The trend for “vintage” clothing as a fashion exploded in the 1960s. Before that, the trade and use of old clothing had different connotations. All levels of the antique clothing trade well supported by the increasing speed of fashion change in the 15th and 16th centuries. Growth in consumer availability of these trends. As the fashion industry developed, the growth of the antique clothing trade gradually increased. Because the quantity of these products increased. Collectors of original fabrics collected items that others had removed and replaced in the business cycle.
Consequently, the ragpicker allied with other foreigners or members of the subclass. Later, Karl Marx defined the philosophy of artistic bohemia by its links with this social subclass. Bohemians, he said, were homeless, whose situation characterized by financial need or a (crucial) romantic interpretation. This ambivalence between need and choice is essential for understanding vintage clothing.
Indicator of Social Status:
The relationship between fashion and vintage clothing made the garment a definite sign of her social status: a jacket line and clothing that was recently fashionable or classic, indicating that the wearer was lower class. It was a stigma that people knew. The spirit of “make and repair” allowed the lower levels to position the use of old clothes as thrifty and, in times of war, patriotic. However, it was precisely the old clothes that passed on to families. Undoubtedly, it purchased rarely . Consumers of old clothes then considered being those seeking to give an impression of higher social status, the destitute, or the actors. Therefore treated in some respects as suspiciously as those who sold them the clothing.
In London, the dress has always sold as vintage since the early 1970s. Buying guides in the mid-1970s point to many vintage retailers, some offering in-house production of vintage. Pre-practical fabrics (although maybe not in philosophy) from the work of designers like Martin Margiela, Russell Sage, Alice Temperley, and Jessica Ogden. The clothing mainly worn by consumers who affected a rebellious challenge to the customs and properties of previous generations.
The duality between savings and the economy, on the one hand. Subversive practice, on the other, made the harvest fertile as a signifier of bohemian morality and practice, particularly in the 1950s and 1960. The hippie lifestyle positioned as a consumer who communicates on a personal level by wearing old clothes. This interpretation continued for decades, as evidenced by the political position of the Women’s Eco-friendly System in the 1990s, but also in the effort of designers like Helen Storey, Komodo, and to some extent Vivienne Westwood and the punk movement.
Trends in the 21st Century:
The 21st-century trend for vintage clothing has its roots, more specifically in Bohemianism, in the performance of independence and artistic (rather than aristocratic) elitism. Many specialty shops in London have achieved significant profile and status. Many of them (Virginia, Sheila Cook, Steinberg, and Tolkien) regularly credited in fashion magazines. A steady stream of celebrities listed here in the “My Favorite Store / Best Sept Secret” questionnaire on Sunday’s dose. In Europe and North America, older retailers are no less visible for their dominance of fashion banners. The owners of Revival and Mayle (New York) and Decades and Lily (Los Angeles) considered “fashion women” and talented costume designers for the actors. The vintage restoration in the United States is mostly due to the eclectic image that vintage stylist and retailer Patricia Fields created for Sarah Jessica Parker, Carrie, in the HBO comedy Sex and the City.
One of the sharpest criticisms of vintage is that it is nostalgic, especially in terms of contemporary design. In addition to retailers, a group of designers always interested in old clothes. Either retouched fabrics or garments that found or indirectly plundered. The annals of clothing history to produce modernized antiques for the modern post-consumer. Designers as different as Alexander McQueen, and Miuccia Prada invest heavily in vintage clothing to use as a raw material. This is not necessarily a nostalgic practice because the selection of the pieces is determined by the contemporary. Above all, it is not necessarily the garment itself, but its positioning in modern debate and context that animates the memories and meanings it contains.
The retro fashion sense, first applied to clothing in the 1970s, refers to styles copied or adapted from earlier periods. The retro reference was invented by London designers and quickly became commonplace in the fashion world. Therefore, the prefix later became a keyword for retrograde, retrospective, or retrospective fashion. While the word retro was “new” in the context of style, the concept of Born-again fashion was not.
Make the old new:
At the beginning of the 21st Century, a new amalgam of fashion appeared. Based on loans from the past, therefore retro, but modified with “novelty.” This idea of taking fragments from someone else’s original work and copying or mixing them up. And then calling them theirs is also present in other art forms. In the art world, we call “appropriation.” In music, it is “sample.”And in fashion, like in food, it’s called fusion. Another favorite expression for retro styles is called a reference.
The originality of the merger lies in the fact that the old has become “new.” For example, the original space-age creations worn by the girls of the moon by the Parisian designer André Courrèges worn with white patent leather boots with low heels and low heels. In the merged versions, the Courrèges A-line bridges overturned with high heels or combat boots. Some of the minis used in evening dresses or associated with leggings.
Referencing the Original Designs:
To this day, some designers loot the past, seam for the seam, stitch for stitch, the line for line. Some credit the originals. Cathy Horyn died on First Lady Nancy Reagan. The night before Ronald Reagan took office in his dress at the Washington Gala,”She was wearing a black velvet dress of mine. If women’s clothing is supposed to a Saint Laurent discount, then it was war.” Other designers don’t say in advance. Those who do not die are excluded from three because they have not copied like Nicolas Ghesquiere from Balenciaga.
A design by Kaisik Wong and his own, even if he heard. The funds are now used not only as direct access but also as. This is only possible to increase, replace, lose, lose, lose the loss of advertising pages. And third, in the media mix of the early 2000s, there are not all fashion journalists who recognize a well-known design when they see one.
One of the reasons why retro styles became a buzzword in the 20th and early 21st centuries is the rage of vintage clothing, after fasting more than that of the minimalist model. It is like the animal to hear from the past. This apology from television presenter/designer Isaac Mizrahi hits the mark. He says he should change the right of other people’s clothes to belong to whom. “A good standard recipe has certainly been around for centuries, but people still don’t make interaction dishes. They have some of the spices, but it’s still not the basis. The same, a classic dress of all ages, has a classic status because of that. Well, “Enhanced design is worth it, with new fabrics and new accessories that will be. In other words, you only have the recipe for refining it to modern taste.”
Image source : Pinterest