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CHAPTER 3.4 NOSTALGIA 42 In addition to this, nostalgia has become a longing concept for many fashion brands. Although fashion is constantly striving for something new, there is still a market for past fashions and ‘vintage’ styles. For the past few years, fashion has heavily incorporated this in new garments and collections; an example being Marc Jacobs, who integrated grunge elements on the Perry Ellis catwalk, New York. The 90’s are heavily nostalgic in fashion, which will continue to be reinterpreted and reimagined. However, a nostalgic version of the past is not always an accurate depiction of an era. It has become a ‘stylised, idealised, sterilised version of it’. - (Wheeler, 2017). The authenticity of this nostalgic reference to past fashions is deficient, as the industry is overshadowing it with a modern interpretation. “Fashion is a paradoxical design form that is both driven by a desire for the new and a love of nostalgia”. - (Buick, N. 2017). Fashion tribes also rely on nostalgia for style inspiration; the 90’s grunge subculture utilises areas of nostalgia through their use of old fabrics and vintage dress sense. They use this as they yearn for a past period in their life that they can materialistically keep referring to through their appearance; keeping that memory alive. This presents how past experiences contribute to the current identity of an individual, allowing them to express themselves. (Valentine, 2017)
IDENTITY (PAUSE Online, 2017) 43 NOSTALGIA: Living in the moment. Sentimentality and longing for a period of the past... A former time in one's life; yearning to return to a specific time in the past... "Can often lead to idle speculation" - J. Paul Getty (BrainyQuotes, 1976)
Page 1 and 2: IDENTITY SUKVINDER KAUR
Page 3 and 4: IDENTITY Abstract This dissertation
Page 5 and 6: IDENTITY A CKNOWLEDGEMENTS Thank-Yo
Page 7 and 8: GLOSSARY OF TERMS: BEHAVIOURAL SPEC
Page 9 and 10: IDENTITY INTRODUCTION This analysis
Page 11 and 12: IDENTITY OBJECTIVES (I-d, 2017) 1)
Page 13 and 14: IDENTITY 13 (Pinterest, 2017)
Page 15 and 16: IDENTITY QUESTIONNAIRES Questionnai
Page 17 and 18: IDENTITY SECONDARY SOURCES Secondar
Page 19 and 20: IDENTITY 19 (Beautifuldecay.com, 20
Page 21 and 22: IDENTITY Theorist, Singal, (2017) s
Page 23 and 24: IDENTITY Furthermore, media is also
Page 25 and 26: CHAPTER 1.3 PSYCHOLOGY IDENTITY 25
Page 27 and 28: IDENTITY Fashion Magazines: Publica
Page 29 and 30: CHAPTER 2.2 IDENTITY Brand MARKETIN
Page 31 and 32: IDENTITY 31 (I.pinimg.com, 2017)
Page 33 and 34: IDENTITY Glossy, high-end magazines
Page 35 and 36: IDENTITY 35 (Fucking Young!, 2017)
Page 37 and 38: IDENTITY “THE FIRST SKINHEADS WER
Page 39 and 40: IDENTITY CHAPTER 3.2 INFLUENCE OF M
Page 41: IDENTITY Today, fashion is a matter
Page 45 and 46: IDENTITY 45 Influences are everywhe
Page 47 and 48: IDENTITY (Static1.businessinsider.c
Page 49 and 50: IDENTITY (Whowhatwear.co.uk, 2017)
Page 51 and 52: IDENTITY Bloggers CHAPTER 4.3 'I fe
Page 53 and 54: IDENTITY “I try not to think abou
Page 55 and 56: IDENTITY 55 (Pinterest, 2017)
Page 57 and 58: IDENTITY RECOMMENDATIONS: Now that
Page 59 and 60: BIBLIOGRAPHY IDENTITY Stylebubble.c
Page 61 and 62: IMAGES IDENTITY Pinterest. (2017).

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