Friday 6 March 2015

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About Cheap Vintage Clothing

Source:- Google.com.pk

Elizabeth Cline is a Brooklyn-based writer and activist working on a book about responsible shopping in the age of cheap fashion, when low prices and rapid turnover of styles have ignited out-of-control clothing consumption. The book, called The Good Closet, will be published by Penguin Portfolio in spring 2012. You can follow the project at The Good Closet.
Everywhere American consumers shop — from outlet malls to department store sales racks —  deals flourish. But where can one find the cheapest dress? “Fast fashion” purveyors like Forever 21 and H&M are known for their low prices, high volume, and rapid turnover of styles. It’s amazing to think that a hundred years ago, at the birth of ready-made clothing as we know it, women would drop six hundred dollars for a Parisian knock-off. Today a fashionable dress is cheaper than a bag of dog food. How did we get here?
In the early 1900s, the sewing machine had only been around a half a century and the production quality and fit coming off the assembly lines needed some polishing. Decent menswear could be bought off the rack, and men were slowly warming up to ready-made duds. But for women there was a deep divide between high-end European fashions acquired by the wealthy and the flimsy, flashy, of-the-moment items available to everyone else. According to Jan Whitaker’s book Service and Style, a history of department stores, a ready-made knockoff of a French “lingerie style” dress started at $25 ($621.50 in today’s dollars) at Marshall Field’s in 1902. It was more feasible for the average girl to buy a ready-made women’s suit, which started at $7.95 ($190) or, better yet, the quintessential shirtwaist, which sold for just 39 cents ($9.34) at the turn-of-the-century. The fashion-hound of modest means was better off making her own dresses or ordering them from the local dressmaker.
By the 1950s, quality ready-made fashion was within the reach of the middle-class. America’s garment industry was the envy of the world and womenswear was its number one product. The International Ladies Garment Workers Union had almost 450,000 members and the sweatshops of the industry’s early days had been largely abolished. The 1955 Sears Catalog was a veritable wonderland of nipped-waisted frocks with Dior-inspired voluminous skirts. Style, quality, and affordability had found a meeting point. For a reasonable $8.95 ($72), you could order Sears’ “best acetate and rayon crepe” slim-cut dress in black or navy blue, with a set-on bodice and detachable nylon-organdy collar. The dress came with a rhinestone pin. Women also continued to sew at home, using a myriad of fashionable patterns available in women’s magazines.Fast forward fifty years and the price of mass-market fashion has plummeted, as the garment industry has moved to lower wage countries. We now only make 3% of our apparel in the United States, down from 90% in 1955. The prices of these imports are so low that we have long since abandoned our sewing machines and deserted our dressmakers. Our clothes have also become increasingly casual and simplified, another reason for lower price tags.
As clothes have become cheaper, our clothing consumption has gone through the roof. In 1930, the average American woman owned an average of nine outfits. Today, we each buy more than 60 pieces of new clothing on average per year. Our closets are larger and more stuffed than ever, as we’ve traded quality and style for low prices and trend-chasing. In the face of these irresistible deals, our total spending on clothing has actually increased, from $7.82 billion spent on apparel in 1950 to $375 billion today. And the discounters are reaping the rewards. According to the latest Standard & Poor’s Industry Survey, the average American consumer is primarily looking for value with an impulse-buy standard of quality when they purchase clothing. As a result, H&M, Zara, and Wal-Mart — all discounters who sell low-quality clothing — are now the most powerful clothing brands in America.
Elizabeth Cline’s research on the global impact of fast fashion raises many questions about how to dress ethically (and fashionably) on a budget. In the coming months, we’ll explore the stories behind our clothes — who makes them, where they come from and why it matters. However, the question remains: Just what does your closet look like? Do you feel conflicted about purchasing fast fashion? Are you willing to spend big bucks on an investment piece? And how does one achieve a “good closet”?
Elizabeth Cline is a Brooklyn-based writer working on a book about responsible shopping in the age of cheap fashion, when low prices and rapid turnover of styles have ignited out-of-control clothing consumption. The book, called Overdressed: The Shockingly High Cost of Cheap Fashion, will be published by Penguin Portfolio in June 2012. You can follow

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Thursday 5 March 2015

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About Vintage Clothing Uk

Source:- Google.com.pk

Incredibly, 2010 marked the fifth decade in which the U.K.Subs had continually graced the Punk Rock scene. Inspired by the Damned at the birth of British Punk, the now equally legendary Charlie Harper formed the Subs out of his then R&B outfit The Marauders, late in 1976.
Starting out as The Subversives, the name was shortened to The Subs and then changed to U.K.Subs, with the prefix taken from the first Sex Pistols single Anarchy In The U.K.
October 1977 saw Charlie joined by Nicky Garratt on guitar, and it was the Harper/Garratt song writing partnership that would go on to collaborate on what is recognised as the band's most revered work. Through 1977 and 1978 the band played shows all over London including the infamous Roxy punk club, building up a fiercely loyal and sizeable following. Their first ‘recorded’ output was on the Farewell To The Roxy LP.
This bought them to the attention of John Peel who was obviously impressed enough to offer to finance their first single. However, City Records ended up releasing their first brilliant single, C.I.D, in September 1978. It became a huge indie number 1 hit. In 1979, they signed to Gem Records via RCA and surprised everyone by becoming one of the most consistently and visibly successful punk bands, with seven consecutive UK Top 30 hits between 1979-81 (Stranglehold, Tomorrows Girls, She's Not There, Warhead, Teenage, Party In Paris and Keep On Running). They also scored two UK top ten albums (Brand New Age and Crash Course), establishing themselves throughout the world with a heavy touring schedule that still continues to this day.
Led by the indefatigable Charlie Harper (now venerated as the godfather of UK punk) the band has continued and thrived, through various line-ups and record companies. 2010 saw the band record their stunning ‘Work In Progress’ album, as they neared their quest to be the first band to release their official albums alphabetically A to Z!
Touring worldwide for 35 plus years, they maintain and pioneer the true spirit of punk rock, without the compromise and watering-down that has affected so many of their contemporaries. There has never been any division of fan and band with the Subs, and Charlie’s unrelenting love of his audience and music shines through. This is something that galvanized listeners of Steve Lamacq’s BBC 6music show to hoist the band high as the most respected of Punk ‘icons’, to win the 2010 Punk World Cu
2013 saw the eagerly anticipated new double album XXIV released on Captain Oi! Records to a crescendo of critical acclaim. The touring regime has continued apace this year with dates worldwide as the band continues to entertain and amaze with their powerful live shows.
Like a vintage wine – the U.K.Subs just get better and better.
Bio by Mark Chadderton

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About Vintage Clothes Online 

Source:- Google.com.pk

"The first thing I ever sold online was stolen," admits Sophia Amoruso, who in seven years went from having a string of dead-end jobs to being CEO of Nasty Gal, the online clothing retailer with an impossibly cool rep and $100 million–plus in revenue.
In 2006, while working the security desk at an art school, Amoruso opened an eBay store to sell vintage clothes, after noticing that similar stores were friending girls like her on Myspace. Directionless as she was at the time, she had an eye for style, photography, and thrift stores, and knew she could make cast-off pieces look irresistible by using her cute friends as models. The brand she built, named Nasty Gal after funk singer Betty Davis's 1975 album, earned such a following that it spun off to its own site and, in 2012, attracted nearly $50 million in backing from Index Ventures. In addition to vintage, Nasty Gal now sells daring designer pieces as well as its own exclusive line.Without a college degree or prior business experience, Amoruso, 29, made Nasty Gal profitable from day one because she had the instincts, discipline, and confidence to focus on the successful and ditch what didn't work. She has now collected those lessons in #GIRLBOSS, forthcoming from Portfolio/Putnam May 6, a book detailing the good (and terrible) choices that got her where she is today. The book is aimed at the young women who buy her clothes, and, despite the title, is much less about running a company than about taking charge of your own life.was never trained. I never thought, "Oh, here's the big opportunity!" Now I'm in a place where I have that big opportunity, but only because I've built this thing from small pockets of opportunity that I followed. It was very iterative, I guess. If one thing worked, I did more of it. If it didn't work, I didn't beat my head against the wall to make something happen. It all centered around what my customers were responding to.Would I have ever started a website selling vintage clothing and just hoped people would show up at my URL? No. EBay gave me the framework to discover I was an e-commerce entrepreneur. I touched everything, from shipping to logistics. E-commerce means that anyone can have an online store, but it's become a much more crowded space. Being as early as I was is a big advantage. Lots of people are going to sell clothes online. But not a lot of people have built a brand, a living, breathing brand that people feel like they're part of.You write about the grueling process of digging through old vintage clothing when you were starting out. How did you have the patience for that? And how did you know when you found the right thing?
It was fun for me. It was like finding a penny on the street. At a certain point, I could hold something up on a hanger and know exactly how it would look on a girl, how I could style it, and how it related to what's going on in fashion today. It became a treasure hunt.
And for me, it was finding my future. Being able to turn something that has no inherent value, like a vintage blouse, into something that some girl feels is total gold—and is willing to pay the price of gold for—just felt really great.
Nothing will teach you more about perceived value than taking something with literally no value and selling it in the auction format. It teaches you the beauty and power of presentation, and how you can make magic out of nothing.It gets harder less because of the way my life is changing than due to the fact that I'm not managing all the social media. I'm not on the phone or in the email inbox all the time, which is where I learned the most.
We have a really talented team of buyers. My first employee, Christina, is now the buying director. She's been with me for five and a half years. One of my best friends is running social media. That's the kind of team that keeps Nasty Gal relevant. And aesthetically and culturally, I feel like I'll never lose that youthful spirit.
Let's talk about the book. Who's it for?
I have something like 70,000 Instagram followers beating down my door every day for a job, like, "Oh, my God, I wanna model for you, I wanna intern for you." They say, "Oh, my god, you had shitty jobs too. That makes me hopeful." Or I meet women at conferences who tell me, "I have a 20-year-old daughter who's totally flailing, but you give me hope for my child."I'm sure when you're a parent, you don't think, "Oh, my child just needs to go through this phase where they scare the shit out of me." But that's what made me capable of taking on what I did at 22. I tried so many things that didn't work, and I put my mom through total hell. But most writers don't really talk about that. No one who's talking to women and girls has a story that's as approachable as mine.
As Nasty Gal grows, I want to reinforce what's at the core of our success and tell my story on my own terms, to come out and say, "Hey, the first thing I ever sold online was stolen." I'm not glamorizing that lifestyle, but you know: Don't make my mistakes, or go make your own mistakes—it's okay.
Look, I was dumb. Half the people in this office wouldn't have taken me seriously seven years ago. To my surprise and everyone else's, I've come out the other side more self-aware, self-critical, and able to appreciate what I have.Someone tweeted me today that they were put off by #GIRLBOSS because women should be called women. I just thought, 'You don't get it. Broad Boss? Do you prefer Matron Boss?' That's what I tweeted back.
My story of female empowerment, if you can call it that, comes from rejecting everything that the feminist who works at the bookstore on Portlandia would believe in. That's like living less of a life. I think it's more of a challenge to wear a skirt and makeup and be a wife and be a mom and have a job and feel sexy, while also keeping your boyfriend in check and making sure you don't get treated like shit in the workplace. There's a difference between making compromises and being compromised, which a lot of women do let happen.
The title itself comes from this unknown Japanese film from the '70s called Girl Boss Guerilla. It's about these ransom-gathering Japanese girls who ride motorcycles, look amazing, and fight in puddles. It's really campy, cool, glamorous, and totally lowbrow. The genre's called Pinky Violence. There are these DVD box sets, the Pinky Violence collections. They're all female revenge. I just love revenge films for some reason.

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About Vintage Clothing Stores

Source:- Google.com.pk

clothing. Clothing from the 1920s through the 1980s is considered vintage. Retro, which is a short term for retrospective, or "vintage style" refers to clothing that imitates the original style of a previous era. Retro clothing is a reproduction, or a copy of clothing, which is a newly-made but a very accurate reproduction of an older garment. Clothing produced recently is called modern or contemporary fashion. Opinions may differ on these stated definitions. 
Most vintage clothing has been previously worn, but a small percentage of pieces have not, and they are usually difficult to find. These are often old warehouse stock, and more valuable than those that have been actually worn, especially if they have their original price tags, which are known as deadstock. At times deadstock may have some flaws, which you will find when inspecting the garment. 
Although there has always been some demand for old or second hand clothing, the awareness, demand and strong acceptance of vintage styles has increased dramatically since the early 1990s.
This increase in interest is due in part to increased visibility, as vintage clothing was vigorously worn by top celebrities and models. Well known celebrities who have modeled vintage styles include: Julia Roberts, Renée Zellweger, Chloe Sevigny, Tatiana Sorokko, Kate Moss, and Dita von Teese.
There has also been an increasing interest in environmental sustainability expressing itself in terms of recycling, reusing or repairing rather than simply throwing old garments away. 
A resurgence of historically based sub-cultural groups, which include rockabilly and swing dancing has played an important part in the increased interest in vintage styles.
At times, the cycle of fashion design returns to history for inspiration, and garments closely resembling original vintage (retro or antique) clothing are made. A very good example of this is the simple slip dresses that became popular in the early 1990s and were based on undergarments, which were called slips in the 1930s. These styles are generally referred to as "vintage style", "vintage inspired" or "vintage reproductions" depending on the faithfulness to the original historical design. These garments serve as a nice alternative to those who admire an old style but prefer a modern-day interpretation. Another advantage for reproduced clothing is unlike the original garments, they are usually available in a variety of sizes, colors or fabrics. 
Acquisition of Vintage Clothes
Popular places to buy vintage clothing include: commercial vintage shops, charity-run second hand clothing stores, garage sales, car boot sales, flea markets, antique markets, estate sales, auctions and vintage fashion fairs. One of the most popular websites, which was established specifically to cater to the current demand for vintage clothing is www.shopvintagefairemall.com . The city of Long Beach has a vintage fair on June 17, 2012, which is becoming very popular. Vintage clothing may be obtained from older friends or relatives, because many people store their garments for long periods of time.
The advent of the internet has been a shot in the arm to the vintage clothing industry, as it has been for all vintage collectors. The Internet has increased the availability of specific and hard-to-find items and opened up prospective markets for sellers all over the world. Popular places to acquire garments include online vintage shops, auctions including eBay, multi-vendor sites such as Etsy painterest and online vintage clothing forums. A vintage collector may turn to a custom dressmaker, who will use sewing patterns and/or fabrics from a past era to recreate a historically accurate look.
Vintage garments created by the following designers are particularly sought after - especially when they are a close representative of the designer or the era: Coco Chanel, Paul Poiret, Mariano Fortuny, Elsa Schiaparelli, Jeanne Paquin, Madeleine Vionnet, Jeanne Lanvin, Christian Dior, Hubert de Givenchy, Claire McCardell, Cristobal Balenciaga, Emilio Pucci, Yves Saint-Laurent, Ossie Clark, Biba, Mary Quant, Pierre Cardin, Halston, Giorgio Armani, Zandra Rhodes, Vivienne Westwood, Thierry Mugler, Gianni Versace, and Jean Paul Gaultier.
An important contributing factor to the value of an item of vintage clothing can be found in its context. Vintage clothing collectors, similar to other collectors of history value and record the historical background of an item valuing the garment by who wore it and to what occasion.
Due to increased demand, pre-1960s garments in good condition are becoming very valuable and difficult to find. Clothing from recent decades is easier to locate, identify, restore and conserve.
Factors you should consider includes sizing, condition, manufacturer or vender. Sizing is important because the systems used to size garments in the middle of the twentieth century differ from today. Condition of the garment is important, especially how an original owner took care of the item.
Please contact My baby Jo to buy or discuss vintage clothing.

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