Retailers such as Selfridges, TopShop, and Jigsaw in London, A.P.C. in France, and Barneys and Henri Bendel in New York have all picked up on the trend, incor- porating vintage offers or vintage-inspired collections into their ranges. Wearing vintage has become a distinguish- ing marker of cultural and economic capital it’s unique, it’s expensive, and so onthat privileges the individual. More than money, it is free time that is required to in- vest in the laborious process of seeking, finding, repair- ing, and selling old clothing. In the latter half of the twentieth century and beyond, that free time was avail- able predominantly to those who were wealthy or who were engaged in work that was flexiblprincipally, therefore, creative. Because the vintage garment is unique, it also suggests that the wearer is individual, separate from the increasingly and obviously shallow process of fashion. Interestingly, many Hollywood celebrities have em- braced vintage principally because it is outside fashion suggestive either of anticonsumerist philosophy or of individual choice. Actresses allied with independent cin- ema such as Chloë Sevigny appear to have adopted the “trash” aesthetic to distinguish themselves from main- stream fashion. Sevigny’s protégé designers Imitation of Christ are proponents of an anticorporate philosophy not dissimilar to Westwood’s in the early 1970s. On the other hand, Nicole Kidman, one of the most prominent wear- ers of vintage in contemporary Hollywood, tends to pur- chase from retailers who position their stock as antique—timeless and culturally valuable—highlighting her sense of personal, individual style, which is suppos- edly sincere, authentic, and equally as timeless as the clothing she prefers.. . . . . . . . . . . . . . . . . . .
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