Abstract
decade, having crossed over from a niche market to become a mainstream trend.
The retailing and distribution of vintage fashion is fragmented between flea
markets, charity stores, specialist stores, concessions in luxury and middle market multiples and e-tailers.1 Mhango and Niehm2 identify that the highest proportion of vintage fashion is sold by specialist stores, and therefore they became the focus of the study. These are typically small, independently owned businesses, and previous research with this sector by McColl et al.3 concluded that visual merchandising (VM) was a central feature of their positioning strategy and identity. This formed the basis of the rationale for this study which aimed to explore the motives and methods of VM adoption within vintage fashion retailing.
The retailing and distribution of vintage fashion is fragmented between flea
markets, charity stores, specialist stores, concessions in luxury and middle market multiples and e-tailers.1 Mhango and Niehm2 identify that the highest proportion of vintage fashion is sold by specialist stores, and therefore they became the focus of the study. These are typically small, independently owned businesses, and previous research with this sector by McColl et al.3 concluded that visual merchandising (VM) was a central feature of their positioning strategy and identity. This formed the basis of the rationale for this study which aimed to explore the motives and methods of VM adoption within vintage fashion retailing.
| Original language | English |
|---|---|
| Title of host publication | From Production to Consumption: The Cultural Industry of Fashion |
| Editors | M. Pedroni |
| Place of Publication | Oxford |
| Publisher | Inter-Disciplinary Press |
| ISBN (Print) | 9781848881655 |
| Publication status | Published - 2013 |
Keywords
- visual merchandising
- vintage fashion
- retail positioning