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Where Is The Magic Of Vintage Fashion?

2010/4/19 14:43:00 35

Vintage is a culture that can not be arbitrarily worn.

Either it's Vintage from beginning to end, or don't touch it.

So why does Vintage become such a thing?

In a second-hand clothing dealer there, I heard such a statement: "Vintage is a culture and can not be arbitrarily worn."

Or it's Vintage from the beginning to the end, or don't touch it. "

In such a narrative, vintage has apparently been divorced from the context of its material circulation, and has become a "sacred thing" among a handful of vintage lovers who are not compromising.

A similar sentence can be found in religion, for example, the first of the ten commandments: "you can't have other gods except me."

Generally speaking, it is difficult for modern people to wear vintage to find any content in the history of his current identity and clothes.

Because vintage is a representation of history, not history itself.

In this highly stylized dress, it does reflect "Susan Sontag (Camp)" that Camp likes to say: "

It is the love of exaggeration, the off, and the love of things that are not in their own state.

Therefore, there is no essential difference between Vintage culture and Wilde (Oscar Wilde) dandyism, but it takes different physical techniques.

However, this trivial interest is hard to be trapped into a certain framework and can not be rigidified into an idea.

In itself, it means advanced sensibility and dispelled rational cliches.

There are two periods in which archaeology for Vintage can not be neglected.

The first climax was born in the late nineteenth Century and early twentieth Century, and the western world began to embrace Oriental style.

In the absence of Oriental way of life, Westerners consume an oriental image without content.

The second climax was born in 1960s. The hippies refused to accept new clothes, and searched for strange foreign clothes in flea market and flea market all the time.

They wore costumes similar to Buddha robes, wore beads, and began to be vegetarian.

American hippies like to look for inspiration from Native Americans.

If hippy people add more spiritual connotation to vintage, it will undoubtedly reveal how "the East in the image" acts on the spirit.

The vintage wonders of contemporary fashion have their natural context.

John Galliano is an excellent model.

In the process of borrowing and misappropriating historical images, he created the most nostalgic modern fashion landscape created in 1990s, and strengthened it to the taste of Camp.

He did not realize that his design had a very strong post-modernism, but it was only immersed in the consumption spectacle of the complex fashion and the love of pure technology in the late nineteenth Century and early twentieth Century.

However, by-products have emerged.

The re creation of vintage by John Galliano led to the extreme dream effect, and in the Internet age, the image of two degrees was spread in a wider range.

Therefore, the third climax of vintage has been created. After the consumption and spiritual sublimation of pure unfamiliar images, vintage has been given a more complicated "overlapping effect" by the new technology and pmission mode.

In this historical matrix, vintage constantly breeds new varieties and more interesting, but its essence has not changed.

London and Tokyo are the two major sources of contemporary Vintage culture.

On the one hand, Vivienne Westwood and Alexander McQueen will modernize Britain in the traditional Scotland pattern. On the other hand, Japanese fashion brands such as Junya Watanabe, N.Hoolywood, Number (N) ine are immersed in the means of contemporary technology to reproduce historical images.

The former inherits the practice of John Galliano, and puts the vintage into practice. The latter emphasizes the reproduction of daily life.

There is a common point between them: parasitism.

Let's go back to the commandments of vintage culture.

Modernity and parasitism are its distinctive characteristics in this newly formed micro religion system, and its "main god" is a history in imagination.

Its miracles lie in the use of modern technology to dispel the reason of history.

Therefore, vintage worship is a worship without content.

Again, in the words of Susan Sontag, "it includes the nostalgia and comfort in different ways: reminiscence due to the loss of the sense of sanctity, relieved by an unbearable burden" (though there is a feeling of impoverished poverty, but something which is firmly believed to have fallen on the old belief).

This is no doubt the outline of modern people's current situation. Vintage is just one of the most stylish expressions.

Those dark, crinkled, old fashioned costumes are only the "idols" that have been invented and worshipped and placed in mind.

The idol itself is also a parasitic grass with God and Buddha as its host. It also has the ability to shine its youth, and it is the magic power for vintage.