#global flat glass market 2018

[maryharrisk5]

Rising requirement of flat glass for installations in the automotive side, roof, and window panels are expected to boost the laminated flat glass market demand in the future.

[evonnebaker]

Rising requirement of flat glass for installations in the automotive side, roof, and window panels are expected to boost the laminated flat glass market demand in the future.

[spookysaladchaos]

Global Top 5 Companies Accounted for 82% of total Glass for Solar Cells market (QYResearch, 2021)

Glass for solar cells is generally used as an encapsulation sheet for solar modules to protect solar cells. After the solar cell is installed in the solar panel, the conversion efficiency will be reduced because the encapsulating glass absorbs and reflects sunlight. Therefore, in order to minimize the reflection and absorption of sunlight so that more sunlight can pass through the protective glass and hit the solar cell, the quality of the encapsulation glass is very important. Because of this unique feature, as the global use of solar energy continues to rise and the installation of solar modules and panels increases, there is an even greater demand for specialized, high-quality and high-transparency solar glass products.

According to the new market research report “Global Glass for Solar Cells Market Report 2023-2029”, published by QYResearch, the global Glass for Solar Cells market size is projected to reach USD 6.75 billion by 2029, at a CAGR of 5.9% during the forecast period.

Figure.   Global Glass for Solar Cells Market Size (US$ Million), 2018-2029

Figure.   Global Glass for Solar Cells Top 13 Players Ranking and Market Share（Based on data of 2021, Continually updated）

The global key manufacturers of Glass for Solar Cells include Xinyi Solar, FLAT, IRICO Group, CNBM, AVIC Sanxin, CSG, Almaden, ACHT, Xinda, Xinfuxing, etc. In 2020, the global top five players had a share approximately 82.0% in terms of revenue.

About QYResearch

QYResearch founded in California, USA in 2007.It is a leading global market research and consulting company. With over 16 years’ experience and professional research team in various cities over the world QY Research focuses on management consulting, database and seminar services, IPO consulting, industry chain research and customized research to help our clients in providing non-linear revenue model and make them successful. We are globally recognized for our expansive portfolio of services, good corporate citizenship, and our strong commitment to sustainability. Up to now, we have cooperated with more than 60,000 clients across five continents. Let’s work closely with you and build a bold and better future.

QYResearch is a world-renowned large-scale consulting company. The industry covers various high-tech industry chain market segments, spanning the semiconductor industry chain (semiconductor equipment and parts, semiconductor materials, ICs, Foundry, packaging and testing, discrete devices, sensors, optoelectronic devices), photovoltaic industry chain (equipment, cells, modules, auxiliary material brackets, inverters, power station terminals), new energy automobile industry chain (batteries and materials, auto parts, batteries, motors, electronic control, automotive semiconductors, etc.), communication industry chain (communication system equipment, terminal equipment, electronic components, RF front-end, optical modules, 4G/5G/6G, broadband, IoT, digital economy, AI), advanced materials industry Chain (metal materials, polymer materials, ceramic materials, nano materials, etc.), machinery manufacturing industry chain (CNC machine tools, construction machinery, electrical machinery, 3C automation, industrial robots, lasers, industrial control, drones), food, beverages and pharmaceuticals, medical equipment, agriculture, etc.

For more information, please contact the following e-mail address:

Email: global@qyresearch.com

Website: https://www.qyresearch.com

[statsresearch]

Glass Manufacturing Market Size, Growth Analysis, 2023 | Exhibiting CAGR of 5.2% by 2030

The Global Glass Manufacturing Market report by Stats and Research offers statistical information on market shares, size, and growth factors from 2023 to 2030. The report is prepared by studying the market in-depth and the role of market players involved in the industry, including their financial summary, corporate overview, and SWOT analysis. The report is prepared by keeping in mind the essential data, including historic and forecast data along with the important components driving the growth of the market. The report on the global Glass Manufacturing market estimates market report value, considering the regional, product type, application, and end-user segment. The report is a detailed study of the key market players as a part of the competitive landscape.

This report describes the global market size of Glass Manufacturing Market from 2018 to 2021 and its CAGR from 2018 to 2021, and also forecasts its market size to the end of 2030 and it s expected to grow with a CAGR of 5.2% from 2023 to 2030.

Get Free Sample Copy of Report: https://www.statsandresearch.com/request-sample/40315-glass-manufacturing-market

Top Key players in Glass Manufacturing Market: AGC Inc., Fuyao Glass Industry Group Co. Ltd., Guardian Industries, Saint-Gobain, O-I Glass Inc., AGI glaspac, Nihon Yamaura Glass Co., Ltd., Vitro, 3B- the fiberglass company

By Product

Container Glass

Flat Glass

Fiber Glass

Others

By Application

Packaging

Construction

Transportation

Electrical & Electronics

Telecommunication

For Discount, Click Here: https://www.statsandresearch.com/check-discount/40315-glass-manufacturing-market

[hellomarnieserranoworld]

AdroitMarketResearch.com has published the “Global Flat Glass Market 2018-2022” research report to its store. Laminated glass type is anticipated to exhibit the fastest growth of about 7.7% in the coming years.

[aishavass]

AdroitMarketResearch.com has published the “Global Flat Glass Market 2018-2022” research report to its store. Laminated glass type is anticipated to...

[fyeah-bangtan7]

The Greatest Showmen: An exclusive look inside the world of BTS

Maybe you saw them piled on the klieg-lit couches of Ellen DeGeneres and Jimmy Fallon, trading light bilingual banter with their starstruck hosts. Maybe it was when they spoke solemnly on mental health and self-love at the United Nations General Assembly last September, or when a wall of dolphin-like screams greeted them as they rolled into February’s Grammy Awards in trim matching tuxedos, their hair tinted various shades of pastel macaron.

Or maybe the cover of this magazine is the first time you’ve truly noticed BTS. (Stranger things have happened in 2019.) But it seems indisputable to say that sometime over the past two years, the septet have taken over the world: two No. 1 albums on the Billboard chart in the span of three months; more than 5 billion streams combined on Apple Music and Spotify; a string of sold-out concert dates from the Staples Center in Los Angeles to London’s famed Wembley Stadium.

That hardly makes them the first boy band to dominate a cultural moment, but the fact that they are all Korean-born and -raised, singing Korean-language songs only occasionally sprinkled with English, feels like something brand-new. And it speaks to an unprecedented kind of global currency — one where pop music moves without barriers or borders, even as geopolitics seem to retreat further behind hard lines and high walls.

On a blindingly bright March day in Seoul five weeks before the release of their upcoming sixth EP, Map of the Soul: Persona, the band is holed up at their record label Big Hit Entertainment, preparing. Buildings like this are where much of the magic of the phenomenon known as K-pop happens, though Big Hit’s headquarters on a quiet side street in the city’s Gangnam district (yes, the same one Psy sang about in his 2012 smash “Gangnam Style”) look a lot like any other tech office: sleek poured-cement corridors and glass-box conference rooms scattered with well-stocked mini-fridges, plush toys, and the occasional beanbag chair. Only a display case stacked with a truly staggering number of sales plaques and statuettes, and a glossy large-scale photo print of BTS at their sold-out concert at New York’s Citi Field last October, give away the business they do here.

Down a long hallway, all seven members lounge in various states of readiness as they gear up to pretape a thank-you video for an iHeartRadio award they won’t be able to accept in person. Jimin, bleached blond and pillow-lipped, is having his hair carefully flat-ironed in a wardrobe room filled with racks of coordinated denim and neon streetwear. Dozens of pairs of pristine Nikes and Converse are piled in a corner; a lone fun-fur jacket the color of strawberry ice cream slumps on a hanger behind him, like a neglected Fraggle.

Jung Kook, the baby of the band at 21, sits obediently in a folding chair in the dance studio, also having his hair tended to; J-Hope strides by in a white dress shirt emblazoned with an over-size silk-screen of Bart Simpson, then grins and disappears. Suga, V, and Jin huddle together on low sofas next door, scrolling through their phones and occasionally singing fragments of American R&B star Khalid’s “My Bad.” Twenty-four-year-old RM, the group’s de facto leader and lone fluent English speaker, is the last to arrive.

They run through their speech for a camera crew and do maybe four or five takes until the director is satisfied. Then they settle in for a conversation in an airy break room upstairs, accompanied by their longtime translator, a large, amiable bald man in a business suit named John. (Unless noted, the answers of all members other than RM come through him.) Several weeks after returning from their first Grammys, they’re still riding high off the experience: presenting the award to H.E.R. for Best R&B Album; chatting with Shawn Mendes in the men’s room — “I was like, ‘Do I need to tell him who I am?’ ” Jimin remembers, “but then he said hello first, which was really nice” — and being seated only a sequin’s throw from Dolly Parton. (“She was right there in front of us!” marvels Jung Kook. “Amazing.”)

As happily dazzled as they still seem to be by other celebrities, seeing BTS in the flesh triggers the same disorienting but not unpleasant sense of unreality. On screen, the band can look disconcertingly pretty; avatars of a sort of poreless, almost postgender beauty who seem to exist inside their own real-life Snapchat filters. In person they’re still ridiculously good-looking, but in a much more relatable, boyish way: bangs mussed, even the occasional chapped lip or small (okay, minuscule) blemish. Take away their Balenciaga high-tops and the discreet double Cs of Chanel jewelry, and they could almost be the cute college guy next to you at the coffee shop or on the train.

Except riding public transportation or casually dropping into a Starbucks stopped being an option for BTS a long time ago. In Seoul, their faces are plastered across makeup kiosks and street signs and the sides of buses — even on massive digital billboards that are bought and paid for by private citizens to acknowledge a beloved member’s birthday, or just because. In cities like São Paulo and Tokyo and Paris, fans camp out days in advance for concerts and public appearances, obsessively trading trivia and rumored sightings. When the band posted their takethis link opens in a new tab on Drake’s #InMyFeelingsChallenge, it became the most liked tweet of 2018; this summer, Mattel will release an official line of BTS dolls.

In the still center of this bizarre fame hurricane, the boys have managed to find a few pockets of normalcy. Jimin wistfully recalls a time in Chicago when they were able to slip out of their hotel rooms undetected “late at night, just to get some fresh air.” But most places, he admits, “that’s really out of the question” unless they split into smaller groups. “I mean, look at us,” RM adds with a laugh, running a hand through his own silver-nickel bangs. “Seven boys with dyed hair! It’s really too much.”

Instead, they focus on the things they can do, like sneaking out to the movies (“Always the latest or earliest show,” says RM, if they want to stay unseen), shopping online (V loves eBay, especially for clothes), going fishing, playing StarCraft at home. Group housing is actually common for K-pop stars, and BTS seem to appreciate the shared stability: “We’ve been living together for a while now, almost eight, nine years,” says Jimin. “So in the beginning we had a lot of arguments and conflicts. But we’ve reached the point where we can communicate wordlessly, basically just by watching each other and reading the expressions.”

Though they’re unfailingly polite and attentive in interviews, there’s a certain amount of contained chaos when they’re all together — a sort of tumbling-puppy cyclone of playful shoves, back slaps, and complicated handshakes — but also a surprising, endearing sweetness to the way they treat one another in quieter moments. When a question is posed to the group, they work hard to make sure each one of them is heard, and if someone is struggling to find a word, they’ll quickly reach out for a reassuring knee pat or side hug.

Even with the language barrier of speaking to an American reporter, though, their individual personalities quickly start to emerge: Asked to name their earliest pop memories, the answers land all over the map. “I loved Pussycat Dolls’ ‘Stickwitu,’ ’’ says J-Hope, the group’s most accomplished dancer, snapping his fingers and cooing the chorus. For RM, who started out in Seoul’s underground rap scene, it’s Eminem’s “Lose Yourself.” (“I think that’s, like, a life pick for so many people around the world,” he admits, “but I can’t forget when I first watched 8 Mile and heard the guitars. That was my turning point.”) For Jung Kook, who has released covers of Justin Bieber and Troye Sivan songs, it was Richard Marx’s deathless lite-FM ballad “Now and Forever.”

The soft-spoken Suga cites John Lennon’s “Imagine” as “the first song I fell in love with,” which feels like a fitting gateway to ask where BTS see themselves in the pantheon of musical heartthrobs that the Fab Four essentially invented. “Sometimes it feels really embarrassing when someone calls us a 21st-century Beatles or something like that,” RM concedes. “But if they want to call us a boy band, then we’re a boy band. If they want to call us a boy group, we’re a boy group. If they want to call us K-pop, then we’re cool with K-pop.”

Ah, K-pop. In South Korea, where the genre has become not just a prime cultural commodity but a multibillion-dollar export, the players, known as “idols,” go through rigorous Fame-style schooling in song and dance and media training that often goes on for years before they’re considered ready for the spotlight. And it’s paid off: Business has been booming since the early ’90s, with stars from Girls’ Generation to G-Dragoncrossing over to various markets across Asia, Europe, and the Americas. But while the sound has remained fairly consistent — a canny mix of club-ready beats, hyper-sweetened choruses, and the more urban inflections of Western hip-hop and R&B — it’s never before landed with the lightning-bolt impact of BTS.

Bang Si-Hyuk, the CEO and founder of Big Hit, began putting the band together in 2010, when all the members were in their tweens or teens: RM and Suga were coming up on the local rap scene; Jimin and J-Hope studied dance at performing-arts schools; V, who focused on singing early on, joined officially in 2013. Jin was an aspiring actor recruited off the street for his striking looks; Jung Kook, now the group’s main vocalist, joined while he was still in junior high.

Though fansites tend to lean on their extracurricular differences (Jung Kook is a Virgo who loves pizza! V collects ties and clenches his teeth in his sleep!), each member genuinely does hold a unique space in the group’s process, whether it’s leaning more toward production, lyrics, or the supersize hooks the songs rest on. “With seven members we have seven different tastes, of course,” says RM. “So when it comes to songwriting, it’s like a big competition.” Occasionally, adds J-Hope, “we’ll write a lyric and decide, ‘This sort of reflects me [more], who I am and my own color,’ so we’ll want to keep that for a solo song.”

Because Big Hit doesn’t restrict their right to funnel some ideas into side projects — and because the appetite for more BTS-sourced material online is seemingly unquenchable — members regularly release solo work through EPs, SoundCloud, and mixtapes. But the primary impact still comes through the official album releases, and the particularly weighty subjects those songs take on — a notable departure from the narrow, often strenuously upbeat topics other K-pop artists typically cover.

“I promised the members from the very beginning that BTS’ music must come from their own stories,” says Bang; their subsequent openness about their own struggles with depression, self-doubt, and the pressure to conform took them all the way to the U.N. last fall, where RM addressed the band’s Love Myself campaign and #ENDviolence youth partnership with UNICEF.

“They stand out,” says Japanese-American DJ and producer Steve Aoki, a top-selling global dance artist who has also collaborated with the band on several tracks. “And I’m not just talking about K-pop. They add so much of their personality to the music and into their stories and how they present themselves. And the world has fallen in love with them because they are showing that vulnerable side that everyone wants to see.”

It helps, too, that the group’s more pointed messages are often slipped into the sticky aural peanut butter of anthems like “No More Dream,” “Dope,” and “Am I Wrong.” But they always appreciate the chance, Suga says, to get “a little more raw, a little more open.” RM elaborates: “I think it’s an endless dilemma for every artist, how much we should be frank and honest. But we try to reveal ourselves as much as we can.”

Honesty has its limits, of course, when you’re the biggest band in the world. Asked to describe the new album, due April 12 (at press time, it had already hit over 2.5 million in preorders), members offer up cryptic but enthusiastic koans like “therapeutic” and “refreshing crispness.” To be fair, they can’t say much in part because the new album’s track list isn’t actually finalized yet �� late decisions being a luxury of in-house production — though they do agree to play one song, a propulsive rap-heavy banger called “Intro: Persona.” (It was released as a teaser March 27; you can watch the video herethis link opens in a new tab.)

When it comes to more personal questions about the challenges of dating or the goals they might want to pursue post-BTS, they pivot so gracefully to evasive, nonspecific answers, you almost can’t help but be impressed; it’s like watching a diplomat ice-dance. They want you to know that they are incredibly grateful for the devotion of their fans, and so blessed to be exactly where they are; that they really don’t think in terms of five- or 10-year plans. But they turn reflective when the subject of American pop’s holy grail, the Hot 100 singles chart, is raised. They cracked the top 10 last year with “Fake Love” but have yet to reach a higher spot, largely because mainstream radio airplay—a huge component of Hot 100 domination—still eludes them Stateside.

“It will have to be a great song,” Suga acknowledges, “but also there’s a whole strategy that’s associated with getting all the way up. And then there has to be a measure of luck, obviously. So what’s important for us is just to make good music and good performances and have those elements come together.” Does a Spanish-language smash like 2017’s “Despacito” — which spent a record 16 weeks at No. 1 — make them more optimistic about their own odds? “You know, Latin pop has its own Grammys in America, and it’s quite different,” RM says thoughtfully. “I don’t want to compare, but I think it’s even harder as an Asian group. A Hot 100 and a Grammy nomination, these are our goals. But they’re just goals — we don’t want to change our identity or our genuineness to get the number one. Like if we sing suddenly in full English, and change all these other things, then that’s not BTS. We’ll do everything, we’ll try. But if we couldn’t get number one or number five, that’s okay.”

Aoki, for one, has faith they’ll get there. “I think it’s 100 percent possible that a song sung entirely in Korean could crack the top of the Hot 100. I firmly believe that, and I really firmly believe that BTS can be the group that can do that. It’s going to pave the way for a lot of other groups, which they’ve already been doing—and when that happens, we’re all gonna celebrate.”

Back at Big Hit, though, the band has more immediate work to do. RM offers a quick tour of his production room (each member has his own dedicated space on site). The door outside is guarded by a quirky assemblage of figurines by the renowned street artist Kaws, but inside feels, incongruously, like stepping into a tiny, luxurious Sundance lodge that also just happens to have a soundboard: There’s a beautiful coffee table made from a single piece of black walnut; Navajo-style rugs; tasteful art on the walls. RM talks easily about his admiration for producers like Zedd and the Neptunes (“Pharrell Williams and Chad Hugo were my true idols in 2006, 2007. Pharrell’s voice! It’s so sexy, how he sings”), and plays down his own skills (“As a beatmaker, Suga is way better than me. I don’t even know how to play the piano — I just do the chords like this,” he insists, miming keyboard Muppet hands).

Then it’s back to the dance studio, where they’ve changed into track pants and T-shirts to run through new steps with a choreographer. It starts with a rough triangle formation, and an elaborate hip-swivel-into-pelvic-thrust/crotch-grab combo that actually plays much more innocently than it sounds, mostly because they keep stopping to crack each other up. Soon, though, they drill down — repeating the moves until they seem crisp but easy, almost an afterthought. It feels like time to leave them; the boys wave happily, shouting out a rowdy chorus of goodbyes. Then they turn back to the mirror, and keep dancing.

[sunilchwan-blog]

AdroitMarketResearch.com has published the “Global Flat Glass Market 2018-2022” research report to its store. Laminated glass type is anticipated to exhibit the fastest growth of about 7.7% in the coming years.

[aishavass]

AdroitMarketResearch.com has published the “Global Flat Glass Market 2018-2022” research report to its store. Laminated glass type is anticipated to...

[dippedanddripped]

This holiday season, the hottest place to shop in Los Angeles won’t be on shoppers’ paradise Rodeo Drive, but in a warehouse in the city’s grubby garment district. That’s where A Current Affair, one of the world’s hottest vintage marketplaces, will be on December 7.

High-end vintage fashion is having an unprecedented moment, and A Current Affair’s founder Richard Wainwright – resolutely shy in his thick-rimmed glasses, patterned button-down shirt and jeans – is right in the middle of it.

Wainwright has the perfect pedigree for vintage – he has degrees in fashion marketing and merchandising from the Fashion Institute of Technology in New York, and in history of art from the University of California, Berkeley.

“Vintage has always played a role in my life,” says Wainwright. “I started collecting at an early age. Back then, we didn’t really have ‘

fast fashion

’ so combining items found at thrift stores and yard sales was both a creative outlet and a practical way to afford clothing [that] my parents wouldn’t otherwise buy me.”

Shoppers trying on items at A Current Affair.

When Wainwright started A Current Affair nine years ago, the event had only 17 exhibitors.

“Today, we are now a community of over 200 sellers popping up in Los Angeles, Brooklyn and the San Francisco Bay Area seven times a year, in addition to trunk shows … and we did an event at [department store] Isetan in Tokyo this autumn. There is nowhere else to shop that compares to A Current Affair,” Wainwright says proudly, describing the marketplace’s clothes as “the best vintage on the planet”.

A vintage look at A Current Affair.

Liz Baca, with her fiancé Michael D’Andrade, is the owner of The Goods, an appointment-only showroom of designer vintage clothes in Los Angeles, and a vendor at A Current Affair.

“The vintage marketplace has exploded,” says Baca. “When I began, people didn’t really understand what I did. Today, everyone sells vintage clothing. It’s become mainstream.”

The world of high-end vintage is not what you get at your local second-hand shop. Instead of costume jewellery, old flannels and luggage from the 1960s, it’s more 19th-century lace gowns, 1920s cocktail dresses adorned with hand-sewn bead work and feathers, and chunky solid gold jewellery from the decadent ’80s.

Band shirts can still be found at A Current Affair, but they might set you back several hundred US dollars.

A vintage fur coat at A Current Affair.

A vintage dress at A Current Affair.The appeal of vintage is wide and varied, and pieces are often one of a kind. The chances of you showing up to a party where someone is wearing the same pencil skirt from the 1940s as you are is almost non-existent. And, because of their age, vintage pieces have a story to tell.

Yes, designer threads tell the world that you have plenty of money, but vintage clothes have history – and the romance of a new couture ball gown pales in comparison to that of a century-old silk.

Anyone who isn’t wearing vintage has a one-dimensional view of fashion, and it reads as flat and boring in today’s over-saturated visual environmentA Current Affair’s founder Richard Wainwright

Common criticisms of vintage clothes – that they show wear and tear or look worn – are seen as something to be proud of by many clothes lovers. The patina of an already cherished garment is something that no amount of chemical treatment or factory distressing can emulate.

Broader economic trends are also at work. Retail is in trouble, and bricks-and-mortar stores are struggling to stay afloat across the board – some fast-fashion brands, such as Forever 21, have already filed for bankruptcy and closed their stores.

Meanwhile, A Current Affair feels vital and packed with shoppers – including fashion icons like Donald Glover – on the day we visited a pop-up in September.

“It feels as if we are the only type of fashion retail that is booming,” says Wainwright. “Everyone complains that retail is dead but our shows are very much alive.”

Why are millennials in Malaysia and Singapore deserting H&M?

While some of the vendors at A Current Affair have shops, the majority conduct their business online, or through rented by-appointment-only show rooms. Vintage doesn’t require bricks-and-mortar stores to stay afloat. Social media, especially platforms like Instagram, have been a godsend for vintage purveyors. Instagram offers a way for sellers to display their wares to their targeted audiences anywhere in the world without significant overheads.

“Fashionable people have always turned to vintage, but in this age of social media there is added pressure to have things that no one else does or to combine things in unique ways,” says Wainwright. “Anyone who isn’t wearing vintage has a one-dimensional view of fashion, and it reads as flat and boring in today’s over-saturated visual environment. ”

Vintage sunglasses at A Current Affair.

Vintage is also a sustainable option in a time when people are increasingly aware of the environmental impact and human toll of fast fashion. It is essentially recycling, without the buyer having to bear responsibility for its sourcing and manufacture. And, even if the piece you buy is originally from a large fashion house, the money you spend goes to small business retailers, not large corporations.

Until recently, the biggest obstacle to vintage overtaking traditional fashion was the Asian market, where online statistics portal Statista expects fashion sales to hit almost US$362 billion this year.

Historically, vintage, at the risk of generalisation, just didn’t check the boxes that many Asian buyers are looking for in status clothes: big name label recognition, bleeding-edge trendiness and price tags that are as jaw-dropping as they are widely known. In China (the largest market by far) there are legal restrictions around importing second-hand clothes. There are even superstitions against wearing vintage – like the belief that wearing a dead person’s clothes will upset the original owner’s ghost.

How a fast-fashion boycott could help save the world

This is changing fast. Japan has long led the way in Asian interest in vintage, with

Tokyo now a mecca for the most dedicated vintage enthusiasts

. This fervour, however, is global. There are major vintage markets in many Asian metropolises, including Bangkok, Beijing, Tokyo and Seoul, that are often considered just as hip as – or even more hip – than big label stores or glitzy shopping districts.

After English, the most commonly spoken language at the A Current Affair pop-up in Los Angeles in September was Mandarin. A Current Affair also hosted its first Asian pop-up event in Tokyo last month, presenting more than 500 vintage pieces curated for the Japanese market to eager crowds in the city’s Shinjuku neighbourhood.

“I have certainly noticed an interest in vintage clothing spread in the Asian markets,” says Baca. “These days, interest there is just as widespread as other markets. I see it only growing bigger.”

A vintage dress at A Current Affair.

The global shift towards vintage over fast fashion in the last few years has been drastic, and is poised to accelerate further still.

New York University business professor Scott Galloway predicted, as reported in the Australian newspaper Sydney Morning Herald last month, that global second-hand clothes sales will overtake fast fashion within nine years – and the numbers bear this out.

In 2018, according to Statista, the American vintage clothing market was worth US$24 billion, compared to US$35 billion for fast fashion. In nine years, analysts expect the second-hand clothes industry to reach US$64 billion, with fast fashion trailing at US$44 billion.

A vintage fur coat at A Current Affair

“Vintage has gone mainstream, especially with the endorsement of celebrities wearing vintage on the red carpet,” says Eddie Paul Friend of Lust and Fond, a California-based vendor at A Current Affair.

Those celebrities – like Zooey Deschanel, Christina Hendricks and Aya Cash – also show off their latest fashion finds on Instagram, where they are as likely to shout out to their favourite vintage shops as they are to their favourite labels.

Even high-fashion icons like Kate Moss have come out as proud vintage shoppers. October saw the release of Musings on Fashion and Style: Museo de la Moda , a book Moss collaborated on that serves as a paean to her favourite vintage pieces and looks.

“The buyer has changed,” says Baca. “Used clothing has become socially acceptable, so now you see all ages, financial backgrounds and races buying vintage clothes.”

This article appeared in the South China Morning Post print edition as: How vintage is fast becoming A Global trend

[sciencenewsforstudents]

The future of lithium is electrifying. Cars and trucks powered by lithium batteries rather than fossil fuels are, to many people, the future of transportation. Rechargeable lithium batteries are also crucial for storing energy produced by solar and wind power, clean energy sources that are a beacon of hope for a world worried about the rapidly changing global climate.

Prospecting for new sources of lithium is booming, fueled by expectations that demand for lightweight, rechargeable lithium batteries — to power electric vehicles, cell phones, laptops and renewable energy storage facilities — is about to skyrocket.

Even before electric cars, lithium was a hot commodity, mined for decades for reasons that had nothing to do with batteries. Thanks to lithium’s physical properties, it is bizarrely useful, popping up in all sorts of products, from shock-resistant glass to medications. In 2018, those products accounted for nearly half of the global lithium demand, according to analyses by the Frankfurt-based Deutsche Bank. Batteries for consumer electronics, such as cell phones or laptops, accounted for another 25 percent or so of the demand. Electric vehicles accounted for most of the rest.

300 percent: Global estimated increase in demand for lithium in the next 10 to 15 years

That breakdown will soon be turned on its head: By 2025, as much as half of the demand for lithium will be from the electric vehicle industry, some projections suggest. Global demand for the metal is expected to rise at least 300 percent in the next 10 to 15 years, in large part because sales of electric vehicles are expected to increase dramatically. Right now, there are about 2 million electric vehicles on the road worldwide; by 2030, that number is projected to grow to over 24 million, according to the industry research firm Bloomberg New Energy Finance. Electric vehicle giant Tesla has been on a worldwide quest for lithium, inking deals to obtain lithium supplies from mining operations in the United States, Mexico, Canada and Australia.

As a result, lithium prices in global markets have been on a roller coaster in the last few years, with a sharp spike in 2018 due to fears that there just might not be enough of the metal to go around. But those doomsday scenarios are probably a bit overwrought, says geologist Lisa Stillings of the U.S. Geological Survey in Reno, Nev. Lithium makes up about 0.002 percent of Earth’s crust, but in geologic terms, it isn’t particularly rare, Stillings says. The key, she adds, is knowing where it is concentrated enough to mine economically.

Demand for lightweight, rechargeable lithium batteries to power electric vehicles and other modern electronics is expected to climb. CREDIT: TRAMINO/ISTOCK/GETTY IMAGES PLUS

To answer that question, researchers are studying how and where the forces of wind, water, heat and time combine to create rich deposits of the metal. Such places include the flat desert basins of the “lithium triangle” of Chile, Argentina and Bolivia; volcanic rocks called pegmatites in Australia, the United States and Canada; and lithium-bearing clays in the United States.

The hunt to find and extract this “white gold” is also spurring new basic geology, geochemistry and hydrology research. Stillings and other scientists are examining how clays and brines form, how lithium might move between the two deposits when both occur in the same basin and how lithium atoms tend to position themselves within the chemical structure of the clay.