logo
Gen Z embraces rising value of vintage fashion

Gen Z embraces rising value of vintage fashion

Express Tribune05-04-2025
Sale of vintage clothing has been revived online as well as stores. Photo: DW
From niche to mainstream, second-hand fashion is enjoying record demand as online vintage clothing sales boom. But what makes cast-off clothes so attractive to young people?
As per DW, browsing for special clothes is one of Leonie's favorite hobbies. However, the 27-year-old fashion design student doesn't focus on the new collections from fashion companies. She instead looks specifically for second-hand pieces. And she finds most online.
"It's like a digital treasure hunt," says Leonie, describing her approach. It's important to enter the right keywords - and in different languages. That's when she's most likely to come across an unusual find. It's a great feeling.
Leonie is not alone in her fascination with vintage. While vintage shopping used to mean rummaging through sometimes musty, cluttered stores, the online trade in second-hand products has been booming for years.
Second-hand has always been a part of youth fashion, says Elke Gaugele, Professor of Fashion and Styles at the Academy of Fine Arts in Vienna. But pre-worn apparel is presented differently in the media these days.
The change in image is reflected in the semantic shift from "second-hand" to "pre-loved" or "vintage."
By definition, vintage means that an item of clothing is at least 20 years old. But this is not the case online. The hashtag "vintage" also includes much newer items, including second-hand . Yet the term vintage exudes a feeling of exclusivity, and often also a price premium.
"Buying vintage is incredibly closely linked to self-perception," says fashion journalist and social media consultant Valentina Herbort.
She runs a Gen Z-focused Instagram channel with more than 70,000 followers titled: "The most important things in fashion & (pop) culture explained with substance & love."
Herbort sees the vintage trend primarily as a response to the desire for individuality. "Thanks to globalisation, Gen Z has much broader fashion choices than previous generations. This gives rise to the desire to find their own individual style."
However, this is not so easy in a digital age where trends emerge in real time. "We all watch the same series and have the same inspiration," she says of mass media consumption. "That's why we all buy the same 23 items at Zara, even if there are 100 in the selection."
Value for money
In addition to the desire for uniqueness, Herbort also notes Gen Z's renewed focus on product quality. New jeans, for example, are of inferior quality to older models, and wearers "can tell the difference straight away," she says of the allure of used apparel.
"That's a strong selling point: buying something better for less."
Sustainability and fair fashion production also play an important role for younger generations when buying clothes.
The fast fashion industry has long been criticised for poor working conditions, underpayment and environmental pollution. The vintage trend is "a conscious response from Gen Z" to this exploitation of people and the planet, said Elke Gaugele.
While giving clothing a second life is a more sustainable use of resources, trend researcher Eike Wenzel doubts that the vintage trend will actually result in fewer fast fashion purchases.
"Vintage is not a way out of the consumer society," she said.
Colombian Sandra Calderon sells special one-off pieces via her Instagram profile, "Revancha Vintage." She says the image of vintage is also changing in her home country, and is part of a movement away from second-hand clothes towards unique pieces that tell a story.
"There is a huge supply of very high quality vintage, but the prices are sometimes inflationary, because it's trendy," she explained. "Sometimes a vintage piece costs more than something new. This contradicts the idea that vintage should be an affordable option."
Calderon's vision for the future matches with Leonie's closet - which is 90 per cent filled with vintage pieces.
"Vintage and second-hand fashion should not just be a trend, but the first choice," she said.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Nintendo files copyright for untitled Donkey Kong movie with Universal Pictures
Nintendo files copyright for untitled Donkey Kong movie with Universal Pictures

Express Tribune

timea day ago

  • Express Tribune

Nintendo files copyright for untitled Donkey Kong movie with Universal Pictures

Nintendo has quietly filed a copyright notice for an upcoming Donkey Kong movie, sparking speculation among fans about the expansion of the company's cinematic ambitions. The registration, titled 'Untitled Donkey Kong Project; Motion Picture,' lists both Nintendo Studios LLC and Universal Pictures as rights holders according to IGN. The move reflects the ongoing collaboration between Nintendo and Universal, which previously produced the record-breaking Super Mario Bros. Movie through Illumination, the studio behind the Minions franchise. While Nintendo has not officially confirmed the film, the copyright filing—originally made in May 2025—suggests the project may already be in development. Rumors of a Donkey Kong-focused spin-off have circulated since the release of Super Mario Bros., although reports indicate that the next Mario movie, possibly titled Super Mario World, will be a direct sequel rather than a crossover. Some fans speculate that the Donkey Kong film may be part of a broader strategy to build a 'Nintendo Cinematic Universe,' where individual characters receive standalone films within an interconnected world. The timing has sparked further intrigue, as it coincides with the upcoming release of Donkey Kong Bananaza for the Nintendo Switch 2. Given the game's more cinematic presentation and expanded storyline, some believe its narrative could be connected to the film. Nintendo has yet to comment on the Donkey Kong project. However, the company continues to expand its film portfolio, including a live-action adaptation of The Legend of Zelda. In a recent Q&A with investors, Nintendo executive Shigeru Miyamoto reaffirmed the company's commitment to quality, stating that both games and films are only released when the team is confident they will meet consumer expectations.

Live Aid turns 40
Live Aid turns 40

Express Tribune

time2 days ago

  • Express Tribune

Live Aid turns 40

"It's 12 noon in London, 7AM in Philadelphia, and around the world it's time for Live Aid." This television announcement on July 13, 1985, heralded over 16 hours of music broadcast from Wembley Stadium in London and John F Kennedy Stadium in Philadelphia that united close to 2 billion people across more than 100 countries, reports DW. Live Aid was no ordinary gig. With the primary aim of raising funds for famine relief in then drought-stricken Ethiopia, it was the largest satellite link-up and television broadcast of its time. It featured an unprecedented lineup of music's biggest names across diverse genres, featuring luminaries — some since departed, including Freddie Mercury, David Bowie and Tina Turner — who performed for free. People around the world watched agog as Mercury cued Wembley's 72,000 fans with those iconic overhead claps during the chorus of Queen's 1984 hit Radio Ga Ga, as U2's Bono jumped off the stage and danced with a teenage fan, as Bob Geldof urged viewers to donate money. And to set the record straight about the oft-repeated Live Aid lore: Sir Bob never said, "Give us your f***ing money." He was misquoted. Outreach via rock 'n' roll Conceived and executed by Irish musician Geldof and Ultravox's Midge Ure, Live Aid was put together at astonishing speed, the momentum having come from the 1984 Band Aid single Do They Know It's Christmas? — a now-contentious song that the artists co-wrote. Ure later recalled to The Guardian how much of the Live Aid planning unfolded on instinct and goodwill rather than strategy or budget. Consequently, it set a template that was later emulated by events such as Farm Aid (1985), Live 8 (2005) and Live Earth (2007). Speaking in 2004, when a DVD box set of the event was released, Geldof said: "We took an issue that was nowhere on the political agenda and, through the lingua franca of the planet — which is not English, but rock 'n' roll — we were able to address the intellectual absurdity and the moral repulsion of people dying of want in a world of surplus." 'For Africa,' without Africans Though many boomers and Gen Xers may recall Live Aid fondly as a unique moment of global unity before social media, in retrospect it wasn't without its flaws. Especially when viewed through the lens of diversity and representation. Despite being a benefit for Africa, no African performers were featured on stage in 1985. Ditto female representation, where aside from Sade, Tina Turner, Madonna and Patti LaBelle, the line-up was overwhelmingly white and male. Geldof defended the choices, saying the artists were selected based on their pull to maximise donations. In 2005, Geldof organised Live 8 — a series of concerts that coincided with the G8 summit, which aimed to get leaders of the eight major industrialised countries to "Make Poverty History" — but it again wasn't representative. The original lineup featured only Senegalese singer Youssou N'Dour, with Geldof trotting out the star bankability trope again. "This is outrageous and deeply smug," said Andy Kershaw, the DJ who helped with the TV presentation of Live Aid. "They are saying: 'Don't neglect Africa' — but that's just what they are doing here." Subsequently, the Africa Calling concert was organised. Hosted by N'Dour, it featured prominent African artists like Somali singer Maryam Mursal and Beninese vocalist Angelique Kidjo. Moky Makura, executive director of Africa No Filter, was in her late teens when she watched the original concert. She wrote in The Guardian in 2023, "As a Nigerian born in Lagos and educated in the UK, it took me a moment to realise that the version of Africa that Live Aid was selling the world was very different to the one in which I grew up." She added: "Live Aid remains the unfortunate and inadvertent poster child for a development approach to Africa that still drives much of the sector today - the desire to identify and fix the challenges of poor countries and the belief that money is the primary solution." White saviours? Geldof has often been described as having a "white saviour complex," which he rejects. Dismissing a critical comment in The Guardian in 2024 about how some viewed Live Aid as reinforcing "a patronising image of Africa as a continent desperate for, and dependent on, Western aid," Geldof retorted that it was "the greatest load of bullocks ever." Live Aid did raise millions for famine relief, with some political ripple effects. It inspired the set-up of the US President's Emergency Plan for AIDS Relief (PEPFAR) in 2003. The program was recently gutted following Trump's financial cuts. A current documentary, Live Aid at 40: When Rock 'n' Roll Took On The World, also reveals how Geldof's, and fellow Irishman Bono's, relentless lobbying of G8 leaders saw them eventually agree to cancel USD40 billion of debt owed by 18 of the world's poorest countries after Live 8, and promise to increase aid to developing nations by USD50 billion a year by 2010. Geldof, now 73 and doing the interview circuit commemorating Live Aid's 40th anniversary, doubts that the ethos of Live Aid can be replicated in the age of social media. "It's an isolating technology, unlike rock 'n' roll which is a gathering technology," Geldof told NME. Condemning a recent statement by Elon Musk that the "great weakness of Western civilisation was empathy," he said: "No Elon, the glue of civilisation is empathy. We're in the age of the death of kindness, and I object." But the rocker remains hopeful: "You can change things, you really can actually change things. ... The individual isn't powerless and, collectively, you really can change things."

Was Superman a migrant?
Was Superman a migrant?

Express Tribune

time4 days ago

  • Express Tribune

Was Superman a migrant?

In the highly anticipated new Superman, which stars David Corenswet in the title role, the Man of Steel first appears lying bloodied and bruised in an Arctic wasteland, reports DW. "We do have a battered Superman in the beginning. That is our country," director James Gunn said at a press event following the release of the film's first trailer. This Superman symbolises an America that's in a beat-up state yet still stands for goodness, Gunn explained. Superman has often been considered the archetypal US superhero, embodying ideals of truth and justice, as well as the American dream. However, in the new film, Gunn decided to focus on "universal morality" instead of American exceptionalism. Instead of being a national hero, Superman aims to protect and save the weak around the world. "Even if it gets him into trouble," noted the director. "Yes, it's about politics," Gunn told British daily The Times, before adding that it's also "about human kindness." "Obviously there will be jerks out there who are just not kind and will take it as offensive just because it is about kindness," he said. "But screw them." Those comments had right-wing commentators worrying that Gunn, who also directed Guardians of the Galaxy, had turned the iconic superhero into a "woke" figure. They are calling for a boycott of the film, which hit theaters on July 11. Similarly, Fox News anchor Kellyanne Conway said on the talk show The Five: "We don't go to the movie theatre to be lectured to and to have somebody throw their ideology onto us. I wonder if it will be successful." Marvel versus DC Blockbuster superhero films typically avoid openly showcasing anything that would brand them as conservative or liberal. But one popular theory among superhero fans is that the film universes of the two largest North American comics publishers, DC and Marvel Comics, are polarised along the ideological fault lines that define an era of culture war. The DC universe, which includes Superman and Batman, has been described as more conservative-authoritarian, with its superheroes portrayed as the ultimate protectors of order. As extensions of the law, they act above the people and without accountability. "There's no sense of any democratic participation in the Batman world," points out film critic AO Scott in the 2025 podcast X Man: The Elon Musk Origin Story. Meanwhile, the same podcast exposes the film critic's theory that heroes "from the Marvel Universe films - Iron Man, Captain America, Ant Man, the Avengers - are a team of do-gooders: These films represent an Obama-Biden view of the world." Outspoken Trump critic As the writer and director of the Guardians of the Galaxy films, James Gunn used to belong to team Marvel. He also made enemies in the MAGA camp as an outspoken Donald Trump critic. Back in 2017, he shared his views in various tweets: "In my years on social networking, I have never spoken out politically," Gunn tweeted. "But we're in a national crisis with an incompetent President forging a full-blown attack on facts and journalism in the style of Hitler and Putin." The alt-right news site Daily Caller then dug up offensive tweets Gunn had posted nearly a decade earlier. Social media users called on Disney, which owns Marvel, to drop the filmmaker. Gunn was removed from the third "Guardians of the Galaxy" film but was later reinstated after a public apology and talks with Disney studio heads. But he moved on to the other comics' camp, becoming the co-chairman of DC Studios in 2022. Gunn is the head creator of the DC Universe that was rebooted in 2024 with a slate of new films including Superman. 'Undocumented alien' Nevertheless, Superman's origin story was not written by Gunn to provoke "anti-woke" movie-goers, but rather by second-generation Jewish immigrants, Jerry Siegel and Joe Shuster, who created a superhero that defended the weak in reaction to the rise of Hitler and antisemitism in Europe. Superman first appeared in Action Comics #1, published in 1938. Born Kal-El on the planet of Krypton, Baby Superman's biological parents manage to send him off to Earth before they die in the destruction of their planet. The family who takes on the orphan then fraudulently claims him as their biological son, Clark Kent, to cover up the fact that the child is literally an undocumented alien, a term that is otherwise seen as degrading for migrants. This aspect of the superhero's biography was reiterated in 2018 when the United Nations High Commissioner for Refugees published a book discussing the theme that Superman was also a refugee. A year earlier, Superman protected a group of undocumented immigrants from an armed white supremacist in issue #987 of Action Comics — which came out shortly after Trump had announced the Deferred Action for Childhood Arrivals (DACA) policy would be ending. The program allowed hundreds of thousands of immigrants brought to the US as children to live and work without fear of deportation. The government's use of the term "alien," which had been banned under the Biden administration, was reinstated at the beginning of 2025. The current Trump administration is also ramping up its crackdown on immigration — raising alarm over the state of US democracy and dividing people in the country.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store