The economic prosperity of the fashion industry is not a mystery to most, given its worth of $1.2 trillion USD and in New York City alone, its worth of $98 billion. What were once fashion companies are now conglomerates. High fashion equals big business, and with a careful combination of the fascination with appearance embedded into American culture mixed with the internet decentralizing, fashion's elitism has made now a more exciting time than ever to gain a share of this market. Fashion is opening up in unprecedented ways, and this rapid growth responds to its consumers who want cheap, not quality. For the traditionalists, where quantity is undesirable, turning a profit is simpler than ever before.

There is a heavy value in fashion already since at its most basic level, it's a commodity, categorizable with shelter. What goes beyond our comprehension is the value of Ultra-Luxury goods, so outlandish that they could grow in investment by over 500 percent, surpassing the value of stocks.

There is a common misconception about those with an interest in high-fashion, that they have disposable income to throw at clothing. On the contrary, many women spend smart. I implore you to consider this "Vogue" article, where Investment Shopping, as it is coined, is a new outlet to strategize fashion purchasing to extend your funds into your old age. Vintage is considered a tangible (hard) asset, and in a time of high inflation, hard assets tend to outperform financial assets. The driving force of mark-up is the amount of real interest rates available.

High-end coveted items with materials that age well are the defining feature of how we dress in present-day. The racks consist of deadstock, or new old stock, of gently worn pieces (rarely you'll encounter a "new with tags," and do not expect to find the most pristine care taken). To procure a vintage piece with reputable provenance, based on the ownership's chronology is an additional factor which can enrich a woman's collection. They're great ways to acquire a label at a cheaper price, thus feeding our interest in value. Charity-run second-hand shops, flea markets, estate sales, or even a digital front like NastyGal's collection, eBay's online auctions, and Etsy's vendors are all ways to get a good find. Because who isn't looking to avert the inflation-adjusted original purchase price tag? Or, as Business of Fashion may ask in a reflection of Black Friday sales, does anyone expect to pay full price anymore?

For designers, vintage is a way to have a tangible experience with fashion history. They were all taught twentieth century Christian Dior from the New School, but until they can feel the textile and physically pluck out elements and apply them to their current designs, the true experience isn't there. In order for a garment to be considered vintage, it must be from a different era, and historically fashion has always looked to the past for inspiration so it has been a seamless transaction.

Previously, reproduction of antique clothing was an unlawful pursuit of the knock-off street merchant. Those who prefer a modern interpretation on an old style might relish this convenience which enables consumer advantage. Now, the dissolution of intellectual property rights is perpetuating, and many lawsuits unearth between major international retailers and one-person design shops. The Fashion Law is a great resource which tracks the legal boundaries fashion often crosses, like the recent lawsuit by Jeremy Scott for Moschino with his graffiti copying. Even Karl Lagerfeld of Chanel has had a run-in with the law.

Alternatively, an aspect of fashion where quality has decreased is print journalism. Ostensibly, this claim is valid for all media. They are heavily dictated by the interests of their highest spending advertisers, just like the Koch Brothers are to Republican candidates. The inner-workings of a seemingly creative image would be shocking to the readership of fashion publications.

Designers use sophisticated resources to promote their product and build their brand, yet what isn't disclosed is that the amount of coverage a designer gets is positively correlated with the amount of advertising money given. Cosmopolitan's Amy Odell in her book "Tales From The Back Row" outlines "Harper's Bazaar" accidental release of a list of designers, numbered in order by the amount of commercial ad money they received. "GQ" editor Dylan Jones confessed to "The Guardian" that he feels a sense of duty to his advertisers as he does to his readers.

Anna Wintour has a spotless reputation because she wards off the retaliation that brands use against bad press. Paid-for editorial placements are somewhat justifiable, but a bad review could singlehandedly fuel a

scandal and tarnish a career. In a world where editors adapt to pressures, has the pretense of 'church and state' divisions dissolved?

Certain fashion journalists like Cathy Horyn maintain their integrity by voicing a true criticism in contrast to "Vogue" magazine's notoriously gleeful response to all of fashion. A striking thought is that more freedom is given to those employed by newspapers than magazines. Even though both are declining in circulation, perhaps newspapers excel in credibility because they have a longer history, are more inexpensive, and incredibly current information.

Also bred by the "New York Times" is fashion director Vanessa Friedman, who asserted that “there still are critics: at the "Washington Post," "The LA Times," "The London Times," the "London Telegraph," "The Guardian," "The Independent," "The Evening Standard," The Wall Street Journal." The rumors of our demise have been greatly exaggerated."

Dynamic techniques have been formed from newer publications like Porter placing an editorial near the front pages of the issue, previewing the authentic content quicker and CR Fashion Book having a double-sided copy, splitting up the chunks of ads to show resistance against advertorial censorships. Net-A-Porter's Natalie Massanet pioneers a new business model to defy the age-old assumption of September issue-length ads in a magazine without integration of independent content.

In conclusion, money does yield power, and quality vintage and quality print media do in fact hold value. What are your two cents on the matter?