The Origins and History of Punk Fashion

The Origins and History of Punk FashionThe time and birth focalise of Punk movement is debatable. Either the New York scene of the late mid-sixties or the British Punks of 1975-76 give the sack be given the honour. Convention apiece(prenominal)y, it is thought the New Yorkers invented the medical specialtyal means while the Lond iodinrs popularized the attitude and the appearance. For our purpose, we get out comely watch oer the British meretricious beca do it was just in the late s purgeties that the movement gained some importance and homunculusalization.Punk in Britain was a movement essentially make of deprived adding-class white youths. There is a strong connection amidst the chinchy phenomenon and the economic and social inequalities in Great Britain. The aim of this work is to show where the stumper came from and how the movement developed its own style, quite distinguishable from any opposite else, up to making it a proper invent recognise worldwide.In the f ist chapter, it will be introduced the concept of sub close. The punk was in circumstance one of the many white youth subculture sparkled after the Second demesne War. It will be explained why youth subcultures emerged and they will be delineated the main features of some of them.A deep analysis of Punk movement origins will be carried out in the second chapter. Here it will be possible to understand the social reasons which led to the human race of punk and the many different sources of style which contri scarcelyed to the formation of a punk artistic.The main feature of the punk aesthetic, then, will be exposed and commented in the third chapter. This chapter focus on the use of shocking and glowering clothes and accessories as a authority of rebellion against the mainstream and the society.In the fourth chapter, it will be discussed the role of media in the spread and word smell out of the punk subculture. As we will see in this chapter, little by little media changed attit ude toward punk. There was a shift from fear to integration of punks which can be explained with the analysis of 2 forms of incorporation, the commodity form and the ideological form. Yet in this chapter, it will be presented on of the main pillar of the punk ideology, the Do It Yourself (DIY) philosophy, which influenced everything in the punk subculture from the music to the fashion.In the fifth chapter, then, it will be drawn the story of what can be considered the real birthplace of the punk fashion, the 430 Kings Road, where Vivienne Westwood and Malcolm McLargonn started their careers. It will be delineated the evolution of the different shops that followed each other at this address and, what is more important, the evolution of the styles proposed by these shops which became the point of reference for the some important punk fashion addicted.In the sixth and last chapter, finally, it will be pointed out how the commodity form of incorporation struck the punk do it fashion available and accepted by the vast public. The 1977 couture collection of Zandra inspired to punks may be identified as the final blow for a sensitive punk style and the beginning of its exploitation as a fashion trend.From that time on many fashion designers inspired to a punk aesthetic for their collections. Recently the whole fashion system seems to energise rediscovered the punk From Jean-Paul Gaultier to Moschino up to low-cost retailers as Zara or HM.Chapter 1Youth subculturesThe source of styleThe endpoint subculture came up for the source time around the second half of the 1940s in anthropological and sociological writing. As early as 1950, David Riesman distinguished between a majority, which passively accepted commercially provided styles and meanings, and a subculture which actively sought a minority style (hot jazz at the time) and interpreted it in harmony with subversive values. Thus the audience manipulates the product (and hence the producer), no less than the other federal agency round (Riesman, 1950).From that time on, many different studies were carried out and unhomogeneous interpretations on the meaning and the function of the subcultures were given by estimated individualalities as John Clarke, Phil Cohen, Walter Miller, Matza and Sykes, Peter Willmott and Stuart Hall.In particular, Dick Hebdige gave one of the biggest contributions to the study of subcultures in his 1979 book Subculture the signification of style which encompasses all theories from the above mentionated authors and uses them to analyze the youth subcultures. From hipsters to teddy boys, from skinheads to mods, from glitter judderers to punks, the youth cultural styles consecution is here reinterpreted, reposing on Gramscis nonion of hegemony, as symbolic forms of resistance as spectacular symptoms of a wider more familiarly submerged dissent which characterized the whole post-war period (Hebdige, 1979)The origins of youth subcultures are, thus, to be give after the Second World War when the traditional patterns of everyday life were staring(a)ly upturned. The emergence of the mass media, modifications in the structure of the family and in the organization of teach and work, shifts in the relative burdens of work and leisure, all contributed in fragmenting and polarizing the working-class lodge. In this contest, also the role and the relative importance of the working-class youth go through a deep change their purchasing power enormously increased (during the period 1945-50 it was estimated that the average real wage of teenagers increased at twice the adults rate) and, consequently, it was created a virgin youth market in order to reach up the resulting surplus.From then on, the youth started to ex crush out and impose its own identity against the levyal one. According to Cohen youth subcultures can be specify as a compromise solution between two contradictionary needs The need to create and ex undertake autonomy and leavi ng from sustains and the need to maintain the parental identifications (Cohen, 1972). That is to say, the latent function of subculture was to express and resolve, albeit magically, the contradictions which remain hidden or unresolved in the parent culture (Cohen, 1972)As Hebdige pointed out, skinheads, for instance, doubtlessly reasserted those values associated with the traditional working-class community, but they did so in the face of the widespread renunciation of those values in the parent culture at a time when such an affirmation of the classic concerns of working- class life was considered inappropriate(Hebdige, 1979). besides it is also the case of mods in fact they were negotiating changes and contradictions which were simultaneously affecting the parent culture but they were doing so in terms of their own relatively autonomous problematic by inventing an elsewhere (the week-end, the West set aside) which was defined against the familiar locales of the home, the pub , the working-mans club, the neighbourhood (Hebdige, 1979).Nevertheless, we must be careful in stressing the importance of integration and coherence between youth and parent culture because one of the most relevant feature in the definition of a subculture is its dissonance and discontinuity with the most largely accepted culture. This is particularly explicit if we take in consideration the punk subculture.As Hebdige writes in fact we should be hard pressed to find in the punk subculture, for instance, any symbolic attempts to retrieve some of the socially cohesive elements destroyed in the parent culture (Cohen, 1972) beyond the simple fact of cohesion itself the expression of a highly structured, visible, tightly bounded pigeonholing identity. Rather, the punks seemed to be parodying the alienation and emptiness which pee ca utilize sociologists so much concern, realizing in a deliberate and wilful fashion the direst predictions of the most scathing social critics, and celebr ating in a mock-heroic terms the death of the community and collapse of traditional forms of meaning. all the corresponding if each subculture strives to be different and unique among other ones, they all share a common feature they are all cultures of conspicuous consumption. This term indicates the practice of abnormally spending on healthys and services with the main objective of flaunting the belonging to a social status, a particular chemical group or, as in this case, to a specific subculture. It is through the distinctive rituals of consumption, through style, that the subculture at once reveals its secret identity and communicates its forbidden meanings. It is basically the way in which commodities are utilize in subculture which marks the subculture off from the more orthodox cultural formations. (Hebdige, 1979).The style can be defined as the self-image that a individual creates representing his or her personality. Style, however, is non built at an individual level but it is strongly dictated by the subculture rules. Everyone severalizeing in a specific subculture is unconsciously agonistic in the adoption, use, dissemination, and the rejection of a certain style of garments or withal acting. That because of the so-called social pressure the behaviour of a single person is so much link to the influence exerted by the social groups that the individual identity muddles up with the collective identity. Accordingly, the identity of the individual is recognized just as his or her membership to the reference group is recognized and accepted by all other members. In this contest, the apparel assumes a key role becoming the most evident sign of affiliation and, thus, one of the principal mean of social avowal. Considering the clothing in the sense of a common communication code, it becomes important to identify the symbolic value of different clothes. Actually, they always carry a message about the style of a group, and to a more precise analysis , they can ordinate us everything we need to know about norms and values of a specific group and even about its formation processes.Thus, the apparel adopted by a subculture should not be seen as a transient fashion but as a visual image of what are the values and norms characterizing that specific subculture and distinguishing it from parent culture and from the other youth subculture too, and inasmuch symbolic representation, it needs to be carefully analyzed to be properly interpreted.Chapter 2The Punk a Mix of involved youth stylesI can play punk rock, and I love playing punk rock, but I was into every other style of music before I played punk rock.(Travis Baker)This quotation from one of the most famed punk-rock drummer of the recent years well summarizes what was the punk movements tailground.Punks origins are blended and even conflicting, coming from a wide range of different musical and fashion styles.Influenced by David Bowie and glitter rock, combined with the main feat ures of Southend rb rhythms, inspired by American proto-punk, twisted with northern soul and with reggae, the punk can be described as a patchwork made of distorted reflections coming from almost every preliminary post-war youth culture stuck together with safety pins. (Jon Savage, 2007)It is like punk unearthing and renewing entire wardrobes belonging to different ages with the aim of proposing them in revitalized mangle form.Glam rock contributed narcissism, nihilism and gender confusion. American punk offered a minimalist aesthetic (e.g. the Ramones Pinhead or Crimes I stupid), the cult of the street and a druthers for self-laceration. Northern Soul (a genuinely secret subculture of working-class youngsters dedicated to acrobatic dancing and fast American soul of the 60s, which centres on clubs like Wigan Casino) brought its subterranean tradition of fast, jerky rhythms, solo spring styles and amphetamines reggae its exotic and dangerous aura or forbidden identity, its consci ence, its dread and its cool. Native rhythm n blues reinforced the flashiness and the speed of Northern Soul, took back to the basics and contributed a highly developed iconoclasm, a thoroughly British person and an extremely selective appropriation of the rock n roll heritage. (Hebdige, 1979)However, the link between these so heterogeneous styles is to be found in the social contest in which the punk movement emerged. We are dealing with the late 1970s in Britain, with its massive unemployment, with its continuous warlike violence episodes (as ,for instance, the tragic one happened during the 76 Notting Hill Carnival to which the punk group The Clash dedicated the melody White riot), with its changing moral standards and its rediscovery of poverty.It was exactly in this period that the race relations became fundamental. On the one hand, there was the urban black youths, living and working in Britain but dreaming and finding an imaginary refuge in an elsewhere (Africa, the West In dies, etc.) through the reggae and the Rastafarianism. On the other hand, there was the white working-class youth, placed at the same social level as the black ones but stuck in their present time, having no predictable future and no places or means to escape the reality. In fact, the model proposed by the glam rock made of literary influences (from Rimbaud, Burroughs, Lautramont and Huysmans) and underground cinema, focused on the concepts of polymorphism, unregenerate sexuality and obsessive individualism resulted too remote from the majority of working-class youth.They were imprisoned in a vicious circle. They felt as aliens, rejected not only by the rest of the world but also by the any existent music genre. They had no reference models, no hopes for the future and uncomplete perspectives of improvement. Therefore, they started to act out alienation, to mime its imagined condition, to manufacture a whole series of subjective correlatives for the official archetypes of the cri sis of modern life the unemployment figures, the Depression, the Westway, Television, etc. (Hebdige, 1979)The awareness of this crisis led to the metempsychosis of what was an inner malaise into tangible icons (the safety pins, the ripped clothes, the spikes, the hungry look, the combat boots, etc.) reflecting in an enhanced way the perceived condition of exile and alienation, which is, nevertheless, voluntarily pretended.Punks, thus, moved back to earlier, more vigorous forms of rock (i.e. the 50s and the mid-60s when the black influences had been strongest) and forward to contemporary reggae(dub, Bob Marley) in order to find a music which reflected more adequately their sense of frustration and oppression. (Hebdige, 1979). They saw in Rastafarian history of exile a point of contact and it was exactly for this reason it was the only accepted subculture alternative to punk. Richard Hell, a punk musician, interviewed in the popular music magazine New Musical Express declared, punks are niggers (NME, 29 October 1977). An inevitably feisty claim but it is asserting(a) of what was the real situation at that time. As Hebdige writes, the punk can be seen in part as white translation of black ethnicity. (Hebdige, 1979)In addition, this candid identification with black British and the West Indian tradition was a way to oppose actively to teddy boys, their hated rivals. In fact, punks used to characterize and wear elements from the teddy boys style and it was perceived as an outrage by the teddy boy revivalists because they felt as punks stealing and fooling their way of clothing and, in a sense, their predilectionls. Punk style was perhaps interpreted by the teddy boys as an affront to the traditional working-class values of forthrightness, plain bringing and sexual Puritanism which they had endorsed and revived (Hebdige, 1979). Concrete evidences of this tension between the two subcultures could be found every Saturday afternoon in the summer of 1977 along Kin gs Road where punctually a throng of punks and teds met to fight.Therefore, Reggae, notwithstanding its apparent distance from punk music, started to be present in a number of repertoires of punk bands as The Clash, The Slits, The Jam, and many others. In the majority of punk clubs, they used to play regularly heavy reggae music between live acts and, moreover, the song Punky Reggae Party by Bob Marley The Wailers, is the evident and overwhelming proof of this contamination.Chapter 3Punks rebellion through styleRebellion is the heart of the punk subculture. Rebellion against society, rebellion against social inequalities, rebellion, in last instance, against conformism. Everything the punks did, everything they wore, dance to, fight for, everything can be consider as punk has the only aim of convey a message of nonconformity. Conformity can be defined as a change in a persons behaviour or opinions as a result of real or imagined pressure from a person or a group of people. (Aronso n, 1972)Therefore, punks rebellion was essentially against the prevailing modes of thought what common people took for granted that is to say the necessity to have a good and certain job, the blame on homosexuality, the mistrust in other race, it was simply not accepted as the only and the best code of conduct.However, punks were young, poor, and completely lost in effectively struggling for changing the reality. Therefore, the only weapon they found to react was to transform themselves in directly offensive and threatening beings.Punks, like previous post-war youth subculture such as teddy boys, the mods, the rockers, the skinheads, the beats, the zoot suiters, and the hippies created, a coherent and elaborate system of body adornment that expressed their estrangement from mainstream society and that horrified the general public. Having little access to dominant means of discourse, punks displayed their disaffiliation and their subcultural identity through such adornment, which was for them an accessible and direct channel of communication. By manipulating the standard codes of adornment in socially exceptionable ways punks challenged the accepted categories of everyday dress and disrupted the codes and conventions of daily life (Wojick,1995)Early punks, probably unconsciously, used most of the rebellion techniques typical of the early avant-gardists different fashions, the blurring of boundaries between art and every day life, juxtapositions of seemingly disparate objects and behaviours, intentional provocation of the audience, use of unstrained performers and drastic reorganization (or disorganization) of accepted performance styles and routine (OHara,1999)In this contest, it is not surprisingly that the main features of punk fashion were so extremely impressive and shocking.Objects borrowed form the most sordid of contexts found a place in the punks ensembles lavatory chains were draped in graceful arcs across chests encased in plastic bin-liners. Safe ty-pins were taken put of their domestic utility context and worn as gruesome or cognomennts through the cheek, ear or lip. Cheap trashy fabrics (PVC, plastic lurex, etc.) in vulgar designs (e.g. mock leopard skin) and nasty colours, long cast away by the quality end of the fashion industry as obsolete kitsch, were salvaged by the punks and turned into garments (fly boy drainpipes, common miniskirts) which offered self-conscious commentaries on the notions of modernity and taste.(Hebdige, 1979)Even the conventional ideas of beauty and attractiveness were refused. Hair was dyed with bright colours and straightened up in spikes and Mohawk. Body piercing degenerated in self-mutilation studs and pins prinked eyebrows, cheeks, nose and lips.Make-up was used by both boys and girls in a massive and impressive way cosmetics became as paint to be used in creating alien masks to hide behind. As Hebdige argued, beneath the clownish make-up there lurked the unaccepted and disfigured face of ca pitalism.Claiming to be anarchists and nihilists, punks felt free to offend as many people as they could. They wore terrorist/guerrilla outfits, directly offensive tee shirt covered in swear words or fake blood, along with desecrated religious object and sexually deviant accessories.The perverse and the abnormal were valued intrinsically. In particular, the illicit iconography of sexual fetishism was used to predictable effect. Rapist masks and rubber wear, leather bodices and fishnet stocking, fantastically pointed stiletto heeled shoes, the whole paraphernalia of bondage the belts, straps and chains were exhumed from the boudoir, closet and pornographic film and placed on the street were they retained their forbidden connotations. Some young punks even donned the dirty raincoat the most prosaic symbol of sexual kinkiness- and hence expressed their deviance in suitably proletarian terms. (Hebdige, 1979)For the first wave punks, each adornment used had a precise meaning The safe ty pins and bin liners, for instance, symbolized a material and spiritual poverty in an exaggerated form, which could be really experienced or just acted out.In other words, the safety pins, etc. enacted that transition from real to symbolic scarcity which Paul Piccone (1969) has described as the movement from avoid stomachs to empty spirits and therefore an empty life notwithstanding the chrome and the plastic of the lifestyle of bourgeois society. (Hebdige, 1979)One of the most controversial symbol used by punks were surely the swastika. This symbol was made available to the punks through Bowie and Lou Reeds Berlin phase. It evoked a decadent and evil Germany, an idea of no future strictly linked to the punks mood. Therefore, it had nothing to do with the Nazisms ideology in the punks vision. Quite the opposite, punks firmly supported the anti-fascism and anti-racism movement. In the punk wear, the swastika lost its classic meaning and it was worn just because it was guaranteed to shock.Conventionally, the swastika has always signified enemy and hate, and to be hated is exactly what punks wanted.Chapter 4Role of media and DIYAs it was showed previously, punk was surely a spectacular subculture and it would have been very difficult for media not to pay attention to it.Although many others groups had paved the way for punk through 1975, it was not until the advent of the Sex Pistols that punk began to take shape as a noticeable style for the vast public. TheNew Musical Expressgave theSex Pistolstheir first music press coverage in the 21 February 1976 for their performance at the Marquee. From then on punk rock began to attract critical attention of the specialized press, and criticism from all the rest of the world. good panic began emerging clamant after the accident happened at the punk festival at 100 Club in Soho in the September of the same year, when a girl was partially blinded by flying beer glass. Punks were angry, wore absurd and offensive clothes and openly claimed they wanted to fight the society and to be heated. It is not surprising that in few months all the British press was focused on this new subculture frightening the middle class.Punk was described as a big social problem and the deviant and anti-social act (as vandalism, swearing, fighting etc.) did nothing but worsen the situation. Their style was used as counter-evidence of the danger they correspond They infringed the sartorial codes in the same way they disrupted the civil and social codes they dress in an inhuman way because they are beasts acting as animals without moral.Therefore, punks were demonized in the press and depicted as folk devils. They were a threat to adjure before it led to a degeneracy of all British youth concerts were cancelled, the Sex Pistols song God save the Queen was banned by British radios, and moral barricades were raised by editors, politicians and other right-thinking people. However, nothing of the above could stop the punk move ments diffusion. For the first time in the history, there was an attempt by a working-class youth subculture to provide an alternative critical space within the subculture itself to counteract the antipathetic ore at least ideologically inflected coverage which punk was receiving in the media. (Hebdige, 1979)An alternative punk press was created the fanzines. Punk fanzines were non-professional and nonofficial journals edited by an individual or a small group consisting of reviews, editorials and interviews with the most important exponents of the punk scene. These publications were produced on a small scale as cheaply as possible and distributed through a small number of sympathetic retail outlets.The language in which the various manifestos were framed was determinedly working class (i.e. it was liberally peppered with swear words) and typewriting errors and grammatical mistakes, misspellings and jumbled pagination were left uncorrected in the final proof. Those corrections and c rossings out that were made before publication were left to be decrypt by the reader. The overwhelming impression was one of urgency and immediacy, of a paper produced in indecent haste, of memos from the front line. (Hebdige, 1979)The fanzines are one of the most notable expressions of the punks Do It Yourself (DIY) concept. TheDIY ethic, in general terms,refers to the ethic of being self-reliant by completing tasks oneself as opposed to having others who are more experienced or able complete them for you. The DIY ethic is tied topunk ideologyandanti consumerism, as a rejection of the need to purchase items or use existing systems or processes.Sniffin Glue, the first fanzine and the one which achieved the highest circulation, contained perhaps the single most inspired item of propaganda produced by the subculture the definitive statement of punks do- it -your self philosophy- a diagram showing three finger positions on the neck of a guitar over the caption Heres one chord, heres two more, now form your band. (Hebdige, 1979)Nevertheless, the Do it yourself philosophy was not confined just in the press world.Emerging punk bands began to record their music, produce albums and merchandise, distribute their works and often performedbasement showsinresidentialhomes rather than at traditionalvenue, in this way they could to avoidcorporate sponsorship and to secure freedom in performance.To be honest, these rising bands had no many other choices because most of venues tended to evade moreexperimental music, and so houses were often the only places at which they were allowed to play.Obviously, also punk fashion followed the DIY ideology The clothes suited the lifestyle of those with limited cash due to unemployment and the general low-income schoolhouse leavers. Punks cut up old clothes from charity and thrift shops, destroyed the fabric and refashioned outfits creating a very innovative way of clothing never existed before.This stylistic innovation attracted the medias attention provoking two different responses In the fashion pages, the newness and the creativity of the punk fashion began to be not only accepted but also celebrated, while there was a big part of the British press still stigmatizing the punk as ridiculous and offensive.Starting from an initial credenza by the fashion magazines, little by little all media began a sort of process of recuperation and incorporation of the punk obviously, young punks still represented a deviant way of living but the medias attitude, and so of the whole society as well, slowly shifted from a demonizing approach to an exorcising approach.This was made, as Hebdige explains, throughout two different formsThe ideological form and the commodity formA Ideological formThrough this form, media tried to neutralize the differences between punks and common people. Young punks family assumed a new role.The punks tended to be resituated by the press in the family, perhaps because members of the subculture deliberately obscured their origins, refused the family and willingly played the part of folk devil, presenting themselves as pure objects, as villainous clowns. . For whatever reason, the inevitable glut of articles gleefully denouncing the latest punk outrage was counter-balanced by an equal number of items devoted to the small detail of punk family life. (Hebdige, 1979)During the summer of 1977, several articles were published on punk babies, punk-ted weddings and on a lot of other common daily situations involving punks and with titles like Punks have mothers too They advertise us a few home truths (Woman, 15 April 1978) or Punks and Mothers (Woman s Own, 15 October 1977)All these articles served to minimize the Otherness so stridently proclaimed in punk style, and defined the subculture in precisely those terms which it sought most vehemently to resist and deny (Hebdige, 1979)B Commodity formThis second form of incorporation is the most interesting for the purposes of this re search. It is trough this form that subcultural signs (clothes, music etc.) are driven to the conversion into mass-produced objects. Therefore, it is here the key to understand how the punk way of clothing, born from the rebellion against the whole society and characterised from the beginning by an anti-fashion attitude, could be transformed and largely exploited as a proper fashion trend.But first to get to this, it will be necessary to draw the story of what could be consider the cradle of punk fashion The 430, Kings Road.Chapter 5430, Kings RoadEverything started in the October 1971 when Malcolm McLaren and his art-school friend Patrick Casey opened, here in the heart of the Chelsea district, a small stand in the back room of a shop called Paradise Garage. They sold at time original rock n roll vinyl records, specialized music magazines, vintage items from the 1950s and some garment.The young McLaren was convinced that music and fashion were two inseparable things and so, when in 1971 he obtained the proprietary rights on the store, he renamed it Let It Rock and transformed it in a clothing store stocked up with second-hand and new teddy boy clothes designed by his girlfriend Vivienne Westwood.The shop wavy iron facade was painted black with the stores name written in pink letters, while the interior followed the typical stylish period details, such as the so-called Odeon wallpapers. Westwoods designs sold in the shop were hideous and outlandish, inspired by bikers, fetishists and prostitutes. Brothel creeper shoes, drape coats, and skin-tight trousers were designed by Vivienne Westwood (but also by McLaren itself) and then made up by an East End tailor and by a local seamstress. One of the most representative example of the kind of garments sold in this first-phase Let It Rock is the Bones T-shirt Using chicken bones acquired from a local takeaway, Westwood boiled and drilled the bones and attached them with chains and studs to spell keywords such as Roc k and Perv. The idea originated in the skull and crossbones of the bikers, but it gave the garment a primitive, talismanic power. 1Nothing similar ever appeared in the entire fashion world scene the store with its creation attract the attention of the international press, from the Rolling Stone to certain Japanese magazines.It was a real success but McLaren was not completely satisfied with the style of the shop their main customers were teddy boys and he had huge problems with them.For these reason the next year, he travelled to New York for a boutique fair where he met the emergent American rock band the New York Dolls. It was here he started to take his first steps in the rock music system. In fact he took over their management, he dressed them in red leather clothes supplied by his London store and promoted them using Soviet iconography. The Dolls broke up curtly after, but served their purpose as a dry run for the management style he would soon deploy to spectacula