By Heike Jenss
The valuing of outdated outfits as “vintage” and the recollection of the sartorial prior, no matter if via second-hand intake or the donning of latest outdated outfits, has turn into a frequent phenomenon.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 examine together with player statement and interviews with sixties fans in Germany, who relocate British mod kind into the twenty-first century, Jenss examines the practices and studies which are a part of the sartorial remembering of “the sixties,” from searching flea markets and eBay, to the have an effect on of fabric and mediated thoughts on classic wearers.
Jenss bargains special insights into the fashioning of time, cultural reminiscence, and modernity, tracing the background and present charm of classic in type and adolescence tradition, and asking: what sort of reviews of temporality and reminiscence are enacted via model? How have reviews of second-hand outfits shifted within the 20th century? Fashioning Memory offers a special perception into the various use of style as a reminiscence mode and asks how sort is remembered, played, reworked, and reinvested throughout time, position, and generation.
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Extra info for Fashioning Memory: Vintage Style and Youth Culture
Than the human heart)” (see Terdimen 1993: 119). Writing on the painter of modern life, Baudelaire then warns: Woe to him who studies the antique for anything else but pure art, logic and general method! By steeping himself too thoroughly in it, he will lose all memory of the present; he will renounce the rights and privileges offered by circumstance—for almost all our originality comes from the seal which Time imprints on our sensations. (Baudelaire 2004: 218) While the past can be studied for the development of technique for example, a too thorough engagement with it gets in the way of experiencing the distinctiveness of one’s own time.
As Nancy Martha West has shown in her study on Kodak, the evocation of nostalgic feelings becomes here closely integrated with the development and learning of new socio-technological practices, in particular photography, and is also used to market new commodities (see West 2000). While the word nostalgia starts to lose its military and medical connotation, it is directly interwoven with modernity and the expansion of consumer culture, including fashion (see Jenss 2013). As Elizabeth Wilson puts it, “modernity repeatedly clothes itself in reconstructions of the past” (2005b: 10).
There is an interesting correlation between this occurring commodification of time and conception of “age” as something “naturally” superior in the context of mid-nineteenth-century wine making in France and the naturalization of fashion time as newness and its temporal organization in seasonal change with the rise of the fashion system as discussed earlier in this chapter. Both give examples for the way concepts of time or temporality are bound up with the expansion (and sophisticated chronometric operations) of consumer culture, in which equally the “new” as well as the “old” will find its uses.