6 Vintage Collectors Reveal Their Sourcing Secrets

Fashion has always been in conversation with the past. If you stick around long enough, you’ll see more than a few cycles of aesthetic comebacks and reinvention. While we used to shop for the current-day take on, say, a low-rise jean, or a Calvin Klein slipdress inspired by one Carolyn Bessette Kennedy wore, more and more of us are now seeking out the original. Whether due to a drop in production quality, the power of The RealReal, or the spike in celebrity vintage styling, archival fashion is more desirable than ever.

We sought out vintage sellers with truly distinct and curated archives to talk about the ultimate sartorial treasure hunt. Below, stylist Gabriel Held, known for his exuberant ’90s and 2000s hip-hop influenced collection; Yuji Jitsutani of Atlantis Vintage in Tokyo, aka mecca for vintage Chanel and rare Louis Vuitton bags; Olivia La Roche, who just opened a shop in Rome to house her surrealist Italian vintage wares; Johnny Valencia of Pechuga Vintage, Kim Kardashian’s go-to archive known for its deep Vivienne Westwood devotion; Celia Phillips of Sacrificium Laudis, home of late ’80s Italian and avant-garde Japanese gems; and Alexis Novak of Tab Vintage, the Los Angeles haven repairing damaged archival pieces to near-fresh status, share their stories and their secrets.

Johnny Valencia, Pechuga Vintage, Los Angeles

What was your style growing up?

I was born in El Salvador, but my mom and I grew up in Koreatown in L.A. I was the quintessential Guess kid—Ellen von Unwerth was still shooting the campaigns, and my mom was obsessed with putting me in Guess overalls.

How did you get into vintage and sourcing?

I actually went to school for animal science and then decided to explore political science, which led me to Paris, which led me to clothes, finally.

I worked for Vivienne Westwood starting in 2012. It wasn’t until 2017 that I had an awakening. I saw styles repeated throughout the collections and thought, where does this originate from? That’s when I started going backward.

What was your gateway piece?

Westwood was the gateway designer—there was this one piece from fall 1991. She took this French cabinet maker, Andre-Charles Boulle’s gold foil design and put it onto her clothing. I had to have it. I bought this little bomber, and it was three times my rent. Years later, I ended up putting that piece on Lisa for her solo debut from Blackpink. It caused a huge commotion. People in Asia started counterfeiting the jacket.

How do you curate your shop?

It’s filled with pieces that were pivotal to a designer’s career: when Westwood first started making corsets in 1988, or when Issey Miyake started doing Pleats Please, or when Gautier began his mesh work.

How would you describe your archive?

Pechuga is for the sexy nerds. And sexiness is inherent to the way we wear things.

What is the best-selling brand?

I call them fan faves—like the J’Adore Dior era, the Rasta print, the saddle bags.

What are your vintage white whales, the pieces you've been chasing forever?

The McQueen Armadillo shoes from Plato’s Atlantis spring 2010. I was after the Margiela masks that Matthieu Blazey made, with the crystallized face coverings. Finally, I won one at an auction three months ago.

Do you have any tips for people seeking rare vintage stuff?

Do the research.

What are your wildest pieces?

The Vivienne Westwood x Louis Vuitton bum bag from the 1996 Centennial collection—those have been very covetable. The Vivienne Westwood super-elevated court pumps, too. Cynthia Erivo purchased one pair from us for $15,000.

Why do you think vintage is so beloved right now?

Nostalgia gives us a feeling of belonging. Vintage has evolved so much that even fast fashion wants to get in on it. H&M is collaborating with Wasteland. Lauren Sanchez just started following the Pechuga [Instagram account]! It was wild. I’m like, are the girls talking...? I hit her up and I said, “Hi, Mrs. Bezos—what do you need?”

Yuji Jitsutani, Atlantis Vintage, Tokyo

What was your style like growing up?

I’m from a small suburb in Hiroshima, in the countryside. I was always dreaming about Tokyo fashion. I loved anything unique, anything nobody else around me had. Fashion is a huge hobby in Japan, so even as a kid I felt like I was part of a much bigger style conversation, even if my town was tiny.

How did you get into collecting and vintage sourcing?

I started in my early 20s, working at a huge secondhand warehouse-style store—this is common in the Japanese countryside. We bought everything, from toys to clothes to household goods, and I was in charge of apparel pricing. That taught me how to evaluate value, rarity, demand, and condition, and I became addicted to the thrill of finding something special.

What makes Atlantis Vintage unique?

Atlantis Vintage started in 2002. The owner at that time was one of the early pioneers collecting vintage Chanel, long before it was trendy. Back then, we were one of the first shops in Japan supplying Chanel to the U.S. luxury market before the global boom. Japan is still the biggest hub for sourcing luxury, and we have deep roots in that world. What makes us special is the atmosphere and the service. We are not a stiff luxury shop offering you gloves to touch the bags. Customers can try things, take photos, ask questions, relax, and have fun.

Do you remember the first bag you were obsessed with?

Yes. A battered Chanel see-through vinyl purse with the gold leather lining peeling off. It was super cheap, and I still wear it. You can see everything inside; I keep the authenticity card in the inner pocket on display like a little joke.

What was your gateway piece?

More Chanel—a stunning, deep-purple velvet quilted flap. Once I got that, I was completely gone.

What are some pieces you have been chasing forever?

Honestly, nothing specific, because over the years we have managed to source almost everything, all the way up to a Himalayan Birkin. What is harder today is sourcing pieces that suddenly explode in demand. For example, Balenciaga City bags were everywhere 10 years ago, and really cheap. Now they are nearly impossible to buy in good condition at a reasonable price.

How does the team curate the shop?

We buy based on quality, rarity, condition, and what our customers are searching for. We study the global market closely, and when we spot a trend early we try to secure pieces before prices jump. It happens very quickly and it’s a bit of a gamble. Everything is hand-selected. There’s no bulk buying or random lots.

What are your most special pieces?

Easily, vintage exotics and fur pieces. For example, an old, patent, dark-brown Gucci alligator flap that looks like it came straight out of a ’70s movie, and a soft gray rabbit fur Fendi Mama Baguette with a stone clasp.

How do you find rare pieces?

We source through auction houses, a small circle of private VIP sellers, and our industry contacts. We travel far, and we go to more markets now than ever because competition is so intense. Auction houses sound glamorous, but it’s very physical; one auction can have up to 6,000 bags. It’s tiring, but necessary to keep our selection strong—and we love the hunt.

What is your best-selling brand?

Chanel and Louis Vuitton, without question. The Classic Flap, the Diana, and LV monogram pochettes never slow down. We also see many international buyers shopping for their first designer bag. Chanel flaps or LV pochettes are often their entry point, and then we help them find more unexpected pieces. Many first-time buyers don’t realize there are so many other vintage Chanel styles similar to the classics on offer. They are also cheaper because they are less typical.

What are your tips for people shopping vintage?

Be open-minded. Know your budget. Check global market prices on Google Shopping. Do not obsess over a tiny scratch if the piece is special; it is part of the charm. Be adventurous. Some of the best pieces are the ones you never planned to buy.

Celia Phillips, Sacrificium Laudis, Athens

What was your style like as a kid?

In Hamilton, New Zealand, clothes were pretty limited. I used to make a lot of my clothes, or it was vintage. It’d be Victorian if you’re lucky—more likely, you’d find ’50s, ’60s, and ’70s vintage.

How did you get into vintage sourcing?

I worked in fashion in lots of different ways—I had my own label, I also worked for a brand called Pierre Patterson as a pattern cutter design assistant. I taught at Glasgow School of Arts. I started selling some pieces during Covid, then my husband and I moved to Athens. People really liked the pieces and it seemed like the right thing to do. Athens didn’t have fashion labels I could work for.

What was your gateway piece?

When I started, I was looking for Issey Miyake and Yoshiki Hishinuma pleated designs. It was probably Japanese designers that really hooked me.

What’s your craziest piece?

One was a 1989 Giorgio Armani set, which was silk with this one-shoulder, romantic blouse and a matching skirt. It was everything.

How would you describe your archive?

Romantic, ethereal. And I always look for things that have either interesting textiles or links to nature.

What’s your best-selling brand?

Definitely Romeo Gigli.

What are your thoughts on the spring 2026 collections?

My opinion is—and this might be controversial—but I feel like fashion has lost its magic. The most magical period for me was the late ’80s, when there were big budgets. Now the budget’s been tightened, and things are not as well-made. Designers are looking back in the archives, but they can’t recapture that magic, unfortunately.

Olivia La Roche, O La Roche, Rome

What was your style like growing up?

I’m from Northern California, and I was raised on a commune. My mom was one of the very early pioneers in clothing swaps and had one twice a year—she works in recycling and zero-waste advocacy. Most of my wardrobe was from these swaps growing up, and I always got the things the mostly hippy attendees didn’t want: fur coats, slinky silk lingerie, the vintage stuff. I had free rein of my body and my style, and I had all kinds of different wild outfits, like a tiny Chanel suit I wore to the playground at 8 years old because no adult could fit it.

How did you get into vintage sourcing?

With all these swaps, plus thrifting and the zero-waste lifestyle my parents were living, I started accumulating a lot of great stuff as a kid. When I was a teen and wanted to spend money, I started selling it. After college, I got an internship at a magazine and I’ve been in fashion ever since. I started O. La Roche in 2018.

How would you describe your archive?

Materials-focused. I am really into high-quality materials; I love when things have unusual embellishments or functionality. Everything has to seem really special, maybe only one was ever made. I like things where I can see the designer’s thought process, where you have a dialogue with the garment.

What was your gateway piece?

Probably that miniature Chanel suit I wore as a kid. There was also a yellow leather jacket, and some rare Issey Miyake pieces. I also found these incredible YSL disco ball slides on Yves Saint Lauren’ts birthday at a Salvation Army. I still feel like he gave them to me.

What are your most special pieces?

A Trash Couture sea moss dress by Ann Wiberg, Gianni Versace for Genny’s fish-themed sequin bodysuit, a Gucci by Tom ford fall 2004 silk dress, and I still have those disco ball YSL shoes!

How do you find rare pieces?

Randomly. I don’t seek them out, they find me.

What is your best-selling brand?

People love the Italian designers: Miu Miu, Prada, Gucci. Marithé François Girbaud. CopCopine. I also find my customers don’t care about a brand if the piece is fab and the materials are luxurious.

What are your tips for people shopping vintage?

Focus on high-quality materials. Remember, you can always customize the fit with a good tailor—try to see it on a body, some things only come to life that way.

What makes your archive unique?

The fact that I am an equal-opportunity buyer—as in, I am always looking for the most amazing piece, regardless of how big the designer is. The more oversaturated the vintage world is, it feels more exciting to discover a lesser-known designer and have something one of a kind.

What did you think of the spring 2026 collections?

I literally saw things that seemed exactly the same as the vintage I have sold in the past. I’m not sure how that makes me feel about contemporary fashion, but it makes me feel pretty good about vintage.

Alexis Novak, Tab Vintage, Los Angeles

What was your style like growing up?

Although Denver, where I’m from, has its own distinct style, it’s not my personal style. My options as a kid were limited. We didn’t have much money, so designer vintage was so far from what I dreamt of seeing, let alone owning. But I was still obsessed with clothes. I pored over magazines, then would go to the flea market and thrift stores to DIY my own versions of the looks I loved.

How did you get into collecting?

I’ve always dreamt of owning a vintage store, but never thought it would be possible. I started small, very small—like 4-5 pieces—and launched Tab Vintage’s Instagram right before Covid. I had these amazing pieces I found at estate sales and decided to sell them on Instagram Live. I’d hold the pieces up, talk about them, sometimes try them on, QVC-style. To my surprise, people actually shopped!

What was your gateway piece?

If I remember correctly, it was a three-piece Chanel set I found at an estate sale in Pasadena. I saw it in the background of a wide-room shot to promote the sale. I lined up at 4 AM to get it.

What are your most special pieces?

There’s an exquisite 1938 Elsa Schiaparelli vine-and-insect collar necklace from her Pagan collection at the store. They are extremely hard to come by and, from my research, most of them in existence are in museums. Another is a runway sample from fall 1995, Jean Paul Gaultier’s Mad Maxette collection. We have the actual piece Helena Christensen wore down the runway, which has a tire track on the removable skirt.

What is your best-selling brand?

Requests usually mirror what’s happening on the runways—if 1980s silhouettes are having a moment, we’ll get a wave of inquiries about that decade. The classic designers that are always in demand are John Galliano and Alexander McQueen, and lately we’ve noticed a big uptick in vintage Prada, and Bob Mackie, too.

What are your tips for people shopping vintage?

Buy what genuinely speaks to you. Don’t be scared off by the little “wisdom markings” that show a garment has lived a full life before you; a small snag or a faint mark won’t make the piece unwearable.

Gabriel Held, Gabriel Held Vintage, New York

Where did you grow up and what was your style like?

I grew up on the East River, south of the Williamsburg Bridge. It was a desolate, industrial area. But I went to the school where they filmed Gossip Girl. I had two feet in different worlds and was trying to code switch through fashion. As a tween in the ’90s, I was inspired by Riot Girls and Courtney Love. In high school, I was much more inspired by hip-hop and R&B.

How did you get into vintage?

My school was more affluent than my lifestyle and my family. I got a pretty modest allowance, and I was always good at thrifting or shopping outlets. Plus, I had my own clothing addiction to fuel, so I would mark things up and sell them to the girls at my school. I studied visual art, but it was a tough economic time when I graduated, and people were interested in the clothes. I gave that a real shot, and it turned out to be exactly where I was supposed to be.

What was your gateway piece?

It was an Anna Sui tee with a baby doll emblem. I remember it was really cheap, but it was still out of my range. And when I say cheap, it was $5 and it was out of my range. I brought a girl from my school there to buy it because I felt that it should go somewhere. That turned out to be a fruitful impulse to follow.

What are some pieces you’ve been chasing forever?

A forever white whale is the Louis Vuitton Murakami mink fanny pack. I actually bid on it once at an auction of Janet Jackson’s. I was willing to go to the limit for that!

How do you find rare pieces?

I have no secret, and there is no cheat code for me. I use eBay, and I love The RealReal.

Do you have tips for people that are shopping vintage?

It’s a stamina game and a patience game, and you can find something anywhere. You never know!

What are your prized possessions?

Todd Oldham was somebody I collected and aspired to collect when I was in junior high school. My friend Lena Dunham and I both coveted his pieces; when she was finishing her show Girls, she got in touch with me and was like, “I want to do all my press in only vintage Oldham, every piece being a tribute to our childhood in New York.” I did find her some stuff, but she got in touch with Todd. He was like, “I don’t feel that attached. Come and take what you want.” She was really classy about it; I pulled four racks. When the time came to send everything back, I made a proposition to him about making a trade. Should he ever decide he wants to collect, that would be good.

How would you describe your archive in a few words?

Extravagant. We’re not doing a plain, black pencil skirt. I would also say my collection is enthusiastic. It’s for people who are excited by clothes.