YvonneWnng

The reason why I have mentioned the elderly many times in my previous propose and report is that I think the stories of the elderly may have a greater impact on today’s young people, because they span a longer river of time, experience the precipitation of years more, and are more representative and special.

The stories of older people may also have a more profound impact on younger people, as experiences across generations may lead to a greater understanding of the vicissitudes of time and society. This intergenerational connection and transmission can help young people better understand the evolution of history, culture and values, so that they can better cope with the challenges of the present and future.

Therefore, in my previous report, I have always emphasized cooperation with the elderly and even listed them as my stakeholders. First, we can have a deeper understanding of these precious and unique experiences from their stories. Second, we can accept the concept of new vintage through our design and secondary creation. Manual cooperation with the elderly, so that the product can complete its irreplaceability, I think this can become a business model, but I did not carry out in-depth intervention. Recreating old people’s objects by hand is a very meaningful act, which not only gives new life and value to the objects, but also inherits history, promotes intergenerational communication, and reflects respect and attention to the experience and culture of the elderly. However, for the elderly themselves, they can also experience the embodiment of social identity and sense of value in the project. It also enables the younger generation to better understand and respect the cultural traditions and values of the older generation. Such exchanges help to narrow the distance between generations and enhance mutual understanding and communication.

Therefore, in the future, I would like to continue to study this direction. If I can cooperate with the elderly people in the community to carry out this project, I think it will be very helpful to my plan.

Through my communication with Wang Siyi, I think he is very similar to the second creation of Enfants Riches Deprimes and Bulgari rings I mentioned earlier. We can use the secondary creation of vintage to intervene in the Chinese vintage market.This strategy involves reinterpreting or creatively transforming vintage pieces to cater to the Chinese market’s tastes and preferences.

This concept of secondary creation within the vintage market can be intriguing. It involves taking vintage items and infusing them with new elements, styles, or modifications to appeal to a different audience or meet contemporary demands.Intervening in the Chinese vintage market with a similar approach could attract consumers who appreciate the fusion of classic styles with contemporary twists.

Exploring this avenue could offer a fresh perspective and unique offerings within the Chinese vintage market, potentially appealing to individuals who desire a mix of nostalgia and contemporary flair in their fashion choices.

Enfants Riches Deprimes

Enfants Riches Deprimes presents a concept of new vintage. Although their design style does not exactly fit the definition of traditional retro style, the brand does incorporate some reinterpretations of the retro era and modern elements in its designs.

The brand’s design style is often inspired by a bygone era in a unique and somewhat rebellious way. Their designs may include old-style elements or challenges to traditional clothing design, but incorporate a contemporary aesthetic and maverick style.

While Enfants Riches Deprimes isn’t typically a vintage brand, its designs can sometimes reinterpret and reinterpret a traditional style in a new way, combining vintage elements with modern fashion to create a distinct, personalized style.

Bvlgari

Bvlgari collects old coins and reuses them to design and set new jewelry pieces, presenting a new style that blends historical elements with modern design.

By re-injecting ancient coins into contemporary jewelry design, Bulgari shows respect and homage to history and culture. This way of creation is not simply to repeat historical elements, but to reinterpret and give new life to ancient coins in a unique way.

This neo-retro approach not only uses ancient elements as a source of inspiration, but also combines them with a modern aesthetic to create unique, creative and valuable jewelry designs.

Many ancient coins have historical and cultural value because they are not only a kind of currency, but also a kind of cultural heritage and historical relics. These coins may represent specific historical periods, cultural traditions, or special events.

Bvlgari redesigns these valuable coins, giving them new life and uses.This is undoubtedly also a form of “new vintage”.

This business model can be considered a form of “humanization” or “emotionalization” marketing strategy. By showcasing the photos and stories of the handmade soap makers on the product, the brand aims to establish an emotional connection and sense of identification.

This approach has several effects:

1. Establishing an emotional connection: Displaying the photos and stories of the soap makers on the product allows consumers to establish a more direct connection with the makers. This intimacy can increase trust and fondness for the product as purchasers can more easily relate it to real people.
2. Storytelling marketing: By sharing the stories of the handmade soap makers, the brand can craft a more compelling brand story. This emotional marketing approach captures consumer attention, making it easier for them to resonate with and emotionally identify with the brand.
3. Emphasizing craftsmanship and personalization: This approach highlights the handmade nature and personalization of the product. Consumers may be more inclined to purchase products that have a unique, personalized touch and a sense of humanity behind them, rather than standard mass-produced items.

This business model aims to create a closer, more personal brand image by fostering emotional connections and authenticity to attract and retain customers.

Why do I repeatedly mention lush in my report? I think this kind of story marketing coincides with my idea, which is also what I have extracted from repeated research. It is very necessary for the development of the project to carry out the emotional link between people and objects and objects and people.

“I have been collecting Askew London style jewelry, which are all from the European market, but identification and sale have always been a pain point. Now we are educating a small group of people in the market, who are interested in themselves and do not need much intervention from us. Now I prefer to make new vintage brands, and we also use those old stones to create a second creation for them.”

‘New Vintage’ is a compound term usually used to describe new items or fashion trends that are vintage or inspired by traditional styles. This concept blends vintage style and contemporary design to create novel, retro elements of objects such as clothing, household items, and even art.

In the fashion industry, “new vintage” may refer to those design styles inspired by the past era, but re-interpreted or added modern elements to make them more suitable for current fashion trends and needs. This design can combine traditional craftsmanship and fabrics with contemporary tailoring and pop elements to create new items that are unique and historical.

This concept may be appealing to those who like vintage style but want to incorporate contemporary elements, as it provides a unique way to express personal style while also retaining the unique charm of vintage style.

“This is from our new brand, we have developed a big market in China, my own store is in Changsha, but our buyers even from Europe, it is also a kind of mutual influence.”

Feedback

This project and submission are very confused, and – unfortunately – do not satisfy the Unit Learning Outcomes.

The impression of confusion begins with the lack of a research question. The closest the student comes to articulating an action research question is when they state “The research aims to answer how to popularise the Chinese vintage culture, especially vintage fashion, to promote Chinese culture.” However, the relevant stakeholder group – in other words, those who these vintage fashions will be popularized with – is never defined, and from this unclear beginning the project veers in contradictory directions and never establishes a focused narrative.

A visit to a "Medieval market” is offered as an intervention, but no real use is made of the feedback that might have been obtained when the researcher’s grandmother’s wedding dowry box is sold to a customer. We learn that the origin of the box was explained to the purchaser, but nothing of their response to this narrative.

After quoting secondary research that states “touching stories are key to educating and inspiring consumers unfamiliar with or comfortable buying vintage fashion” the research then asserts that the primary stakeholders in this project are the older individuals in the community”. This is confusing, as the impression created thus far was that the project aimed to persuade young Chinese consumers to take a keener interest in vintage fashion (although as there is no clearly-articulated question, this inference is necessarily somewhat speculative).

The conclusion places great emphasis on what is in reality a very slim amount of action research. “In summation, I have learned that emotional and authentic stories are crucial for enhancing customer appeal towards vintage fashion, hence the need to engage with the elderly to gather real and touching stories about vintage products” Where is the evidence for this?

The key failings of this project are (1) the failure to articulate a clear research question, and (2) (closely related) the failure to carry out any organized programme of research that coherently investigates and interrogates a stated and defined question. In other words, if the assessors are unclear what it is you are trying to do, we cannot judge if you have achieved anything of value.

by Richard

Reflective Essay: Navigating Clarity and Purpose in Research

Embarking on a research endeavor without a clear compass can lead to a maze of confusion, as I discovered through the feedback received on my recent project aimed at popularizing Chinese vintage culture, particularly vintage fashion. The absence of a well-defined research question obscured the path from the outset, causing my efforts to waver between objectives and stakeholders.

The criticism that my research lacked a clear research question resonates deeply. It highlights the fundamental pillar upon which any study must stand. My attempt to explore the popularization of Chinese vintage fashion faltered in its ambiguity about the target audience and the overarching goal. The shift from young Chinese consumers to involving older individuals in the community muddled the project’s focus, leaving a trail of uncertainty.

One of the vivid moments in the project was the intervention at the Medieval market, where my grandmother’s wedding dowry box found a new home. However, I failed to leverage this interaction fully. The feedback from the purchaser, their response to the narrative behind the box, could have illuminated the potential impact of storytelling on consumer behavior. This oversight is a missed opportunity, one that could have provided invaluable insights into the power of emotional connections in promoting vintage fashion.

The conclusion of my project asserted the importance of emotional storytelling in enhancing customer appeal towards vintage fashion. However, it lacked the evidence or concrete data gleaned from my research. My attempt to weave the significance of emotional narratives with the engagement of the elderly community fell short of substantial evidence, leaving a gap between theory and practice.

The critical failings identified in the feedback – the absence of a clear research question and a structured research program – have been stark wake-up calls. These shortcomings have led me to acknowledge the necessity of a well-articulated research framework. Clarity in defining stakeholders, purpose, and a focused research agenda emerges as the cornerstone of any meaningful study.

This feedback has been a compass recalibration, prompting me to reflect deeply on the essence of research: a coherent narrative guided by a defined purpose. Moving forward, I realize the importance of meticulous planning, deliberate stakeholder identification, and a robust research framework that aligns theory with practical exploration.

Inspired by the Museum of Broken Relationships in 2022, I re-established an account to collect items you want to share and edit your own story for this object. This intervention is still ongoing.

From Shuang

Felt that I had never bought vintage in China before, because my family did not allow me to buy old things. However, after I went abroad for my undergraduate study in Sheffield, where there were many vintage shops, I began to buy vintage. The cashmere suit jacket of Burrbury, dark blue for men, was the one I was most satisfied with. I like it very much, from 2019 to 2022, and later because of work depression, I lost a big circle, it is not good to wear, and it has been put at home in China.

That Burberry cashmere blazer sounds beautiful! Some clothes are more than just clothing to us, they carry special memories and emotions. Especially when studying abroad, this jacket may represent many precious memories and experiences. 
 
While it may be frustrating to not be able to wear it for a while because of your changing body shape, it's still a special piece of clothing that can perhaps be reinterpreted or transformed to look like something you're comfortable wearing and love again. Alternatively, you can keep it at home as part of a memorial and memory. 
 
No matter how you choose to do it, the coat is so tied to your personal history and experiences that it carries meaning beyond its value as a piece of clothing.

From EZ

Why did you choose to buy this viintage at that time?

This dress represented my arrival in London. At that time, I was obsessed with East London style, and I liked to walk on brike lane. 
 
This dress is a fun and stylish piece, but is more suitable for someone taller and slimmer than me. It's very rich in material and is suitable for wearing in the right temperature, but I'm in London, and even if the temperature is right, the night wind will make it inappropriate. 
 
Brick Lane is a very vibrant and culturally diverse place, and it can be a particularly attractive place for people who like art, creativity and unique style. There are a variety of art galleries, shops, cafes and graffiti, showing the unique atmosphere and style of East London. 
 
When you choose to buy the piece during that time, it may be more than just a fashion choice, it represents your love and fascination with the place and moment. It may be a symbol of your time in that experience, a reminder of the experiences and feelings you hold dear. 
 
Even though it might not be as practical now in other parts of London or in a different climate, it still carries your emotional memories of that particular time and place. It goes beyond mere fashion items to become a memorial that helps you connect to that special time you experienced in East London. 
 

From Marginlin

The day my mother gifted me a bracelet marked a lifelong commitment. It wasn't just an accessory; it carried the weight of generations. It stayed on my wrist, a constant companion through every moment. The bracelet wasn't just metal; it was a legacy, binding me to my family's history.

It whispered tales of the past, a tangible link to ancestors. Through laughter and tears, it remained, a silent witness to my life. Its unchanged presence was my solace in uncertainty, a reminder of unbreakable bonds.

Years passed, yet it held its shine, resilient like the stories it held. It wasn't just jewelry; it was a guardian of memories. Its significance surpassed material worth; it embodied our family narrative, a tale I vowed to carry forward.

This simple bracelet became a cherished relic, an emblem of lineage. It wasn't merely an ornament; it symbolized endurance and love. It stood unwavering, a testament to our legacy, a piece of history I pledged to preserve with every heartbeat.

From NANA

I have never bought vintage before. This time, I came to London to study. The teacher assigned us homework and asked us to find some vintage. I came across a vase in a charity shop. This vase is Chinese-style. I really want to buy it, but I see two countries at the bottom, China and the UK, and I wonder if this is made in China or made in the UK? 

As much of the manufacturing is now in China, I was surprised when I asked the owner that this Chinese-style vase was made in Britain. I'm thinking, is it England? I wonder what kind of home the previous owner of this vase would have placed such a vase in. There is a decoration style called French Chinese style. I really like that style of house, and I wonder if this vase could have been home. The house is in a French-Chinese style house. 

So I want to buy this vase home even more, especially when I see the British love of Chinese style, integrated into the home life. I feel very memorable, there is Chinese culture to the UK, and the birds and patterns on the vase are very lifelike. Most vases marketed on the market are transparent colors, or focus on cutting, like the cut on a whiskey bottle. However, this vase is black, which is different from most vases on the market, so I like this vase very much.

Even though it doesn't have very complicated floral arrangements, just one or two flowers can make this vase look great. So I feel that this vase is a very practical, even if there is no flower arrangement, placed there is a very nice object, and after I bring it back, I will bring it back even if I return to China.


What you found is really interesting! This serendipity and unique historical context really makes the shopping experience more interesting. This vase is a true cultural intersection, with both Chinese elements and British manufacturing, blending two different styles and cultures. This discovery is really a very meaningful memorial, symbolizing the exchange and integration of cultures and traditions. 
 
French Chinese style decoration style is indeed very charming, this combination of Chinese and Western elements of the style at home to show a unique charm. Imagine that this vase could have been in an exotic home and become part of that space, adding a unique touch of color to the home.

It can be an independent decoration, does not need too much tedious flower decoration, can show a unique charm. Even if you return home, it will become a special commemorative object, a witness to your good time in a foreign country. In a Chinese home, perhaps it will become a unique decoration, carrying your memories and unique history in the UK. Wherever it is, it will become an object of special significance, carrying cultures and memories that transcend national borders.

About the diversity of collecting stories

In the process of collecting stories, I found that many of them came from foreign students, probably because I used little Red Book. In the software, I am an international student, which may trigger a lot of identity, so I should emphasize more diversity and domestic trends.

Therefore, I tried to contact the influencer of Wuhan vintage market that I participated in. She helped me find the middle-aged woman who once bought my grandmother’s dowry box, and I had a brief exchange with her.

• Through the cooperation with influencer, I communicated with the person in charge of the nursing home, but it did not work, because it was a complicated communication process, they could not offer me the opportunity to have substantive communication with the elderly, for fear that it would affect the health of the elderly and other influences, so it was shelved for the time being. However, through the product model of lush, Every one of their handmade soaps has a story from every old creator. If I had the opportunity, I would re-do this intervention, and if I went back to China, I think it might be relatively easy.
  This still gave us inspiration for the establishment of the market. Through the promotion of influencer in the vintage market in Wuhan, this three-day market brought us an opportunity. Our online, online and offline stores introduced everyone’s stories and objects to you.

• Inspired by the Museum of Broken Relationships in 2022, I re-established an account to collect items you want to share and edit your own story for this object. This intervention is still ongoing.
• Through Bulgari ancient coin rings and Enfants Riches Deprimes, a new French brand, we can re-create vintage products through cooperation with siyi Wang, an expert in antique jewelry, which is called “new vintage” in the current vintage market. Through the extension of the product through the secondary creation, I think this is also a direction.

hello everyone, Sustainable development is closely related to the vintage market, as the vintage market can be seen as a way to recover and reuse resources, helping to reduce resource waste and environmental burden.I have the privilege of delving into the intriguing realm of Chinese vintage fashion. This is a field characterised by latent potential awaiting exploration and development. My research addresses the deficiencies  in this emerging sector, particularly the limited vintage outlets and the nascent customer engagement methods. In light of the prevailing Western fashion trends in China, my mission is to establish a strong foundation for vintage fashion steeped in unique Chinese cultural elements. This endeavour is founded on collaborating with elderly members of my community who hold the keys to real, emotive narratives that infuse my vintage clothing. Furthermore, I aim to leverage the growing popularity of vintage products, particularly within the realm of social media, as a means to find a basis for the propagation of Chinese vintage culture.

 I contacted the medieval market in   Wuhan and put my grandmother’s dowry into it. This box has been sitting around my house for a long time ,but it was very beautiful.Because according to the initial idea, I contacted the sanatorium, but to avoid trouble, there are few bills of cooperation intention, so I started from the side and put my grandmother’s dowry into the market. The planner of this market is a medieval enthusiast and also an Internet celebrity.After three days of the market, the box was bought by a female customer, I told her about my grandmother’s marriage, the box has been in her home, and the story of grandma and grandpa. Giving the box a story, which was my original intention, turned it into a very beautiful coffee table in the buyer’s home.

 The primary question driving my research is how to popularise Chinese vintage culture, specifically in a market environment pursuing pure Western style, to promote the rich tapestry of Chinese heritage. As mentioned, identifying effective strategies for promoting Chinese vintage fashion is pivotal in a market predominantly inclined towards Western style. This undertaking capitalises on the burgeoning interest in retro Chinese fashion trends and seeks to transform this interest into a catalyst for embracing Chinese culture.

    What do you think of this? Later, I can be similar to the Museum of Broken Love, collect objects that everyone thinks are worthy of inheritance and sharing, and make a small exhibition.

The ability to make a critical analysis and synthesis of current of the current knowledge and your research within your chosen field inquiry as you hear have you enough secondary research and primary research in the 1st place, Then have you taken some time to critically analyze and synthesize and weave the two together or is your.
在你所选择的领域调查中，对当前知识和你的研究进行批判性分析和综合的能力，你首先有足够的二次研究和初级研究，然后你是否花了一些时间批判性地分析和综合，并将两者编织在一起，或者是你的。

Research really lacking some secondary research.
研究确实缺乏一些二次研究。

Learning objectives, so I'm looking for that as well.
学习目标，所以我也在寻找。

External integrality.
外部完整性

It wasn't just arbitrary. And then after it, it was like, OK, I got this from it, and then it's gonna take me on the next journey, OK, very strong.
这不仅仅是武断的。然后，在它之后，就像，好吧，我从它那里得到了这个，然后它将带我踏上下一个旅程，好吧，非常强大。


Learning objective.
学习目标。

Your critical analysis can come from what you speak. It really shouldn't present. In fact you know your presentation should be mainly your you and your cards and what you want to say and some visuals. I shouldn't have to be like concentrating on looking at your screen and watching it read your screen because that's not the purpose of the slides. The purpose of the slides is to show your show overview of what you're doing and what you like about results, where you can say if that was results.
你的批判性分析可以来自你所说的话。它真的不应该出现。事实上，你知道你的演讲应该主要是你的你和你的卡片，以及你想说的话和一些视觉效果。我不应该像专注于看你的屏幕和看它阅读你的屏幕一样，因为这不是幻灯片的目的。幻灯片的目的是向你的节目展示你正在做的事情以及你喜欢结果的什么，你可以说这是否是结果