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It's Vintage Darling! The Journal of The Textile Institute ISSN: 0040-5000 (Print) 1754-2340 (Online) Journal homepage: http://www.tandfonline.com/loi/tjti20 It’s Vintage Darling! An exploration of vintage fashion retailing Julie McColl , Catherine Canning , Louise McBride , Karina Nobbs & Linda Shearer To cite this article: Julie McColl , Catherine Canning , Louise McBride , Karina Nobbs & Linda Shearer (2013) It’s Vintage Darling! An exploration of vintage fashion retailing, The Journal of The Textile Institute, 104:2, 140-150, DOI: 10.1080/00405000.2012.702882 To link to this article: http://dx.doi.org/10.1080/00405000.2012.702882 Published online: 09 Jul 2012. Submit your article to this journal Article views: 1505 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=tjti20 Download by: [193.62.251.59] Date: 23 November 2015, At: 12:01 The Journal of The Textile Institute, 2013 Vol. 104, No. 2, 140–150, http://dx.doi.org/10.1080/00405000.2012.702882 It’s Vintage Darling! An exploration of vintage fashion retailing Julie McColl*, Catherine Canning, Louise McBride, Karina Nobbs and Linda Shearer Department of Fashion, Marketing and Retailing, Glasgow Caledonian University, Glasgow, UK (Received 18 April 2011; final version received 11 June 2012) Purpose: This is an exploratory study which defines vintage fashion, considers the vintage fashion consumer and evaluates the positioning of the vintage retail store from the perspective of the store proprietor/manager. Design/ methodological approach: The research involved 15 in-depth interviews with vintage fashion retailers. Findings:It is proposed that vintage fashion retailers position and differentiate themselves by their uniqueness; a competitive advantage gained through the knowledge and skills of the owner/manager. Research limitations/implications: This is an exploratory study and as such it is limited to the experiences of 15 vintage fashion retailers. It is, however, part of a larger empirical study. Practical implications: The results of this study provide the basis for future research development in terms of the vintage consumer and consumer behaviour. Originality/value: The develop- ment of the vintage concept reveals a paucity of theoretical and empirical research studies. This exploratory research seeks to address this scarcity. Keywords: vintage fashion; vintage consumer; retail positioning Introduction fashion industry (Brace-Govan & Binay, 2010; Jack- One of the most enduring trends of the past decade son & Shaw, 2008; Mintel, 2009a), coupled with a has been the increasing consumer demand for vintage consumer backlash against disposable fashion and a fashion clothing (Beard, 2008). McMeekin (2007) and growing distrust of global brands (Keynote, 2009; Wilson and Thorpe (2000) have identified that vintage Tungate, 2008). The move of vintage from niche sub- fashion has become a multimillion pound industry. culture to mainstream may be evidenced by the Traditionally, second-hand clothing was associated increased vintage offerings by high street, luxury and with students or low-income groups who were unable online retailers and by the plethora of guides on to afford higher-priced mainstream fashion; however, selecting and assembling vintage clothing (Mintel, recently vintage clothing has enjoyed something of a 2008, 2009b; Palmer & Clark, 2005; Tungate, 2008; revival and image makeover (Beard, 2008; Palmer, Woodward, 2009). This apparent increase in vintage Downloaded by [] at 12:01 23 November 2015 2005). The reasons for the rise of the vintage trend offerings has broadened the opportunities for the con- are difficult to define, however, Tolkien (2002) has sumption of vintage clothing. proposed that second-hand clothing stores and markets The term vintage is multi-faceted and leads to have developed to become a desirable source for fash- potential confusion over authenticity in the market ion purchasing. This may be the result of increasing place (DeLong et al., 2005; Palmer & Clark, 2005). societal acceptance of an aesthetic shift, with vintage As such, there is a paucity of literature which clearly fi fashion being intended as a means of self-expression de nes the parameters, characteristics and positioning and differentiation (DeLong, Heinemann, & Reiley, of the vintage fashion retailer. The literature address- 2005; Palmer & Clark, 2005; Tungate, 2008). ing the retail positioning strategy is well established The growth of second-hand clothing can be partly (Cook & Walters, 1991; Gilbert, 2003; Helman & de attributed to the revival of fashion trends from the Chernatony, 1999; Levy & Weitz, 2004; McGoldrick, 1960s, 1970s and more recently, the 1980s (Dyer, 2002; Newman & Patel, 2004; Omar, 1999; Walters, 2006), and a trickling down from the influence of var- 1988; Walters & Hanrahan, 2000; Walters & White, ious celebrities (Odulate, 2008; Palmer & Clark, 1987), however, published research regarding vintage 2005). Additionally, there has been a mounting con- fashion retailing, is rare, and the current market devel- sciousness by consumers of unethical practices in the opments and implications of these for vintage fashion *Corresponding author. Email: [email protected] Copyright Ó 2013 The Textile Institute The Journal of The Textile Institute 141 retailers have not been addressed. This is an explor- description, adding that this group purchase vintage atory study which aims to define the concept of vin- for fun, sociality and display purposes. Hansen (2000) tage fashion and the vintage fashion consumer. It segments the vintage consumers into young profes- considers the positioning strategies of vintage fashion sionals who want high-quality clothes at modest retailers, explores how they differentiate themselves in prices, or young people keen on retro subculture looks the face of increased competition and examines the like punk, rave or mod styles. Additionally Wood- implications of the vintage trend for traditional vintage ward’s (2009) study explored young people’s love of retailers. vintage clothing and identified that the motivation to purchase was differentiation. Furthermore, a significant consumer group has been identified as taste makers: Literature review stylists, designers and image makers who use it as a Definition of vintage source of inspiration and as a reference point (Coul- Defining vintage clothing terminology is problematic son, 2003; Finnigan, 2006; Malem, 2008). The posses- due in part to the lack of consensus regarding the partic- sion, or the wearing, of second-hand items along with ular time periods of “vintage”, “antique” and “retro” high street ones, has become a key marker of fashion- but also due to the variations concerning the constitu- ability, with the emphasis falling upon how the items ents of such clothing items. According to DeLong, are sourced, and not just on the look (Woodward, Heinemann, and Reiley (2005, p. 23) “in clothing, vin- 2009). The uptake of mass market vintage has poten- tage usually involves the recognition of a special type tially diluted the authentic appeal of vintage amongst or model, and knowing and appreciating such specifics “fashion” orientated consumers, i.e. those more inter- as year or period when produced or worn”. Further- ested in aesthetics and individuality, than having a more, they suggest that vintage clothing is concerned reverential concern with the historic and symbolic with a specific time period or setting and is distin- associations of these sometimes rare pieces which the guished from “antique, historical, consignment, re-used vintage connoisseur and retail experts so value (Cata- or second-hand”. Palmer and Clark (2005, p. 175), lani & Chung, 2006; DeLong et al., 2005). define the term more broadly proposing that it is “used to cover a huge spectrum of clothes that are not newly History and key drivers designed”. Tungate (2008, p. 221) offers a more focused definition which highlights the evolution and The mainstream trend towards wearing vintage cloth- complexity of the term, identifying that “any one partic- ing emerged in the 1980s (McRobbie, 1988). Tolkien fi ular item may change through time and usage by the (2002) identi es vintage as emanating from the New fl fashion media, so that second hand becomes known as York social fashion elite who were in uenced by nos- retro then in turn as vintage”. The upsurge in main- talgic images of 1940s couture, then celebrities fuelled stream availability of vintage and the increased online the demand and increased popularity of the trend by provision of vintage clothing has further confused the wearing luxury vintage gowns to major award ceremo- Downloaded by [] at 12:01 23 November 2015 range of vintage definitions (Palmer & Clark, 2005). nies and fashion shows. Others credit Barbra Streisand fi From the consumer perspective, Tungate (2008) recog- as the rst vintage-couture advocate (Milbank, 1989). fl nises that vintage is an intangible concept more associ- This in uenced designers such as Marc Jacobs who in “ ” ated with attitude than style of dress. Similarly, Palmer the 1990s created the nouveau vintage look by rec- (2005) characterises vintage fashion as a symbol of reating old styles (Mintel, 2005). This trend also individuality and originality. A primary aim of this became evident in the UK and Europe with designers research is to define vintage from the perspective of the and celebrities such as Stella McCartney and Kate vintage fashion retailer.
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