When I began in this business in 1965, the only When vintage clothes first began being sold by a<br >thing that could be said about vintage clothing few shops in the late sixties, you could have the<br >was that it was old and used and that you had to pick of the Victorian blouse rack, for example, iu<br >be a little weird or theatrical to buy it, let alone perfect condition and for very little money. A per-<br >wear it on days other than Halloween. Today feet-condition Chinese or Spanish shawl with<br >every fashion-conscious woman and man has multicolored embroidery was $30. That great wed-<br >probably bought at least one old piece and worn it ding dress your friend made from hand-embroi-<br >as evening or everyday clothing. In recent years dered batiste and real lace was $25.<br >vintage apparel has become a unique style of dress Finding old clothes is not the cheap thrill it<br >for people without a huge fashion allowance. And used to be in the sixties. No more thrift-shop bar-<br >many with thousands of dollars to spend still find gains and naive flea-market dealers . . . no more<br >that the only time anyone else looks at them at a auctions where you can find "everything in this<br >party is when they have on a special find from box, for the lucky lady who sews at home, ten<br >their favorite vintage-clothing shop. dollars." The message is out: Old clothes are not<br > My first customers seventeen years ago were the same as secondhand clothes. They are lash-<br >young actresses and artists with very little money, ion. They are collectible. Like antiques, they re<br >theatrical taste, and very low clothing budgets, being sold in shops across the United States<br >Some of them worked part-time and went to lash- and in Europe; they re even being auctioned at<br >ion schools at night. Many well-known painters Christie s East and Sotheby s.<br >expressed their interest in textiles by wearing old Today, when the price of a decent new ward-<br >paisley shawls or silkscreened dresses to art open- robe practically requires a second mortgage on<br >ings. The average person s reaction to this "lash- your house, antique clothing still costs less than<br >ion statement" was curiosity and often criticism, comparable new clothes. And vintage clothes are<br >But people who want to be original have always much more accessible today in shops, auctions,<br >paid little attention to the criticism and appreci- flea markets, even some department stores, than<br >ated the curiosity, they were ten years ago.<br > As more antique-clothing stores opened during Still, customers treasure the name of a favorite<br >the seventies and were written up in fashion mag- antique-clothing shop, keeping its location a<br >azines, the public became more aware of vintage closer secret than the name of their plastic sur-<br >clothing. They tested the water by buying a scarf geon. After years of hearing new customers ask,<br >or an accessory. The cost at this time was still "When did you open?" and hearing myself an-<br >mit~imal. If a shawl didn t work out, if a blouse swer, "Seventeen years ago," 1 am used to their<br >tore Under the arm, or if the color was wrong for surprise that my business is so old.<br >yoursl~ia ~one, you just shoved it into the back of Surprisingly enough, many people who would<br >Y0~~~10~. ~long with other, more expensive new- enjoy shopping for and wearing antique clothing<br >e!oth~x~jpots. The cost of such a mistake was resist it, finding the shops difficult to browse and<br >~~Y ~bQ~t five dollars and nothing to get too up- buy in, Displayed items are often one of a kind;<br >set ~bout. Now that the five-dollar clothing pur- the boutique owner looks costumed~ there are too<br >chase has gone the way of the 35-cent slice of many things to choose from; the sizes are eonfus-<br >pizza, our decisions have to be more carefully ing; styles are unique and too varied; things are<br >thought out. not always in good condition.<br >
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这本书简直是为我这种对老物件情有独钟的人量身定做的,它不像那些老生常谈的时尚指南,上来就给你灌输一堆“必须拥有”的潮流单品。作者的笔触非常细腻,她似乎懂得如何捕捉那些被时间温柔对待过的物品所散发出的独特魅力。我尤其喜欢她对不同年代风格的梳理,那种深入骨髓的理解,让你在翻阅时,仿佛能闻到空气中淡淡的樟脑丸和旧书页的混合气味。她没有强行要求你模仿某个固定的Look,而是鼓励你像一个寻宝猎人那样,从历史的碎片中汲取灵感,将那些被遗忘的美丽重新唤醒,融入到现代的生活肌理中。书中大量的实景照片和手绘插图,简直就是一场视觉的盛宴,它们不仅仅是展示,更像是一种无声的教学,告诉你如何用最少的投入,搭配出最具个性的“复古味道”。那种对细节的执着,比如纽扣的选择、面料的纹理、配饰的年代感,都体现出作者极高的审美修养。读完这本书,我感觉自己对“美”的定义都拓宽了,它不再是转瞬即逝的流行符号,而是一种可以穿越时空、沉淀下来的质感和故事。
评分老实说,我原本以为这类主题的书籍都会偏向于某个特定的小众圈子,内容可能会比较晦涩难懂,充斥着只有行家才懂的术语。然而,这本书的语言风格出乎意料地亲切和接地气,它用一种如同与老友分享私藏秘笈的口吻,将复杂的古董鉴别技巧和风格搭配哲学,转化成了任何人都能理解的生活智慧。我最欣赏的是作者对“可持续性”这件事的实践态度,她并没有把“复古”等同于昂贵和遥不可及,而是巧妙地引导读者,如何在跳蚤市场、二手店甚至是家族的旧箱子里,挖掘出那些被低估的宝藏。书中分享的DIY改造小贴士也极其实用,它们不是那种需要专业工具才能完成的复杂工程,而是简单到我这样一个动手能力为零的人也能轻松尝试的“点睛之笔”。这种积极、创造性的态度,让“复古”不再是高高在上的艺术品展示,而是融入日常生活、充满人情味的乐趣所在。它真正做到了将“旧”焕发出“新”的生命力。
评分我必须强调这本书在“氛围营造”上的卓越表现。它不仅仅是文字和图片的堆砌,它成功地在读者心中构建了一个具体、可感知的世界观。作者的选材品味极为精准,她所展示的那些“Chic”的场景,无一不流淌着一种毫不费力的优雅感,没有一丝一毫的刻意做作或用力过猛。那些被她捕捉到的光影、那些陈旧的木地板、那些被岁月磨得发亮的黄铜把手,都成了构成这种“复古别致”氛围的重要元素。阅读的过程本身,就是一种沉浸式的体验,仿佛我正在跟着她漫步在巴黎的古着店,或是在伦敦的某个精致的二手家具店里“淘宝”。她教会我的,是如何去“感受”一件物品的历史,而不是仅仅“识别”它的标签。这种深度体验,让这本书超越了工具书的范畴,更像是一本关于“生活美学”的深度访谈录。它激发了我对身边环境的重新审视,让我渴望把这种宁静、有故事感的氛围带入到我自己的日常生活中去。
评分这本书的结构布局简直是逻辑思维的典范,它没有让我的思绪在海量的信息中迷失方向。每一部分都像是一个清晰的里程碑,引导读者一步步深入主题。开篇的“精神溯源”部分,奠定了整本书的哲学基调,没有急于展示华丽的Look,而是先探讨了为什么“旧物”对我们有着如此强大的情感吸引力,这一点处理得非常高明,一下子就抓住了读者的内心共鸣。接着,章节开始细化到材质、剪裁、色彩等具体元素时,那种层层递进的逻辑链条感非常清晰。你不会觉得是在读一本随意的杂志,而是在系统性地学习一门关于时间美学的课程。而且,书中对不同文化背景下的“复古”现象也有着极其审慎的观察和描述,避免了西方中心主义的偏颇,这使得整本书的视野显得非常开阔和包容。读完合上书本时,我清晰地感觉到自己的知识体系被重新构建了,不再是零散的碎片,而是一个有逻辑、有层次的美学框架。
评分这本书的叙事节奏感简直是大师级的。它不是那种平铺直叙的教科书式写作,更像是一部精心剪辑的独立电影,充满了跳跃的灵感火花和意想不到的转折。我通常对那种长篇大论的理论介绍感到头疼,但这本书的行文流畅得令人惊叹,每一个章节的过渡都自然得仿佛呼吸一般。作者似乎非常擅长使用那些充满画面感的词汇,她描述一件古董家具时的笔法,比我亲眼看到实物还要生动立体。特别是她探讨如何将不同时期、不同地域的“老物件”进行跨界混搭时,那种大胆又精准的判断力,让人拍案叫绝。这本书的价值不仅仅在于“教你买什么”,更在于“教你如何看”,它训练了读者的眼睛,去识别那些真正有灵魂的物件,而不是那些徒有其表的仿制品。读着读着,我甚至开始反思自己衣橱里的很多“快时尚”单品,它们是如此的空洞和短暂。这本书的出现,更像是一个温柔的提醒,告诉我们:真正的时髦,是时间的沉淀,而不是对即时满足的盲目追逐。
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