It's Vintage Darling!

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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.

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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 development 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]

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. Moss inspiring mainstream adoption of vintage fashion (Kismiric & Raspini, 2004; Phillip, 2005). This aesthetic shift in the 1990s removed the stigma Characteristics of the vintage consumer attached to wearing second-hand items, and allowed Historically, the purchase of second-hand clothing has them to become acceptable sources of fashion, leading attracted negative connotations as a mark of poverty to a differentiation between vintage and used clothing (Horne & Broadbridge, 1995; Veblen, 1899). Tseëlon (Beard, 2008; Gregson, Brooks, & Crewe, 2001; Pal- (1992) identified that this threatened social judgement mer, 2005; Tolkien, 2002). The media have promoted has been ignored by the vintage consumer in their vintage fashion as a means of conveying connoisseur- pursuit of non-conformity to fashion trends. Silverman ship and individuality, and this has recently been fur- (1986) previously identified a growing market for ther extended by the juxtaposition of vintage and vintage goods amongst middle class and youth popu- contemporary items within an outfit (Palmer, 2005; lations. Crewe and Forster (1998) concur with this Tungate, 2008). 142 J. McColl et al.

Jackson and Shaw (2008) have highlighted that a retail support functions such as sourcing, supply chain key driver in the vintage trend is the media focus on management and visual merchandising (Peterson & Bal- unethical practices in the fashion industry. This has asubramanian, 2002). Furthermore, a number of charity created a consumer backlash against disposable fash- stores in the UK have rebranded themselves as “vin- ion and started the “slow fashion” movement, with an tage” to increase their perceived brand value and to dif- emphasis on quality over quantity (Fletcher, 2007). ferentiate themselves from others in the sector (Mintel, Another driver identified by Tungate (2008) is con- 2009a). Mainstream high-street stores such as Topshop sumer defiance of high priced, marketing led, branded and Urban Outfitters have stocked successful vintage products and trends. More recently, the recession has clothing ranges for over five years (Mintel, 2009b). seen “upcycled” fashion garments become a main- Tolkien (2002) identifies the internet as an important stream phenomenon; this is the re-working of old channel in the distribution of vintage clothing, however, clothes into more contemporary, higher value items this phenomenon requires a different research approach (Carter, 2010; Gunn, 2009). The influential “retail and will be addressed in future studies. guru”, author and broadcaster Mary Portas, success- fully developed a media campaign in 2009 called “Living and Giving” which improved the image of Retail positioning charity shops and further increased demand in vintage Porter’s (1980, 1985) positioning theory has remained clothing (Cavandish, 2009). However, a recent study an enduring influence on marketing literature (Aaker & of street style by Woodward (2009) has indicated that Shansby, 1982; Arnott, 1992; Blankson & Kalafatis, the trend for vintage has matured and may now be 2004; Hooley, Greenly, Fahy, & Cadogan, 2001; Hoo- perceived as ordinary or ubiquitous. ley & Saunders, 1993; Kotler & Keller, 2006; Park, For the retailer and consumer alike, the uptake of Jaworski, & MacInnis, 1986), and practice (Dovel, the vintage trend in the “noughties” has resulted in a 1990; Reis & Trout, 1982), as one of the key concepts reduction in the availability of quality stock, and this of core marketing theory (Blankson & Kalafatis, 2004; has affected the market in two ways. Firstly, it means Hooley et al., 2001) fundamental to the success of a that certain items have increased in value and vintage firm’s marketing strategies (Devlin, Ennew, & Mirza, fashion has become an investment opportunity which 1995). The positioning strategy adopted by companies rivals the collection of art (Brannon, 2010; Cassy, is based upon the needs of customers, the actions of 2009; Sherwood, 2004). Agins (2000) identifies this is competitors, and is the means by which the company as a result of the widely broadcast opinion that the can obtain competitive advantage (Arnott, 1994; couture industry is in decline, with prices escalating Brooksbank, 1994; Dibb, 1998; Doyle, 1994; Kalafa- and skilled workmanship growing rarer. Secondly, it tis, Tsogas, & Blankson, 2000). It is generally accepted means that traditional vintage consumers are being that although a number of positioning typologies have forced to search extensively and even globally to been developed within the marketing planning context source the desired article (Wiseman, 2009). (Aaker & Shansby, 1982; Hooley, Broderick, & Möl- Downloaded by [] at 12:01 23 November 2015 In sum, there are three key drivers of the vintage ler, 1998; Wind, 1982), there is a paucity of empirical fashion trend; the first is the trickle down aspect from research which has tested these typologies (Arnott, celebrities and designers, the second is the ethical 1992; Blankson & Kalafatis, 2004). Indeed, Yip dimension and the last is the desire for individuality/ (1997) proposes that a number of the positioning authenticity. Indeed, Palmer (2005, p. 197) concludes approaches, which are proposed within the literature, “vintage has now shifted from subculture to mass cul- are incomplete and therefore can be confusing. Table 1 ture because of the disappointing fact that, regardless offers a summary of positioning typologies. The con- of price, fashion today is rarely exclusive”. structs of these positioning typologies are considered by the authors as the most important means by which the company can achieve differentiation, gain competi- Market structure and vintage retail formats tive advantage and therefore position themselves Mhango and Niehm (2005) propose that vintage cloth- within the market (Blankson & Kalafatis, 2004). ing retailers are concentrated within the small business Although thorough in conceptual terms, Blankson sector, and are typically and independently owned. and Kalafatis (2004) consider the existing studies to be These include second-hand settings such as thrift or very descriptive, difficult to operationalise and based charity shops, estate sales, garage sales, flea markets on limited empirical testing, particularly in terms of and auctions, usually the domain of commercially medi- their representation within consumer markets, their ten- ated lateral recycling (Bardhi & Arnould, 2005; Crewe, dency being to represent the views of management. Gregson, & Brooks, 2003). Nonetheless, vintage cloth- They contend that the literature lacks an empirically ing retailers have now evolved to encompass complex based consumer/customer derived typology, which can The Journal of The Textile Institute 143

Table 1. Summary of positioning typologies.

Author Positioning constructs, i.e. concepts Buskirk (1975) Features, price, advertising, distribution Brown and Sims (1976) Problem solved, usage situation, users, competitors Berry (1982) Value, time efficiency, high contact, sensory Wind (1982) Product features, benefits, problem solutions or need, usage occasions, user, against another product, product class dissociation Aaker and Shansby Attributes, price, quality, use or application, product/service user, product/service (1982) class, competition Crawford (1985) Features, benefits: direct/indirect, surrogates: nonpareil, parentage (brand, company, person), manufacture, target, rank, endorsements, experience, predecessor, competitor Reis and Trout (1982) Market leader, follower, reposition the competition, use the name, line extension (use of house name) Easingwood and Mahajan Reputation/capabilities of organisation: expertise, reliability, innovativeness, (1989) performance, augmentation of product offering: product augmentation, extra service, people advantage, more attractive package offering, a superior product through technology, accessibility, extra attention given to individual requirements through customisation, satisfaction of more user needs within the sector through offering a complete product line Arnott (1992, 1994) Empathy, solvency, promotions, administrative time, helpfulness, reliability, attentiveness, staff competence, flexible products, access to people, reputation, customisation, incentives, social awareness, security, technology Hooley et al. (1998) Low price-high price, premium quality-basic quality, innovation-imitation, superior service-limited service, differentiated benefits-undifferentiated features, tailored offering-standard offering Kalafatis et al. (2000) Pricing, easy to do business, personal contact, product performance, range of offerings, presence, safety, leadership, distinct identity, status, country identity, differentiation, attractiveness

Source: Blankson and Kalafatis (2004).

measure the effectiveness of positioning strategies proposes, are a visible response to the needs and employed. Based upon extensive empirical research, wants of the identiﬁed target market. The primary they propose a positioning typology based on consumer decision areas for retailers in developing their market- perceptions, which they suggest is suited to both prod- ing strategy therefore are those of trading format, mer- uct and service markets and suggest that managers chandise strategy, customer service and customer develop their positioning based upon potential con- communications strategy. These decision areas deﬁne sumer perceptions of prestige, service, reliability, the retailer positioning strategy, and position the retai-

Downloaded by [] at 12:01 23 November 2015 attractiveness, country of origin and brand name. These ler in terms of customer expectations and satisfaction, elements, they propose, are the main differentiating fea- creating a point of differentiation which separates tures within the market and can be effectively retailers from the competition and portrays the retail employed in marketing communication. brand (Bridson & Evans, 2004; Newman & Patel, Within the retailing literature, Cook and Walters 2004). (1991) propose that a company’s market position is its Although developed as a theoretical model, the response to its understanding of the needs, desires and strategic elements of Walters’ (1988) value-added behavioural characteristics of its target customer proﬁle. positioning statement are still acknowledged in the Retail positioning is deﬁned by Wortzel (1987, p. 47) retail marketing literature as the method by which who proposes: retailers should position themselves within the market (Cook & Walters, 1991; Gilbert, 2003; Helman & de For a retailer, strategic positioning involves providing Chernatony, 1999; Levy & Weitz, 2004; McGoldrick, unique value. Strategic positioning involves selecting 2002; Newman & Patel, 2004; Omar, 1999; Walters, and then bringing to bear an integrated set of tools 1988; Walters & Hanrahan, 2000; Walters & White, and communication techniques that identify and explain the store to the customer. 1987). Consequently, it forms the basis of a number of empirical studies on retailer brand positioning (Birt- Walters (1988) proposes a model of positioning wistle, Clarke, & Freathy, 1999; Conant, Smart, & which was developed as a result of extensive empiri- Solano-Mendez, 1993; Corstjens & Doyle, 1989; cal research within the retail industry. The four Davies, 1992; Ellis & Kelly, 1992; Helman & de elements of the positioning strategy in retailing, he Chernatony, 1999; Knee & Walters, 1989; Morschett, 144 J. McColl et al.

Swoboda, & Schramm-Klein, 2006; Newman & Patel, September 2009. A follow-up phone call was made a 2004; Warnaby, 1993; Wortzel, 1987), which stress week later. Retailers (16) responded that they were the potential benefits of developing a clear and distinct willing to participate in the study; however, one positioning statement using the elements of the retail- potential participant remained unavailable. The ing mix. It is therefore considered to be the most suit- remaining nine did not respond. The interviews were able framework for application within this study. It is carried out with owner/managers of vintage retail generally accepted, however, that although a number stores who, it was ensured, had direct experience in of positioning typologies have been developed within the areas of buying and merchandising within the vin- the marketing and retailing planning context (Aaker & tage retail sector. Shansby, 1982; Hooley et al., 1998; Wind, 1982), The interviews were approximately two hours long there is still a lack of empirical research which has and took place within the retail premises. All intervie- tested these typologies (Arnott, 1992; Blankson & wees requested confidentiality. The interviews were Kalafatis, 2004). The literature contends that small taped, transcribed and retained on Microsoft Word. retailers, such as those addressed within this study, Analysis was carried out by only one member of the differ from larger organisations in terms of manage- research team to ensure consistency. The transcripts ment systems and resources, and that planning, control were analysed on a preliminary basis in order to iden- and strategy are driven directly by the personal objec- tify common characteristics and emerging themes and tives and personality of the owner manager (Hutchin- issues. At this stage, a framework for theoretical son & Quinn, 2011; McAuley, 2001; Shuman & development began to emerge and a “cluster” Seeger, 1986). However, within the vintage retail sec- approach was adopted (Guba & Lincoln, 1994). These tor, this proposition has not been tested. This paper clusters were selected on the basis of significance, serves to help address this issue. mutual exclusivity and ability to stand by themselves (Yin, 2003). Yin (2003) proposes that data analysis consists of examining, categorising, tabulating and Methodology testing the evidence to address the initial propositions The vintage retailing literature, is based upon research of the study. The analysis of the interviews was car- carried out within small companies (Bardhi & ried out on an individual basis and then on a cross- Arnould, 2005; Mhango & Niehm, 2005). The deci- interview analysis. As proposed by Patton (2002), the sion to focus on small scale companies is also sup- analysis involves the application of the existing theo- ported by evidence provided in trade reports (Mintel, retical framework, developed from the literature, and 2008, 2009a), that small companies are dominant the subsequent analysis of the interviews to allow for within the vintage retail sector and generally evolve an examination of emerging patterns. from the action of the vintage enthusiast. The compa- The interviewees were asked open-ended questions nies therefore, were all independently owned small- about their definition of the vintage, the vintage cus- scale retail outlets (Mhango & Niehm, 2005). They tomer, and the positioning of the vintage store, accord- Downloaded by [] at 12:01 23 November 2015 also had to have been in business for at least two ing to the theories and concepts developed from the years to ensure high levels of experience in both buy- literature. The results and discussion section is there- ing and merchandising. The participants therefore, had fore divided into three sections. Firstly, the research between two and 23 years experience of running a seeks to define what constitutes vintage fashion and vintage retailing company. Participants were required characterises the vintage fashion movement, secondly, to trade as bricks and mortar companies to ensure con- the research examines the vintage fashion consumer sistency of trading practices. Given these characteris- from the perspective of the store owner/managers, and tics, it was felt that the potential participants would finally it explores the positioning in relation to the provide credible information as to the concept, posi- retail vintage fashion sector. tioning and differentiation of small vintage fashion retailers. No database of vintage fashion retailers was Results available therefore, 39 vintage fashion retailers from fi Scottish towns and cities were identified from the Yel- De ning vintage fashion low Pages, trade journals and company websites. Of When defining the term vintage fashion, three dimen- these, 27 were found to have been in business for sions are apparent. Firstly, the age of the clothing, sec- over two years; however, one was found to sell only ondly the style, that is a piece of clothing which sums on an online basis. The owner managers were aged up the era, and finally it is about the quality of the vin- between 23 and 58 and were therefore not from one tage clothing. There was no unified or clear definition age cohort. A letter was sent to these 26 vintage fash- of vintage with each vintage retailer offering differing ion retailers from the population sample of 39 in opinions and suggestions. For example, to a number of The Journal of The Textile Institute 145

participants “vintage” could be categorised as anything these trends had also reached celebrities and were until the 1950s, with anything that predates 1980 being linked to sub-culture music trends. Young consumers classified as “retro”, and anything before the 1920s were seen to purchase for fun, originality, display and being considered as “antique”. However, the majority in many cases price. Participants, however, stressed stated that fashion which predates the 1990s would be their ability to offer uniqueness which people see as a considered to be vintage, particularly, at this current method of individual self-expression. One proposed: time, garments from the 1980s, a period which has experienced a recent revival in fashion trends. One quo- You always feel quite smug when you say “Oh its tation summed up the general opinion: Vintage” there’s no way the person can go out and copy you. Probably not the 1990s but anything before that, especially the 1980s at the moment. Only the fashion The next most important consumer group identified forward are looking for 1990’s articles. was older customers (aged 30–70) who tended to purchase on price and nostalgia rather than trend. This Participants proposed that items of clothing which segment was likely to have a higher involvement i.e. represented the zeitgeist of a specific era were particu- they invest more time, money and effort on their pur- larly valued by vintage consumers. For example, chase and are generally more concerned about the 1950s prom dresses with Dior’s “New Look” full authenticity of the product. For example, a number of skirt, Twiggy’s 1960s mini dress, 1970s platform participants discussed the importance to the customer shoes and flared trousers and 1980s pedal pushers and of the story behind the garment; what one termed as frilled shirts from the New Romantic movement. “vintage magic”. Consumers were buying “more than Almost all the retailers agreed that vintage fashion a dress”, they were buying a piece of history, and was second hand, however, a small number sold old often enjoyed hearing a story behind an item or “a clothing manufactured in the past which had never treasure”. Additionally, participants highlighted an been worn. One retailer was selling unworn “Brutus” increase in the number of ethical consumers, con- and “Lee” denim jeans from the 1970s which had scious of environmental issues and recycling. Again, been discovered in a warehouse. The most desirable this customer group was diverse in age and nature. pieces were those which had been bought in a past Finally, a small proportion of customers were collec- era but had rarely or never been worn, for example, tors and business customers, for example, television, items which have been kept for special occasions like film and theatre wardrobe designers and stylists for an evening dress, a wedding dress or a formal suit. fashion magazines. All participants agreed that, in order to be in demand, articles have to be of good quality. One participant summed up the general opinion stating: Positioning of the vintage retailer Merchandising strategy

Downloaded by [] at 12:01 23 November 2015 ’ Vintage fashion isn t something that is just old. If a Participants highlighted their concern over the authen- ‘50’s dress is an ugly hideous rag - that is what it is, an ugly hideous rag. Vintage is the very, very best of ticity of vintage fashion. Most considered vintage its type. fashion to be authentic just by its level of originality and in particular they sought garments which had been handmade and were therefore exclusive. Exclusivity is Characterising the vintage consumer of particular importance as it allows premium pricing Participants were asked to define the vintage consumer and provides differentiation for the store. Fashion from their own perspective. Many of their customers brands such as Chanel, Biba and Ossie Clark are were students and what they called fashion conscious becoming rare and difficult to source, and are highly young consumers, with an average age of between 18 sought after. Participants stated that those products and 25, however, all participants discussed the very that are mass produced are less likely to be perceived diverse age of their total customer base. The 18– as authentic and are therefore less desirable. One retai- 25 year-old consumer group they proposed, is most ler stated: likely to be influenced by fashion trends, and it was recognised that the adoption of the vintage trend by Authentic vintage is an original garment and not a this particular segment had fuelled the increased vintage label from a high street store. They are obvi- demand for vintage clothing. This segment of the mar- ously complete one-offs and that in my mind is worth a lot more than some dress that’s been churned out ket was seen to be setting the trend for current trickle by Marks and Spencer. Back in the ‘40s, ‘50s and up fashion looks such as “granny fashion”, the “nerd ‘60s people were making their own clothes, which are look”, and “geek chic”. Participants proposed that highly desirable now. 146 J. McColl et al.

Participants proposed that they were able to deter- Biba, Bus Stop, Mary Quant, Burberry and designer mine an authentic garment through their personal labels such as Dior and Chanel. During the summer, expertise, gained through several years of sourcing and female consumers were looking for summer dresses, buying. Interestingly, many retailers considered them- 1950s style dirndl skirts, mini skirts and more selves to have expert technical knowledge, for example recently in line with changing fashion trends, maxi being able to judge a garment by the stitching (i.e. hand dresses. During the winter, the demand was for sewn rather than machine produced), the fabric quality, heavy outerwear, hats, gloves and scarves. Interest- and the smell. Because of the increasing difﬁculty in ingly, as a result of catwalk trends, there is still sourcing good quality vintage items, some retailers had demand for real fur coats. Participants explained that decided to sell items manufactured more recently but consumers believed that the wearing of old, second- which had an appropriate vintage design. They were hand fur coats was acceptable because these items aware that the authenticity of these garments was ques- were manufactured prior to increased ethical aware- tionable, however, they agreed that there is a market ness of animal rights issues. Glamorous dresses from for this type of “pseudo-vintage” product. any vintage era were always in demand and at Merchandise was procured from a variety of sec- Christmas, customers were looking for appropriate ond-hand sources such as market stalls, both at home party wear. A table of the most popular items is out- and abroad, charity and second-hand clothing stores, lined in Table 2. Selection of these items was based car boot sales, recycling plants or “rag yards”, and on more than half of the sample highlighting these from customers by way of donations. In fact, vintage product categories. retailers will recycle clothing back to recycling plants if Participants highlighted that one of the key chal- they are unable to sell the garments. Merchandise was lenges was the procurement of appropriate, second- both handpicked and bought in bulk particularly when hand stock which is in good condition. Due to the sourcing from recycling plants. Occasionally, retailers popularity of the trend, there is an increasing scarcity were able to source more exclusive merchandise from of stock which is an enduring problem which has personal contacts, for example, a number of partici- heightened competition in the vintage sector. pants had been approached by private individuals who All the vintage retailers prepared garments before wished to know that their vintage clothing would be they were sold by washing or dry cleaning items. enjoyed by enthusiasts or vintage collectors. A particu- Some items required repairs such as zips, sewing on larly interesting and more recent emerging market was buttons and altering hem lines, however, normally eastern Europe which offers opportunities for trade and alterations were minimal so that the authenticity of the sourcing of vintage clothing, perhaps, more unusual garments was not compromised. However, in some than what is available in the UK market. Participants cases, participants created new garments by combining also highlighted France and the USA as fruitful two pieces together. One participant proposed: sources. One stated that the USA was particularly good for 1920s dresses, however, she did not know why this Downloaded by [] at 12:01 23 November 2015 should be the case. One participant observed: Table 2. Most popular vintage items.

I am sure there is a totally untapped market in Russia. Ladies Men I would like to visit there and raid some wardrobes. Russia is so large and many people don’t know the 1950s prom dresses Formal wear value of vintage garments yet. 1960s shift dresses, Evening suits 1970s maxi dresses Suits from the 1950s Participants selected the merchandise according to Evening wear – glamorous and 1960s their personal expertise of the market and their histori- gowns, sequined and Traditional dress (Kilts) cal knowledge of fashion. Sourcing of merchandise embroidered dresses Retro Adidas tracksuit was a very personal issue, they bought according to Real and fake fur coats and tops from the 1970s “gut feel” and intuition. This was highlighted by all jackets Levis jeans and denim participants as their key point of differentiation and Cashmere jumpers and jackets competitive advantage. In many cases they proposed cardigans Cowboy boots that a synergy existed between themselves and their Jewellery and watches Military dress customer in relation to style, therefore, they under- Handbags, scarves and belts Leather briefcases stood their regular customers’ needs and wants and High heels and ﬂat boots for Ties were able to buy accordingly. ladies from the 1960s, Participants were asked to highlight the most 1970s and 1980s sought after items. The most popular brands were The Journal of The Textile Institute 147

We buy dresses that are full length and we cut them on the owner having personal media contacts and tak- to mini dresses. We actually have a tailor next door ing an active approach to publicity. As a result of the who does all that for us. We have bought blazers and high levels of personal service outlined above, posi- put accessories on them to make them look more interesting. tive customer experiences were thought to be essential to word of mouth (WoM) marketing. This type of communication was reported to be very important for Customer service promotion and generating custom. Participants proposed that personal service was very The group was divided in relation to e-marketing. important to the success of their business. Most Around half of the participants did not operate a web- employees were owner/managers, assisted by partners, site, whilst the other half of the sample relied heavily friends or family members who had a vested interest on it for promotional purposes. However, a number of in the success of the business. All stated that they participants interacted with social media platforms (at know a high proportion of their customers very well, differing levels) in order to engage with the vintage will match a garment to a customer and will consider fashion community, raise brand awareness and gener- individual customer tastes and needs when sourcing ate enquires and footfall in store. garments. Some participants would store items in the stock room for particular customers. In addition, cus- Trading format tomers could personally request the sourcing of specific items. The basis of much of the customer service The key features of the vintage fashion trading format for vintage retailers was the building of relationships. were that all the participants in the study were small- Additionally, all had a loyal and regular customer base scale retailers who were independently owned. Most operated out of a single unit which was typically 700– and the nurturing of these relationships allowed retail- 2 ers to offer a personalised service. A number of retail- 1100 ft in size and was located in secondary geo- “ ” ers offered an alteration service for their customers. graphical locations with a neighbourhood feel . The The participants felt that this level of customer service majority of the retailers included in this research “ allowed them to further differentiate themselves from described themselves as traditional bricks and mor- ” their competitors. Most proposed that they themselves tar boutique style shops. Most had their own non- were the differentiation through their choice of mer- transactional website and two of the stores had their chandise, their expert knowledge and their passion for own online stores. The majority of sales was tradi- the vintage concept. One participant stated: tional, meaning in store retailer to consumer business. Interestingly, a few retailers had evolved their stores It’s me. The company is built around my personality, from market stalls and indicated that a proportion of personal style and taste. My customers like that and vintage trade still took place on that basis. they trust my judgement. A core part of the trading format is the store environment and all proprietors explained that the store Downloaded by [] at 12:01 23 November 2015 image was essential to vintage retailing. Many partici- Communications pants stated that the window styling, store layout and The most important methods of communication were product display was important to create “a bygone store image, that is, the window display and the store era” and many described the atmosphere as “quirky” interior. The window display creates interest, curiosity and “individual”. Each store represented the personal- and desire and the originality of the store interior and ity of the owner, with one proprietor explaining that the merchandise communicated a unique brand image. he wanted to “create the right kind of vibe” with In terms of advertising, most participants said that music from a previous era and choosing items care- they did not use print advertising often. This was fully to represent his sense of taste and style. Many expensive and had, in the past, gained them limited displayed “rare and interesting items” that would not success. A few advertised in the Yellow Pages and be sold but were kept for decoration only (for exam- local directories, however, one participant complained ple, old gramophones, a 1970 “chopper” bicycle, mir- that due to a lack of understanding of the vintage con- rors, hats, retro lamps, wallpaper from the 1970s, old cept, her store had been classified as a second-hand pictures and pieces of art and various other pieces of clothes store rather than being given a vintage classifi- memorabilia). The product display varied from store cation. She had therefore withdrawn from the Yellow to store. Most displayed clothing in racks similar to Pages feeling that her brand proposition was not new modern high street retailing and many had bas- appropriately communicated. Local press editorial had kets, tubs and shelves of mixed accessories and jewel- proved for many to be effective in raising the business lery that consumers enjoyed “sifting through” and profile and increasing awareness. However, this relies “hunting for a treasure or a bargain”. 148 J. McColl et al.

Table 3. Vintage retail positioning elements.

Merchandise strategy Customer service Customer communication Trading format Sourcing: personal, Personal, individual, Individual retail brand image, Small scale, independent, diverse, intuitive, expert relationship based, long term, quirky and constantly single site, secondary and historical synergy between business evolving, distinctive store geographical location, multi- knowledge, global owner and customer, environment, window and channel participation, boutique Product: authentic, availability of adjustments and interior displays, retro props, style, unique store image original, exclusive, rare alterations, employee passion localised PR, WoM, growing which represents the brands, pre-owned, for the vintage concept importance of social media personality of the owner handpicked, limited supply of merchandise

Source: Adapted from Walters (1988).

Conclusion tional significance is the personality and “quirkiness” The vintage movement would appear to be an endur- of the store interior and the effectiveness of WoM ing trend, increasing in popularity in recent years, communication. Vintage retailers are often small growing from something of a “fad” into a mainstream scale, owner-managed businesses, and are by virtue fashion phenomenon. This is evidenced by its diverse of this scale, close to the customer and therefore customer base, being as popular with young, fashion able to build individual relationships through mer- fl conscious consumers and maintaining a base of tradi- chandise supply and customer service. The in uence tional vintage customers of a variety of age groups. of the store owner, their style and personality is fl Additionally, the movement has gained pace due to therefore re ected and embedded throughout the more recent concerns over ethical issues such as recy- positioning of the business, offering differentiation cling and sustainability. The vintage consumer can of their individual stores within the marketplace. therefore be characterised not only as young and fash- There remains a gap in the literature in terms of ion conscious, responding to current fashion trends, analysis of the vintage customer. The positioning but also as an older customer with a greater focus on model above could, in future studies, be used to eli- price and nostalgia. An emerging issue for both cit customer response to vintage retailer strategy. groups of customers was their ethical concerns. Future research is necessary, however, to draw further com- parisons between these groups in terms of their pur- References chase, and ethical purchase behaviour. Aaker, D.A., & Shansby, J.G. (1982). Positioning your A key aim of this research was to define the con- product. Business Horizons, 25(3), 56–62. cept of vintage fashion within its current context. Agins, T. (2000). The end of fashion. New York, NY: Harper. fi Arnott, D. (1992). Positioning: Redefining the concept. War- Downloaded by [] at 12:01 23 November 2015 Therefore, vintage fashion can be de ned as: wick Business School Research Papers, No. 8, 24. Arnott, D.C. (1994). Positioning: On defining the concept. Garments and accessories which are more than twenty In Marketing Educators Group (MEG) Conference Pro- years old, which represent a particular fashion era, ceedings (pp. 65–69). Coleraine: University of Ulster. and which are valued for their uniqueness and authen- Bardhi, F., & Arnould, E.J. (2005). Thrift shopping: Com- ticity. bining utilitarian thrift and hedonic treat benefits. Jour- nal of Consumer Behaviour, 4, 223–233. The research also sought to consider the position- Beard, N.D. (2008). The branding of ethical fashion and the consumer: A luxury niche or mass-market reality? Jour- ing strategies of vintage fashion retailers. Table 3 nal of Fashion Theory, 12(4), 447–468. highlights the key areas of positioning within vintage Berry, L.L. (1982). Retail positioning strategies for the retailing. 1980s. Business Horizons, 25(6), 54–60. Retailers of vintage clothing differ from indepen- Birtwistle, G., Clarke, I., & Freathy, P. (1999). Store image dent clothing businesses in their ability to source in the UK fashion sector: Consumer versus retailer perceptions. The International Review of Retail, Distribu- products which are on the whole totally individual. tion and Consumer, Research, 9(1), 1–16. As one store owner explained, You are buying a Blankson, C., & Kalafatis, S.P. (2004). The development piece of history … a treasure. The research there- and validation of a scale measuring consumer/customer- fore revealed that vintage retailers position them- derived generic typology of positioning strategies. Jour- – selves through their unique or distinctive retailing nal of Marketing Management, 20,5 43. fl Brace-Govan, J., & Binay, I. (2010). Consumption of dis- mix. This is most importantly re ected through the posed goods for moral identities: A nexus of organiza- personality and expertise of the owner in relation to tion, place, things and consumers. Journal of Consumer the merchandise and merchandise sourcing. Of addi- Behaviour, 9(1), 61–82. The Journal of The Textile Institute 149

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