Summary. Retro is a fashion method rather than a single visual system. The term designates contemporary clothing that deliberately quotes an earlier decade's silhouettes, color palettes, fabrication, and details, distinguishing itself from "vintage" (garments actually produced in the referenced period). A 1950s circle skirt sewn in 2024, a 1970s-palette polyester shirt manufactured last season, and a pair of reproduction 1947-model Levi's 501XX jeans are all retro: new production channeling old design grammar. The method operates through recurring revival waves, each triggered by a combination of cultural nostalgia, media representation, and the approximately twenty-year cycle that fashion historians have observed since at least the mid-twentieth century. The 1970s saw a 1950s revival (American Graffiti, 1973; Grease, 1978). The early 1980s produced a mod revival (Quadrophenia, 1979; The Jam's chart success, 1977 to 1982) and a rockabilly revival (the Stray Cats, 1981). The 1990s and 2000s revived 1970s disco and glam (Studio 54 nostalgia, Boogie Nights, 1997). The 2010s revived 1960s tailoring after Mad Men premiered in 2007. Each cycle is selective: revivals borrow a decade's most photogenic elements while quietly updating fit, fabric performance, and construction for contemporary comfort. The result is a layered relationship between historical accuracy and present-day wearability that ranges from meticulous reproduction (Japanese denim brands weaving on vintage shuttle looms) to loose quotation (a fast-fashion brand placing a vaguely 1970s collar on an otherwise modern shirt).

In Material Terms

Retro fabrication spans a wide spectrum, from exact reproduction of period textiles to loose approximation using modern materials. Where the revivalist falls on that spectrum determines how the clothing reads and who it speaks to.

Reproduction versus approximation. At the precise end, brands like Levi's Vintage Clothing (LVC), Sugar Cane, The Flat Head, and Warehouse reproduce mid-twentieth-century denim using period-accurate methods. LVC's 1947 501XX, for instance, is woven on narrow shuttle looms (producing selvedge edges), dyed with natural or synthetic indigo in rope-dyeing ranges that replicate the uneven penetration of pre-1960s denim, and sewn with cotton thread rather than the polyester-core thread that became standard after the 1970s. The result is denim that fades, shrinks, and ages the way denim behaved before continuous-dyeing and open-end spinning displaced the older processes. Sugar Cane's Okinawa and Hawaii lines use cane-sugar-fiber blends to approximate the nubby texture of wartime-era American denim, when cotton shortages led mills to experiment with alternative fibers. The Flat Head uses extra-long-staple Zimbabwe cotton for its heavy unsanforized denim, chasing the hand-feel of 1950s American selvedge.

At the approximate end, a contemporary brand producing a "70s-inspired" shirt may use a polyester-viscose blend printed with a period-adjacent geometric pattern. The collar is wider than current convention but narrower than an actual 1973 collar. The buttons are plastic rather than the shell or corozo of a high-end 1970s shirt. The seams are overlocked rather than flat-felled. The garment reads as "retro" to a general audience but would not pass inspection by a vintage collector. Both approaches are valid retro practice; they serve different audiences and carry different material commitments.

Textile technologies across reference decades. Each era that retro draws from had its own dominant fabric technologies, and reviving an era's look accurately requires understanding its textile logic.

The 1940s and 1950s relied primarily on natural fibers: cotton broadcloth and poplin for shirting, wool gabardine and tropical worsted for trousers and jackets, cotton twill and denim for workwear, silk and rayon for neckwear and linings. Denim from this period was woven on shuttle looms at widths of 28 to 31 inches, requiring a selvedge edge. The fabric was typically unsanforized (shrinking 8 to 10 percent on first wash), heavyweight (14 to 16 ounces per square yard), and rope-dyed with indigo, producing the irregular "roping" fade patterns that Japanese reproduction brands now spend considerable effort replicating. Shirting was commonly oxford cloth, a basket-weave cotton with a slightly nubby texture, or broadcloth, a tightly woven smooth cotton. Period-accurate reproduction of 1950s garments requires sourcing or weaving these fabrics from scratch, since contemporary mass-market equivalents are typically lighter weight, sanforized, and woven on projectile looms that produce a different edge finish.

The 1960s introduced synthetic blends into mainstream fashion. Polyester-cotton shirts ("permanent press") arrived in the mid-1960s and rapidly displaced 100-percent-cotton dress shirting because they resisted wrinkles and required less ironing. The mod look of the mid-1960s used sharp-finished wool-polyester suiting (narrow lapels, slim trousers, short jacket lengths) and cotton pique or jersey polo shirts. Reproducing mod tailoring accurately requires recreating the lighter-weight, more structured suiting fabrics of the period, which feel different from contemporary relaxed tailoring cloths.

The 1970s saw a full-scale synthetic takeover. Polyester double-knit (a stretchy, crease-resistant knit fabric with a distinctive smooth face and waffle back) became the decade's ubiquitous textile, used for everything from leisure suits to women's pantsuits. Nylon disco shirts with exaggerated collars, rayon crepe wrap dresses (Diane von Furstenberg's wrap dress, introduced in 1974, used matte jersey), and polyester-blend denim (stretch denim emerged in the late 1970s) defined the decade's material palette. The irony of 1970s retro is that the textiles most associated with the era (polyester double-knit, nylon jersey) were widely despised by the end of the decade, dismissed as cheap and uncomfortable. When 1970s revival emerged in the late 1990s and 2000s, designers often substituted softer modern fabrics for the stiff originals, producing garments that looked 1970s but felt contemporary.

The 1980s used both natural and synthetic fibers in exaggerated constructions. Power-suit tailoring required structured wool (often with internal shoulder pads and horsehair chest pieces to achieve the wide-shouldered silhouette), while casual and sportswear relied on cotton jersey, nylon windbreaker fabric, and early performance synthetics. Acid-washed denim (achieved by tumbling denim with chlorine-soaked pumice stones) and stonewashed denim (tumbled with pumice alone) were 1980s fabric innovations that remain closely identified with the decade. Reproducing the 1980s power silhouette requires the internal construction (padding, interfacing, structured shoulders) as much as the exterior fabric.

The 1990s split between grunge's natural-fiber thrift-store aesthetic and the decade's parallel minimalism (Calvin Klein, Helmut Lang), which used high-quality wool crepe, cashmere, cotton jersey, and clean synthetic stretch fabrics. For 1990s retro, the reference target determines the material: grunge revival calls for washed flannel, worn denim, and cotton jersey, while minimalist revival calls for clean wool tailoring and restrained neutral fabrics.

Selvedge denim as a retro material category. The Japanese reproduction-denim movement, which began in the 1980s and accelerated through the 1990s, represents retro fabrication at its most technically obsessive. Brands like Evisu (founded 1991), Studio D'Artisan (1979), Denime (1988), The Real McCoy's (1993), Warehouse (1995), and Full Count (1992) began acquiring decommissioned American shuttle looms (Draper X3 and Toyoda GL-series models) and studying pre-1970s Levi's and Lee construction to reproduce mid-century American denim on Japanese soil. The movement was motivated by the observation that mass-market American denim had changed fundamentally after the 1970s: open-end spinning replaced ring spinning (producing a smoother, more uniform yarn), projectile looms replaced shuttle looms (eliminating the selvedge edge), and sanforization (pre-shrinking) became universal. Japanese makers sought to reverse these changes, weaving denim that behaved the way 1950s American denim had behaved. The resulting fabrics, typically 13 to 21 ounces per square yard, unsanforized, ring-spun, and rope-dyed, are now recognized as the highest expression of denim-as-retro-material: new textiles engineered to perform like old ones.

Period-correct shirting and knitwear. Beyond denim, retro fabrication extends to shirting (reproducing the button-down collar proportions, fabric weights, and box-pleat construction of 1960s American campus shirts), knitwear (recreating the chunky gauge and natural-fiber hand of 1950s Shetland sweaters or 1970s cable-knit pullovers), and outerwear (replicating the twill weaves, snap closures, and blanket linings of 1950s rancher jackets). Each category requires specific textile knowledge: a 1960s button-down collar is shorter and rounder than a modern one, uses a different interlining, and rolls in a specific way that modern fused collars do not replicate.

At Category Level

Retro occupies a unique position because it is a method applied across multiple visual systems rather than a single system of its own. A person dressing in 1950s retro and a person dressing in 1980s retro share a temporal orientation (backward-looking) but almost nothing in terms of silhouette, palette, or material. This makes retro difficult to classify as a peer to aesthetics like goth or workwear, which have internally consistent visual grammars. Retro is better understood as a modifier or a practice: it describes HOW someone dresses (by quoting a past era) rather than WHAT they wear.

The practice has both high-fidelity and low-fidelity expressions. High-fidelity retro aims for period accuracy in every detail: correct collar width, correct trouser rise, correct fabric weight, correct button material. This approach is common in rockabilly communities, vintage-reproduction collecting, and the Japanese Amekaji (American casual) scene, where dressers assemble outfits that could pass visual inspection against period photographs. Low-fidelity retro borrows a decade's most recognizable cues (bell-bottoms for the 1970s, neon for the 1980s, slip dresses for the 1990s) and transplants them into an otherwise contemporary wardrobe. Fast fashion regularly produces low-fidelity retro, cycling through decade references on a seasonal basis.

The line between retro and costume is policed informally through context. A full 1950s reproduction outfit worn to a weekday office reads as costume; the same outfit worn to a rockabilly festival reads as community dress. A single 1970s element (wide-leg trousers, a geometric-print shirt) worn with contemporary pieces reads as stylish retro. The balancing act involves enough period reference to register as intentional, but enough contemporary context to avoid theatrical effect.

Methodologically

This entry treats Retro as a temporal-quotation method: a repeatable practice of selecting a reference era and translating its silhouette, material logic, and details into contemporary dress. Because retro can target any decade, the entry focuses on the shared methodology (how revival works) rather than cataloguing every era's specific garments. Era-specific details appear as examples within that methodology.

Word (Etymology)

"Retro" derives from the Latin prefix "retro," meaning "backward" or "behind," as in "retrograde" (moving backward). The word entered English fashion vocabulary in the 1960s and 1970s as a shorthand for styles that looked backward to earlier decades. French usage ("mode retro") appeared in the early 1970s, initially describing a wave of 1940s-referencing fashion and film (Louis Malle's Lacombe, Lucien, 1974; Luchino Visconti's The Damned, 1969). By the 1980s, "retro" had stabilized as the standard English and French term for any fashion that deliberately quotes a recognizable past decade. The word implies conscious selection: calling something "retro" acknowledges that the wearer or designer has chosen to reference a specific period, distinguishing it from "dated" (unintentionally behind the times) and from "vintage" (actually produced in the period).

Subculture

Retro subcultures organize around specific reference decades and range from casual enthusiasm to dedicated lifestyle practice.

Rockabilly and greaser revival. The most committed retro subculture in terms of daily dress practice. Rockabilly revivalists, concentrated in the United States, United Kingdom, and Japan, maintain 1950s-referencing wardrobes (pompadour hairstyles, cuffed jeans, bowling shirts, crepe-soled shoes, circle skirts, petticoats) and participate in a circuit of car shows, record hops, and festivals (Viva Las Vegas Rockabilly Weekend, founded 1998; the Hemsby Rock 'n' Roll Weekender in the UK, running since 1988). The subculture sustains its own economy of reproduction brands (Steady Clothing, Collectif, Rumble59) and vintage dealers specializing in 1950s originals.

Vintage collectors and reproduction enthusiasts. Overlapping with but distinct from rockabilly, this community focuses on material accuracy rather than subcultural lifestyle. Members collect original-era garments (deadstock Levi's, 1960s Brooks Brothers shirts, 1970s Pendleton board shirts) and wear reproduction versions when originals are unavailable or too fragile. The community's expertise centers on identification and authentication: recognizing a particular era's selvedge ID stripe, button stamp, label font, or stitching pattern. Online forums, particularly those dedicated to vintage denim (SuperFuture, Denimbro), serve as knowledge repositories.

Pinup and burlesque revival. A performance-oriented retro subculture that references 1940s and 1950s glamour, with Dita Von Teese as its most visible contemporary practitioner. Von Teese, who began her burlesque career in the early 1990s, built an entire public persona around mid-century styling: victory rolls, red lipstick, bullet bras, seamed stockings, waist-cinching corsetry. The subculture sustains brands like What Katie Did (vintage-reproduction lingerie), Bettie Page Clothing, and Pinup Girl Clothing.

History

Retro fashion has operated through overlapping revival cycles since at least the mid-twentieth century. Each revival follows a broadly similar pattern: a cultural trigger (usually a film, television show, or music movement) reintroduces an earlier decade's visual codes to a new audience, which then selectively adopts those codes.

1950s greaser revival (1970s). George Lucas's American Graffiti (1973) and the television series Happy Days (1974 to 1984) reintroduced 1950s teenage style to a 1970s audience: leather jackets, white T-shirts, cuffed jeans, pompadours. The musical Grease (Broadway 1972, film 1978) amplified the cycle further. These revivals occurred roughly twenty years after the reference period, consistent with the generational-nostalgia pattern identified by fashion historians: each generation romanticizes the era of its parents' youth.

Mod revival (1979 to 1985). The release of Franc Roddam's film Quadrophenia in 1979, based on The Who's 1973 rock opera about 1960s mod culture, triggered a mod revival in the United Kingdom. The Jam, led by Paul Weller, had already been performing in mod-inspired slim suits and Fred Perry polos since 1977. The revival's fashion hallmarks included slim-fit Italian-influenced suits, Fred Perry polo shirts, Clarks desert boots, fishtail parkas, and target logos (referencing the Royal Air Force roundel adopted by the original mods). Two-tone and ska bands (The Specials, Madness) shared mod revival's sharp dressing sensibility.

Rockabilly revival (1980 to 1985). The Stray Cats, formed in New York in 1979 and relocating to London in 1980, reignited rockabilly as both music and fashion. Brian Setzer's pompadour, upright bass, and Gretsch guitar became visual shorthand for the movement. The Stray Cats' UK hit "Stray Cat Strut" (1981) and their subsequent American success placed 1950s-referencing style (drape jackets, pegged trousers, brothel creepers, tattoos) in mainstream pop culture.

1970s disco and glam revival (1990s to 2000s). By the mid-1990s, 1970s style re-entered fashion through multiple channels. Paul Thomas Anderson's Boogie Nights (1997) and the 1998 Studio 54 biopic aestheticized the decade's excess. Gucci under Tom Ford (1994 to 2004) built a commercial empire on 1970s-referencing design: wide-lapel velvet suits, low-rise flared trousers, silk shirts in jewel tones, bamboo-handle bags revived from Gucci's own 1960s and 1970s archive. Halston's 1970s designs were revived and referenced. Disco-influenced music (Daft Punk, Jamiroquai) reinforced the visual cycle.

1960s tailoring revival (2007 to 2015). AMC's Mad Men, which premiered in July 2007 and ran for seven seasons, popularized early-1960s menswear (narrow-lapel suits, slim ties, white dress shirts, pocket squares, fedoras) and women's fashion (sheath dresses, full-skirted day dresses, structured foundation garments). Brooks Brothers launched a Mad Men-branded capsule collection. Banana Republic followed with a licensed collaboration. The series demonstrated television's power as a retro trigger: viewership was modest by network standards, but the show's visual influence on men's fashion was disproportionate to its ratings.

Dita Von Teese and pinup revival (1990s to present). Dita Von Teese began performing burlesque in 1992 and progressively built a public identity organized entirely around 1940s and 1950s glamour: Marcel waves, red lipstick, corseted waists, seamed stockings, vintage Christian Dior and Vivienne Westwood. Von Teese's visibility, amplified by her marriage to Marilyn Manson (2005 to 2007) and her fashion-press ubiquity, helped establish pinup as a retro lifestyle rather than merely a costume choice.

The twenty-year cycle. Fashion historians and journalists have frequently observed that revival cycles operate on roughly twenty-year intervals: the 1970s revived the 1950s, the 1990s revived the 1970s, the 2010s revived the 1990s. The mechanism is demographic: the generation that experienced a decade as children or teenagers reaches the age of cultural production (25 to 40) about twenty years later, and mines its formative memories for creative material. This cycle is not mechanical or exact, but it has held as a rough pattern through at least four or five iterations.

Silhouette

Because retro spans multiple reference decades, its silhouette vocabulary is correspondingly broad.

• 1940s and 1950s references: nipped waists, full skirts (supported by petticoats or crinoline), high-waisted wide-leg trousers, fitted cardigans, cropped jackets
• 1960s references: A-line shift dresses (Courreges, Quant), slim-cut mod suits (narrow lapels, high armholes, slim trousers), mini skirts
• 1970s references: high-waisted bell-bottoms, wide lapels, shirt collars with elongated points, wrap dresses, relaxed wide-leg trousers
• 1980s references: exaggerated shoulders (padded blazers), high-waisted tapered trousers, oversized tops, power suits
• 1990s references: slip dresses, high-waisted straight-leg or wide-leg jeans, cropped cardigans, platform shoes

The common thread across these silhouettes is that each references the proportional logic of a specific era. Retro dressing at its most effective selects one era's proportions and commits to them rather than mixing decade cues, which tends to produce visual incoherence.

Materials

• reproduction selvedge denim (shuttle-loom woven, rope-dyed indigo, unsanforized)
• cotton broadcloth and oxford cloth for period-accurate shirting
• polyester double-knit and nylon jersey for 1970s references
• wool gabardine and worsted for mid-century tailoring
• rayon crepe and matte jersey for 1970s wrap dresses
• cotton flannel and chambray for 1950s workwear references
• silk and acetate linings in reproduction outerwear
• corduroy (wide-wale for 1970s, narrow-wale for 1960s)

Color Palette

• 1940s/1950s: pastels (powder blue, pink, mint), cherry red, black-and-white contrast, polka dots, gingham checks
• 1960s: mod brights (Mondrian-block primaries), op-art black and white, Courreges white, psychedelic oranges and purples
• 1970s: earth tones (burnt orange, avocado green, harvest gold, chocolate brown), rust, mustard, warm neutrals
• 1980s: neon (hot pink, electric blue, acid green), primary-color blocking, metallics, pastel Miami Vice palette
• 1990s: muted neutrals (greige, taupe, black), grunge flannel plaids, slip-dress jewel tones (burgundy, forest green)

Details

• period-correct collar shapes (longer and more pointed for the 1970s, narrow and short for the 1960s, spread for the 1950s)
• button materials matching the era (shell, corozo, or metal for pre-1960s; plastic and snap closures for the 1970s and 1980s)
• selvedge coin-pocket detailing and chain-stitch hems on reproduction denim
• raised belt loops, hidden rivets, and period-accurate pocket shapes on reproduction jeans
• vintage-reproduction hardware (brass zippers, snaps, D-rings on jackets)
• contrast stitching matched to period conventions
• care labels and interior detailing that reference period construction (e.g., single-needle tailoring on reproduction dress shirts)

Accessories

Accessories anchor the retro reference and often carry more era-specific signal than the garments themselves.

• cat-eye sunglasses (1950s/1960s)
• aviator sunglasses (1970s)
• wayfarer sunglasses (1950s/1960s, revived 1980s)
• oversized square frames (1970s)
• saddle shoes, penny loafers, crepe-soled brothel creepers (1950s)
• Chelsea boots, Cuban-heel boots, Clarks desert boots (1960s)
• platform shoes, wedge sandals (1970s)
• high-top sneakers, jelly shoes (1980s)
• seamed stockings, bullet bras, vintage-reproduction lingerie (1940s/1950s pinup)
• pocket squares, tie bars, fedoras (mid-century menswear)

Body Logic

The body in retro dressing is shaped to match the reference era's ideal proportions. A 1950s reference calls for a defined waist (achieved through corseting, fitted garments, or strategic belt placement), a supported bust line, and a full hip silhouette (petticoats, full skirts). A 1960s mod reference calls for a lean, linear body with minimal waist definition and hemlines above the knee. A 1970s reference calls for long, relaxed proportions with emphasis on leg length (high-waisted flares elongate the lower body). An 1980s reference calls for broad shoulders (padded blazers) and a narrow waist-to-hip ratio.

The revivalist adjusts these period ideals to contemporary fit expectations. A reproduction 1950s circle skirt is typically sewn with a slightly lower waist placement than the original, reflecting current preference. A reproduction 1970s trouser uses a modern fly construction rather than the original button-front closure. These adjustments are where retro separates from reenactment: the body reads as "era-referencing" rather than "costumed" because fit has been quietly updated.

Garment Logic

Retro garments operate on a logic of temporal quotation. A garment's credibility depends on how accurately it reproduces the proportions, materials, and construction details of its reference era, balanced against how wearable it remains in a contemporary context. The most respected retro garments in collector communities are those that achieve period accuracy without requiring the wearer to explain or justify the outfit.

Proportion is the first thing a viewer registers. A 1970s-reference shirt with the correct oversized collar but the wrong body length reads as a failed quotation. Fabric is the second register: a 1950s-reference dress in a modern polyester blend signals low-fidelity retro, while the same dress in cotton sateen or rayon crepe signals higher commitment. Construction details (stitching type, seam finishing, buttonhole style, pocket placement) form the third register and are legible primarily to other retro dressers and vintage collectors.

The hierarchy of period accuracy creates an internal status system: reproduction brands that use period-correct looms, fabrics, and sewing techniques (LVC, Sugar Cane, The Real McCoy's) occupy the top; mainstream brands that produce era-referencing silhouettes in modern fabrics occupy the middle; fast-fashion brands that apply surface-level decade cues (a collar shape, a color palette) without underlying period accuracy occupy the bottom.

Motifs and Themes

Nostalgia is retro's founding emotion and organizing principle: the belief (accurate or not) that an earlier era possessed aesthetic qualities worth recovering. Retro nostalgia is selective by definition, typically preserving a decade's most visually appealing elements while discarding its less attractive realities. The 1950s revival preserves diner culture, hot rods, and rock and roll while largely ignoring racial segregation. The 1970s revival preserves disco glamour and free-spirited silhouettes while largely ignoring economic stagflation and the energy crisis.

Cycle theory provides retro's structural logic. The approximately twenty-year revival interval, the role of media triggers (film, television, music) in restarting cycles, and the gradual drift from high-fidelity reproduction to low-fidelity quotation as a revival matures all follow observable patterns. Each cycle typically peaks within five to seven years of its triggering event, then subsides as the next cycle begins.

Authenticity and its gradients are a persistent theme. The retro community debates where period-accurate reproduction ends and costume begins, where respectful quotation ends and appropriation begins, and whether it is possible to revive a past era's aesthetic without reviving its social context. These debates recur with each revival cycle and are never fully resolved.

Cultural Touchstones

• American Graffiti (George Lucas, 1973): triggered the 1950s revival, grossed over $140 million worldwide on a budget of $777,000
• Grease (Randal Kleiser, 1978): the 1950s revival's commercial peak, highest-grossing musical film of the twentieth century at time of release
• Quadrophenia (Franc Roddam, 1979): triggered the mod revival in the UK, based on The Who's 1973 rock opera
• The Stray Cats, "Stray Cat Strut" (1981): rockabilly revival's breakout single, reaching the top 5 in the UK
• Boogie Nights (Paul Thomas Anderson, 1997): aestheticized 1970s excess, reinforcing the decade's retro appeal
• Mad Men (AMC, 2007 to 2015): triggered a 1960s tailoring revival, influenced menswear industry-wide
• Dita Von Teese (career 1992 to present): the most visible figure in pinup revival, maintained a fully retro public persona for over three decades
• Levi's Vintage Clothing (launched 1996): made period-accurate denim reproduction commercially available outside Japan

Brands and Designers

Reproduction and Heritage:

• Levi's Vintage Clothing (LVC, launched 1996): period-accurate reproductions of archival Levi's models from the 1890s through the 1970s
• Sugar Cane (Toyo Enterprise, Japan): reproduction denim using cane-sugar-fiber blends and vintage shuttle looms
• The Flat Head (1996, Japan): heavyweight unsanforized selvedge denim, 1950s American workwear reproductions
• The Real McCoy's (1993, Japan): military and workwear reproductions using period-accurate materials and construction
• Warehouse (1995, Osaka): reproduces American casual clothing from the 1930s through the 1960s
• Buzz Rickson's (Toyo Enterprise, Japan): military jacket and flight-wear reproductions
• Full Count (1992, Osaka): mid-weight selvedge denim using Zimbabwe cotton

Retro-Referencing Brands:

• Gucci under Tom Ford (1994 to 2004): 1970s-referencing luxury ready-to-wear
• Prada (Miuccia Prada): regularly references 1950s, 1960s, and 1970s silhouettes within contemporary collections
• Miu Miu: 1960s and 1970s quotation in cut, color, and textile
• Steady Clothing: rockabilly and 1950s reproduction clothing for men and women
• Collectif: 1940s through 1960s reproduction dresses and separates
• Reformation: decade-referencing silhouettes in sustainable fabrics
• What Katie Did: vintage-reproduction lingerie and foundation garments (1940s/1950s)

References

[1] Palmer, Alexandra, and Hazel Clark, eds. Old Clothes, New Looks: Second Hand Fashion. Berg, 2005. [2] Guffey, Elizabeth E. Retro: The Culture of Revival. Reaktion Books, 2006. [3] Jenss, Heike. Fashioning Memory: Vintage Style and Youth Culture. Bloomsbury Academic, 2015. [4] DeLong, Marilyn, Barbara Heinemann, and Kathryn Reiley. "Hooked on Vintage!" Fashion Theory 9, no. 1 (2005): 23-42. [5] McClendon, Emma. Denim: Fashion's Frontier. Yale University Press, 2016. [6] Keet, Philomena. The Tokyo Look Book. Kodansha International, 2007. [7] Davis, Fred. Fashion, Culture, and Identity. University of Chicago Press, 1992.