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THERE IS NOTHING NEW UNDER THE SUN, WHY DO WE FEAR CHANGE?

Fashion | Written: Wairimu Njoroge

08.10.25

In today’s fashion landscape, nostalgia reigns supreme, some might even call it an obsession. We find ourselves constantly looking back in order to move forward, drawn to the comfort of familiar styles and eras.

 

This sentimental longing for the past creates powerful emotional connections, yet it also raises a question: is our fixation on nostalgia stifling innovation? In a world where everything feels like a revival, perhaps there truly is nothing new under the sun.​

PHOTO | DEATH TO STOCK | MACKENZIE FREEMIRE

Whilst fashion loves a revival, innovation is taking a hit. Take 90’s minimalism for example, the foundational concepts are still being replicated in today’s industry, well over thirty years later.

 

Brands continue to reintroduce pieces inspired by this era, with less focus on releasing something new. Within the digital age, there is an ease of reference to the past, and paying homage to prior designs and collections is becoming prominent. What does that say about us as consumers? Why is there a fear of change?

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​Nostalgia’s powerful appeal in fashion stems from the comfort, continuity, and emotional connection it offers to the past, especially in contrast to a rapidly changing world.

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It re-creates the essence of simpler times, providing familiarity rather than uncertainty, a state that is much easier to embrace. Resonating across generations, nostalgia’s allure is amplified by forging emotional links between people and objects from the past (Wu, 2023).

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​For instance, the re-release of Carrie Bradshaw’s iconic shoes by Jimmy Choo this year demonstrates this effect. Leading up to their 30th anniversary, the lilac suede sandal with feather embellishments was available to purchase as part of Choi’s The Archive: 1997-2001 capsule collection, instilling a sense of exclusivity and authenticity that appeals to the nostalgic inclination of consumers.

 

There is also a sense of it-bag deja vu, as brands bring bags of the past out of the vault and into the current market to honour previous eras. Iconic bags are making their way back into our wardrobes. Popular in 2005 and now again in 2025, Chloé’s Paddington bag was also re-reissued, adhering to its original silhouette with only functional adjustments. This release led to a spike in demand for secondhand luxury resale. Similarly, the vintage market is at its peak, fuelled by a perception that vintage is more authentic than mass produced goods. ​​​​​​​​​​​​​​​​​​​​​

The era vintage pieces come from also reflects a time when craftsmanship and personality were prioritised, alongside individuality and attention to detail. The allure of 90s fashion lies in its versatility and accessible blend of simplicity, silhouettes and aesthetics can easily return to the spotlight.

 

Its elements fit into personal style with ease. Major fashion houses have reignited this interest with an upscale, contemporary twist, now revisiting their archives to bring back iconic designs (Voyer, 2024).

 

Although nostalgia has its perks, heavy reliance on nostalgia driven marketing risks inhibiting innovation and the creative process of designers, leading to a cycle of recycling old patterns and silhouettes instead of fostering new ones. ​

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This reveals much about our nature as consumers, our tendency to cling to nostalgia stems from a fear of change. Clothing and identity are deeply intertwined, shaping and reflecting our subconscious emotions and the environments we move through. What we wear influences how we feel and perceive the world around us. Fashion, by nature, is an agent of change.

 

Every new garment adopts something unfamiliar while letting go of what is known and established (Lopes, 2017). Yet, this transition is sometimes easier said than done. We often equate the familiar with comfort and quality, making it harder for the unfamiliar to be embraced as easily as nostalgia is. The idea of fashion being transformative in nature is opposed when there is nothing new being created.

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​Within the industry, there is one journey that is followed, one that is already established. The unconscious pressure to follow this one route has led to a lack of new creation and repetition. Referential work is important within the fashion sphere, but it is now less frequent to see creations that are revolutionary or completely unfamiliar in the industry.

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