Vintage Fashion: Unzipping The Mystery

At surface level, the obsession with vintage clothing among young people may be baffling. In an age when newer is better in most industries, that many people are choosing to wear blatantly outdated apparel seems counterintuitive. From Etsy to eBay to the fast-growing vintage retailer, Nastygal, it’s hard not to notice that older styles have made monumental comebacks in recent years. The wave of vintage-wearers over the past two decades proves that fashion isn’t like technology, transportation and pharmaceuticals in that newer isn’t necessarily more desirableBritish philosopher Francis Bacon said, “Fashion is the only attempt to realize art in living forms and social intercourse”. This living form of art holds power – power to control a part of one’s image. A person can play a role, embody a story, or represent an era based on what he or she chooses to wear.

If you’re not a vintage-wearer, you may be wondering why everyone wouldn’t want to present him or her self as a modish work of living art by choosing to dress in the smartest, most chic outfits. While not everyone appreciates the vintage trend, it’s useful to understand some of the inspirations behind it. Before you label the next girl you see sporting an embroidered chiffon dress as a hipster or poser, consider the historical implications that the outfit holds.

Vintage, not to be confused with grunge (oversized sweaters and flannel shirts) brings us back a few decades further. The term vintage usually refers to garments from or inspired by the 1920s, although people do use it to describe anything old — up through the 1980s. Grunge refers to 90s trends, but there are commonalities between vintage and grunge. Both styles can be found at secondhand shops, the grunge at more economical prices, for obvious reasons. There is also something to be said about nostalgia, as wearing clothes from another period can be a sort of escape from contemporary stresses for twenty-first century Americans. But herein lays a major difference between the two: Most grunge-wearers can at least remember running around a playground in the 1990s, but most vintage-wearers didn’t live through the 1920s. One is a matter of celebrating one’s younger years, and the other celebrating points of historical pride.

That vintage style begins with, and keeps 1920s fashions at its core is no coincidence. In many respects, 1920s American society represents the good old days of prosperity and fun to the average Joe (or Joanna) in 2012. Of course, the twenties weren’t flawless, but they were a relatively peaceful period between two storms. It was a decade of indulgence, rapid economic growth and change. The First World War was finally over. Cinema became an instant obsession for Americans because films suddenly had sound. Automobile ownership became more affordable and accessible, connecting people despite geographical distances. Urban environments flourished as the Modernist movement took shape. Artists and musicians began to blossom in new ways, surrounded by the cultural excitement of the Harlem Renaissance.

Perhaps most relevant to the topic of vintage clothing, women gained new rights and roles in society. Their new abilities to vote, work outside of the home and pursue life as more than just housewives, makes the 1920s a revolutionary decade for American females. Flappers and their followers seized and celebrated these freedoms by dressing differently, in what was considered to be rebellious attire. Women embraced head wreaths, cloche hats and bobbed cuts instead of traditionally acceptable hairstyles. Bold women wore whatever they wanted to – from garters with silk stockings to above-the-knee skirts and dresses, cigarettes in hands.

In the context of America today, this period is not an irrelevant or forgotten one; in many respects, it’s the beginning of contemporary society. Coco Chanel, the queen of 1920s fashion, was also a goldmine of inspirational lifestyle quotes. She encouraged females to pursue freedoms – from choosing how they dressed to where they worked, serving as a living example of the success a go-getter attitude can bring. “The most courageous act is still to think for yourself. Aloud,” she said. How better to keep this spirit alive and this decade relevant than through the living art of fashion – a tasteful and graceful way to do so.

Fashion label uses real people for models in photo shoot

As she sat in the makeup chair, dressed in a plush terrycloth robe while two women did her nails and another did her makeup, Tziporah Salamon knew the day she had longed for had finally arrived.The 62-year-old New Yorker has a long resume of disparate jobs: schoolteacher, performer, hostess and shop girl, to name a few. But in April, she finally added model for a high-fashion house to the list."I felt like such a princess, a queen for a day," Salamon said. "I was as high as a kite."For many, the life of a model is the stuff of dreams, an aspiration so far out of reach that we would never dare utter it to friends. But some fashion labels are putting the focus on women (and men) who aren't typical calendar girls. Salamon is one of 11 "real people" selected to appear in French designer Lanvin's winter ad campaign, which is generating buzz for using people of all sizes, colors and ages to create intimate images that resemble portraits.

It's about bringing a sense of reality to fashion to show that the lofty world of high style is not as unattainable as it seems, said Alber Elbaz, creative director of Lanvin."Fashion doesn't look good only on models, it can look good on different people of different ages and different body shapes," he said. "We didn't think there would be such a big talk because we just did it and we thought let's try to work with real people. Let's do street casting, let's work with different men and women of different ages and see what comes out of it."None of them fit the typical model mold because they aren't professional models. Casting agent Zan Ludlum found Salamon and 82-year-old Jacquie "Tajah" Murdock through the popular street style blog Advanced Style, which documents men and women of a certain age. Others came from street scouting, including one of the older male models, who was spotted walking out of a basement bar in New York's East Village, said Ludlum, whose agency scouted the models.

While the Lanvin models are not professionals, they possess a certain mystique."It's beyond visual. Sure, they might have great eyes or features but it's more about their presence, their ownership of their own individuality," Ludlum said. "You might see someone who has style, but if you strip away everything, are they still powerful? Because we are taking them out of who they are and putting them in new clothes. Are they interesting beyond what they're wearing?"Of course, pounding the pavement in search of raw talent is nothing new. But it's becoming increasingly common as fashion and style slowly embrace different ideals of beauty. Earlier this month, American Apparel revealed that the new face of its ad campaign would be 60-year-old Jacky O'Shaughnessy, who was spotted in a New York restaurant. In swimwear, Spanish designer Dolores Cortés chose an infant with Down syndrome to be the face of the brand's 2013 DC Kids ads.

It would have been easy to create a beautiful photo with a beautiful model, said Elbaz, especially working with photographer Steven Meisel and some of the top names in hair and makeup. But, at this level, it's important to think outside the box and move forward with each campaign, he said."I'm always looking for a story," said Elbaz, whose career includes stints with Geoffrey Beene, Guy Laroche and Yves Saint Laurent. "In high fashion we're always accused of doing things that are not very relevant, not the real world. I know that it's important sometimes to do fantasy but I felt like touching people and going back to different women and men, especially the idea of different ages and body shapes."It's a timely message, he said, in an era of cultural bias toward youth-oriented ideals of beauty."The phenomenon I see today of women erasing their age -- nobody is allowed to have an age anymore, nobody is allowed to have wrinkles or imperfections," he said. "I thought, let's change that, let's show that fashion can be amazing on 81-year-olds and 17-year-olds, on Tziporah, who is not [European] size 36, and she looks gorgeous."

While apparel and lifestyle brands have long been using "real people" to draw new audiences and generate buzz, it's rare for a high-fashion house such as Lanvin to take this approach, said Sarah Collins, associate chair of fashion at the Savannah College of Art and Design. But it's happening more often, in ads and on the covers of fashion magazines, she said, as part of the effort to democratize fashion."The effect on viewers is that it's easier for them to pictures themselves in the clothes and identify with the clothing line," she said. "Not only is it about democracy of fashion but it creates a buzz. How do you stand out as a fashion ad campaign? By using people off the street it does generate buzz."

PEI Licensing Inc.Agreement with Bespoke Fashion LLC for Men’s Neckwear

PEI Licensing, Inc. a wholly owned subsidiary of Perry Ellis International (PERY) announced today that it has entered into a license agreement with Bespoke Fashion LLC, to design, manufacture and distribute men’s neckwear under the Perry Ellis, Original Penguin, John Henry and Axist brand names. President and COO of Perry Ellis International Oscar Feldenkreis commented, “We are extremely pleased to once again have the opportunity to work with Danielle Mandelbaum, CEO of Bespoke Fashion, a former licensing partner with Superba and expert in the men’s neckwear industry.”

Under the agreement, Bespoke will distribute product to each of the brands’ current retail customers beginning January 2013. “We are thrilled to partner with Perry Ellis International to create beautiful, quality neckwear for a multitude of its industry-leading brands. It is an exciting time at PEI and we are so grateful to be a part of it,” commented Danielle Mandelbaum CEO of Bespoke Fashion, LLC. A top-level team has been assembled by Ms. Mandelbaum who will partner with the Perry Ellis International design staff and assist in defining each brand’s aesthetic with fresh and relevant designs. Both companies are excited about the creative collaboration and look forward to the launch of these new neckwear lines.

Perry Ellis International, Inc. is a leading designer, distributor and licensor of a broad line of high quality men's and women's apparel, accessories and fragrances, as well as select children's apparel. The Company's collection of dress and casual shirts, golf sportswear, sweaters, dress pants, casual pants and shorts, jeans wear, active wear, dresses and men's and women's swimwear is available through all major levels of retail distribution. Bespoke is a boutique accessories company led by industry veterans. It is dedicated to creating products of the highest quality by partnering with the finest fabric producers in Italy and England. In addition to producing accessories via third party licenses, Bespoke also works with companies such as Saks Fifth Avenue and Macy’s to create their private label accessories.

Selling jewelry, helping orphans

Haven’t heard of it? That’s probably because the original store was tucked away on the 3rd floor of the Ballard Building above Starbucks, where, unless called upon or through word of mouth, almost no one wanders.The owner of Baraka, Jamie Jockwig, said he is excited to be at his new place, which is located at 1521 NW 54th St, Studio 103. It faces out onto the street, and already in the first week, he said he feels like he got more referrals than he has in the past 4-5 months at his old location.Baraka offers a variety of jewelry and services. Handcrafted, traditional, bridal and engagement, custom and repair. “There’s nothing we can’t do in fine jewelry,” Jockwig said. He added that he thinks not a single customer that came into his old location had a problem or request that he could not help with.

But Baraka is more than just any jewelry store. It’s a business created from a desire to help orphans in Africa.“Some companies give money to causes that they believe in as something they do,” Jockwig said. “Caring for orphans is who we are. It’s not something we do, it’s why we exist.”10 percent of all profits go towards orphans in East Africa, helping provide shelter, food, clothes, school, and whatever necessities children need to survive.Before Jockwig decided to start selling jewelry, he was an educator and counselor who found himself working in Africa on AIDs issues. Something he noticed was the great number of orphans, caused by the AIDs epidemic and other widespread diseases.

He went to Africa four separate times, he said, with the last three times being spent primarily at the orphanage in East Africa. There Jockwig met people and kids who were “not only struggling to survive, but striving to live,” he said.“People who are highly intelligent, very capable, very passionate, very hard working and industrious,” he said. “I saw a lot of that in the kids.”In the end, it was the children who inspired him to do something. He said without them, Baraka Gemstones and Jewelry would not exist.“I have always cared for kids who have not had a lot of family support who don’t deserve to be abandoned.”When asked if any particular child struck him, Jockwig nodded and said yes.

He went into a backroom and brought back a large picture of a forlorn girl he met at the orphanage named Joyce. She always stayed off to the side, never interacting with other children, he said. Leaders at the orphanage said they did not know what happened in her life, only that it was something very bad.“The look on her face was always one bent towards emptiness,” he said. “The look on her face was always … hopeless. Fearful. Suspicious. Hurting.”In the picture, Joyce wore clothes far too heavy for the 90-100 degree weather of East Africa. Three layers, with one being a wool jacket, and on her head a wool cap.“She was constantly cold, feeling very sick,” Jockwig said. “And I thought, who’s going to do something?”

Another picture that sits framed upon his desk showed a happier moment, of Jockwig smiling and playing with a group of kids.He did not know right away how he would help Joyce or the other orphans, though.When he took back some Tanzanite stones he bought from local artists, he found that they appraised well. It was then that he had the idea to start a business selling the stones in America and sending profits back to East Africa. The money was meant not simply to provide a quick fix, he said, but to help the orphanages to become self-sustaining.The business started in 2009, and at the time only featured the original colored stones. But it has since expanded into a full jewelry store.Even entering the store is an entirely different experience from any other jewelry store. On the storefront windows, guests will see the words stretching across, “Precious Metals,” “Precious People” and “Precious Jewelry.”

Inside, it almost looks more like a home rather than a store or an office. Jockwig called it a studio, meant to provide a softer experience for guests.Jockwig sits at his desk situated near the front door, where he almost immediately offers customers a beverage. Behind him is a living room setup with comfortable chairs and couches where customers can sit and scroll through jewelry on an iPad hooked up to a big screen TV. On the walls hang large photographs of children he has met in Africa. Soft music plays in the background. Louis Armstrong could be heard softly singing and trumpeting, crooning would-be customers.On his desk is a letter from Jane Goodall, the famous anthropologist and chimpanzee expert, that starts out, “I was so delighted to receive the jewelry and learn about the good things you are doing to help orphans.”

Eventually, Jockwig hopes to do more with his business. He wants to get to a point where he can send as much as 50 percent of all profits back to East Africa, but, he admitted, that may be a long way away.He is also thinking of starting a touring company called “Baraka Tours.” Tourists would volunteer at an orphanage part of the time, and the other part of the time would be doing more touristy things, like chasing cheetahs in a safari jeep, he said. He would have a tour every six months with eight people, he said.Whatever happens, Jockwig appears to be in it for the long run. He said that he had a moment where he thought if he would continue the business. But with the new studio, he has forged ahead, and has not looked back.After the first day of being in the new studio, Jockwig wrote on Facebook:

Fashion show features cultural dress

The Multicultural Fashion Show: In the Footsteps of the Sun" was held Saturday night at 7 p.m. in the Martha Street Culp Auditorium. The theme, "Rising in the East, Setting in the West," set the stage for a cultural show.
"This is a very diverse university and we are in Appalachia; sometimes we get homesick," said participant and emcee Conrad Cason Jr. "Representing our countries is very important."

With the auditorium dressed in colorful tapestries, ETSU students and members of the community brought forth an elegant display of the culture of 18 countries. The bulletin read, " A melting pot right here at home ..."Many of the participants have origins in the countries they personified. Many have lived, taught or plan to move to the specific destinations. Starting with East Asia and slowly moving into the Americas, participants began their journey.
Hitomi Kinuhata, Yumiko Owens, April Meredith, Tori Wedgeworth, David Meredith and Jymmi Davis represented Japan's diverse culture with common clothing.Cason represented the Philippines. Laura Byler and Oanh Le, wearing authentic dresses, represented China. Peter Vu, who represented the Vietnamese, wore a dark blue outfit usually reserved for specific ceremonies. Chau Nguyen, Le and Vy Nguyen also represented the Vietnamese.

Sanjay Bakshi, Bhavika Govan, Gaurav Bharti and Angela Bryant represented the fashion of India, while Neem Bhatt and Silaja Cheruvu both performed an Indian dance. Vu and Edward Talyshinskiy represented Pakistan.
The Mediterranean and Arabic cultures were illustrated by a dance performance done by Starla Kisser and Savita Fanta. Nadia Fanta, who wore a red dress and also performed a dance on stage, personified Spain.
Jarrett Bush, Nii Amartei Adjaidoo, Kaylin Chesney and Sequoia Humphreys represented the country of Ghana. Each wore hand-tailored, custom-made shirts.
Huda Hussain and Crystal Stidham to symbolize Ethiopia wore traditional dresses. Abi Feleke and Katrina Moulden also represented Ethiopia with formal outfits usually worn to weddings and special occasions.
Devin Logan, Felicia Eberhart, Ivorie Glass and Ashley Martin exhibited traditional outfits worn in Kenya. Edward Mikes, Voinyee Weatus and Karri Reeder symbolized Liberia. Reeder, Moulden and Chesney also performed an African dance.
Logan, Quintana Hughley, and Reeder wore colorful Nigerian embroidered dresses.
Scotland was also displayed with a dress worn by Lyndall Huffman. Sarah Randolph represented Venezuela by performing a dance while wearing a sleeveless white blouse and a blue skirt.
Omar Rosfro and Jessica Seagroves performed a "dance extravaganza" to shed light on Mexican culture. The ETSU bluegrass band performed "Cowboy's Sweetheart" with Kristen Whitt representing the United States. Tamara Lansden also performed a song that represented some of the hardest times for Americans.

"Love in Any Language," a song performed by Randolph and an ensemble, demonstrated the diverse cultures that are in the surrounding region and on campus and closed the program.
The office of Multicultural Affairs, International Students Organization and the Black Affairs Association sponsored the show.

Scissor Sister's Ana Matronic

Scissor Sisters have developed a reputation for producing highly entertaining live shows—but what you may not know about the New York five-piece band is just how much works goes into the process. "I do my own hair and makeup on tour, so I have to run errands, make lists, check them twice, and make sure I don't leave anything at home," singer Ana Matronic says of the preparations leading up to going on tour. Considering how polished the glam-pop group looks, night after night, it's no surprise that, as the style-savvy redhead notes, "Packing for a tour takes about two days of prep and up to three hours to get everything in the bag!" Having just finished up a cross-country national tour in support of their fourth album, Magic Hour, Matronic gave ELLE the inside scoop on how to travel smart (hint: pack lots of silk and bring a pillow), plus she showed off her custom-designed dress.

I brought this outfit on tour because: Karen designed three dresses for me for our U.S. tour—this is my favorite of the three, and one of my favorite onstage outfits of all time. United Nude makes my favorite shoes in the world, and the Eamz shoe is my go-to for stage. The shoes are surprisingly comfortable to perform in and look amazing onstage.My personal style is: A combination of modern and classic, naughty and nice, and Hollywood starlet and animated cartoon villain. This [look] is the perfect expression of all three of those concepts.If this outfit were one of my songs, it would be: "Filthy/Gorgeous," as it's a great combination of classic tailoring with peek-a-boo provocation.


I usually pack: Three [outfits], depending on the size of the tour and if there are any costume changes. Everything I wear onstage is designed and styled in accordance with the boys so we have a cohesive onstage look.I always bring: My pillow from home. That way, no matter where I am in the world, I always wake up with a little piece of home supporting me.You’d never catch me onstage wearing: White linen trousers. That includes offstage as well.Before a show I do: Hair and makeup, hair and makeup, hair and makeup. I like to take about two-and-a-half to three hours before the show to get ready, just so there's no rushing. It also gives me time to think about the show and what I'm going to say to the crowd.

My pre-tour shopping spot is: United Nude on Bond Street for shoes, and my dear friend H. Fredriksson's studio for promo clothes. Her line can be found at International Playground on Stanton Street in NYC—it [has] beautifully designed and executed pieces that feel and look great to wear. Pretty much everything is made out of silk, as well, so you can fit a lot in a little bag. The best on-the-road purchase I ever made was: My "frog wizard" coat by Hiro, which I bought at Loveless in Tokyo. It's this incredible oversize sweatshirt coat with a huge, wizard-y hood that is covered in hand-drawings of frogs and gems. It's the best coat for a plane ride, as it's a big, roomy blanket that you can wear, and when you flip the hood up the entire world disappears.

My favorite thing to have happened on this tour is: I had an incredible interaction with a fan, who told me that I gave her strength in her personal life and inspired her to make music. It sounds trite when I write it, but the experience had me in tears for a couple hours afterward. To inspire others is, hands down, the best part of doing what I do.

on the world of fast fashion

"Fast fashion", so-called because of its lightning fast product cycles and inexpensive clothing (sort of like the fast food of the clothing industry), has been arguably the single most influential movement in fashion of the past decade.At this very moment in Australia, teen fashionistas salivate over the possible arrival of fast fashion retailers like Uniqlo, Forever 21 and H&M, to join Zara in overthrowing the Australian fashion retail establishment.
But on the eve of this fast fashion revolution in Australia, there are a growing number of people in Europe and the US who are deeply unimpressed. Inspired to action by fast fashion's dizzyingly fast clothing replacement cycles and huge demand on resources, the "slow fashion" movement is coming into its own.

Slow fashion advocates see fast fashion as the antithesis of sustainability, and are making businesses out of raising public awareness about the issue.One of these is Elaine Briggs, founder of Cosi, a luxury fashion and home accessories brand that has just opened a shop-in-shop for the first time in Australia, inside Orson & Blake in Sydney's trendy Surry Hills neighbourhood. Cosi merchandise is also stocked in one of Melbourne's best-known designer accessory shops - Christine's in Flinders Lane.“Right now the average Australian consumer is not aware of many of the issues surrounding textile sustainability, organics and the impact of fast fashion," says Briggs."In the UK, cheap, mass-produced clothing has had a major impact on a large number of high-end European designers. Some survived, many did not. I believe that the Australian market is soon to mirror the UK experience.”

Cosi's products are all handmade by small manufacturers in the Himalayan region. The fibres, which include cashmere, yak, alpaca and banana, are mostly local to the same area. The cotton is an exception - this is flown into Nepal from Switzerland.“A Cosi Mongolian cashmere shawl takes two days to make, hand-spinning the raw material and then hand-weaving it by a fourth generation master weaver," says Briggs."A fast fashion shawl is one of maybe 400 made in one day by machine-operating, low-paid, unskilled workers. We strive to create products treasured for generations and handed down – the antidote to the throw-away society. Fast fashion is not evil, but its constant need for 'new' is just not sustainable.”

Briggs has more than a little street cred when it comes to mainstream fashion. She's a former international fashion editor who has worked with prestigious names like Conde Nast and Italian Vogue. She also had a stint as a fashion director at David Jones and as a freelance creative director for Country Road in the 1990s.Cosi was launched in October 2009 in Paris and currently has wholesale channels in London, Tokyo, Paris and several other European locations, as well as Sydney and Melbourne.The next step is to establish a fully transactional e-commerce site and look at further expansion opportunities in Australia.

Cosi's price tags are not for the faint-hearted ($370 and up for a shawl made from Mongolian cashmere), but Briggs is at pains to point out that is a luxury product that embraces the highest quality of merchandise and a 100 per cent commitment to fair trade and social responsibility.So it is not likely to have an impact – at least by itself - on the same consumer segment that will be lining up at the fast fashion stores. But there are some other, higher-profile members of the slow fashion movement that certainly might help move the needle.One of these is UK department store Marks & Spencer, which recently launched a social responsibility initiative called “shwopping” in which consumers bring in an unwanted garment when they want to purchase a new one. Marks & Spencer partners with Oxfam, which collects and recycles it.

The retailer made a huge to-do about this campaign, employing actress Joanna Lumley as shwopping's marketing front-person.The twin ideas of slow fashion and shwopping are something that Australia's department stores could exploit as they circle their own wagons against the fast fashion invasion. Public campaigns that sharpen their sustainability credentials couldn't do them any harm, and could even be an elegant way of staking out a marketing position that portrays fast fashion competitors as the environment's bad guys.Meanwhile, slow fashion entrepreneurs like Briggs are forging ahead. Her aspirations are formidable.

Ed Levin Jewelry Announces Change in Ownership After 62 Years in Business

One of the country's best known handcrafted jewelry companies, Ed Levin Jewelry, was purchased by its CEO, Peter Tonjes, in February 2012. Prior to the change in ownership, the company was owned by its founder, Ed Levin, for over 62 years.

Ed Levin started making and selling jewelry in New York City in 1950. He later moved the business to Bennington, Vermont, and then to Cambridge, New York. Ed Levin was a pioneer of the modernist jewelry movement and grew his company to be one of the most respected and successful handcrafted jewelry companies in the United States.

Peter Tonjes began his career with Ed Levin Jewelry as production manager in 1984 shortly after receiving his BFA in metal arts from SUNY New Paltz. Among other accomplishments, his integral role in design, production efficiency, and plant modernization led to his promotion as CEO in 2005.

"I am proud to secure the future of this company," said Mr. Tonjes. "Ed Levin Jewelry has a long history of integrity within the industry. As the owner, I now have the opportunity to grow the company while adhering to the company's long-held philosophy of innovative design, quality product, superior customer service, and a family friendly workplace environment."

Mr. Tonjes is excited about the prospect of bringing the company to a higher level of success by increasing the number of retail jewelers in its customer base. Mr. Tonjes said, "While our roots are in craft, we have always understood the importance of designs that have timeless appeal to a diverse category of retailers and their customers. We have found that jewelers, like all retailers, understand the value of a product that has exciting design backed by guaranteed quality. And because of this, the company has seen dramatic growth in the number of independent jewelers who have added Ed Levin Jewelry to their product mix. We hope to keep that trend going."