Tracy Diane Cassidy

The Rise of Vintage Fashion and the Vintage Consumer

Abstract Amongst other factors, the current economic climate appears to have contributed to the trend of acquiring and reusing vintage clothing, accessories, and homeware products, particularly with young consumers. The popularity of vintage has also been linked to a change in consumer attitudes towards wearing and utilizing secondhand goods. In addition to a change in attitudes, other factors that contribute to the growth of the vintage trend include a change in values, the inclusion of vintage inspirations used in current designs by fashion designers, and in the trends marketed by the forecasting sector, eco-sustainability, the media, and technology. Also vintage consumers and vintage retailers appear to share the viewpoint of the movement towards vintage fashion that has been assisted by a reaction against mass-produced fast fashion, as consumers strive for more individuality in their styling and garments. Eco-fashion and sustainable fashion ideals have emerged as solutions to the environmental issues that are currently inherent in the industrys manufacturing processes, which have government and pressure group support. This ideal and practice complements the vintage trend phenomenon. This article explores the principal factors and the demographics of vintage consumers in the UK and their consumption habits to better understand the appeal and scope of this growing trend.

Standard vs. Upcycled Fashion Design and Production

Abstract Value streams for collected post-consumer textiles continue to be analyzed within the global challenge to develop and employ commercially viable, yet ethical and sustainable strategies within the fashion industry. Upcycling is an existing strategy applicable to fashion production, with discarded materials used to design and create higher value products, keeping them in productive use for longer. A number of very small, niche upcycling enterprises have emerged in the UK. These brands have succeeded in creating stylistically relevant and commercially successful fashion styles utilizing waste textile materials. The advantages of scaling these enterprises up are not only environmental, but also economic and social, thereby creating a sustainable and innovative business model for UK-led fashion production. Due to high levels of three key metrics of carbon, water and waste, UK government agency WRAP (Waste & Resources Action Programme) has identified textile products as priority materials for reuse and recycling. Upcycling enables a sustainable design option for reuse techniques to be employed for greatest economic and environmental benefit, in which used clothing and textiles are sourced for the production of newly designed fashion products. This paper identifies the key differences between standard fashion design and production processes and upcycled fashion design and production processes, in order to aid the development of large-scale fashion upcycling in the UK, and contribute to a circular economy.

Designing a fashion driving forces website as an educational resource

Electronic educational resources support search activities and manipulate information effectively in learning environments, thus enhancing education. This paper discusses the development of an electronic timeline database that classifies design and fashion details; technological developments; socio-economical influences; availability and popularity within fashion trends; marketing and distribution; and influential people including designers, in a manner that facilitates ease of cross referencing events at the same point in time for a rich analysis of fashion. The study focuses on the driving forces of fashion during the 1920s as an example decade of a much larger database. The data are presented in the form of a website allowing students to better understand fashion trends with macro-environmental and marketing strategies. The electronic resource is a useful tool for fashion, textile and marketing students as an educational interface providing design, production and marketing data for fashion-related products and is particularly useful for the analysis of fashion trends.

Revitalising and enhancing sewing skills and expertise

ABSTRACT Critical skill gaps highlighted by UK professionals in the fashion industry and identified by Government bodies were evidenced in the classroom while observing fashion students. The issues include lacking an understanding of garment construction quality, technical knowledge and skills, and timescale boundaries. It was also observed that students lack the confidence to experiment with construction techniques. A study was initiated to revitalise and enhance sewing skill capability through a purposely designed resource tool. Secondary research and interview responses from industry personnel working closely with undergraduate students and graduate designers substantiated the preliminary observations. The resource tool samples were inspired by two UK archive collections enabling the inclusion of lesser-used complex construction techniques. The tool is described, its effectiveness discussed and future developments are given. When fully developed, the resource tool could also enable craft dressmakers to develop and enhance their skills and expertise, by introducing them to less-documented techniques.

The development of a resource tool for the revitalisation and enhancement of sewing skills and expertise

Prolonged observations of fashion students highlighted a limited understanding of garment construction quality, technical knowledge and skills, timescale boundaries, and a lack of confidence to experiment with construction techniques; it was the realisation of these issues which initiated a study to revitalise and enhance sewing skill capability through a purposely designed resource tool. While originally developed to be used by fashion design students the resource tool when fully developed would also be useful for craft dressmakers to develop and enhance their skills and expertise. In the fashion student context an extensive literature review substantiated the observed sewing skills which was also verified by further industry personnel through interviews. While the salient points from the literature review and interviews are given the main purpose of this paper is to outline the development stages of the proposed resource tool which was designed to serve as an aid to revitalise and enhance garment construction knowledge, skills and expertise. The resource samples were inspired by clothing collections held in two UK archives thus offering an opportunity to revitalise some of the more complex construction techniques that are no longer used in modern mainstream fashion. The usefulness of the resource tool is also given along with future developments to improve the system.

Conceptualizing Sustained High Quality Fashion Products in a Devalue Dominated Marketplace

Abstract The current fashion system largely sustains an industry through excessive consumer consumption habits resulting in an environmentally unsustainable industry. Fashion trends coupled with mass-production strategies, predominantly within the lower and middle market sectors, is considered by many to have devalued fashion; and has impacted on the higher end of the market, forcing brands to reconsider their quality and price points to remain profitable, or to tolerate lower sales volumes. The online auction culture is a further consideration, with consumers having ready access to cheaper luxury goods, albeit second-hand, which supports the continuing growth of vintage and retro trends reinforced by trend forecasters and endorsed by those with an interest in a more sustainable lifestyle. This presents high-end brands with an opportunity to strengthen their position in a changing marketplace. This paper deliberates factors that contribute to the devaluing of quality before debating the opportunity that the new online culture presents to the high-end sector with the inclusion of a conceptual business model. While conceptual, after deliberating notions from fashion history and from current affairs, the paper proposes an optimistic future for luxury fashion brands and products if new technologies, such as online tools and facilities, and advancing consumer behavior preferences are embraced and utilized to full capacity. It is not to be suggested, however, that the conceptual business model is solely for the purpose of the online retail context.