By Heike Jenss
The valuing of outdated outfits as “vintage” and the recollection of the sartorial previous, no matter if via second-hand intake or the donning of latest out of date outfits, has develop into a common phenomenon. This e-book illuminates sartorial and physically engagements with reminiscence and time throughout the temporal and mawkish efficiency of favor, and what this implies for modern wearers.
Based on in-depth ethnographic study together with player statement and interviews with sixties fans in Germany, who relocate British mod variety into the twenty-first century, Jenss examines the practices and stories which are a part of the sartorial remembering of “the sixties,” from searching flea markets and eBay, to the impact of fabric and mediated thoughts on classic wearers.
Jenss deals designated insights into the fashioning of time, cultural reminiscence, and modernity, tracing the heritage and present attraction of classic in type and adolescence tradition, and asking: what sort of reports of temporality and reminiscence are enacted via model? How have reviews of second-hand outfits shifted within the 20th century? Fashioning Memory presents a different perception into the varied use of favor as a reminiscence mode and asks how sort is remembered, played, remodeled, and reinvested throughout time, position, and generation.
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Additional resources for Fashioning Memory: Vintage Style and Youth Culture
Sample text
Living in mid-nineteenth-century Paris, Baudelaire perceives the temporal dynamics of history and modernity intimately in the urban fabric, when the city was in its early transformation stages into the “modern city,” developed between 1853 and 1870 by George-Eugene Haussmann and commissioned by Napoleon III. As Richard Terdimen notes, in “such moments memory of the ‘time before’ is still active; the ideological density of developing reality has not yet obscured the contingency of this new reality and rendered its structures opaque” (Terdimen 1993: 119).
Vintage style The excursion into the field of wine culture alludes to the value and meaning dimensions when the term vintage is transferred to fashion and clothing. It is a term that is not only related to the cultivation of nature, but with that, also to one of the key markets that effectively used and commodified time (and place) for purposes of (self-) identification and distinction—constructing an aura of rarity, 34 FASHIONING MEMORY authenticity and a “naturally” given exclusiveness through (and around) time and age.
This is not a new practice, as Robert Ulin (1995) illuminates in an article on the creation of Grand Crus wines in the Bordeaux region, with which French wine makers responded in the mid-nineteenth century to the rising competition from wine markets in Spain and Portugal. Similarly to the concept of terroir—that helps to market these wines based on an idea of a permanence of place and a deeply rooted heritage to distinguish and compete in today’s global market—the Grand Crus or “elite Bordeaux wines, were produced, in contrast to the mass or common wines that saturated European markets” (Ulin 1995: 521–2).