CONSTELLATION: Session 8: GOTH SUBCULTURE
Posted: March 22, 2014 Filed under: Constellation | Tags: 19th century, alexander mcqueen, Constellation, Goth, goth culture, goth subculture, gothic, gothic design, gothic literature, gothic subculture, marilyn manson, subculture, the adams family Leave a commentThere are many different looks and complex changes within the Goth Subculture. There are many different stylistic strands at work within Goth, However it is quite easily stereotyped. Spooner (2006) states that Goth emerged as a visual style from Gothic Literature. It grew out of punk style and had its hay day in the 1980s. To outsiders, the subculture appears consistent, but its a combination of objects and style. Goth plays with the traditional notions of masculinity. Both genders involved themselves in Goth. Hodkinson (2007) suggests that Goth is more complex. A fusion of different styles being present, goth employs Bricolage and plays around with styles from elsewhere, clothing is highly important in this Subculture. The Birmingham school talk about “symbolic resistance” and a statement being made within the style which there is within Goth, whereas the post modern approach is that you can just wear a style with no statement, goth does not fit in with this approach.
There is a Victorian aspect to Goth. It is borrowed from Victorian style and traditions of Gothic literature from the 19th century. It is highly inspired by Horror, Frankenstein or Dracula and has the idea of reverting back to the period when this literature was made.
The Victorian mourning dress is a valuable resource to Gothic style and corsetry. Steele (2008) states that elements of Victorian fashion became incorporated into goth dress. The mourning dress is a huge influence to the goth style however it has been changed by the use of make up. They did not wear black eyeliner and dark make up in the Victorian times.
The themes that emerge from Goth Subculture include: Ghosts, hauntings, the undead, liminal bodies, monstrosity and transgressing social forms. How far do these themes emerge visually in the look of Goth Subculture? Spooner (2006) says: it is clothing that most securely links Goth subculture with the gothic literary tradition “surface” features of gothic fiction such as veils and masquerade.
This is a costume for Morticia Adams (the Adams Family). In terms of Design it belongs to the victorian tradition of the mourning dress. The majority of flesh is covered and the arms are slightly shredded portraying decay and death. The motif of tearing clothes is a motif of decay and age of fabric. The spider on the front portrays the notion of creepy crawlies crawling on dead bodies. Death is an important theme within gothic literature.
Gothic Style is a fusion, it fits in with punk style and incorporates bondage and fetishwear. Re-appropriating bondage to mainstream sensibility. Punk connotations are emerging. There is a fusion of punk style and gothic literature themes. There are subgenres within an umbrella of goth such as gothic punk, steam punk, techno goth. Hodkinson (2007) says only in the 1990s did fetishwear become a standard element of goth style. Goth also suggests alternative rock culture and incorporated piercings and tattoos.
This is an image of the fans from a Marilyn Manson gig at Manda Place in Milan. You can tell that these aren’t 1980s/70s goths. There is lots of fetish wear included in this style and corsetry but it is still advocating the gothic literature tradition of pale make up. Dog collars are worn here which are very different jewellery to Victorian accessories. Cheap fabrics are used.
Hebdige states that Subculture will always become mainstream. Street style reappears on the catwalk and in the media. For example the gothic style of Trinity in the Matrix, influenced people to wear long leather coats. Media influences street style and street style influenced the media.
Goths are still around today and the gothic style and literary tradition continues to inspired media figures and designers. Most of Alexander Mcqueens designs are influenced by Gothic subculture. Armani have been inspired by Gothic connotations of the spider and many other fashion designers have also adopted goth as an inspiration for their designs and clothing items.
CONSTELLATION: Session 7: Harajuku Street Style
Posted: March 7, 2014 Filed under: Constellation | Tags: bricolage, changing meanings, Fashion, groom, harajuku, harajuku girl, hebdige, polhemus, post modern theory, resignification of objects, street style, style, style in quotation marks, subcultural theory, subculture, Subcultures, supermarket of style Leave a commentIn this session, we summarised Groom’s (2009) perspective on Harajuku street style.
What are the style statements/influences and how can this be termed post modern style?
The style is self constructed, hyper-real, post modern, eccentric. excessive and exaggerated. The is a “superficiality of posed identity” within Harajuku style. They are not being themselves and are deliberately making it obvious that Harajuku is a role that they are performing. There is no sense of a “real me” an image of the people who wear this street style is projected as they want to be seen, for this to be true, they must be aware of the rules of posing. There is nothing natural about this street style, and fakery is a massive part of Harajuku. The image is adopted “through quotation marks”, just like words are borrowed when they are in quotation marks, so are the parts of this style, this is known as Bricolage, (Hebdige) bringing lots of different objects together and giving them new meanings. They know the original function of the items and change the meaning of them for example – using western childrens toys as fashion items. The style is highly exaggerated and is almost like fancy dress, something you put on and take off. There is no “ideological commitment” in Harajuku, it’s a style, not a message. You don’t buy this look on the highstreet, you make it yourself, “DIY Practice” and are not influenced by whats in fashion at the time. Harajuku is marked by Fusions and Fluidity. It is a fushion of then and now and a fusion of the east and the west. It fits in with Post modern theory as there is a blurring of subcultures and a “supermarket of style” (polhemus). They have taken many different parts from varied places and thrown them all together to make a style. The key to post modern style is that its been deliberately selected and put together.
What is suggested about social and cultural contexts regarding this subculture?
The Birmingham school says that subcultures arise out of a wider condition such as race or gender. Hebdige says that is where the statement lies and forms a reaction against something. Social and cultural contexts are really important, our societies affect the way we think. Groom suggests that formalities exist within japanese culture and the youth have to conform to these formalities when they are in the house by taking their shoes off etc. but when they are not they adopt Harajuku to rebel against these formalities and it is only enacted on the streets or in public spaces. According to Groom, Harajuku is a reaction against the rigid formalities of being at home. However, the youth still live at home so that they have a disposable income to afford fashions and music etc. You still have all the benefits of being young and Harajuku is all about keeping the Childhood alive. The street is a need for escape to get away from parents.
We then went on to analyse to images of Harajuku style in preparation to analyse our own imagery and formulate a case study.
We found characteristics within the image, thought about possible meanings and applied subcultural theory. Unfortunately I haven’t been able to locate the same images that were analysed to I have included similar to show the vast range of style that comes under Harajuku.
Image 1
Pink – Girly, Gender coded. Pastel Pink associated with young girls. Western connotations in this style.
Ribbons in hair, Knee High socks with Lace trim – femininity, western school uniform, girly, childish.
Fabric Polka dot skirt – Minnie mouse connotations
Cheap mass-produced plastic jewellery – excessive, objects that relate to being a little girl – cute rabbit hairslides. Bricolage is occurring here, some of the rules of little girlishness have been selected but elements have been added that do not belong to the style and the meanings have been changed. The hair slides are in the front of the hair whereas their original function is to hold the hair back, changed. The hair slides are excessive and there is a knowingness of this exaggeration which fits in with post modern theory. Grooms theory of “style in quotation marks” comes in here with parts of a certain style being borrowed and paired with new style connotations. Hair – Pink is little girl, but dyed hair is not little girl. This has come from a punk sensibility, there is a fusion of things that don’t belong – Groom, bricolage is again clear. The harajuku in the image given to us was also wearing converse trainers not cute shoes, which again takes away the little girl authenticity. A leopard print back pack was on her back, leopard print is associated with adults and a sexual print. Prostitutes wore it in the 30s and 40s. There is post modern theory evident, a definite “resignification of objects” and a “supermarket of style” (Polhemus).
Image 2
The second image we analysed was a harajuku girl who had adopted much more of a punk sensibility and less little girlyness and so creating another signature look. There are different styles within Harajuku, it is far more diverse than the punks or the mods or the teds, its more post modern.
Ripped clothing, safety pins – not holding things together, meanings being changed, more retro and evidence of a British punk sensibility.
Brothel Creepers – teds used to wear them. In the 80s the punks and the teds combined together to form psychobillies, there is a psychobillie sensibility here, a “supermarket of style” (polhemus). She is not trying to look like a 1970s punk, she has adopted certain elements from the look. Within the Birmingham School, Hebdige claimed that subculture was rebellion – “resistance through ritual”. Groom says that there is possibly a resistance to rebelling against the formality of japanese Culture and may be why a punk sensibility is adopted by Harajuku.
I had never really looked at the Harajuku street style before this lecture and found it incredibly interesting and quite chaotic as a subculture, I found that there are no strict rules as to what you wear or how you act and it is visually very interesting. I was drawn to the idea that Harajuku girls are hiding the real them and performing and it is definitely apparent, as it is in many subcultures that this style is an escapism, from Japans formalities, but it is like a fancy dress, just for the streets and public spaces and not to be worn at home.
CONSTELLATION: Academic Research Into Subcultures – Session 6
Posted: February 28, 2014 Filed under: Constellation | Tags: Birmingham School, bricolage, CCCS, class, gender, Goth, homology, maffesoli, muggleton, neotribalism, neotribes, polhemus, post modern, post subcultural theory, punk, style, subcultural, subcultural identity, subculture, subculutral capital, supermarket of style, sweetman, symbolic resistance, thornton Leave a commentIn this session, we looked at two academic research groups – The Centre for Contemporary Cultural Studies also known as The Birmingham School and Post CCCS also known as Post sub-cultural Theory.
What are the Characteristics of Subcultures according to the CCCS (The Birmingham School’s) Research?
The Birmingham School feel that Subculture is constructed in relation to a dominant culture and that it always defies society in some way. They state that Subculture is carried and associated with the youth of society and that it emerges when individuals in similar circumstances feel themselves to be isolated or neglected by mainstream society. They say that subculture has a delicate relationship with the media and was a reaction against it. The school puts high emphasis class and gender and makes the point that subcultures are derived by working class youths, predominantly masculine rebelling against society and the parent culture (the establishment). This is referred to as “symbolic resistance” (Osbergy, 2004 p.116) – a political or ideological act fighting the system through rituals. Rituals create a group identity mostly through appearance and style, they are how you can spot the punk in the room for example but they also suggest homology and Bricolage. Homology being a set of values and beliefs that are shared within a subculture and Bricolage meaning changing the meaning of objects to reflect these values. The Birmingham school are adamant that Bricolage is a part of sub-cultural identity. However, there are criticisms of their research.
Criticisms of the Birmingham Schools Research
First of all, saying that working class people only did subculture isn’t accurate. Every sub-cultural gang is a variety of genders, backgrounds, classes etc. What about political statements against the system? Bricolage is evident in subculture but can you not just like a style and experiment with different fashions? They made general assumptions and stereotyped. They didn’t suggest that females were part of subculture whereas for example we know that there was a feminist attitude in punk, punk women defied the Barbie doll look and rebelled against the parent culture by doing so. O’Brien’s work suggests in fact that if women wanted to be equal they were attracted to the punk subculture. Gender Bias is a criticism of the Birmingham School. They oversimplified the complex social make up of many youth cultures but the Birmingham Schools work is important because it says that street style is a valid subject to study and that is their contribution.
What are the findings of Post-CCCS research into Subcultures? (Known as post sub-cultural theory or post modern subcultures)
Post sub-cultural theory refers to subcultures as Neo-tribes. Neo- tribes allow members to wander through multiple group attachments. The post sub cultural view is that there is a style in subculture but there is not necessarily a political statement or ideology behind it. However, they do say that there is a political statement in attitude, rather than style. They maintain that you can have punk views and sensibility for example without wearing safety pins and ripped clothes. The Birmingham School suggested everyone in subcultures has a look and an attitude but post sub-cultural theory suggests that there is a more complex process of selecting style. They state that the boundaries between subcultures are blurred. One week you could have a goth look and the next week you could be dressed like a punk, in their opinion, this doesn’t mean your beliefs have changed. CCCS suggested the fact that you were part of one gang, you followed the rules of a subculture in the 1970s but in the 1990s, the post subcultures said that you could float between cultures. The Post modern approach is that there is a mash-up stylistically, and there can be a mixing of styles. The media is important in their approach. The CCCS said subculture was a reaction against the media but the post sub-cultural view is that the media have always played a part in sub-cultural style and have helped define it, for examples inspiration from musicians in the media. They say they have a symbiotic relationship – subculture uses the media and the media uses them. Post modern research suggests that subculture is far more fluid with less clear boundaries and less clear identities. The picking and choosing of style is apparent and identities are not fixed by Gender and class. They maintain that you can wear a style without making a political statement.
What unites the Birmingham Schools research and the Post Sub-cultural theory?
Bricolage unites both teams, it is evident in both’s research. CCCS suggests that Bricolage always has a meaning relating to society. Post modernists maintain that people gather objects to create a style and say something about themselves.
SUMMARY: Academic Theories and Terms
(Muggleton, 2000) suggested that subculture is merely a “stylistic game to be played” committing yourself to a sub-cultural scene is far less evident in the 21st century.
The act of adopting many styles and creating a mash-up of them is known as a “supermarket of style” (Polhemus, 1995)
Neotribalism – (Maffesoli,1996) The feeling of togetherness but its is informal and not necessarily because of style. You can have a community, but it doesn’t have to be manifested stylistically. You may be part of a certain community if you go and listen to music and another if you are watching football for example.
Postmodern Spaces – “The airport departure lounge” (Turner,1999) – The Idea that you are only part of a community for a certain amount of time and then you float into another community/identity.
Distinctions between Travelers and Tourists (Sweetman,2004) – suggests that subcultures are one of the other. The travelers follow the rules of one subculture/part of a goth gang for example. The people are still around today but tourists are the ones floating around, hanging around with the goth for a little while and then moving on. Both are in existence. It is not the death of the 1970s subcultures, but 1990s floating subcultures exist alongside them.
Objectified Sub-cultural Capital (Thornton 1995) – Sub-cultural capital is objectified by well made hair cuts and music. Objectified sub-cultural capital refers to the objects that say “I am a punk” for example. (external)
Embodied Sub-cultural Capital (Thornton, 2004) is the idea of being in the know. Using but not overusing slang. Words, Speech and Attitudes. Part of being cool is not making it look like you are trying too hard.
This session was highly interesting and it was definitely beneficial in looking at the research of both groups. In terms of analysing subculture it was valuable to look at the opinions of researchers in the 1970s and the 90s and contrasting them. I would say that the post modern view is a lot more valid today, but without the Birmingham School I may not have been studying subculture anyway as they put across the point that is was valid to study.
CONSTELLATION: PUNK STYLE: Re-signification of Objects and Dress: Session 5 Cath Davies
Posted: February 20, 2014 Filed under: Constellation | Tags: 1970s, 1970s punk, against society, anti-establishment, antiestablishment, Art, Art and Design, bondage, breaking the riles of society, bricolage, cat woman, coloured hair, Constellation, cut up aesthetic, dadaism, Dick Hebdige, fanzine, Fashion, god save the queen, homology, masculine, meanings, mohican, nonconformist, politics, punk, punk culture, punk style, punks, pvc, rebel, rebellious, resignification of objects, ripped clothing, safety pin, semeotic guerilla warfare, sex pistols, sex pistols groupie, shock factor, sniffing glue, spikey hair, street style, style statements, subcultural style, subculture, swastika, threat, threatening make up Leave a commentRECAP: Subculture is based around material artifacts, values and territorial spaces and is defined by the active organisation of objects that they employ. Subcultures inflect “given” meanings by combining things borrowed from different contexts and giving them a different code. Subcultures Intensify, exaggerate or isolate through the modification of objects. New meanings are achieved by the re-signification of objects. Subcultures combine forms according to a “secret language or code, to which only members of the group possess the key.
“Punk”
Dick Hebdige was the first person to write about Punk, and the first person that thought punk was worthy of being analysed as a subculture. He refers to three main subcultural theories within his work – Subcultural Bricoleur or Bricolage, Semiotic Guerilla Warfare and Style as Homology.
Below I have outlined my understanding of these theories:
Subcultural Bricoleur: Refers to Subcultures like the punks, gathering objects, signs and artefacts and combining them to generate new meanings out of them, different from their existing ones. It considers how subcultures use objects to respond to their environment and explain how they see the world. Bricolage is all about the visual, the aesthetics and all the items that styles incorporate to portray a message.
Semiotic Guerilla Warfare: Refers to the use of offensive language and poor attitude being displayed by punk culture which portrayed their rebellion against society. Offensive T-shirts that the punks wore were known as Guerilla outfits. The punks were waging a war on society and breaking societies rules. They adopted anti-establishment values via objects, music, style etc.
Style as Homology: Whereas Bricolage is about the visual within subculture, Homology refers to the values that go with the subculture, for example the anti-establishment punk statement that is being made through appearance and acts. A subculture looks like chaos, but in fact there’s entire structures and specific rules to follow if you want to be part of that culture.
Characteristics of Punk Style:
Ripped Clothes were not accepted in society. The punks either left their t shirts ripped or put zips in the rips. This is changing the meaning of an object to create a new meaning, zips are used to hold to bits of material together but this is not their function here. This also refers to the safety pins that the punks adored themselves with, their original function is also to hold material together but they used them in their cheeks and lips as a piece of jewellery, therefore creating another new meaning. The punks understood the accepted rules of society and because of this knowledge could rebel against them. Piercings are acceptable today because of punk.
On the subject of jewellery, the punks also wore lavatory chains, razor blades, television components, tampons and clothes pegs as necklaces or earrings etc. The punks wanted to shock society so they wore anything that was not accepted as jewellery. Shock is socially constructed. The breaking of societies rules is shocking and this is exactly what the punks did. Society changes over time and whats considered shocking changes with it.
Cheap, trashy fabrics made up the punk look. They purposefully chose fabrics that were not considered classy like PVC. They took bondage wear out of its original context and wore it on the streets. This was considered socially unacceptable. It had a shock factor and was seen to be threatening because of the fact that they were associated with underground society. They took anything “seedy” and wore it out in the mainstream.
Brightly coloured Dyed hair signified punk style. Hair dyes original function was to change the colour of your hair but so that it still looked natural or to cover up grey hairs. Hair dye is accepted in society if it looks as natural as possible. The punks are rebelling against societies rules again here because bright green or red or pink is never going to look natural. Punk was meant to look constructed. They deliberately advertised themselves as fake because societies beauty treatments are pushed as being natural. It is the same when considering make up – in society girls wear make up, so the male punks wore it too, make up is supposed to look natural and more beautiful, so the punks over did it, broke rules and wore make up to make them look unattractive and threatening. Part of Re-signification of Objects and Dress is to exaggerate.
The punks deliberately wrecked school uniform. School uniform suggests conformity so the punks slashed and put graffiti on it. The punks were very Nialistic and trashed everything Britain stood for. They claimed the symbol of the swastika and changed its meaning because of its shock factor. It was particularly shocking to the people of society who had lived through the war.
Music played a major part in punk subculture. Bands such as the sex pistols appealed to the punks. The music was angry and suggested that there was no future and no place for young people in society. At gigs, bands would spit on the audience and the audience would spit back. The lyrics of the music favoured by punks was deliberately shocking and antagonistic.
Above, is an image of cat woman, a groupie of the Sex Pistols. Her punk look is characterised by lots of eyeliner, masculine hair, black nails and nontraditional jewellery. The shaven short hair is making a statement here. In society it is known that hair should make women more desirable. The punks didn’t conform to this and it was threatening to society that women were doing more masculine things.
Punks invented the Mohican hair style. In fights, the punk would use the large, hard points in their hair to harm the other and hair literally became a weapon.
Homology implies the set of rules and shared values that go with subculture. For example, you couldn’t have been a punk and voted for Margaret Thatcher. A punks sensibility would be that you don’t vote for a political party but you go to vote and trash the voting paper to make a statement- anti-politics. It is implied, that subculture always has an anti establishment attitude, but we can challenge this. Today, items can be isolated from their meanings, for example, you could have a mohican and a safety pin through your nose and still vote for David Cameron. Punk is now merely a style. This poses the question: Can things now just be a style with no meaning? You are not making a statement about punk values when you go to a fancy dress party dressed like a punk, you are merely wearing a style.
Subcultural meanings do not just have to relate to clothes, hair and make-up…
Above is an image of the album cover of “God save the Queen” by the Sex Pistols, designed by Jamie Reed. The song “God save the Queen” was banned in the 1970s and no radio was allowed to play it. It was not allowed to be advertised as number one and has a strong punk sensibility.
The Flag within the image stands for establishment and Britishness and Patriotism. Jamie Reed has used an official photo of the queen within this cover, he hasn’t drawn here as he wanted her to be instantly recognisable to all. Both the queen and the flag are linked in this image. She is the figure head of Britain and both imagery stands for establishment. The punk meaning comes into this image through what Jamie Reed has done to existing imagery. Dadaism was a huge influence on punk style. Dadaism mastered the art of collage and showed how new meanings could be generated from combining and altering existing imagery. The Punks adopted this “cut-up technique”.
There are meanings within the image due to where the words are placed. The eyes and mouth of the queen have been ripped off. Ripped is a key motif in punk and here a damaged face implies violence and threat. This illustrates the semiotic violence towards everything the queen stands for by the punks. The punks are making a statement here saying that they are not patriotic and trash the establishment. The typography within the image displays a ransom note look and therefore implies a crime. A crime is being committed against the queen. This is strongly linked to Dadaism where things look deliberately put together but were not originally. Everything about the punks cup up aesthetic looks amateur. This is clearly visible in a page from the punk fanzine, “Sniffin Glue” below.
The cover of this sex pistols album fits in with Bricolage because traditional symbols of Britain have been taken and changed to have a new meaning. The punks changed these patriotic images to be rebellious and to shock society. It also demonstrated semiotic guerilla warfare because it is the epitome of an anti-establishment statement and they are waging a war against typical Britain. Homology is highly apparent, as within this image there is a Re-signification of Objects portraying the values of the subculture.
In his text, Hebdige makes the point that “the cycle leading from opposition to diffusion, from resistance to incorporation encloses each successive subculture”. He means that eventually, anything alternative becomes mainstream over time. Subcultures are only shocking at a particular time.
In conclusion, Punk as a subculture was incredibly shocking in the 70s and broke all the rules of society. They went against conforming to anything accepted into society and were all about being anti-establishment. Punk style demonstrates all three of Hebdiges subcultural theories and includes examples of bricolage, semiotic guerilla warfare and homology.
CONSTELLATION: Case Study: The Zoot Suit, The Teds: Cath Davies: Session 3
Posted: February 15, 2014 Filed under: Constellation | Tags: 1950s, 1980s, Art, behaviour, Black Power, class, Constellation, cultural biography, culture, dress, Edwardian, fabric, Fashion, fighting the rules of society, hip hop, identity, old time fashion, psychobillies, Race, Racial tension, Rebellion, street style, style, subcultural, subculture, symbolic marking, Teddy Boys, The Teds, upper class, working class, Zoot Suit, zoot suits Leave a commentTHE ZOOT SUIT
The Zoot Suit was a cultural statement. Its characteristics included baggy trousers with tight ankles, shoulder pads which over emphasised the physique, a wide-brimmed hat and they were usually brightly coloured. The suits were very over proportioned and exaggerated. There was an excessive use of fabric accompanied with Dutch type shoes and conked hair straightened into a point. The straightening of the hair was considered no difference to whitening your skin. It portrayed the idea of claiming a common white person suit and changing it for the Black man.
The Zoot Suit protested against racial tension, it broke rules. Particular the rule of Blacks not being as valued as the whites in 1940s wartime. The use of excessive fabric in a time of war-time rationing was a statement being made in itself. The Blacks wearing the Zoot suit were basically putting two fingers up to the governments rules. The Zoot Suit was highly related to the breaking of rules and became associated with criminal activity and therefore creating a sense of panic and anxiety about people’s looks to do with hip hop culture. A few years ago, the wearing of the Hoodie had a criminal meaning, it was no different to the wearing of the Zoot suit. The way the wearers of the suit walked and presented themselves enhanced the meanings behind the suit. This is showing us that style is not just about clothing, it is about mannerisms, us and them. The way people speak can sometimes come into subculture – not knowing the language or slang of a subculture could make you not part of it.
Everything the Zoot Suits stood for was then revisited in the Hip Hop movement in the 1980s. There were many statements and meanings relating to racial identity hidden within the wearing of the Zoot Suit.
The Mens Fashion Reader – THE TEDS
The Subculture “The Teds” was characterised by reinvention of the suit. They took an Edwardian look of the past and replicated it. Characteristics of this street style included expensive waistcoats and Edwardian style suits a dress that would have been worn by the Edwardian upper class gentleman in its originally incarnation. Expensive fabrics in the Edwardian times spoke of your wealth, power and class. The Teds wore these Edwardian suits as best as they could get them, it wasn’t the fashion of the day and the suit was not offered in shops. It was a street style marked by a style from the past, a very vintage look. In terms of difference, they wanted to disassociate themselves from what people were wearing from the high street. It is interesting to think that an old-time fashion was resurrected in the 1950s within a subculture.
Teds is a slang name for Edwardian. The Teds were the wrong class wearing the wrong suit in the wrong period. It was a working class sub-culture wearing suits that once belonged to the upper classes. The Teds were making a statement saying they could claim the objects that the upper class thought were theirs. The wearing of this suit was a statement purely about class. They modified the suit, new meanings emerged in the Edwardian suit because of change, it was modified and a new group of people wore it.
The “Teddy Boys”, “Teds” were revived in the earlier 1970s. In comparison, both the 50s and 70s Teds wore velvet waistcoats and ties but there were more modifications to the Edwardian ensemble in the 70s. The drainpipe trousers were thinner and the jackets became longer, the shoes were crepe soled and blue suede shoes came about by Rock and Roll. The 1950s Teds influenced the Psychobillies wearing of the creeper shoes. Here, a different meaning and usage has been created from one pair of shoes. This is an example of an item having a cultural biography.
WHAT HAS LINKED THE OLD SKOOL B-BOYS, THE TEDS AND THE ZOOT SUIT?
The answer is simply Rebellion. Fighting the power and Fighting the rules of society and Fighting it through Style. The Symbolic marking, in other words style, is the place that you can challenge how societies think you should dress and behave.
Smells like Teen Spirit – Cath Davies Session 1 “All the Young Dudes”
Posted: January 30, 2014 Filed under: Constellation | Tags: Art, cone bra, Constellation, corset, cultural biography, Fashion, femininity, feminism, gender, hidden meanings of objects, Jean paul Gautier, Madonna, masculinity, meanings, stereotype, subculture, suit Leave a commentIn this constellation session, We talked about the analysis of imagery and The importance of style conveying meaning. The meanings can change. In terms of sub culture and style, the connotations of an item of clothing can change in relation to what it is worn with. All objects have a cultural biography.
We looked at an image of Jean Paul Gautier’s Cone corset Garment he produced for Madonna’s Blonde Ambition tour and analysed it in terms of meanings, what could be trying to be conveyed and possible connotations.
We started by looking at the image and analysing the meaning of things within it:
Suit: Masculine, professional, formal, colour, black shows the formality, would be completely different if it was pink etc. Corset: Lingerie, underwear, Typically worn under clothes, feminine, modifies the body and emphasises the waist. Bra: Doesn’t look like traditional Bra/corset, looks like weaponry, breasts being shown as weapons, armour. Silver: makes the corset look like armour, sense of masculinity, shows strength, sense of battle, cold, protection, Spikes and a material that makes men not want to touch.
Gautier is trying to present a very different image of the corset, from a seductive item into an aggressive one. He is playing with gender expectations. Madonna adopts masculine qualities and feminine ones here, however the typical feminine stereotype is changed.
In terms of researching this image, I would look at Gender, there is a clear gender statement here and stereotypical items of men and women are included within it. I would look at female oppression and definitely research Jean Paul Gautier. Post feminism must be considered, women taking responsibility, showing they are not just objects. In relation to Madonna, she is highly post feminist and uses her sexuality to show this. Researching Madonna would be a valuable use of my time to find out about strength and power in women. It may be interesting to look at Gautier’s opinions and meanings of his own work.
In this session, we then considered how we could build an argument if we decided to write an essay or compose a case study to do with this image. The route to go down could be something to do with the suit, different connotations of the suit, how designers modify the image of the suit. Punks reworked suits, maybe many different types of suits could be compared. Same with the corset, we could look at how different designers have used the corset and maybe contrast that with how Madonna wears them. The importance of cultural biography within contemporary within contemporary design, Gautier broke rules, had to know about the traditional corset first before embarking on producing his own. Gender and stereotyping is a possibility, femininity in relation to masculinity.
This was a highly interesting lecture, and got me thinking about the hidden meanings behind imagery and how interesting deciphering those meanings is. I’m not sure what I am going to research but analysing imagery and feeding ideas from researching connotations within that is a great way to start.
GemmaSchiebeFineArt 
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