How Does Fashion Affect People's Identity
Fashion (is) a key resource through which individuals in late modernity construct their identities and position themselves in relation to others. Bennett, A.( 2005). Culture and Everyday Life. London Sage. p. 115. Discuss this statement with reference to individual examples. This essay will explore the importance of fashion, and how style is used to construct identities of individuals in particular those who followed the New Romantic movement of the late Seventies through to the early Eighties A movement of posers, who cared for dressing up in their flamboyant finery, experimenting with gender sterotyps and being as unique as possible at the start of a new, emerging London nightlife with the pioneering music of the time. It will discuss how
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subcultures and style-tribes position themselves with in society, using topical theories from academics such as Joanne Entwistle and Ted Polhemous Identity, in social science, is described as an individuals conception and expression of their individuality or group affiliations, taking into account their characteristics, attitudes and so on. It is a label to the individual, either given by another party or by the individual itself and more often than not also consists of using stereotypes to pin these labels to each individual. Subculture is a ways of breaking down the mass culture of society into smaller pockets, usually of the youth group. Again, much relying on stereotypes, these gangs or groups are broken down by their overall look as an obvious factor but also other areas which bind them together such as the music they listen to, activities they undertake and their behaviours. How this is done is all together tribe like and are usually, via the media, feared or mocked. the urge to form tribes is part of being human, and should be celebrated for the strength it gives. We want to belong to something and ideally feel smarter, cooler or more dangerous than the rest of the public. (Robinson, 2012) so not only does society get sorted into tribes by the media but society splits itself up. From the Teddy Boys of the fifties and Mods and Rockers of the Sixties, each of these style-tribes has lived to show a definite style of its decade and sent out messages of how society was back then and shows a new youth wanting to belong The New Romantic movement, is seen as a direct response to the over commercialised Punk movement, which had become a parody of itself, an anti-establishment uniform, attracting hordes of dickheads (ODowd, 1995). The new trend-setting posers who held a greater interest in dressing up and partying rather than causing anarchy to society. This new vouge rejected Punks austerity and anti- fashion ideologies although keeping a grip on the styles original use of counter-sexual clothing and strong use of cosmetic make-up, the result a glamorous, flamboyant yet androgynous style-tribe of gender benders, typified by characters such as Boy George and Marilyn. Every ages uses dress and body decoration to signal what is most important at that historical moment. Throughout most of our history that message has been I am rich, or I a powerful. If today more and more people use their dress style to assert I am authentic, (Polhemus 2010) Style of dress was aesthetic and visually striking, with inspiration was a violent mix-up taken from clowns, Hollywood startlets of the 1930s, Bonny Prince Charlie, highwaymen to Russian constructivism. The idea was to be as individual, authentic and creative as possible. The movement substituting the elegant for the slovenly, the precious for the vulgar, Dressing Up for Dressing Down. (Polhemus 2010), they dressed as if their life depended on it. The movement was set to a soundtrack of an emerging new sound of electronic, synthesised pop. Free from the political, anarchy messages of bands who were associated with the Punk movement such as The Sex Pistols and making room for Duran Duran, Visage and Spandau Ballet who openly acknowledged that the look was as important as the sound, individuals in contemporary construct and play out identities in the course of everyday lives, fashion plays a central role. (Bennet, 2005). Against a backdrop of riots and unemployment, this new sound, dressing up and being part of a growing London night life, was a way to glamorise their glum, horrible boring existence with no future. (Egan). Subcultures or style-tribes have flourished at precisely the time in history when individuality and personal freedom have come to be seen as the defining features of our age (Polhemus 2010). The New Romantics not just celebrated being individual and different but used every opportunity to showcase what set them apart from others, from the hangouts and haunts of this tribe to how and when they did their socialising and partying, was all to keep them elite from the rest of society. This flamboyant flock took to the clubs on a Tuesday night, ruling out any chance of their fun being ruined by the Citys Nine to Five Set, or the average normality. Before its closure in 1978, Sohos Lesbian club, Louises was the place to be seen for this group of Romantic posers. Once closed, the fabulously overdressed moved on to smaller clubs in Londons Soho, such as Gossips and Billys, before being re-homed to the legendary Blitz club in Covent Garden, giving the first media name to this tribe, Blitz Kids. Although these later clubs were not labelled as gay, the emphasis freedom of expression and individualism drew in an alternative gay youth culture. The original Blitz Kids icons, Boy George, Marilyn and Steve Strange, made no secret of their homosexuality and paved the way for a style for the movement which encouraged men to become gender playful wearing skirts, dresses and mixing elements of both male and female dress. Encouraging a wave of young gay men to follow suit, and to celebrate their difference and homosexualised identity. The Culture Club frontman George ODowd, better known as Boy George, epitomised the look and pushed its boundaries. Known for his ribboned plaits, over-done Geisha like make up, smocks and matching trousers, he shocked with these creations and his mix of ethnic, cultural looks and due to taking these extremities was ladled a transvestite and cross-dresser I dress in a similar way to a priest or archbishop. I wear robes, not dresses, and to be a transvestite you must wear womens clothes. I dont. Im not fighting an oppressed need to be a woman. Im proud to be a man. (ODowd 1984) It is important to remember that it is the society in which we live, which dictates and gives structure to gender - what is masculine, what is feminine and what each of the genders should wear. Boy George stated his smocks and skirted tops as catholic camp and have been described as similar garments to that of the shalwar kameez, which is traditional adornment of both men and women in Pakistan and Northern India. Research shows that age and geographical location make strong links to the publics aspirational responses(Gill et al. 2000), which may explain why the young men of eighties London were more willing to experiment with gender bending, or confusing gender signals given through clothing, make-up and overall appearance. Within bigger cities, people are more anonymous, therefore clothing and appearance are said to be of greater importance as they give clues to other city dwellers as to characteristics and interests. Although the New Romantic movement was popular with both men and woman who both experimented with their appearance, both gender bended and adopted the androgynous look it only appears to be the men who are remembered. As stated by McRobbie and Garber, very little seems to have been written about the role of girls they are absent from the classic subcultural ethnographic studies, the pop histories, the personal accounts and the journalistic surveys. (2005), in regards to this style-tribe it may be that these men sporting a full face of make-up, ballet pumps, frills and lace gave more shocking imagery than the women. Androgyny had already been played with in the sixties Hippy movement, through men growing long hair but it had never been never been experiments with the full throttle of the New Romantics. Even in todays age, the public would be more likely to give a second look at a man on the street wearing lipstick than a female with a short haircut. This group of posers were the first youth of an age driven by the media, the children of the television age wise in the ways of the popular media, and they set out to subvert the realms the young know best music and fashion. (Johnson 2009). The media, much like most of the clubs and fashion stores were run on the masses by people so out of reach with the wants of the youth. Then in 1980, The Face magazine was launched, showcasing the latest London streetstyle and what was happening in the new, hip clubs. From this more magazine publications such as i-D were produced, more the fashions of the London street were beamed length and breath across the country. Many of the New Romantics found fame through music and took over the UK and American charts, bringing the styletribe more and more into the media spot light, this is when the label New Romantics was coined up, as the look was taken out of the Blitz Club of London and being copied by the youth in other town and cities. This growing media spotlight and new found fame of the icons caused the downfall of the New Romantics Fashionability depends upon distinction or differentiation which, once copied universally, is neglected. A trend setting group whose identity depends upon being hip will therefore move on to adopt another style. (Enthwistle, 2000) Their flair and looks were being copied by the masses, young girls took to small plaits and ribbons in their hair and imitated the look of Boy George. The ability to look and be unique became harder and harder and in the space of a few years it was the death of this movement.
In conclusion, fashion is a important and very key resource which is used to construct identity with great ease In everyday speech... we speak of body that is subject to the clothes that literally en-clothe it with significance. (Gill, 1998). However there are other resources which can both be controlled and uncontrolled to help and aid in these constructions of identity. Closely linked with fashion is obviously the music in which individuals listen to, they both interlink and influence the other. The subculture and activities in which individuals wish to partake in also helps to in this building up. The media is a great factor which also must be considered media effects societys way of life and thinking if the media portray a negative image of a style-tribe or an identity then this is how the public will view the individuals. To construct a chosen identity all these factors must be taken into account by the individual. Bibliography Aspects of Fashion in Popular Culture (2006) available at HYPERLINK https//pantherfile.unm.edu/wash/www/poplecfashion.htm https//pantherfile.unm.edu/wash/www/poplecfashion.htm (accessed 06/02/13) Bennett, A. (2005) …show more content…
Culture and Everyday Life. London, Sage Bolton, A. (2003) Men in Skirts. London, VA Publications Breward, C. Ehrman, E. Evans, C. (2004) The London Look Fashion From Street to Catwalk.
London Yale University Press Carik, J. (1994) The Face of Fashion. London Rutledge Cook, F. (2011) Topman Generation Tribes The New Romantics available at HYPERLINK http//magazine.topman.com/category/fashion/tribe-the-new-romantics/ http//magazine.topman.com/category/fashion/tribe-the-new-romantics/ (accessed 27/02/13) Davis, F. (1992). Fashion, Culture, and Identity. 2nd ed. USA The University of Chicago Press. Johnson, D. (2009) Spandau Bllet, the Blitz kids and the birth of the New Romantics The Observer, October 4. available at HYPERLINK http//www.guardian.co.uk/music/2009/oct/04/spandau-ballet-new-romantics http//www.guardian.co.uk/music/2009/oct/04/spandau-ballet-new-romantics (accessed 06/02/13) Milestone, K. Meyer, A. (2012) Consuming Popular Culture The Role of Gender. Cambridge, Polity Press Stevenson, N. J. (2011). The Chronology of Fashion. East Sussex Ivy Press. Polhemus, T. (2010) Street Style. 2nd Edition. UK PYMCA Rimmer, D. (2003) New Romantics The Look. London Omnibus Press Robinson, Martin. (2012) Style Secrets of the Gangs Shortlist, March 20 Romantic Revival (2001) available at HYPERLINK http//news.bbc.co.uk/1/hi/entertainment/1337773.stm http//news.bbc.co.uk/1/hi/entertainment/1337773.stm (accessed on 11/03/13) Style on Trial 1980s (2009) BBC4, September 1
The Supersizers Eat... The Eighties (2009) BBC1, June 15 Whatever Happened to the Gender Benders (2005) Channel 4, October 10 Worried About the Boy (2010) Julian Jarrold DVD UK The BBC 2 B R b r Y, dXiJ(x( I_TS 1EZBmU/xYy5g/GMGeD3Vqq8K)fw9 xrxwrTZaGy8IjbRcXI u3KGnD1NIBs
RuKV.ELM2fi V vlu8zH
(W )6-rCSj id DAIqbJx6kASht(QpmcaSlXP1Mh9MVdDAaVBfJP8 AVf 6Q
subcultures and style-tribes position themselves with in society, using topical theories from academics such as Joanne Entwistle and Ted Polhemous Identity, in social science, is described as an individuals conception and expression of their individuality or group affiliations, taking into account their characteristics, attitudes and so on. It is a label to the individual, either given by another party or by the individual itself and more often than not also consists of using stereotypes to pin these labels to each individual. Subculture is a ways of breaking down the mass culture of society into smaller pockets, usually of the youth group. Again, much relying on stereotypes, these gangs or groups are broken down by their overall look as an obvious factor but also other areas which bind them together such as the music they listen to, activities they undertake and their behaviours. How this is done is all together tribe like and are usually, via the media, feared or mocked. the urge to form tribes is part of being human, and should be celebrated for the strength it gives. We want to belong to something and ideally feel smarter, cooler or more dangerous than the rest of the public. (Robinson, 2012) so not only does society get sorted into tribes by the media but society splits itself up. From the Teddy Boys of the fifties and Mods and Rockers of the Sixties, each of these style-tribes has lived to show a definite style of its decade and sent out messages of how society was back then and shows a new youth wanting to belong The New Romantic movement, is seen as a direct response to the over commercialised Punk movement, which had become a parody of itself, an anti-establishment uniform, attracting hordes of dickheads (ODowd, 1995). The new trend-setting posers who held a greater interest in dressing up and partying rather than causing anarchy to society. This new vouge rejected Punks austerity and anti- fashion ideologies although keeping a grip on the styles original use of counter-sexual clothing and strong use of cosmetic make-up, the result a glamorous, flamboyant yet androgynous style-tribe of gender benders, typified by characters such as Boy George and Marilyn. Every ages uses dress and body decoration to signal what is most important at that historical moment. Throughout most of our history that message has been I am rich, or I a powerful. If today more and more people use their dress style to assert I am authentic, (Polhemus 2010) Style of dress was aesthetic and visually striking, with inspiration was a violent mix-up taken from clowns, Hollywood startlets of the 1930s, Bonny Prince Charlie, highwaymen to Russian constructivism. The idea was to be as individual, authentic and creative as possible. The movement substituting the elegant for the slovenly, the precious for the vulgar, Dressing Up for Dressing Down. (Polhemus 2010), they dressed as if their life depended on it. The movement was set to a soundtrack of an emerging new sound of electronic, synthesised pop. Free from the political, anarchy messages of bands who were associated with the Punk movement such as The Sex Pistols and making room for Duran Duran, Visage and Spandau Ballet who openly acknowledged that the look was as important as the sound, individuals in contemporary construct and play out identities in the course of everyday lives, fashion plays a central role. (Bennet, 2005). Against a backdrop of riots and unemployment, this new sound, dressing up and being part of a growing London night life, was a way to glamorise their glum, horrible boring existence with no future. (Egan). Subcultures or style-tribes have flourished at precisely the time in history when individuality and personal freedom have come to be seen as the defining features of our age (Polhemus 2010). The New Romantics not just celebrated being individual and different but used every opportunity to showcase what set them apart from others, from the hangouts and haunts of this tribe to how and when they did their socialising and partying, was all to keep them elite from the rest of society. This flamboyant flock took to the clubs on a Tuesday night, ruling out any chance of their fun being ruined by the Citys Nine to Five Set, or the average normality. Before its closure in 1978, Sohos Lesbian club, Louises was the place to be seen for this group of Romantic posers. Once closed, the fabulously overdressed moved on to smaller clubs in Londons Soho, such as Gossips and Billys, before being re-homed to the legendary Blitz club in Covent Garden, giving the first media name to this tribe, Blitz Kids. Although these later clubs were not labelled as gay, the emphasis freedom of expression and individualism drew in an alternative gay youth culture. The original Blitz Kids icons, Boy George, Marilyn and Steve Strange, made no secret of their homosexuality and paved the way for a style for the movement which encouraged men to become gender playful wearing skirts, dresses and mixing elements of both male and female dress. Encouraging a wave of young gay men to follow suit, and to celebrate their difference and homosexualised identity. The Culture Club frontman George ODowd, better known as Boy George, epitomised the look and pushed its boundaries. Known for his ribboned plaits, over-done Geisha like make up, smocks and matching trousers, he shocked with these creations and his mix of ethnic, cultural looks and due to taking these extremities was ladled a transvestite and cross-dresser I dress in a similar way to a priest or archbishop. I wear robes, not dresses, and to be a transvestite you must wear womens clothes. I dont. Im not fighting an oppressed need to be a woman. Im proud to be a man. (ODowd 1984) It is important to remember that it is the society in which we live, which dictates and gives structure to gender - what is masculine, what is feminine and what each of the genders should wear. Boy George stated his smocks and skirted tops as catholic camp and have been described as similar garments to that of the shalwar kameez, which is traditional adornment of both men and women in Pakistan and Northern India. Research shows that age and geographical location make strong links to the publics aspirational responses(Gill et al. 2000), which may explain why the young men of eighties London were more willing to experiment with gender bending, or confusing gender signals given through clothing, make-up and overall appearance. Within bigger cities, people are more anonymous, therefore clothing and appearance are said to be of greater importance as they give clues to other city dwellers as to characteristics and interests. Although the New Romantic movement was popular with both men and woman who both experimented with their appearance, both gender bended and adopted the androgynous look it only appears to be the men who are remembered. As stated by McRobbie and Garber, very little seems to have been written about the role of girls they are absent from the classic subcultural ethnographic studies, the pop histories, the personal accounts and the journalistic surveys. (2005), in regards to this style-tribe it may be that these men sporting a full face of make-up, ballet pumps, frills and lace gave more shocking imagery than the women. Androgyny had already been played with in the sixties Hippy movement, through men growing long hair but it had never been never been experiments with the full throttle of the New Romantics. Even in todays age, the public would be more likely to give a second look at a man on the street wearing lipstick than a female with a short haircut. This group of posers were the first youth of an age driven by the media, the children of the television age wise in the ways of the popular media, and they set out to subvert the realms the young know best music and fashion. (Johnson 2009). The media, much like most of the clubs and fashion stores were run on the masses by people so out of reach with the wants of the youth. Then in 1980, The Face magazine was launched, showcasing the latest London streetstyle and what was happening in the new, hip clubs. From this more magazine publications such as i-D were produced, more the fashions of the London street were beamed length and breath across the country. Many of the New Romantics found fame through music and took over the UK and American charts, bringing the styletribe more and more into the media spot light, this is when the label New Romantics was coined up, as the look was taken out of the Blitz Club of London and being copied by the youth in other town and cities. This growing media spotlight and new found fame of the icons caused the downfall of the New Romantics Fashionability depends upon distinction or differentiation which, once copied universally, is neglected. A trend setting group whose identity depends upon being hip will therefore move on to adopt another style. (Enthwistle, 2000) Their flair and looks were being copied by the masses, young girls took to small plaits and ribbons in their hair and imitated the look of Boy George. The ability to look and be unique became harder and harder and in the space of a few years it was the death of this movement.
In conclusion, fashion is a important and very key resource which is used to construct identity with great ease In everyday speech... we speak of body that is subject to the clothes that literally en-clothe it with significance. (Gill, 1998). However there are other resources which can both be controlled and uncontrolled to help and aid in these constructions of identity. Closely linked with fashion is obviously the music in which individuals listen to, they both interlink and influence the other. The subculture and activities in which individuals wish to partake in also helps to in this building up. The media is a great factor which also must be considered media effects societys way of life and thinking if the media portray a negative image of a style-tribe or an identity then this is how the public will view the individuals. To construct a chosen identity all these factors must be taken into account by the individual. Bibliography Aspects of Fashion in Popular Culture (2006) available at HYPERLINK https//pantherfile.unm.edu/wash/www/poplecfashion.htm https//pantherfile.unm.edu/wash/www/poplecfashion.htm (accessed 06/02/13) Bennett, A. (2005) …show more content…
Culture and Everyday Life. London, Sage Bolton, A. (2003) Men in Skirts. London, VA Publications Breward, C. Ehrman, E. Evans, C. (2004) The London Look Fashion From Street to Catwalk.
London Yale University Press Carik, J. (1994) The Face of Fashion. London Rutledge Cook, F. (2011) Topman Generation Tribes The New Romantics available at HYPERLINK http//magazine.topman.com/category/fashion/tribe-the-new-romantics/ http//magazine.topman.com/category/fashion/tribe-the-new-romantics/ (accessed 27/02/13) Davis, F. (1992). Fashion, Culture, and Identity. 2nd ed. USA The University of Chicago Press. Johnson, D. (2009) Spandau Bllet, the Blitz kids and the birth of the New Romantics The Observer, October 4. available at HYPERLINK http//www.guardian.co.uk/music/2009/oct/04/spandau-ballet-new-romantics http//www.guardian.co.uk/music/2009/oct/04/spandau-ballet-new-romantics (accessed 06/02/13) Milestone, K. Meyer, A. (2012) Consuming Popular Culture The Role of Gender. Cambridge, Polity Press Stevenson, N. J. (2011). The Chronology of Fashion. East Sussex Ivy Press. Polhemus, T. (2010) Street Style. 2nd Edition. UK PYMCA Rimmer, D. (2003) New Romantics The Look. London Omnibus Press Robinson, Martin. (2012) Style Secrets of the Gangs Shortlist, March 20 Romantic Revival (2001) available at HYPERLINK http//news.bbc.co.uk/1/hi/entertainment/1337773.stm http//news.bbc.co.uk/1/hi/entertainment/1337773.stm (accessed on 11/03/13) Style on Trial 1980s (2009) BBC4, September 1
The Supersizers Eat... The Eighties (2009) BBC1, June 15 Whatever Happened to the Gender Benders (2005) Channel 4, October 10 Worried About the Boy (2010) Julian Jarrold DVD UK The BBC 2 B R b r Y, dXiJ(x( I_TS 1EZBmU/xYy5g/GMGeD3Vqq8K)fw9 xrxwrTZaGy8IjbRcXI u3KGnD1NIBs
RuKV.ELM2fi V vlu8zH
(W )6-rCSj id DAIqbJx6kASht(QpmcaSlXP1Mh9MVdDAaVBfJP8 AVf 6Q