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By Heike Jenss

The valuing of previous outfits as “vintage” and the recollection of the sartorial earlier, even if via second-hand intake or the donning of latest out of date outfits, has turn into a frequent phenomenon. This publication illuminates sartorial and physically engagements with reminiscence and time during the temporal and sentimental efficiency of favor, and what this implies for modern wearers.

Based on in-depth ethnographic learn together with player commentary and interviews with sixties fans in Germany, who relocate British mod variety into the twenty-first century, Jenss examines the practices and reports which are a part of the sartorial remembering of “the sixties,” from looking flea markets and eBay, to the impact of fabric and mediated stories on classic wearers.

Jenss deals targeted insights into the fashioning of time, cultural reminiscence, and modernity, tracing the historical past and present allure of classic in model and adolescence tradition, and asking: what sort of studies of temporality and reminiscence are enacted via style? How have reviews of second-hand outfits shifted within the 20th century? Fashioning Memory offers a special perception into the varied use of favor as a reminiscence mode and asks how sort is remembered, played, reworked, and reinvested throughout time, position, and generation.

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Extra resources for Fashioning Memory: Vintage Style and Youth Culture

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Even when the roots of the term vintage in the context of wine culture (and its historic connection to the production of place, time, nation and also to nature and growth) may be forgotten in contemporary uses of the term, it is useful to consider this etymological heritage of vintage in the context of clothing practices over the recent decades. Vintage carries a connotation not only of time and age, but also of place, tying in with ideas of the place-bound concept of heritage (see Macdonald 2013), which becomes also increasingly important in the context of the globalization of fashion, and specific ideas (such as standardization and homogenization) that have come to be associated with the fast transnational production and distribution of fashion.

This use of second-hand clothing from previous decades as an alternative to new mass-produced fashion evolved initially as a kind of anti-fashion in the context of post-war youth and consumer culture (see McRobbie 1994; Samuel 2012: 98), leading to a shift in the evaluation of the consumption of used or old clothes, and eventually to a kind of “mainstreaming” of retro and vintage as a wider fashion trend over the course of the 1990s and 2000s (see Palmer 2005; Cicolini 2005; Cassidy and Bennett 2012).

Along with social and political changes, in particular brought by the French Revolution, the impact of science, technology and philosophical thinking opened up time as an infinite space of possibilities and modern expectations, in which the past appears increasingly disposable or in the way of planning and making history (Koselleck 2004: 191–3). In this context the idea of modernity is discursively tied together with the idea of the past as a burden or baggage to continuously get rid of in order to keep making space for the new (Assmann 2013: 142).

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