In this essay I intend to answer the question above of “Who buys vintage fashion and why they buy it?” with reference to the historical context of where vintage fashion came from and the cultural significance of vintage buyers and wearers and their different reasons behind purchasing and collecting second-hand clothes. I will discuss the positive cultural aspects of second-hand. And how it can compete with fast fashion, in addition how it can connect with identities and get the preference from designer and styling and make an effect on the fashion industry. This essay will also use my own personal experience of collecting vintage print kimono as the example of vintage fashion pieces to demonstrate the points made in this essay.

Figure 1

As I am one of the vintage buyers, this essay starts the analysis from personal experience. Here is a vintage kimono, which was purchased from Brick Lane vintage market in London for 85 pounds. One of the reasons why I am crazy about collecting kimono is “A variety of decoration techniques can be observed, such as tie-dye (shibori), brocade weaving (nishiki) and embroidery (nui).” (Dess J, 2009, p.29) This kimono is a key example in this essay. It has the mostly remarkable and tradition wide sleeves, even excellent use of shibori silk blend dyed print in the whole short kimono jacket, and overall it has a kanoka dot pattern design in pale green, pink and purple with bloom flowers, thousands of tie-dyed dots within squares(bon hitta kanoko)from the background for the large peonies and their leaves. As Bissonnette suggests “The production process did not happen without great effort.” (Bissonnette A, p.300) This kimono was produced by the tradition Japanese print technology called shibori which will took over 3 months to handmade one garment. “Before being immersed in the dye bath, each of the countless dots had been attached to a sharp hook on a short vertical pole and wound several times round with a thin thread. In doing so the surface of the textile bacame much smaller because of the numerous raised tufts of silk. After the dye bath, the dyer would strongly pull the piece of textile in several directions, thereby breaking all the wound threads. The end result is a textured silk decorated with white circles or squares.” (Dess J, 2009, p.48) it does have a rich tradition of creating exclusive and extraordinarily well-crafted dream products. Creating such products takes time. That’s show how complex the technology is, it is entirely different with the factory machine production. Handmade technology cannot repeat, each garment has its special characteristic. As the theory of “Manufacturing reliant on artisanal craft is a distinct system, as are those of mass and more limited production. ‘Craft’ denotes highly skilled labor, using simple tools to make unique items, one item at a time, and accessible to only a select clientele.” (Annamma J, John F, Sherry, J, Alladi V, Jeff W and Ricky C, p276). That is the charm of vintage fashion, each vintage garment is the only one without repetitive garment. And it is hard to reproduce because of it is tradition old technology, also, as the time passing by, intact vintage garment proved its high quality, and its durability. “It shows they are unique, special, and have a rich history. Only people who are in the know will use such fine and exclusive products.” (Annamma J, John F, Sherry, J, Alladi V, Jeff W and Ricky C, p287).

But on the contrast, another big part of fashion industry, also the main competitor of vintage fashion, fast fashion has a lot of difference with vintage fashion. “Some people refer to haute couture as moving art. It is clear from the observations of the participants that they dream of exclusivity, beauty, art, design, and heritage—all of which are associated with luxury brands. Yet, this ideal seems distant. They love the glamour and style, but lament the expense. They see that the next best alternative is to buy fast fashion items. These items approximate the look, but at a fraction of the cost. “(Annamma J, John F, Sherry, J, Alladi V, Jeff W and Ricky C, p288.) Fast fashion items grant customer pursue for fashion, it has beauty design, also the cheaper price, so it have to reduce the cost of productions, including the material, also the cheapness factory, and so on. However, that will result in a big problem. “If the items used featured high-quality material and stitching, they would not fall apart after ten washes. Yet fast fashion companies highlight a limited product life span as a special attribute. Consumers are trained to continuously purchase and consume fast fashion replacements. Durability in fast fashion apparel is the kiss of death.” (Joy A, John F. Sherry Jr, Venkatesh A, Wang J and Chan R, P.288.) Fast fashion with a big quality problem is far from durability and sustainability, that’s is the opposite with vintage fashion. “Affordable prices mean that consumers are buying more clothes more frequently. But it also means they’re truly disposable. You may keep an item after ten washes, but the item may lose its lustre by then, or it may have gone out of fashion, after which an item will no longer be expected to retain its original value, due to poor-quality materials and manufacturing. ”( Joy A, John F. Sherry Jr, Venkatesh A, Wang J and Chan R, P.283) As the theory of “Quality is assured in all aspects of its business.” ( Joy A, John F. Sherry Jr, Venkatesh A, Wang J and Chan R, P.287) The triumph over these mainstream consumers is not only in terms of money spent on productions, but also the quality they are paying for. Quality is core value of production. As a lot of vintage garments have excellent quality fabric and durability, even technology in comparison to mass produced garments from today’s “fast-fashion” industry, at the time when vintage garments were produced, they had limited technology, such as factory and different type machines making it impossible for the speed in production of garments that we have at present. Garments were made to last longer, whereas now clothes can be mass produced in little time, and go “out of fashion” just as quickly. Moreover, “ The bulk of the data suggest that young people definitely support the idea of sustainability.” Annamma J, John F, Sherry, J, Alladi V, Jeff W and Ricky C, p.288) Contrary to fast fashion, vintage fashion as the second hand clothes retained a high economic and social value, not only for the consumer, but also for second hand clothing vendors. “ If part of the outfit became worn or soiled, it was sold to second-hand clothing dealer or donated to a temple.” (Imperatore & MacLardy, 2001,p.25) That is kind of sustainability development, which is cater the developing of society, also because of the dealer or donated, it is make influence to save energy sources.

On another hand, vintage fashion is a way to expression of identity, also the way to show the culture behind, even the wearers’ self culture ability. Modern vintage wearers come from different nationality, and different occupation has different reasons behind to collecting vintage production. As the example of kimono, “ the kimono had become recognized as Japan’s national costume. Therefore it is no wonder that, especially during traditional festive occasions like coming of age ceremonies of weddings.”( Dess J, 2009, p.27) Japanese woman wear it for the daily life, others would perhaps kimono for ceremonial, it is not only show their nationality, their respect and devotion for their nation, but also present their celebration of tradition. In addition, for myself as a vintage kimono wearer, also as a Chinese, wearing Japanese kimono express I am fond of Japanese culture, in addition, because it is suit for the special occasion. I had worn it to my friend’s art college degree show. Art student are more preference kimono design. I as a fashion design student, particularly crazy about the tradition Japanese craft technology, such as tie-dye (shibori), brocade weaving (nishiki) and embroidery (nui). So wearing vintage kimono for me is a way to explore and developing my occupation study knowledge, and shown my style, even support inspiration for me.

Through the analysis, and my own personal experience as example, vintage production has make an influence to the fashion industry. “Today vintage fashion has moved away from its historical outré and shabby associations, and has become a mainstream and highly commodified fashion alternative to wearing new designs. “(Palmer, 2005, p.197) Nowadays, creating a fashion innovation, which is completely new, is absolutely impossible, that stimulate consumers looking for uniqueness turn to vintage clothing. Not only for fashion design student, but also even some mature fashion brand or fashion designer, also pay attention to vintage area. As Iwasaki Mineko said:”kimono were my passion and I took an active role in their design and conception.” ( Dess J, 2009, p.24) These styles are generally referred to as “vintage style”, “vintage inspired” or “vintage reproductions”. In the modern fashion industry, there are a lot of new designs developing from vintage fashion resource. Here are two kimonos from different eras as examples to prove that.

The first of which, shown in figure 2, is designed by Paul Poiret, a leading French fashion designer, and famous of his controversial kimono coat and similar, loose-fitting designs. This garment used kimono wider sleeve and waistband, also the flowers print patterns, combine with low collar and animal fur, styling with a black long skirt. His design combine kimono’s pattern cutting with France elegance element, through combine two different culture behind to create a new look and new style. That’s gives vintage fashion fresh blood, and diversify culture meaning.

Figure 2

Another one, as seen in figure 3. It is sales online on the website of the mainstream high street brand TOPSHOP for 45 pounds. This Channel 70s vibes in this neon sign silky playsuit by Jaded London, featuring a bold allover print with pops of neon colour. In a maxi-length fit with split detail to the back, and made of 100% polyester. This one is totally modern fashion garment. Whatever the colour or the patterns of stars or rainbow, also the material, those are all from modern elements. However, it is still keep the tradition kimono wider sleeve and the pattern cutting for the whole jacket. That is the collision and fusion between old clothes and new look.

Figure 3

Fashion design, throughout history has turned to previous eras for inspiration. Vintage clothing retains and increases in value. Although in Japan the haori (ha-or-ee) fell out of favor in the 1970s, these short silk jackets have proved popular with Western women as an item to be worn instead of a blazer. They are not meant to close, but are made to be worn open. (Imperatore & MacLardy, 2001,p.140) The vintage wearers change those vintage garments original styling property to mix with other modern garments constitute a new style. ‘Modern Vintage wearers seek authenticity in what is rare and cannot be duplicated, in what is old but does not look old or used. Ideally wearing vintage positions the vintage virgin and the vintage whore, not as historical, retrograde or subculture, but as informed, avant-garde fashion connoisseur’ (Palmer 2005: 212) Susie Bubble, a fashion blogger who is original Asian, but based in London, she got a nice look of vintage garment mix with modern garments. As shown in figure 4, she wearing vintage kimono, Jonathan Saunders jumper, Dries Van Noten skirt, Nike trainers, Diane von Furstenberg bag together. Kimono like that as this essay had research before, should be some formal occasion such as wedding to wear, but she styling it as a daily wear jacket, which is a successful vintage style, but mix new look. That is a excited progress of both vintage fashion and modern fashion.

Figure 4

In addition, Susie Bubble also remind a interesting condition. As she is original Asian, but based in London, wearing Japanese kimono is easy to remind that her Asian feelings. But why a Asian will based in London, and why Asian vintage garments will appear in western market, even make influence in western fashion industry? “The second hand clothes are poignant symbols of the immigrants success and independence.”(Palmer A and Clark H , 2005, p.12) For the vintage kimono which shown in figure 1, which had mentioned as an example before, although it is sales in London. But, it is originally from Japan the Showa period. During this period,“ after World War II, as Japan’s economy gradually recovered, kimono became even more affordable and were produced in greater quantities. style and fashion ideas from Europe and America affected kimono designs and motif interpretations, but their shape and construction remained the same.”(Imperatore & MacLardy, 2001,p.25) and also because if part of the outfit became worn or soiled, it will sold to second-hand clothing dealer or donated to a temple.” (Imperatore & MacLardy, 2001,p.25) the trade varied in detail according to temporal, social and culture factors. That’s the reasons why kimono can be a second-hand vintage production appears in London market. Moreover, those historical reasons gives authenticity to wearer, “clearly clothes, as documents of our material culture, are loaded with individual and collective meaning.” (Palmer A and Clark H, 2005,P.9) Traditionally, practitioners of second hand dressing, gives wearers more feeling of experience the change of history, and express the individual emotion or cultural diversity.

In conclusion, this essay through analysis vintage kimonos in different aspects, it has revealed that vintage consumer’s reasons for purchasing second-hand clothing vary from person to person. From people collecting vintage for the historical and cultural connections garments have with the past and empathizing with the morals and values. The positive economic aspect of recycling clothing appeals more to some consumers, stimulate fast fashion clothing in terms of quality, diversity and price, even the sustainability. In addition use the personal experience of collecting and wearing vintage clothing. Others, wearing vintage is a way to express identity, people choose to wear vintage clothing as part of the construction of their own unique identity, helping them differentiate themselves from the mainstream culture. Vintage can also be worn to emulate youth subculture attitudes and meanings that are attached to garments that the wearer identifies with. Moreover it also presents the developing and changes of society. Personally for my own as a vintage buyer and wear, my reasons behind wearing second-hand clothing differ depending on the garments in question. In terms of my occupation identity, also when and where I bought it and my attention that it is attract. And how much it was and the special features it possesses. This essay also explore the main customer of vintage fashion, which is connect with their occupation identity as well, such as fashion designer, fashion blogger, and how vintage fashion can collision and fusion with modern fashion, even compete with fast fashion industry, also the competitive advantage of vintage fashion. It is a good choice to wearing a contrast of old and new, and it is significative for fashion industry has vintage fashion as a big part.

Word count: 2663

Bibliography

Bissonnette Anne. Doing History with Objects: Betty Kirke and Madeleine Vionnet. London, Routledge.

Jan Dess (2009). Taisho Kimono:Speaking of Past and Present. Italy: Skira Editore S.p.A. p25-48.

Annamma Joy, John F. Sherry, Jr, Alladi Venkatesh, Jeff Wang and Ricky Chan. Fast Fashion, Sustainability, and the Ethical Appeal of Luxury Brands. Fashion Theory. P276-288.

Cheryl Imperatore and Paul MacLardy (2001). Kimono vanishing tradition:Japanese textiles of the 20th century. Europe: Schiffer Publishing Ltd. p25, p140.

Alexandra Palmer and Hazel Clark (2005). Old Clothes,New Looks:Second Hand Fashion. Oxford: Berg.

Image:

Figure 1:

Shooting by the writer

Figure 2:

Chatteltales. (2012). Welsh Tapestry Style Clothing Makes a Comeback for AW 2012. Available: http://chatteltales.com. Last accessed 3re March 2016.

Figure 3:

topshop.(2016).topshop.Available:http://www.topshop.com/webapp/wcs/stores/servlet/ProductDisplay?Ntt=kimono&storeId=12556&productId=23105434&urlRequestType=Base&categoryId=&langId=-1&productIdentifier=product&catalogId=33057. Last accessed 29th Feb 2016.

Figure 4:

Susie Bubble. (2012). Turning Japanese. Available: http://stylebubble.co.uk/style_bubble/2012/03/turning-japanese.html. Last accessed 3rd March 2016.

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