Not Signed-In
Which clippings match 'Style' keyword pg.1 of 3
15 NOVEMBER 2015

The hipster as the postmodern dandy

"The hipster is, concurrently, developing into a form of youth subculture, though at present in a limited sense. Many of the tropes and defining characteristics of teenage tribalism are being draped in hipster attire, but with little of the angst-ridden and socio-economic preliminaries at the base of earlier subcultural trends and movements, such as skinheads, goths and punks (or some recipe based thereon). Without a solid, or at least only slightly shifting, base in materiality and social context, the attire of this set of genuinely disenfranchised youth is sign only; the woolly hat and the running shoe are talismans devoid of any intended meaning; the world seems flooded with signs without symbolism, with younger converts to the hipster 'style' aping their ape forebears. The sign has, in this context, lost its original referent and become 'hyperreal' (Baudrillard, 1994, p.1). The 'real' origin of the sign's meaning has been lost, or buried under meaningless affectation; the borrowing and commodification of a modern exoticism; that of various minority or 'retro' alternative fashions and attitudes. In reference to subcultural groups, Hebdige notes that 'humble' objects can be magically appropriated; 'stolen' by subordinate groups and made to carry 'secret' meanings' (1979, cited in Haralambos and Holborn, 2004, p.808). This explains the way punks could style safety pins into a new context, and teddy boys could subvert the traditional connotations of Edwardian formality – the coded meanings that charge such appropriated style-objects amounted to a kind of resistance to the ruling order, be that signified by the state or in the 'square' world of the mainstream. Each subculture is in some way 'spectacular', in that it creates a spectacle and intends to be noticed. The hipster is daily losing this status, as s/he becomes overloaded with signifiers (aesthetic surface) and has become divorced from the collective; there is no need for internal reinforcement against a subordinating external force when one has such a slippery class composition. The hipster is not oppressed, and purports to signify the pinnacle of individual choice and cultural savoir faire (though this position is problematized by the amoebic development of a youth subculture with roots in working class communities). The hipster's resistance is not to social subordination but to modernity itself, to a meaning-deficit brought on by a loosely defined, insecure mainstream culture that is less and less able to provide collective ontological sustenance. Perhaps the youth-hipster is an attempt to introduce a degree of collectivity in order to partially overcome alienation and inwardness, though this does not excuse the continued loss of substance and meaning in style and aesthetic value."

(Michael Reeve, 2013, Academia.edu)

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2013 • appropriated style-objects • boredomcommodificationcontagious assemblages • cultural bricolage • cultural codescultural resistance • cultural savoir faire • dandyism • Dick Hebdige • disaffected youth • disenfranchised youth • dressing up • Edwardian formality • facial hair • fashionable fad • hipster attire • hipster fashion • hipster girl • hipster style • hipster subculture • Holborn • identity performanceindividual choice • Jack Kerouac • Jean Baudrillardliminality rites • loss of meaning • loss of substance • Martin Holborn • meaningless affectation • Michael Haralambos • modern exoticism • plaid shirt • popular culturesocial contextsocial inventionsocial norms • social subordination • spectacular societystyle • subcultural groups • subcultural trends • talismanteddy boy • teenage tribalism • universe of regularised mutual responseurban clothing • urban fashion • youth subculture

CONTRIBUTOR

Simon Perkins
02 JANUARY 2015

Melbourne youth subculture: before punk there were Sharpies

"An extension of the UK skinhead movement, the roots of sharp lie in the influx of European immigrants in Australia in the early 1960s. By the late 1960s the Sharpie subculture had evolved and existed in the mainly working class and migrant inner city suburbs such as Richmond, Fitzroy, Collingwood and Brunswick where Greeks, Italians, Yogoslavs and English immigrants all lived side by side. But as street corners gradually changed to shopping centres, by the early 1970s, the Sharpie movement started to spread to the outer suburbs of Melbourne where a 'rough as guts' working class ethos existed.

The name 'Sharpie' originated from the fashion. It was all about the clothes and looking sharp, and flash. The first wave of Sharpies from 1966 – 1969 were strongly influenced by UK Mod fashions, the 1964 Rockers and the style of certain Italian migrants. Demeanor was tough, hair was short back and sides and clothing was custom made by European tailors, thus allowing for a blend of neo–thirties suave combined with a contemporary larrikin attitude. Dances were also a big part of the Sharpies social fabric, with bands such as Billy Thorpe & the Aztecs, Wild Cherries, Ray Brown & the Whispers, and Max Merritt & the Meteors being popular choices.

From 1970–1980, the second wave of Sharpies were following hard, tough rock'n'roll bands like Lobby Loyde and the Coloured Balls, Buster Brown, Rose Tattoo, The Angels and ACDC. Sharpies were now often congregating in large numbers, regularly attending live band concerts at town hall and high school dances as well as early discos. But due to their sheer numbers, Sharpies were often perceived as being untouchable by the police and were often associated with excessive violence, regularly taking part in fights."

(Melynda von Wayward)

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1960s1970s • ACDC (band) • Australiabelonging • Billy Thorpe and the Aztecs (band) • British Australian • Brunswick (Victoria) • Buster Brown (band) • Carol Jerrems • clothesclothing fashion • Collingwood (Victoria) • Coloured Balls (band) • counterculturecultural codescustom madedisaffected youth • disco • European immigrants • European style • excessive violence • Fitzroy (Victoria) • Greek Australian • Heidelberg Technical College • high school dance • identity performanceinner city • inner city suburbs • Italian Australian • Italian immigrant • larrikin • larrikin attitude • Lobby Loyde (band) • looking sharp • Max Merritt and the Meteors (band) • Melbourne • Melynda von Wayward • mod fashionmullet • outer suburbs • protopunk • punk rockpunk rock ethos • Ray Brown and the Whispers (band) • Richmond (Victoria) • rock n roll • rockers • Rose Tattoo (band) • rough as guts • sharpie movement • sharpie subculture • sharpies • shopping centre • sideburns • skinheadsocial fabricstyle • suave • subculture • The Angels (band) • town hallurban clothingVictoria (Australia) • Wild Cherries (band) • working classworking class culture • working class ethos • youth cultureyouth subculture • Yugoslav

CONTRIBUTOR

Simon Perkins
20 JULY 2013

Futuristic fashions: Eve, A.D. 2000!

"Futuristic fashions 1939 style include a dress that can be adapted for day or evening wear, complete with sun–visor (and African–American maid), and a dress made of transparent net with a towering 60s–style hairdo (wouldn't look out of place on a millennium catwalk). The next two outfits are pretty transparent too; then a bridal gown with a cellophane veil and another adaptable dress.

The suit for the man of 2000 looks like a boiler suit with wide chain mail over the top. A circular aerial is worn on the head, to pick up signals for his mobile phone and radio. He also has two natty silver boxes attached to his belt 'for coins, keys and candy for cuties'. The beard is marcel–waved and he has buns of hair at the side of his head. Not a particularly manly look!"

(British Pathé)

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1930s19392000 • 2000 AD • adaptable dress • aerial • African-American • beard • boiler suit • bridal gownBritish Pathe • candy for cuties • catwalkcellophane • chain mail • clothing • day wear • dress • Eve • evening wear • fashion designfashion forecastingfuture forecastingfuturistic design • futuristic fashions • futuristic visionhair • hairdo • maid • manly look • millenniummobile phone • natty • newsreel • outfit • Pathetone Weekly • portable radio • predictionretrofuturismstylesuit • sun visor • transparencyveilwomens clothingwomenswear

CONTRIBUTOR

Simon Perkins
20 SEPTEMBER 2012

Lana Del Rey covers 'Blue Velvet' for H&M ad

"Lana Del Rey has recorded a cover of the classic track 'Blue Velvet' for a commercial for clothing company H&M"

(NME.COM)

Fig.1, 2 Directed by Johan Renck for H&M

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2012 • autumn collection • Blue Velvet (1986)Bobby Vinton • classic track • clothing companycreative inspirationDavid Lynchdesign stylefashion design collection • H and M • homagein-between narratives • Johan Renck • Lana Del Rey • mise-en-scenemusic clipmusic covernarrative scenesotherworldlinessstyletableau vivanttheatrical spaceTVCvisual dramavisual spectacle

CONTRIBUTOR

Simon Perkins
10 JULY 2012

Visual simplicity targeting younger customers

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2011aesthetics • Alexandre Plokhov • Alexandre Plokhov collection • autumn/winter collection • classic design • classic suit • cloakclothescontemporary design • cool tailoring • design formalismdesign simplicitydesign style • Douglas Keeve • elegancefashion designfashion design collectionfigures in spacehaute couturehigh fashionhomoeroticismkaleidoscope • men • menswear • menswear design • menswear designer • minimalmirrored effect • overcoat • staid suit • stand-out pieces • stylesuitsymmetrytableau vivanttailoringvideo designvisual designvisual dramavisual simplicitywool • wool overcoat • younger customer • younger customers

CONTRIBUTOR

Simon Perkins
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