| dc.description.abstract | Summary
This master thesis in ethnology examines the practices around the phenomena of vintage and
second-hand clothing in the early twenty-first century. The resurgence of vintage and retro confirms
a craze for the style periods of the past and are linked to a more widespread interest in yesterday's
fashion and objects. Television and other media outlets showcasing vintage display that it is
something that interests many in society today. More vintage dealers are pushing to change the
outlook and perspective on an old, worn in object or piece of clothing. The idea is that this object
or piece of clothing holds the magic of the past and therefore becomes valuable or sought after. This
thesis is about how different vintage dealers describe and define clothing in a way that creates an
aura of style and beauty. They come from a perspective of gender and cultural heritage to bring
these second hand pieces to life again.
The starting point for this thesis is understanding the relationship between the material and the
consumer. With analytical tools from Bruno Latour actor network theory, I work to identify the
elements of vintage fashion and why it becomes meaningful to certain individuals. Focusing on how
social aspects intertwine with the material, I examine how second hand clothing can be understood
as cultural heritage and how it’s perceived in this context. This thesis aim to broaden the readers’
perspectives of how vintage clothing becomes relevant in today's society. Through ethnographic
fieldwork and interviews with seven women aged 23-33 years, the women tell about their approach,
ideas and values that are ascribed to the past and the material. All interviewees are residents of the
Gothenburg area and have not experienced first hand, the times when these garments and objects
were originally produced. Today, vintage is a big part of their lives and style. Five out of seven
work with vintage on a daily basis. They explain how the past can be useful in the present through
creativity, ideas and fantasies. When comparing the analysis of medial representations, the reader
understands how my interviewee's work both with and against different agendas, inscriptions
behind vintage fashion. My interviewees show how they create and re-create stories of the past so
that they become relevant today. Through the use of vintage and second-hand, individuals can link
themselves with stories of their relatives and other men and women in history. Clothing from the
past can be understood as a part of their cultural heritage and can establish meetings between
generations. When focusing on the individual and their connections with the past and material, the
reader understands how creativity, performance and individual conceptions are important factors in
linking the past with today. | sv |
