Vintage, the First 40 Years: The Emergence and

Persistence of Vintage Style in the United States

By Nancy L. Fischer

Abstract
This paper historicizes when wearing vintage clothing first became fashionable in
the United States. I trace when the trend emerges in the U.S. and explore various
ways the press framed secondhand/vintage clothes and anachronistic dressing. I
contend that the emergence of vintage occurs as a form of alternative consumption
alongside changes that occurred in the U.S. garment industry such as outsourcing
and product licensing. These changes led many consumers to seek more authentic
consumption experiences. Consumers with cultural capital found in vintage an
alternative market for sourcing fashionable street style. Consumers attribute char-
acteristics to vintage clothing that are typically part of authenticity discourse such
as it being of exceptional quality, original, handcrafted, made from natural fibers,
and providing continuity with the past. The authenticity of vintage is symbolically
deployed in opposition to contemporary mass-produced clothing and standardized
retail shopping experiences.

Keywords: Vintage, vintage clothing, retro, secondhand clothing, authenticity,

fashion trends, garment industry

Fischer, Nancy L.: “Vintage, the first 40 Years”

Culture Unbound, Volume 7, 2015: 45-66. Published by Linköping University Electronic Press:
http://www.cultureunbound.ep.liu.se
 I’m gonna take your grandpa style
I’m gonna take your grandpa style.
No, for real, ask your grandpa,
Can I have his hand-me-downs?
- Lyrics, “Thrift Shop” by Macklemore and Ryan Lewis, 2013

Introduction
In early 2014, rap duo Macklemore and Ryan Lewis won two Grammys for best
rap song and best rap performance for “Thrift Shop,” an exuberant celebration of
thrift store culture. The music video of “Thrift Shop” features the rapper Mack-
lemore walking through a thrift store, trying different outfits, and receiving acco-
lades for grandpa’s style in clubs. This is not the first time thrift stores have been
highlighted as a place to get retro clothes at bargain prices. Nor is the song “Thrift
Shop” the only cultural expression celebrating secondhand clothing. Contempo-
rary fashion magazines often feature celebrity photos whose dress is captioned
“vintage.” For example, in the December 2011 Elle magazine, actress Jessica Biel
models as many garments described as vintage as from a current designer. Lucky
magazine has a monthly “City Guide” featuring local boutiques – including vin-
tage – from cities around the world. Many cities have vintage-themed events such
as Mad Men parties, Roaring 20s parties or 80s nights at clubs. Moreover, the
ubiquity of street style blogs like “The Sartorialist” have made wearing vintage de
rigeur for demonstrating sartorial savvy whether one is in London, Manhattan or
Tokyo (Woodward 2009).
Fashion usually connotes fast change and up-to-the minute trendiness, yet
sporting “retro” by wearing decades-old clothing is “in.” In fact, vintage dressing
has been fashionable for over 40 years. The aim of this paper is to provide a histo-
ry of when and how vintage style emerged as a trend in the United States. Previ-
ous historical studies on retro/vintage have focused on its emergence in the United
Kingdom; there is an absence of a similar history in the United States. Providing a
U.S. history of vintage is important given that the country represents an enormous
consumer market for both new and secondhand clothing. Moreover, New York
and Los Angeles are global centers of fashion and media production – films, tele-
vision shows and fashion sites create depictions of retro/vintage style that circu-
late globally. Due to the considerable volume of its media exports, the U.S. has
had more opportunities than many other nations to influence global vintage style.
As I trace the rising popularity of vintage style in the U.S., the various ways
the popular press framed vintage dressing are described. The emergence of vin-
tage occurs as a form of alternative consumption alongside changes in the garment
industry that led many American consumers to seek more “authentic” consump-
tion experiences. Rebranding used clothing as scarce and desirable through the
moniker “vintage” is wrapped up in cultural constructions of authenticity and is

Culture Unbound, Volume 7, 2015 [46]

symbolically deployed in opposition to mass production and standardized shop-
ping experiences.

Anachronistic Dressing, Retro and Vintage

Scholars employ different terms to describe old clothing with a look that is ana-
chronistic compared to current styles. Angela McRobbie (1988) refers to wearing
recognizable decades-old looks as “anachronistic dressing.” This is a useful
phrase that I also occasionally employ to highlight when press references to vin-
tage mean wearing used-clothing that noticeably displays iconic styles of the past.
Anachronistic dressing can be achieved with actual antique clothing or with
new clothing made to look old. While press references to “retro” could encompass
genuinely old garments and new reproductions of old looks, retro usually refers to
the latter. Heike Jenss (2005: 179) characterizes retro as, “an all-encompassing
catchword” that involves:
…the construction of past images and historical looks which can be achieved with
original objects as well as with new ones that look historic. It uses the potential of
dress as a cultural signal of time and an important component of cultural memory,
historic consciousness and imagery.

The ability of “retro” to encompass both old and new has led some to characterize
“retrochic” as inauthentic and messy, blurring clear distinctions between past and
present (Samuel 1994).
In a sense, the term “vintage” represents a semantic attempt to claim authen-
ticity for genuinely old clothing and objects, distinguishing them from “retro”
reproductions, as well as serving as a marker of distinction from contemporary
secondhand clothes. When specifically referring to genuine decades-old clothing,
the term “vintage” tends to be preferred in the United States. “Vintage” is a con-
cept that has undergone a shift in meaning when it was applied to clothing. In
origin, the term refers to “wine age,” the specific year and place of origin, such as
with “Bordeaux wine of a 1965 vintage.” When “vintage” was first applied as a
descriptor of clothing in the 1960s, it was employed in a way that suggested new
clothing was akin to a particularly good year for grapes, something that must be
purchased now as an investment (see analysis below). However, “vintage” quickly
morphed into an abstract category describing old clothing generally, and no longer
necessarily referred to purchasing new clothes as an investment in the future.
DeLong, Heinemann and Reiley (2005: 23) describe the abstract category vintage
as follows:
When used to refer to clothing, vintage is differentiated from historical, antique,
second-hand, consignment, reused or resale clothing. In clothing, vintage usually in-
volves the recognition of a special type or model, and knowing and appreciating
such specifics as year or period when produced or worn. Wearing vintage is primari-
ly about being involved in a change of status and a revaluing of clothing beyond the

Culture Unbound, Volume 7, 2015 [47]

 original time period or setting, and only secondarily about markets for resale of
clothing.

In this study, the American press seemed to use a simpler definition of vintage:
clothing that is 20 years old or more, with a recognizable decades-old look.

Researching Vintage and Retro Style

Previous studies on the emergence of retro style in clothing and household objects
have focused on the United Kingdom, and usually, 1960s London (e.g. McRobbie
1988; Samuel 1994; Gregson & Crewe 2003; Baker 2013). According to Raphael
Samuel (1994), “retrochic” in fashion appears not long after Britain undergoes
retrospective taste shifts for the home. Architectural historic preservation and ap-
preciation of period styles arose in reaction to the stark clean lines of 1950s-1960s
modernist home design. Samuel connects British popular taste for eclectic home
interiors, vintage clothing and retro aesthetics with the development of “alterna-
tive consumerism” that emphasized “natural” products such as organic food and
“green” consumer goods. Alternative consumerism arose in the 1960s but gained
popularity in the 1970s and 1980s. Notes Samuel (1995: 100):
Retrochic in the 1970s and 1980s was one of those fields where enterprise culture
came into its own, ministering not only to the tourist trade but also to the ‘alterna-
tive’ consumerism of the counter-culture; to teenage ‘outlaw’ fashions (notably
punk); and to the new narcissism of health, epitomized by the Body Shop.

Samuel’s reference to retrochic as “outlaw fashion” relates to post-war youth sub-

cultures employing anachronistic dress as anti-fashion. Sociologist Fred Davis
(1994) and cultural studies scholar Elizabeth Wilson (1985) describe anti-fashion
as styles of dress that are explicitly contrary to fashions of the day, worn to sym-
bolize rebellion and signal belonging. Beatniks in secondhand 30s skirts, hippies
in Edwardian long coats, punks in ripped and dyed 50s tulle petticoats all sartori-
ally expressed opposition to capitalist materialist values (Polhemus 1994). How-
ever, these groups’ subcultural styles operated as spectacle from the perspective of
mainstream culture rather than a mode to be emulated.
While part of the allure of vintage dressing is its association as a form of alter-
native consumption (Gregson, Brooks & Crewe 2001), wearing vintage has lost
its explicit anti-fashion meaning. According to Sophie Woodward (2009: 92),
“The possession, or the wearing, or [sic] second-hand items along with high street
ones, has become a key marker of fashionability, with the emphasis falling upon
how the items are sourced, and not just on the look.”
The original association of “retrochic” with anti-fashion and subcultural street
style raises questions. When did anachronistic dressing become fashionable, not
anti-fashion? Why did it become part of the fashion mainstream known as vintage
style? (I employ the term “mainstream” similar to Woodward’s use of “fashiona-

Culture Unbound, Volume 7, 2015 [48]

bility” to describe how wearing decades-old clothing has become an accepted
street style.) And finally, why has vintage remained popular over many decades?
Angela McRobbie dates the mainstreaming of anachronistic dressing to 1967
London, when “…it was Peter Blake’s sleeve for the Beatles’ Sgt. Pepper album
which marked the entrance of anachronistic dressing into the mainstream of the
pop and fashion business” (1988:24-25). McRobbie makes the case that young
people of the 1970s and 1980s engaged the fashion scene (and ran small business-
es in the form of used-clothing stalls) during a recession economy by adopting
vintage style. The popularity of “rag markets” like London’s Camden Market or
Portobello Road ultimately blurred the boundaries between high fashion and street
style (McRobbie 1988).
There are a number of reasons why vintage dressing became accepted street
style. Some point to the impact of popular culture in the form of retro-themed
films, television and books. German 1960s enthusiasts interviewed by Jenss
(2004, 2005) and Australians interviewed by Sarah Baker (2013) describe being
influenced by movies from the 1970s and 1980s. Elizaebth Guffey (2006: 14)
notes that in France, early 1970s literature and films set in World War Two such
as Louis Malle’s Lacombe Lucien were described as “la mode retro” and influ-
enced Paris fashion design and street style. In the United States, 1970s films like
American Graffiti, The Great Gatsby, Annie Hall and The China Syndrome con-
tributed to the popularity of vintage style.
Simon Reynolds (2011) contends that through television, film and the Internet,
yesteryear’s images and music have come to dominate popular culture. In the
1970s old television shows returned as re-runs, and films from the 1930s-1950s
also became available. Teens and adults listened to music of past decades, sorting
through album covers, taking note of the fashion. The Internet greatly multiplied
the amount of imagery from the recent past. In fact, past imagery is now more
available than ever in human history. In this cultural context, the past – represent-
ed by retro – is a key component of present popular culture (Reynolds 2011).
Other authors explain the popularity of vintage as relating to the experience of
vintage shopping itself. Nicky Gregson and Louise Crewe (2003) describe how
secondhand shopping – whether at car boot (rummage) sales, charity shops or
retro stores – carries an air of spontaneity and discovery. Secondhand shoppers
utilize cultural capital to engage in “clever consumerism” as they seek the “dia-
mond in the rough” and to “capture a bargain.” Interviewees shared stories of
finds at charity shops or car boot sales deemed valuable for a low price – the
bragging rights associated with stories are a powerful incentive to continue
secondhand shopping. Fleura Bardhi (2003) also found that thrift shopping is
characterized by a “thrill of the hunt.”
Finally, the persistence of vintage style can be attributed to particular meanings
vintage consumers have of old clothing in terms of qualities they bring to the
wearer. Marilyn Delong, Barbara Heinemann and Kathryn Reiley (2006) found

Culture Unbound, Volume 7, 2015 [49]

that vintage consumers want originality as a way to express individuality or some
degree of standing out from the crowd. Moreover, vintage buyers claim that an-
tique garments have superior quality and provide better fit. Marie-Cecile Cer-
vellon, Linsey Carey and Trine Harms (2011: 968) concluded that desire for orig-
inality, nostalgic expression, and having an interest in fashion best predicted pur-
chasing vintage clothing in comparison to consumers who purchase contemporary
secondhand clothing. Additionally, Tracy Cassidy and Hannah Bennett (2012:
252) found that vintage consumers preferred old clothing because of lifestyle
preferences and ethical concerns such as recycling.
Expressing ethical concerns about shopping, having leisure time to hunt for
bargains, and knowing how to create unique looks are indicators that vintage con-
sumption requires cultural capital (Franklin 2002; Gregson & Crewe 2003;
DeLong, Heinemann & Reiley 2006; Baker 2013). Vintage shopping and dressing
necessitates knowing how to mix and match old items with new for a fashionable
look (Woodward 2009). It also may require the ability to correctly match garment
to time period and distinguish between retro reproductions and “authentic” vin-
tage (Jenss 2005). According to Nicky Gregson, Kate Brooks and Louise Crewe
(2001: 5), “[R]etro consumers mobilize ‘the authentic’: as a means of demonstrat-
ing individuality, knowingness, knowledgeability and discernment, as an expres-
sion of their cultural capital, and as a way of constructing difference from oth-
ers…”
Vintage enthusiasts – whether retailers or consumers – designate when clothing
becomes vintage and desirable rather than dated and out of style. Using Thomp-
son’s rubbish theory, Marcia Morgado (2003) describes how Hawaiian rayon
shirts faded from style after the 1950s and were regarded as tacky. As original
Hawaiian shirts were discarded, they became rare. Clothing collectors rediscov-
ered Hawaiian shirts as scarce and worth preserving; books were published featur-
ing colorful examples, and the market in Hawaiian shirts took off. The generally
accepted standard that vintage clothing is 20 years old or more may be related to
the time it takes for a style to pass through the cycle of being characterized as
“rubbish” and subsequently being rediscovered by taste-makers with the neces-
sary cultural capital to revalorize it (Gregson & Crewe 2003; Morgado 2003;
Baker 2013).
What follows is a description of when and how anachronistic secondhand
clothing transforms from rubbish into a new fashionable look known as “vintage
style” in American press accounts written between 1950 and 1990.

Method
A qualitative analysis of American newspaper and magazine articles published
between 1950 and 1990 was conducted, tracing the emergence of the vintage
trend and how vintage clothing was framed for the American public. The aim of

Culture Unbound, Volume 7, 2015 [50]

this study is to specifically account for how the vintage clothing trend emerges as
a subset of the secondhand clothing market and how the American press made
sense of this sartorial practice.
The analysis begins in 1950 (before anachronistic secondhand clothing is ac-
ceptable street wear) and ends in 1989 when vintage style is well established.
Newspaper and magazine articles were sought from a combination of on-line re-
search databases and The Readers’ Guide to Periodical Literature. Before 1980
(the year Proquest Newspapers database has consistent full-text holdings), I
searched The New York Times Archive (on the New York Times website), the Chi-
cago Tribune and the Los Angeles Times using Proquest Historical Newspapers
database. New York City was chosen because it is a global fashion center where
many clothing manufacturers were located and corporate fashion headquarters
remain. The Chicago Tribune represents the Midwest, and The Los Angeles Times
represented the west coast. The Readers’ Guide to Periodical Literature, an annu-
al index of periodicals, was used to research magazine articles published between
1950 and 1982 (when hard copies of the Guide ceased to be published). For arti-
cles published from January 1, 1980 to December 31, 1989, the Proquest News-
paper database was also utilized. Both Proquest Newspapers and The Readers’
Guide included articles from the entire United States. Canadian newspapers from
Proquest Newspapers were eliminated from the final results since comparable
Canadian data before 1980 was not available.
The following search phrases were used for all databases: “second hand cloth-
ing” (389 articles); “second hand clothes” (310 articles); “vintage clothing” (888
articles); and “vintage clothes” (254 articles). There was some degree of overlap
between categories within articles; in other words, those that mention “vintage
clothing” likely also refer to “vintage clothes.” For example, from 1950 – 1980, I
read every article from the New York Times archive that specifically referred to
“vintage clothing” (10 articles) and “vintage clothes” (16 articles), which totaled
24 articles since two articles appeared in both searches. For the Readers’ Guide to
Periodical Literature, I searched under the heading “clothing” for articles with
“used” “secondhand” “antique” or “vintage” as a descriptor. By looking at the
“clothing” category writ large, I also noted changes occurring within the U.S.
clothing industry. Thirty-seven articles published between 1950 and 1989 that
pertained to secondhand or vintage clothing were included from the Readers’
Guide. In total across all databases and the Readers’ Guide, I evaluated over 1,000
news and magazine items about vintage and secondhand clothing.
The articles specifically referenced below represent longer articles where jour-
nalists sought to explain the meaning of secondhand and vintage clothing and/or
describe its consumers. News articles not included are those merely quoting indi-
viduals who coincidentally were vintage shop owners (such as when a vintage
shop owner witnessed a crime), or those reporting vintage clothing sold at flea

Culture Unbound, Volume 7, 2015 [51]

markets, antique shows or worn at vintage-themed events where the mention of
vintage is quite brief.
In the section that follows, I describe how the meaning of decades-old
secondhand clothing shifts from being associated with charity to gaining middle-
class acceptability as vintage style.

The Emergence of Vintage: An Analysis of Popular Press 1950 –

1989
1950s: Secondhand as Charity
When factory-made clothing became widely available, wearing used clothing be-
came associated with poverty; those who wore it were regarded with pity as cha-
rity recipients (Crane 2000). Apparel that looked dated in comparison to current
fashions marked one as being of low social status. This association of used cloth-
ing with poverty and charity is how secondhand clothes are generally regarded
from the 1890s through the 1950s.
The 1950s United States was relishing its post-war abundance; there was a cel-
ebration of all things new in clothing, architecture, interior design and product
design (Franklin 2002). Although economic prosperity creates the conditions for
used goods to become available in alternative economic markets (such as flea
markets, charity shops, etc.), during 1950s America, few wanted the barely-used
cast-offs of the growing middle-class.
Correspondingly, 1950s references in newspapers and periodicals to
“secondhand” or “used” clothing concerned charity. News items included poor
people’s need for used clothing and drives for donated clothes. There were three
exceptions to this charity rule. In 1951, the Times reported on Paris’s Marché des
Puces as a tourist destination where antique furniture, housewares, period gar-
ments (described as being purchased for display in designers’ shop windows) and
army surplus clothing were sold (Barry 1951). In a Los Angeles Times column
called “The Lighter Side,” Henry McLemore (1951) playfully describes wearing a
favorite antique suit “having been bought from a secondhand store that buys from
other secondhand stores,” whose seams threaten to split if he sits down; here
wearing old secondhand clothing serves as a joke. The third article from the 1958
New York Times reports on a consignment store called “Henri” in Washington,
DC that sold secondhand upscale dresses. Notes the reporter, Gloria Emerson, “It
is a consignment shop called Henri that bears as much resemblance to an ordinary
second-hand store as a Wedgewood cup does to a beer bottle.” The reporter’s
characterization draws a sharp distinction between ordinary secondhand shops and
the consignment shop, which reveals how secondhand clothing was normally re-
garded in the 1950s – as on the same cultural level as a “beer bottle.”

Culture Unbound, Volume 7, 2015 [52]

 Interestingly, in 1957, the use of the phrase “vintage clothes” first appeared in
The Chicago Tribune. In a fashion feature with sketches and a one-paragraph de-
scription, Mary Lou Luther (1957) describes how the latest styles display a 1930s
influence based on the Broadway play “Auntie Mame.” The phrase, “The 1930
vintage clothes sketched are at Saks Fifth Avenue” reveals that vintage does not
yet mean authentically old clothes. Instead, vintage is used similarly to describing
wine from a particular time where the time period – the 1930s – is central. Vin-
tage is not yet a way of abstractly categorizing clothing or style.

1960s: From Resale Shops to New Youth Style

In the 1960s, newspapers and periodicals continued associating used clothing with
charity, although some reveal the meaning of secondhand clothing is changing. A
1963 article, “Resale shops are a source of good buys” in the New York Times’s
“Shop Talk” section associates resale shops with luxury bargain hunting:
A Givenchy suit for $89, a Dior coat for $100 and even a vintage but still attractive
Norell dress for $10. Bargains like these can be found on Madison Avenue. Tucked
above store level…there flourish a number of emporiums known as resale shops.
They eagerly buy the wardrobes of fashionable women who cannot afford to be seen
in the same dress too often.

Like the consignment shop Henri, resale shops are presented here as a place where
it is acceptable to purchase secondhand clothing. Clear distinctions are made be-
tween resale shops and thrift shops through invoking fashion designers’ names.
The use of the word “vintage” (to describe the Norell dress) contributes to this
distinction. Vintage does not yet connote anachronistic dressing since the article
reports how shops refuse dresses more than two years old. “Vintage” denotes
something of high quality, indicating that the secondhand clothing of the resale
shop is more valuable than ordinary used clothing.
In 1965, Harriet Love opened her well-known vintage clothing shop in New
York. In her 1982 guidebook, Love (1982: 1) characterized the mid-1960s vintage
fashion scene:
When I began this business in 1965, the only thing that could be said about vintage
clothing was that it was old and used and that you had to be a little weird or theatri-
cal to buy it, let alone wear it on days other than Halloween. Today every fashion-
conscious woman and man has probably bought at least one old piece and worn it as
evening or everyday clothing.

In 1966, the Times publishes “Thrift Shops: a Small Boom in Big Bargains.”
Here, it is thrift stores (rather than resale or consignment shops) portrayed as plac-
es to find designer clothes; the article mentions a thrift store where actress Barbra
Streisand shops. In comparison to the 1958 article that likened a thrift shop to a
beer bottle, the association with designer clothing and celebrity suggests the dis-
tinction between thrift shops and consignment/resale shops is blurring. While
secondhand clothing is being framed more positively as slightly-dated luxury

Culture Unbound, Volume 7, 2015 [53]

clothing for bargain prices, anachronistic dressing is not yet mentioned. But this is
about to change.
In January 1967, the meaning of vintage (and secondhand fashion generally)
shifts to encompass dressing in decades-old clothing. New York Times fashion
writer Angela Taylor reported in “Searching the Ragman’s Pack and Finding
Fashion”:
It’s not so much beggars who are in rags and tags these days as the most fashion-
conscious youths of an affluent generation. They are searching for the oldest gar-
ments in the ragman’s pack and coming up with moth-eaten furs, doormens’ uni-
forms and German Luftwaffe braided jackets….The fancy-dress craze, begun in
London last year, branches off in several directions locally. Uniforms—worn like
old clothes, with a minimum of alteration – are still in demand, and the more esoter-
ic the better.

Taylor’s article is accompanied by two photos – one of a group photo of five

young people, dressed in double-breasted trench coats and hats of various sorts,
and one woman decked out in a high-necked Edwardian coat. The second photo is
of a couple dressed in 1920s and 30s woolen suits. The clothing is described as
“old,” “vintage” and even “laughable.” Taylor’s tone is one of amusement to-
wards this fashion trend and the youth who wear it.
The New York Times Magazine’s May 1967 photo shoot “The Style that Was
Is,” took a less patronizing tone. Penned by Times fashion editor Patricia Peterson,
the shoot featured models dressed in floor-length vintage skirts and white cotton
dresses (most likely 19th century petticoats) purchased from Harriet Love’s stall at
the New York flea market. Peterson also refers to London as where such anachro-
nistic dressing began: “When England’s young began swooping down on Porto-
bello Road to buy antique military jackets and delicately handmade Edwardian
dresses, and, what’s more, wearing them in public, it marked the beginning of a
new fashion era.” Peterson featured retro reproductions and vintage fashion in
1968 with sketches of a collection of blouses dating from the 1880s-1940s, with
one Victorian blouse explicitly labeled as “vintage.” Later, in 1969, the Chicago
Tribune reports on a church flea market with a photo of ladies dressed in “vintage
clothing” from the early 1900s on sale at the event. This suggests that the meaning
of “vintage clothing” has shifted to now connote a separate category of clothing
that is decades old rather than a specific time period such as when the Chicago
Tribune first used the phrase in 1957.

1970s: The Mainstreaming of Vintage Dressing

Early 1970s – Rising Popularity
New York Times fashion editor Patricia Peterson’s 1967 characterization of the
popularity of old-clothing styles as “the beginning of a new fashion era” was
highly prescient. In the 1970s, anachronistic dressing becomes a clear mainstream
fashion trend in press coverage. Angela Taylor reports in 1970 “There’s Some-

Culture Unbound, Volume 7, 2015 [54]

thing New at Altman’s: Shop that Has Authentic Old Clothes” that the New York
department store opened a vintage boutique on its sixth floor. Taylor quips, “One
thing that’s been missing in department stores is the thrift shop. That breach has
been filled by Altman’s with a cozy lamp-lighted room on the sixth floor called
‘Yesterday’s News.’” Two photos accompany the text showing young women
dressed in 1930s – 1940s clothing. The article characterizes the garments as “vin-
tage” and “authentically old.” The vintage trend seems to have spread across
coasts by 1971. Sandra Haggarty (1970) in a Los Angeles Times’s column “On
Being Black” noted, “Recently I observed some young people shopping in a local
second-hand clothing store. As is chic today, they were junkin’ to dress them-
selves as unlike the Establishment as possible.” While Haggarty refers to junking
as anti-Establishment, at the end of the column she observes that the new middle-
class popularity of secondhand is leading to higher prices in Los Angeles used-
clothing stores.
After 1970, the New York Times regularly reported on vintage shop locations
around the metropolitan region. Some articles were in the Real Estate section de-
scribing particular neighborhoods and their shopping attractions. Other Times arti-
cles on vintage were part of a regular feature called “Shop Talk” that discussed
new stores of interest. For example, a 1973 article by Barbara Delatiner is about
Rag Garden, a shop in East Hampton. The owner, Mrs. Frank, describes why vin-
tage is becoming popular.
Mrs. Frank believes that the popularity of her merchandise stems from two factors.
“The fabrics are soft and flowing. Sensuous and marvelous to feel,” she said. “May-
be the women’s lib girls will yell at me, but these old things are so much more femi-
nine. So many of the things, too, are handmade as opposed to the machine-made
mass-produced clothes today. And the colors are so vibrant, so alive. I love them.”
Her customers, most of whom are in the 20s and 30s (the teen-agers buy denim be-
cause they can’t afford the antiques) are also interested in being different, in dressing
uniquely. “It’s not nostalgia,” she said. “They haven’t spent their youth in the thirties
and forties and I don’t have many fifties pieces here.”

In July 1973, Time Magazine’s “Rags to riches (really),” described how

secondhand Levi's denim jeans, adorned with embroidery, are being sold at “de-
signer prices” by department stores Lord & Taylor and Saks Fifth Avenue. “The
highest prices are tagged to genuine used denim tempered by years of wear and
spruced up with colorful embroidery. Many of the old jeans are acquired by scrap-
clothes dealers and sold to boutiques” (Time 1973: 52).
1970s: Peak Vintage?
As the vintage trend builds, in 1975, Caterine Milinaire and Carol Troy publish
Cheap Chic, perhaps the first consumer guidebook to thrift store shopping and
vintage style. It featured individuals with unique sartorial sense who incorporate
thrifted garments into their looks. Milinaire and Troy (1975: 79-80) devoted a
chapter to “Antiques: Shopping the Thrift Stores,” which they began by saying:

Culture Unbound, Volume 7, 2015 [55]

 Up until a few years ago, wearing some stranger’s old clothes was something only
the poorest people did when forced to. Can you imagine your mother buying used
clothes, except in an almost-new shop with prices to match? But as everyone is dis-
covering, it feels good to wear expensive clothes, especially when someone else paid
for them the first time out….Old clothes give you a sense of continuity with the past
– an elegant way of life lived in luxurious fabrics of strict tailoring, a life of flutter-
ing afternoon rituals and evening formalities. Solid old clothes give you a feeling
that in this throwaway world there are still some things around that can last ten,
twenty, thirty, forty years, or more, and remain beautiful.

By 1977 vintage clothing was so popular in New York that it raises alarms
amongst sellers of used clothing. Harriet Shapiro (1977) for the New York Times
reports, “The capes and camisoles hippies paid dimes and quarters for at Salvation
Army sales back in the 60s are now getting gold bullion prices at the best little
shops in town.” She continues, “Dealers, who tend to be sphinxlike about their
sources, also worry about the dwindling supply.” In 1978, Times business reporter
Anne Colamosca reports that the demand for vintage clothing is beginning to out-
strip supply. Department stores such as Macy’s, Abraham & Straus and Bamberg-
er’s are getting into the used clothing market to attract the middle-class shoppers
who have “fueled the boom.” They opened vintage shops that sold 1940s dresses,
1950s clothing, and men’s tuxedo shirts. Alberta Wright, owner of a well-known
New York vintage shop, Jezebel, is quoted, “There are fewer places to get good
[vintage] merchandise all the time…If the department stores begin mass-
merchandising secondhand clothes, buying it up in huge lots rather than selecting
it individually the way we do now, prices will go sky-high.” Concludes Colamos-
ca, “The spiraling prices of used garments have disconcerted those traditional
buyers of secondhand clothing, the poor,” as charity shops like the Salvation Ar-
my hike prices to meet growing demand. Rag dealers in the New York are also
quoted, saying their business is at a peak, though some grumble that the vintage
shops are their least favorite customers because of their choosiness.
Late 1970s: The Vintage Trend Reaches the Fashion Press
1970s fears over peak demand and dwindling supply occur ten years after the New
York Times first announced in 1967 that vintage dressing is a year-old trend ema-
nating from London. Remarkably, it is at this point that fashion magazines intro-
duced vintage to their audiences. The February 1978 issue of Seventeen was first,
featuring a photo spread titled “California Girl: Her Fashion Style: Dressing in
Antique Clothes” (Aldridge 1978). The article features a modeling contest winner
dressed in various antique petticoats-worn-as-dresses, and menswear inspired by
the Woody Allen film Annie Hall (released in 1977, featuring Diane Keaton cos-
tumed in vintage menswear). Seventeen included tips for buying, caring for and
altering antique garments.
Vogue magazine – headquartered in New York City where the vintage trend
was first publicized to American audiences in 1967 – finally announces a “Boom
in Vintage Clothes” in April 1979. Anne Hollander (1979: 273) somewhat dis-

Culture Unbound, Volume 7, 2015 [56]

missively speculates on why “la mode retro” has become popular, citing that per-
haps it was the influence of:
...The Great Sixties Costume Party. Included then among possible getups...were
clothes that looked as if they had long been imprisoned in the attic, or maybe in the
grave....Today what remains from the frantic sixties is a youthful vogue for tired old
lace and muslin underwear, which are now worn on the outside for romantically sor-
did effects – suggesting Bellocq and Brooke Shields.

Essence, a monthly magazine for African-American women, followed in Novem-

ber (1979: 89) with an article titled “Retro Dressing:”
For the woman with style and budget in mind, Retro is a natural. The quality fabrics,
lines and details of decades past are only to be had today if you can afford couture
fashions. But these old treasures are affordable and available everywhere – perhaps
in mama’s trunk, grandma’s attic or your local thrift shop. In many cities, boutiques
(for all price ranges) are springing up that only carry old and antique clothing.

Essence’s “Retro Dressing” shows there was not yet a consensus on how to de-
scribe the new style of dressing old. Vintage is referred to within the same piece
as “retro dressing,” “antique dressing,” “vintage dressing” and “past perfect dress-
ing.” The Essence article has tips for readers on how to wear the new style by
mixing and matching vintage and contemporary garments. The women of Essence
provide personal reasons for wearing vintage, including: affordability; clothing
made of natural fibers; being reminded of family members; having a personal sig-
nature style; femininity; quality fabrics; and a better cut for one’s figure.
As the tone of Hollander’s Vogue introduction to vintage suggests, the elite
fashion world did not exactly embrace the vintage trend. Kennedy Fraser, a well-
known fashion writer for both Vogue and The New Yorker, viewed retro as disin-
genuous in her essay “Retro: A Reprise:”
Clothes came to be worn and seen as an assemblage of thought-out paradoxes, as
irony, whimsy or deliberate disguise. Thrift shop dressing carried it all to its ulti-
mate. We took to clothes for which we had spent little money, which didn’t neces-
sarily fit us, and which had belonged in the past in some dead stranger’s life. Behind
the bravado of what came to be known as “style,” there may have lurked a fear of
being part of our time, of being locked into our own personalities, and of revealing
too much about our own lives. (Fraser 1981: 238).

1980s: The Establishment and Diffusion of Vintage Style

Critics like Fraser and Hollander aside, the popularity of vintage grew in the
1980s. In December 1980, Money Magazine reports U.S. sales of secondhand
clothing were up 100 percent. The New York Times shifted to mundane reporting
on vintage which suggested that readers already knew what vintage was and mere-
ly needed to know where to find it and which decades’ styles were currently fash-
ionable. Mundane reporting consisted of numerous mentions of vintage clothing
being sold at flea markets, antique shows and shops, publicizing events where it
was worn, and celebrities wearing vintage.

Culture Unbound, Volume 7, 2015 [57]

 Simultaneously, other publications first introduce vintage to 1980s readers. In
1981 Mademoiselle publishes “How to Buy and Care for Antique Whites,” “How
to Shop the Secondhand Shops,” and in 1985, “The Zing of Things Past.” Other
periodicals publish secondhand shopping guides including the Boston Globe, Eb-
ony, People Magazine, and 50-Plus Magazine.
A 1982 Boston Globe article, “Fashions for the Classes of ’82; What’s Happen-
ing in College? A Look That’s Vintage-Chic,” illustrates how popular vintage had
become. Julie Hatfield reports that Saks Fifth Avenue’s University Shop in Har-
vard Square – a store that traditionally sells preppy new clothes to college coeds –
is in trouble due to “worn clothes” becoming “de rigeur for college students.” Hat-
field notes that the local Salvation Army is doing brisk business with college stu-
dents, who “buy their old tuxedos, oxford shoes, suspenders, and big old winter
coats there.”
That same year Harriet Love’s Guide to Vintage Chic is published, and in 1983
Trina Irick-Nauer publishes First Price Guide to Vintage and Antique Clothes.
According to Morgado (2003) the publishing of guidebooks is a key way that
outmoded styles are newly marketed as collectable and no longer are “rubbish.”
Journalists Ask: Why Wear Vintage?
As newspapers and periodicals introduced vintage style to readers across the
United States, reporters sought to explain why the trend was occurring. What is
the basis of people’s attraction to this new trend of wearing old clothes? Journal-
ists uncover a variety of answers, implicitly juxtaposing characteristics of old
clothing with the new clothing one could purchase in a shopping mall.
Interviewees – both vintage shop owners and their customers – often mention
the quality of garments from decades past compared to new clothing. Vintage
clothes are characterized as hand-made, with special details like embroidery or
lace. They are better constructed, made from “luxurious fabrics of strict tailoring”
or of natural fibers as opposed to synthetics, and as having the potential for longer
wear than new clothing. For example, Boston Globe reporter Julie Hatfield (1985)
concludes in “Clothes that Get Better with Age,”
Customers like these are obviously not looking for the savings they make by shop-
ping for used clothes. They want what, in many cases, mass production has denied
them at any price: fabrics and workmanship that are the best, and the certainty that
you will not meet the very same outfit on scores of other people.

As the above quotation suggests, vintage offers originality and individuality to its
wearers. Those interviewed said vintage helps them to stand out rather than blend
in, so they can be confident that no one at an event will be wearing the same
dress. Notes one 1987 Minneapolis vintage wearer, “I don’t want to blend into the
woodwork…I don’t consider myself dressing different [sic]. It’s really more an
attitude, a way for me to say who I am. I like being recognized for what I wear”
(Younger 1987). Comments about vintage clothing as a marker of individuality

Culture Unbound, Volume 7, 2015 [58]

anticipate what vintage consumers of the 2000s reported in studies of vintage
shoppers (e.g. Delong, Heinemann & Reiley 2005; Cervellon, Carey & Harms
2011; Cassidy & Bennett 2012). The belief that clothing should reflect one’s indi-
viduality rather than a style trend is part of a larger cultural discourse of express-
ing one’s “authentic self” through consumption (Gilmore & Pine 2007).
Another common theme for why 1980s vintage consumers buy vintage is value
in comparison to the price paid. If one cannot afford contemporary designers, then
vintage offers high quality at more affordable prices. One store proprietor points
out that vintage garments are an investment because the wearer can sell them
again.
Some interviewees in the 1980s still see wearing vintage as a type of anti-
fashion statement critiquing conspicuous consumption and the materialism. Notes
a student in a 1987 New York Times article, “In Schools, Fashion is Whatever is
Fresh,” “Vintage clothing is hot, but it’s just reverse materialism. If you’re wear-
ing a $50 sweater, it wouldn’t be as proper as if you’re wearing a $2 sweater.”
Similarly, the Christian Science Monitor, when introducing the trend to its
readers in 1980 sees vintage as a move towards more eco-consciousness. Betty
Taylor (1980) observes:
There’s something sentimental as well as ecological about the awakened interest
here in garments made of vintage fabric….The recycling aspect is a satisfaction to
most buyers. Furthermore, buyers realize they couldn’t duplicate the handiwork they
are getting at anywhere near the price they are paying…

Finally, journalists note that some consumers are attracted to the history material-
ly represented in vintage apparel. For example, Milinaire and Troy (1975: 79)
refer to old clothes providing “a sense of continuity with the past.” Scholars have
characterized nostalgia as a key factor driving vintage purchases, that vintage con-
sumers look fondly on the past (e.g. Lyon & Colquhoun 1999; Delong, Heine-
mann & Reiley 2005 Cervellon, Carey & Harms 2011; Cassidy & Bennett 2012).
In the press accounts, some vintage clothing aficionados imagined who once wore
their clothes. Marc Silver’s (1987) praise of old overcoats for The Washington
Post is exemplary of the nostalgia associated with vintage attire:
There is something reassuring about putting on a coat of a past era. The coat has
wooed women and witnessed history. It has a mysterious past that can be imagined
but never be known. Did the lapel once boast an “I like Ike” button, or was this an
Adlai Stevenson supporter?

In summary, the vintage clothing trend emerged in 1960s London and migrated to
New York City, where, over the next two decades it spread across the U.S. In its
wake, vintage boutiques opened in many cities, and anachronistic dressing be-
came an acceptable street style. Vintage style remained popular for over forty
years as a form of “alternative” consumption, with consumers reportedly appreci-
ating its economic value, quality, originality, ecological ethics and historicity.

Culture Unbound, Volume 7, 2015 [59]

 What is striking about 1980s explanations for why vintage was becoming a
popular alternative to new clothing is that compared to contemporary research on
what vintage consumers seek from old clothing, there has been little change. The
qualities mentioned by 1980s consumers such as high quality at a low price, origi-
nality, eco-consciousness and nostalgia are the same qualities mentioned by those
interviewed and/or surveyed by scholars in the 2000s (e.g. DeLong, Heineman &
Reiley 2005; Cervellon, Carey & Harms 2011; Cassidy & Bennett 2012). The
implications of this parallel are discussed below.

Vintage as Authentic Alternative Market to Mass-Produced First-

Cycle Market
According to Gregson and Crewe (2003) new (or first-cycle) and secondhand
clothing must be understood relationally rather than as separate markets. This
holds true for vintage as a subset of secondhand. The secondhand market is social-
ly constructed as “alternative” to the first-cycle market in a number of ways.
Secondhand is seen as removed from contemporary production (Gregson &
Crewe 2003: 5). The urban commercial districts where vintage shops and antique
stores thrive are symbolically coded as alternative spaces to the mall. Vintage and
first-cycle clothing mutually reinforce one another’s appeal. Young people create
street styles by mixing vintage and contemporary garments, with their vintage
items symbolically defining their style as unique and alternative (Woodward
2009). Reciprocally, current fashionable silhouettes that are “in” influence which
decades are also popular in vintage boutiques. The consumer landscape of vintage
thus depends on what is occurring in the first-cycle clothing market. Therefore, in
order to understand the emergence of the vintage trend and its longevity, it is use-
ful to view it in relation to the consumer landscape of the first-cycle clothing mar-
ket during the same time period when the vintage trend emerged. The relational
dynamic between first-cycle and secondhand market provides a more plausible
explanation for the persistence of vintage style than economic changes during the
same time period. For example, while the 1970s economic recession witnessed a
boom in vintage clothing’s popularity (secondhand sales typically rise in reces-
sions), vintage style also remained trendy during the economic prosperity of the
1980s and 1990s.
I contend that changes in the garment industry produced more homogenized,
monotonous shopping experiences, leading some American consumers to explore
alternatives that could provide more “authentic” options for dressing fashionably.
In the following section, I explain how vintage style becomes part of authenticity
discourse because vintage clothing is perceived as distanced from mass produc-
tion, possessing qualities typically associated with handcrafted material goods and
experiences deemed “authentic.”

Culture Unbound, Volume 7, 2015 [60]

Garment Industry Changes 1960s – 1990s
During the 1960s-1990s, the U.S. garment industry became increasingly corpora-
tized, dominated by big industry players. The industry contracted from once hav-
ing a large number of small companies making ready-to-wear clothing, all staffed
by designers who hoped to get good sales from this year’s “hot little number”
(Vecchio & Riley 1968). The first-cycle clothing market that consumers encoun-
tered in the 1950s and early1960s was more diverse than today in terms of the
number of producers and potential styles; starting in the late 1960s, consumers
gradually found fewer style choices due a number of changes.
In the late 1960s, garment-industry companies took their stock public and de-
signers began to license their names to products not produced in-house. Clothing
corporations sought cheaper labor overseas in order to cut costs and gain wider
profit margins for shareholders (Agins 2000; Vecchio & Riley 1968). From the
late 1960s onward, the U.S. clothing industry globalized. By the 1980s, the first-
cycle clothing market was characterized by a relatively small number of large
producers. Moreover, with licensing and outsourcing, quality control became a
problem and diminished consumer confidence about whether it is worth paying
more for a designer label (Agins 2000). During the 1970s recession economy, an
American obsession with bargain hunting arose as consumers learned they could
find clothing of similar quality for lower prices at discount retailers (Zukin 2004).
Simultaneously, during the 1970s, the market for secondhand and particularly
vintage clothing in the U.S. expands to the degree that the New York Times reports
vintage clothing demand is outstripping supply.
According to Sharon Zukin (2004) standardization and dull shopping experi-
ences become the norm. In the 1980s, corporations develop “lifestyle marketing”
where the brand image is emphasized over the product’s intrinsic qualities (Klein
2000). This homogenizes every department store’s floors into a collection of the
same brand boutiques – Ralph Lauren, Tommy Hilfiger, Donna Karen, Nautica,
Eileen Fisher. Formerly, consumers could easily see a diversity of styles and
comparison-shop in departments like Coats, Dresses and Formalwear (Zukin
2004). This change drains a sense of spontaneity and discovery from the depart-
ment store experience.
The trend in vintage clothing becomes established during the 1960s – 1980s as
U.S. clothing industry changes led to relative standardization of clothing styles,
garment quality, and shopping itself. While Cassidy and Bennett (2012) proposed
that consumers sought vintage clothing as a reaction to fast fashion of the 1990s,
garment industry conditions that homogenized clothing and consumption experi-
ences were present well before. Fast fashion merely accelerated these tendencies,
giving consumers with an interest in vintage and secondhand clothing little reason
to solely purchase new clothing.

Culture Unbound, Volume 7, 2015 [61]

Vintage Clothing’s Authenticity versus Mass Production
In journalists’ 1980s quotations of what vintage consumers want, their answers
included natural fibers, quality, craftsmanship, uniqueness and the historicity em-
bedded in vintage garments. These qualities are typically invoked in authenticity
discourse. Macdonald (2013: 119) characterizes “authenticity” as a “stretchy”
term that encompasses many meanings. Objects and experiences deemed authen-
tic are often associated with nature, tradition, heritage, the past, craft, originality,
and/or reflecting one’s core identity (Jenss 2004; Peterson 2005; Gilmore & Pine
2007; MacDonald 2013). Consumer desire for authenticity is a central feature of
what Gilmore and Pine (2007) describe as the “experience economy,” where con-
sumers are no longer satisfied with goods and services in and of themselves, but
are interested in cultivating compelling experiences and particular symbolic asso-
ciations through their consumption practices.
Walter Benjamin (1969) describes how during the industrial age, authenticity –
in the form of originality – becomes a quality to be prized (Peterson 2005). The
ease of endlessly reproducing art through photography leads to loss of aura. Au-
thenticity is thus symbolically constructed in opposition to mass consumption and
the market (Peterson 2005; Macdonald 2013). Consumers who seek authentic
goods and experiences picture themselves engaging a market separate from stand-
ardization and its associated social and labor relations (Macdonald 2013). In fact,
this symbolic opposition is so strong that authenticity claims are often used to
obscure the industrial processes involved in manufacturing material goods such as
when wine-makers emphasize family tradition or grapes from old vines (Peterson
2005: 1084).
Moreover, it is often the qualities of production methods “that make them es-
pecially amendable to becoming part of authenticity discourse. What is at work
here is a contrasting of different kinds of things carrying different kinds of histo-
ries and social relations – and an attendant relativity of authenticity” (MacDonald
2013: 124). By attributing authentic qualities to vintage clothing, consumers im-
plicitly draw boundaries between old clothing and mass-manufactured apparel.
These boundaries may be based on a false distinction. It is highly likely that when
1970s and 80s consumers celebrated the qualities of vintage clothing that had first
been sold between 1940 and 1960, they were actually appreciating design and
garment construction from earlier forms of mass production. As Elizabeth Cline
(2013) notes, almost all clothing, whether home-sewn or factory-made, is pro-
duced by the hands of individuals (usually women) sitting at sewing machines.
However, older techniques were more labor intense and geared towards pleasing
customers, such as constructing garments that were lined or fitted with darts.
Adrian Franklin (2002) makes the case that when an object is re-cycled as retro
(or in this case, “vintage”), it takes on different meanings than what probably led
to its initial purchase. Those who first acquire a garment purchase it because its

Culture Unbound, Volume 7, 2015 [62]

qualities mark it as novel or “in style.” When an object is revalorized as retro in
the secondhand market, Franklin argues it is likely because of its original aesthetic
qualities. Attention to design was part of the post-war production process, part of
an “aestheticization of everyday life” and a “democratization of art” that charac-
terized the post-war period (Franklin 2002). This echoes anthropologist Lionel
Tiger’s (1987: A1) observation that
Industrial societies have exaggerated the pompous and finally fruitless difference be-
tween high and low art. We have failed to see that industrial designers are really the
folk artists of our civilization. The work they do, which we may possess innocently
in our homes, is as vital and reflective of our life and times as the ceremonial treas-
ures we line up on museum walls.

Both Franklin and Tiger are making the case that there are intrinsic qualities about
older consumer goods that lead to revalorization. Contemporary retro consumers
observe these qualities, and have the cultural capital to recognize the cultural ac-
cumulation of meaning in older goods. Notes Franklin (2002: 100), “Retro con-
sumers are experienced in their total immersion in the world of goods and are re-
flexively interested in them and the contexts of their production. In this sense,
retro consumers are tourists consuming a form of cultural heritage.” Moreover, it
is vintage consumers who ultimately determine which past looks are revalorized.
Jenss (2004: 395) observes that the authenticity of vintage clothing is socially
constructed by vintage clothing wearers who determine which styles of the past
constitute “genuine” looks that sartorially signify a particular decade. This selec-
tivity in regard to which styles represent the fashion of a decade parallels Mac-
donald’s (2013: 119-120) observation that, “[D]isputes [about authenticity] vari-
ously mobilise ideas about origins….which past – and whose – will endure?”
The meanings consumers associate with vintage clothing resemble those of
handcrafted or artisanal products. The consumers quoted above often assumed
vintage clothing is “handmade,” with a high degree of “integrity” and “craftsman-
ship” in its construction. Likewise, Susan Terrio (1996: 71) argues that craft prod-
ucts:
…make visible both a particular form of production (linking the conception of a
product to its execution) and its attendant social relations…Produced in limited
quantities, using traditional methods and/or materials, they evoke uninterrupted con-
tinuity with the past.

Vintage appears to be “craft,” displayed in today’s boutiques in small quantities

and thus implying they were limited in production. Today’s vintage dress seems
unique rather than standardized because the garment’s copies that once hung next
to it on a store rack are long gone.
Moreover, vintage clothing carries an “aura of pastness” (Samuel 1994) that
evokes a sense of historical continuity. This is most clear in consumers’ quota-
tions that imagine the previous lives of their vintage garments. It is also present in
accounts by those who describe vintage clothing as higher quality because current

Culture Unbound, Volume 7, 2015 [63]

apparel is not made in the same way or from the same type of fabric. This “nos-
talgia” associated with vintage clothing includes different meanings that can en-
compass both idealizations of the past as well as justifiable appreciation of quali-
ties from yesterday’s production methods (Pickering & Keightley 2006). Material
objects such as vintage clothing symbolically become part of a “timescape of au-
thenticity” (Grasseni 2005), embedded with history, which allows consumers to
imbue them with aura and value and wear them with a sense of distinction.
Since the late 1960s, the first-cycle clothing market in the U.S. has offered less
to consumers in terms of style diversity, garment quality and an engaging shop-
ping experience. Thus consumers with cultural capital found in vintage an alterna-
tive market and source of fashionable street style. Authentic characteristics are
attributed to vintage such as it being of exceptional quality, handcrafted, made
from natural fibers, providing continuity with the past and being unique. Thus,
categorizing clothing as “vintage” symbolically marks it with authenticity, distin-
guishing it from both the larger secondhand market and the first-cycle market that
features new clothes with retro looks. Revalorizing secondhand clothing as rare,
authentic and desirable through the category “vintage” is symbolically deployed
to mark boundaries between vintage and today’s mass-produced goods.

Nancy L. Fischer is Associate Professor of Sociology and Director of Metro-

Urban Studies at Augsburg College in Minneapolis, Minnesota. She has broad
interests, publishing on topics ranging from critical perspectives on heterosexuali-
ty, to urban sustainability, and secondhand clothing. She is currently working on a
book on vintage style. E-mail: [email protected]

Acknowledgements
I thank Jenny Lantz and Kristian Handberg for comments on earlier versions of
this paper presented at academic conferences, Jon Peterson who assisted with at-
taining documents, and Lars Christiansen for feedback on drafts of this paper.

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