparkling beads, jewels, eyelets and silken threads.
but the most commonly worn shoes were ones that had thick
Perfectly tailored simple silhouettes and A-line designs are still characteristic, even though there also co-exist those
heels and were often made with see-through plastic. Most men and women were also wearing sports clothing
flowing and relaxed shapes of the hippie and bohemian
as everyday apparel. This was primarily based on tracksuits,
fashion. Besides the synthetic materials, suede plays an
jumpsuits, velour or terry cloth shirts, sweaters, cardigans,
important role, looking soft and delicate. Expect to see lots of
sweatshirts, puffer vests, flare jeans, straight-leg jeans, and
fringes and tassels in the seventies style, decorating either
collared shirts, both long sleeve and short sleeve. Around this
bags, shoes and other tiny details or an entire piece of
time it also became fashionable for men to leave their shirts
boho-chic clothing, such as a maxi dress, a cropped jacket, a
untucked.
poncho or a pair of wide-legged pants. enim was vailable in a variety of designs and color washes, denim clothing pieces scream seventies. High-waisted bell bottom jeans and the hippie style ones with various appliquĂŠs, patchwork and embroidery were also available. In addition, you can opt for
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1980s This era’s fashion can be commended for its creativity.
49
colors. Men’s dressing styles changed very little in 1980. One
Designers abandoned all convention — and their creations were
noticeable development for men’s fashion was that it was
interesting to say the least. The early 80s were somewhat
becoming more acceptable for men to wear sport coats and
subdued in color, where we see a lot browns and tans and
slacks to events that previously required a suit. Women
oranges. Blocky shapes were everywhere and dressing like a
preferred soft fabrics and neutral colors. Silk blouses were all
tennis player was the cool thing to do. Velour was hot and
the rage throughout the entire decade. Pants were a very
velvet was even hotter. For both men and women, the
popular option for all women, and many styles were sold.
waistline was a little high. Bright colored accessories like
Denim jeans were hot, arriving in styles with wild bleaching,
sunglasses, bangles and hoop earrings were a necessity.
dyeing and even some really expensive designer jeans came
Teased hair, loud makeup and neon were an important part of
with pre-made holes in them. This very fact made youth
this style. This style was obviously more popular with the
fashion the butt of many jokes with the older set. Most dress
younger crowd. Women wore stirrup pants with leggings and
pants were high-waisted, pleated and snug fitting.
a giant turtleneck sweater one day and parachute pants with a
Throughout the decade, elaborate licensed prints
small v‐neck top and a high‐waist belt the next. MTV had a
featuring cartoon and movie characters were much more
huge impact on fashion, as teens across the U.S. were tuning
popular than in decades before. Garfield, Warner Brothers and
in to watch music videos starring wildly dressed celebrities.
even E.T. enjoyed staggering profits due to inexpensive
Suddenly it became much easier for a fad to spread across the
production combined with surging demand. The mid- to
country faster than wildfire.
late-eighties were a period of experimentation. From fabrics
By the late 80s, Nike had grown into one of the most
that changed color to clothes meant to be worn backwards,
profitable clothing companies in the world. Every kid had to
nothing was off limits. Bright neon colors were very popular
have a pair of Air Jordans and a Chicago Bulls baseball cap.
and rocking brand names was more important than ever. Belts
Women’s clothing had gotten considerably more baggy as
and bracelets were the most vital accessories in the wardrobe.
women clamored for styles that hearkened back to a more conservative time. This time period also witnessed a revival of the classic “preppie” look that began in New England prep schools. Velvet was popular around the clock and women wore lace with tweeds and leather. Clothes could be made of any color, with emphasis on blocks and asymmetrical bands of two or more
1990's For the majority of the decade, fashion was defined by a
This rapidly declined as fashion became more feminine and
return to minimalist style. Due to increased availability of the
form-fitting. Tailored skirt and trouser suits, short skirts and
internet and satellite television outside of the United States,
dresses, baby doll dresses, animal prints, hot pants, slim
fashion became more globalized and homogeneous. Early on
pants, bright colors, long and short skirts, and high heels came
there was a continuation of bold, geometric print clothing.
into fashion. High-shine fabrics, such as satin, metallics,
Typical patterns included triangles, zigzag lightning bolts,
sequins, microfiber, vinyl, and silk became very prominent on
diamonds, lozenges, rectangles, overlapping freeform shapes,
both club wear and work wear. The most common look was
simulated explosions inspired by comic books or pop art,
the short black slip dress worn over a tight, undersized white
intricate grids, and clusters of thin parallel lines in contrasting
T-shirt. Many young men wore tapered high waisted jeans
colors.
with matching denim jackets, Stone Island or Ralph Lauren
Many women wore denim button down Western shirts,
polo shirts with contrasting collars, short Harrington jackets,
colored jeans in medium and dark green, red, and purple
brightly colored windcheaters, V-neck sweaters, sportcoats,
colors. Metallic spandex leggings, halterneck crop tops,
T-shirts, tracksuit tops, sweatpants, rayon monkey jackets,
drainpipe jeans, colored tights, bike shorts, black leather
leather jackets with shoulder pads, and baseball jackets with
jackets with shoulder pads, baby doll, dresses in bike shorts or
contrasting sleeves. Short shorts were popular in the early
Capri leggings underneath, and skater dresses were also
years of the decade but were replaced with looser and baggier
popular. Bright neon colored tops and leg warmers were
basketball shorts when hip-hop fashion went mainstream.
common, together with leopard print skirts and black or white
Flannel shirts became very popular, due to their use among
shirts, leggings, and jackets printed with abstract red, blue,
the skater subculture and grunge bands. Men also wore acid
yellow and green geometric patterns. Sports bras, hoodies and
wash jeans, patterned wool sweaters, black Schott Perfecto
Leotards worn as tops with jeans were popular. A casual outfit
leather jackets, sheepskin coats, olive green anoraks, corduroy
was to wear a skirt, dress shorts, baby doll or minidress with
sportcoats, gray sweatpants and fingerless gloves. Popular
black opaque tights, white athletic socks, and white Keds
accessories included Converse All Stars, trapper hats, tuques,
athletic sneakers.
combat boots, Doc Martens Boots, and Aviator sunglasses,
Later, grunge fashion broke into the mainstream for both sexes. This consisted of flannel shirts, ripped jeans, mom jeans, Doc Martens, combat boots, band T-shirts, oversized knit sweaters, long and droopy skirts, ripped tights, Birkenstocks, hiking boots, and eco-friendly clothing.
and neon-colored trainers, sometimes incorporating flashing lights and elastic self-tying laces.
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54
03 Community The Relationship
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Social Media
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Real Estate & Neighborhoods
59
Types of Stores
62
The Relationship Vintage shopping is a practice, and knowledge and
55
become to the label of expert, which then can be used as a
proficiency on the subject are needed in order to spot the
marketing tool, and is a point of conversation amongst word
huge finds. This skill is an important one, especially when it
of mouth and the spread of knowledge and community.
comes to finder's pride. Vintage is all about individual style.
Buyers interested in the broadening of their collection,
Therefore a language is developed that the customer and the
especially of a given period, are drawn to particular sellers.
retailer use. It is a cultural practice that must be sustained and
Vendors start to understand these preferences, and will keep
up kept, as it is affected by what people buy and continue to
things that they believe certain customers would like off to
buy. This upkeep is thought to be most efficiently done
the side. This practice adds even more to the feeling of
through providing a personal experience to customers. Many
personal shopping that most vintage shoppers describe, and
interviewed agree with this, as they don’t feel as though they
adds to the list of things that get people “hooked on vintage�.
get a personal touch in stores selling current fashions anymore. So how do they do it? First, vendors develop questions that they ask to form a foundation of information that can help them link buyers up with objects and that said objects story. Most sellers prefer to do their work in a person to person environment, as the customers can form more immediate bonds with their wares. The more input a vendor provides and the more customers helped, the closer they
Vendor The master of connecting object with long stories and past to new owners.
Consumer Those who believe in the collection of items with history, into their lives to be appreciated and valued in new ways.
Facebook E-tailers
Instagram Etsy
Free and For Sale Groups
E-Bay
Snapchat
Social Media Merchants of vintage items contribute a lot of time and involvement in the exchanges of articles and emotions, in order for a link is formed between the merchandise and its new owner. The relationship is most often done in person, but most recently there have been groups formed on social media platforms to encourage this relationship further. These groups are also used to help enthusiasts find events that are happening within the fellowship. Many have also found success in online shops, as well as through accounts set up on social media such as Instagram. Social media stores have been a favorable platform for those who have large personal collections, who wish to sell some of their items to those they know will acknowledge its importance, in an orderly and swift fashion. All that is required for them to complete this is to take a photo of the item, post it, accept payment, and mail the piece to the seller. Individual vendors are known for being excellent curators of certain things, and henceforth develop a reputation amongst the users of the platform. Other uses for social media have been created to exhibit collections of those that have been collecting vintage items. These people use social media to show off their arrangements, and these are used by lovers of vintage to get inspiration and provide insight to where to find things in which they have been searching.
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Real Estate and Neighborhoods The effect of the vintage and second-hand fashion
59
industry has its threads in much more avenues of business than one would expect. One of these is real estate. A massive shift can be seen in where companies of the nature are residing. They have begun moving to the more prominent areas of the high street and main shopping areas. This is compared to where they used to be, inhabiting the more hole in the wall spots in the more artsy/sketchy parts of town. The increase in traffic can be traced down to improved selections and better quality merchandise driving consumer commitment to resale up. This boom has resulted in new shops being opened throughout the country at a rate of about 7% a year. The placement of vintage in distinct neighborhoods is very strategic and important, as people all know the community in which they should travel to find the best vintage finds. Everyone seems to have their favorite place, and this is reflected in the media of today quite profoundly. It is a commonly known fact that it is best to get your information from a first-hand source, as store loyalty is imperative in the world of vintage fashion. It is of high importance that an establishment is impressive enough to thrive through word of mouth. It is also important that they are the best store in their region, as it is not in the best interest of the business to have multitudes of other vintage stores within the same radius. If this is the case, it is common for connoisseurs to delineate niches for each store and only shop for specific things at specific places. This is where grouping could be seen as a positive, as people will flock to a place that they know has more than one option for their shopping desires.
Importance of Brand Elements
Types of Stores By specializing, resale stores can appeal to a particular
establishments, where only very high-end garments, usually
demographic of customer and supplier—creating a shopping
of the couture and high fashion variety, are found. Vintage
experience aimed to their unique needs. There are more than
auctions are a relatively new wave type of consumerism that
25,000 resale shops in the United States, and growth in the
has popped onto the scene in recent years. When people
number of stores was 7 percent for two years in a row.
caught on that other were willing to spend considerable
According to the Bureau of Labor Statistics, there were 16,238
amounts of money on rare and excite clothing of past ages,
used merchandise stores in the U.S. in 2010 and 17,206 in
they found a way to populate on it. Genuine vintage
2012. Employment figures also grew; in 2010 used
connoisseurs being usually more wealthy and determined to
merchandise stores employed over 125,000 people and in
get a bargain will flock to these events to find pieces that will
2012 they employed over 145,000 people. The Bureau of
sit at the high pinnacle of their vast collections. These kinds of
Labor Statistics estimates the industry will employ 175,000
auctions also exist online in the form of e-tailers, and
people by 2020 – a 20 percent jump. There are many
branching off of that; online vintage stores are popping up as
different places where consumers of vintage and second-hand
fast and reliable sources of vintage fashions. Similarly to
fashion have come to rely. The most well known and cited
auctions, lots of vintage hunters rave about the things that
source for garments have come to be thrift and retail stores.
they have managed to find at estate and garage sales, where
These typically are the most organized of the bunch and have
the seller usually doesn't know the value of the garment at
personalities and themes that customers flock. Flea markets
hand. Many long time lovers of vintage love the stories that
are pop up events that are staged outdoors, where customers
are attached to the items, and this is also a way for them to
peruse different tents or tables of wares. They are usually very
get bargain deals. The final, and personal my most favorite
cheap compared to other options, as the garments are being
source is inheritance and hand me downs. Some of my most
sold by individuals operating small businesses. Charity stores
prized possessions are dresses, pants, coats, and jewelry
such as Goodwill and the like, are places that collect items
given to me by my grandparents and older relatives. They
donated by the public. They are usually not at all selective
have been taken excellent care of, and serve as a connection
about the things that they sell, and most people treasure the
to the loved one that I received the item.
things found in these places the most, as it is more of a search. This is not the case in specialist stores, where the items are usually purchased in wholesale settings and are heavily curated to the look and personal preference of the establishment. The idea of curating is also utilized in luxury
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64
04 The Reasons Why Innovation & Uniqueness
65
Social Norms
68
Personality
69
Design
72
Craft & Fit
73
Authenticity, Integrity & Ethics
76
Phycology
77
Innovation and Uniqueness Everett Rogers defines innovation as “an idea,
65
the time and money to find rare pieces that no one else
practice, or object that is perceived as new by an
has. Coordinately, the items that were produced in prior
individual or another unit of adoption. If the idea seems
methods were usually crafted by hand, are therefore
new to the individual, it is an innovation.” McCracken
purely one of a kind, meaning that there is nothing else
adds to this concept by saying that “combination and
like it in the world.
recombination take place until a concept and an aesthetic
Paired with the fact that the duplicates initially
emerge that help give substance to a group’s wish to
resting next to the piece at its original sell point are
differentiate itself from the mainstream.” Vintage is
either no longer around or not found readily. Henceforth,
classically linked to experimentation with the normalities
this adds to the significant amount of “finder’s pride” that
of culture, as it plays with the ideas of uniqueness.
the shopper that was no doubt on the hunt for
Things can be unique for their placement in time, and, or
something unique feels when purchasing the item.
unique for the way in which different clothes are arranged together. Some people fully commit to only buying vintage, and dressing entirely in one era, where others choose to mix and match older items with newer ones to create an even more unique look. Trends in mainstream clothing used to be entirely about a measurement of newness. Now, the level of fashionability a piece has is measured by originality, uniqueness, and authenticity. Anybody can get the latest, and therefore it takes great skill and effort to take
When all think alike, then no one is thinking - Walter Lippman
Fashion is something barbarous, for it produces innovation without reason and imitation without benefit. - George Santayana
Social Norms Normalities, including the readjustment of gender boundaries, is something that this generation, and the past few, have been very much involved in. Changes in
a particular point in time (otherwise known as fashion) as well as an extraordinarily rich variety of alternatives. One of the most visible markers of social status and
clothing and in the discourses surrounding clothing
gender and therefore useful in maintaining or subverting
indicate shifts in social relationships and tensions
symbolic boundaries, clothing is an indication of how
between different social groups that present themselves
people in different eras have perceived their positions in
in different ways in public space.
social structures and negotiated status boundaries.
In previous centuries, increases in the availability of
Vintage is constructed as ‘other’, as an alternative to the
clothing to members of different social classes that were
mainstream, of being different and doing things
related to a gradual decline in the cost of clothing
differently. Vintage is thus the ultimate form of
affected the origins and accessibility of fashionable
‘bricolage’, of recycling styles; it allows the consumer to
styles. The availability of inexpensive clothing means that
play with the stylistic norms, gender boundaries through
those with limited resources can find or create personal
fashion. Wearing vintage clothing can be seen as a way
styles that express their perceptions of their identities
to escape the confines and dictates of the modern
rather than imitate styles originally sold to the more
marketplace. Or as Reynolds (2011: 194) proclaims about
affluent.
vintage, the individual acts as a ‘curator of their own
With the new possibilities of copying, serial production, and mechanical reproduction, leading to the
life-in-style’. In accordance with Thompson and Haykto’s (1997)
loss of aura, discussed by Walter Benjamin, the
work, vintage allows consumers to use fashion to
nineteenth century witnessed a literal obsession or
self-define, to construct a personal discourse of their
fetishizing of originality and authenticity that was not
history and to negotiate the dynamics of the social.
only restricted to objects but also related to human
Finally, the concept of time and its appreciation is tied to
behavior and gender.
vintage from the outset. By the very definition of vintage
Clothing, as one of the most visible forms of
given at the start of the paper, the second-hand object is
consumption, performs a major role in the social
conceptualized as ‘vintage’ only through a certain amount
construction of identity. Clothing choices provide an
of time passing.
excellent field for studying how people interpret a specific form of culture for their own purposes, one that includes strong norms about appropriate appearances at
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Personality The idea that one should dress to suit themselves
69
and their personality, rather than a trend has powered through to the front of societies vision after a long and
traditional fabrics go back to the thirties, forties, and fifties. Another thing that has been noticed by people at
tedious fight with mainstream fashion and the
present, and was a large trend in the early
streamlining of fashion in the media. The mold has finally
two-thousands, was that people have particular coloring
been broken, and people now more than ever have
and colors that suit them best. Each era has a certain set
started dressing in a way that truly puts their inner being
of colors that were very popular, so it is of the persons
and self on the outside for all to see, and many people
benefit to find clothes from that time that flatter them,
are using past fashion to do so.
and are most likely made of better textiles and
It has been discovered that there is a common knowledge of the key character traits that have been linked to a period or era. This happened because, during that time, those character traits were valued most by the fashion industry, and the clothes created in this time tried their best to reflect a mood or personality that was most revered by the customers of the time. People have come to know this as fact, and it can be seen through the way they draw on certain eras for individual articles of clothing. Those who like a more boho free spirited vibe, draw from the seven seventies. Those going for a fun, bright, upbeat look, draw from eighties fashion. Individuals that are more attracted to classic cuts and
constructed with better craftsmanship.
“Great personal style is an exteme curiosity about yourself”
-Iris Apfel
Texture
Color
Shape
Line Form
Pattern
Dimension
Design From the years of 1900-1960, there was a larger attention
twenty-first century. One sign of this new aesthetic is the
to the design of garments, as it was to a great part a piece of
increasing importance of the look and feel of products and the
the post-war production motto. America was trying to
coexistence of many different styles when compared with
re-establish itself as a country, and therefore dispensed large
earlier periods. She believes we have replaced the axiom, “one
amounts of revenue into the way in which things were made.
best way,” with a far more personal and fluid ideal expressed
Appearance was everything: Design your appearance,
as “my way, for today” vintage fashion allows the consumer to
design your life. The “way we look” involves not only how we
become their own designer as they alter styles and have the
perceive and discriminate clothing, but how we create a
ability to fashion an outfit that might not necessarily be
unique appearance through selecting and combining pieces of
considered on trend by the fashion industry. They identify this
clothing, designing the body, and the reasoning that goes into
as a “symbol of fashion independence.”
that process. Bardey (2002) suggests that shopping and wearing vintage is like being your own designer because you get to choose and combine your ensemble from a variety of eras including contemporary and thereby creating a new and unique identity. There is a series of deviations. High fashion informs popular culture, as the blurring of the line between fashion and the fine art world has become stronger in the last few decades following the years of the great wars. Postrel (2003) develops evidence for a trend toward an aesthetic imperative for the design of the
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Craft and Fit When asked "why buy vintage?" one of the very first
73
“craftsmanship” in its construction. Vintage items that are
reasons uttered by people that frequent vintage retailers is
handcrafted are thought of in some way as artisanal,
that the craft and fit of the clothing they purchased is better.
something that is highly attractive to the modern day shopper
They believe that investing in clothing is an important
looking to oppose the machinelike tendencies of society.
decision, as it is they know the items will become more
Consumers attribute characteristics to vintage clothing that
valuable with age. The value of buying one amazing thing that
are typically part of authenticity discourse such as it being of
is of extremely high quality, rather than buying multiple things
exceptional quality, original, handcrafted, made from natural
at a lower price for the same total, is also another reason
fibers, and providing continuity with the past.
behind why people value vintage. It is true that certain items are better bought a little worn
What people don't regularly notice is that they are not opposing mass production as a whole, but rather the mass
in, such as denim, cotton, and leather products that have been
production techniques of modern times. The way things are
well taken care of. The technique of hunting with textile in
produced using this method have changed drastically over
mind first generally leads to better purchases and a better
time, with past methods being more time consuming and
wear time of the garment, which will then allow the consumer
laborious than present ones.
to resell the piece at a better price than when it was purchased. The fit of vintage items is better than the fast fashion pieces and are of higher quality, due to the methods of the past used to construct them. Different eras also idealized certain body types, so people with certain body types will find that they feel better about themselves in clothing made in a time where their bodies were the ideal. The consumers quoted above often assumed vintage clothing is “handmade,” with a high degree of “integrity” and
“When you buy a piece of vintage clothing you're not just buying the fabric and thread - you're buying a piece of someone's past�
- Isabel Wolff
Authenticity, Integrity, and Ethics The authentic nature of vintage clothing as a whole has
also to the re-creation or revival of objects and motifs from
always evoked a broad range of responses. A large majority of
the past. Gregson et al. (2001) also reported on the revival of
the backlash was because people who were dressing in articles
1970s clothing styles, and they concluded that an outcome of
of the past, looked alien and out of place in present time.
this revivalism is that wearers began to see vintage clothing as
People are looking to get away from
“aesthetic objects, to be valued, understood, and worn in
mainstream fashion trends, but the truth of the matter is that
terms of, and as an appreciation of, their design, construction,
the article of clothing they adore so much for its ability to
and authenticity.” People also choose to shop vintage as it is a
break them from the mold, was, in fact, a mainstream trend at
more social and engaging method of shopping, not to mention
some point. This is the way in which we can pinpoint on an
the ethical reasoning, and rebellion against fast fashion.
article of clothing to a particular era. These very shoppers are apposed to fast fashion, as there are zillions of its duplicates readily available to the public, and there is more of a likelihood that someone else will also own the piece of clothing. To practice “authentic style,” members shop for originals that are imbued with unique values and the essence of the times they admire. Authenticity engages the perspectives of various types of people: the connoisseur or collector who deals in classification, discrimination, and appreciation of differences; the dealer concerned with sources of supply and cost; or the consumer concerned with social needs and budget. Not only does authenticity refer to new and original objects and themes but
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Phycology People are attracted, and become addicted, to “the hunt”.
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The notion of fining something valuable in and amongst a “pile of crap”is highly satisfying. Vintage shopping is an event and a mindset that people, after a certain point of time, come a habit and a point of life. Vintage is about satisfying desires, needs, and motivations. This is intrinsically what makes it make people feel special when they find something that they enjoy and consider to have value. The aspect of a successful hunt, is intensified but their ability to have bragging rights of finding something good for cheap. Vintage shopping setts off dopamine shots when you find something that you enjoy. Having the ability to buy a suit that might have had hundreds of dollars with of alterations, that fits you perfectly, and you only have to pay for the item of clothing is a huge steal. This results in sensory pleasure that can be stemmed, for example, by formal harmony, balance, or delight. It also resounds in connection to a time or place that then regrinds the shoppers. Vintage is self expression in its truest form: “I like that, I’m like that”. It brings out the pure unaltered feeling of knowing something is your taste, and this automatically feels right.
Striatum
Frontal Cortex
Supstantia nigra
Hippocampus
Nucleus accumbens VTA Raphe nucleus
Dopamine Pathways Seratonin Pathways
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05 Affects Current Fashion
81
Current Fashion Numerous newspaper articles have attributed the rise in
81
rising appeal of Mad Men.” Social and economic changes that
demand for vintage fashions to the popularity of this
have produced postindustrial societies have altered the
program. Sarah Woodhead notes on Queens of Vintage, the
significance of fashionable clothing and consumer goods. The
online vintage magazine website, that “the US drama [had]
democratization of clothing has led to diversity, not
spurred a resurgence of glamor” as is evident on the catwalks
standardization. Consequently, trajectories representing the
for the Fall 2010 season collections and throughout high
diffusion of specific styles are shorter and more erratic. As
street offerings. Designers such as Marc Jacobs for Louis
fashionable clothing, designed for the young and often based
Vuitton display collections that involve corsets, midi-skirts,
on styles they have developed themselves, diffuse to older
and bow-trimmed shoes, similar to those worn in the 1950s
groups, the young move on to newer styles, as did the upper
and 1960s. The program has even had an impact on the types
class in the nineteenth century. Clothing behavior suggests
of models used during these catwalks, as curvy models are
the intricacies of relationships between social groups within
preferred over modern skinnier silhouettes to add more
and between social classes and dispels the illusion of social
authenticity to the era being portrayed. Sarah Mower notes
integration fostered by media culture. Designers still take
on the Style.com magazine’s website that Marc Jacobs had
inspiration from vintage clothing to produce current
used Lara Stone, “Karolina Kurkova and Elle Macpherson, all
collections. As Little Red Vintage interviewee states “all
women whose physical attributes have acted as a
fashion trends are recycled, they come from vintage styles.”
disqualification for fashion show participation [in the past]” to
Selected past decades have been a focal point of fashion
showcase his collection as they have similar figures to women
trends for much of the past two decades and still appear set
from that era. Chrissie Russell notes in an article in The
to be key inspirations for some time to come. The designer
Independent on October 26, 2010, how even retailers have
informed the vintage retailer that they would be
noted the impact of the program on their recent sales, “‘I’ve
deconstructing the jacket to use the pattern. However,
not seen a reaction in fashion quite like the Mad Men
although luxury fashion designers are still presented in the
effect—it’s huge!’ says Lisa Perkins co-owner of Perk Up
media as setting fashion each season, there is often little
Vintage store in Dublin.” She also notes the influence of the
consensus about the direction in which fashion is moving;
television series does not end at vintage stores, as high street
instead, designers produce a large number of “propositions”—
chains also note an increase in sales of vintage inspired
a grab bag of ideas. Industrial fashion adopts some trends
garments, “Debenhams have seen retro sets of suspenders
from luxury fashion but also conforms to the “bottom-up”
and stockings soar in popularity, with sales climbing more
model, coopting innovations from working-class and other
than 200 per cent as more and more people tune into the
subcultures which it sells to more privileged groups.
The future will just have to wait and see!
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Two Copies Printed Digitally Spring of 2017