Результаты исследований обучающихся в проекте British Fashion — различия между версиями
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==Результаты проведённого исследования== | ==Результаты проведённого исследования== | ||
| + | |||
| + | Our assumptions were successfully proven. | ||
| + | |||
| + | Firstly, let's pay attention to 10 main paths in youth subcultures of Great Britain. | ||
| + | |||
| + | '''1. Dandies and flappers''' | ||
| + | |||
| + | It’s unclear whether fashion influenced music or vice versa in the 1920s, era of the “bright young things”, but clothing certainly became more risque at just the time when music upped the tempo and dancing became virtually acrobatic. The activities of choice for feisty females during the decade were public smoking, drinking and the freedom to indulge in casual relationships – along with a desire to look fashionably fabulous (think Sex and the City with cloche hats). For the male dandy, the demand was for all things exotic, in particular fashion with elaborate African, Oriental or Aztec references. | ||
| + | |||
| + | '''2. Teds''' | ||
| + | |||
| + | Teddy boys adopted a look inspired by the prominent artists of the 1950s performing the new music sound – rock’n’roll. As a subculture, teddy boys had a reputation for being troublesome and violent, clashing frequently with authority and famously ripping out seats at concerts. Drape jackets, drainpipe trousers, skinny ties and creepers were compulsory attire. Teddy girls are not as well documented but were just as enthusiastic, sporting denim, Edwardian-inspired blazers and pencil skirts, which must have been a nightmare on the back of a greasy motorbike. | ||
| + | |||
| + | '''3. Mods''' | ||
| + | |||
| + | The modernist movement of the late 1950s and early 1960s was heavily influenced by Italian fashion. The increase in youth employment saw a rise in juvenile spending. The congregation of the like-minded at cafes and nightclubs fuelled an obsession with clean-cut fashions and black American R&B bands or British bands influenced by them, such as the Small Faces and the Who: the three-button, 14” bottom, mohair suit, fishtail parkas, Fred Perry polos, Hush Puppies, a Vespa with 20 or more mirrors and a girl in a twin set with capri pants and false lashes so long that they blew in the wind. | ||
| + | |||
| + | '''4. Skinheads''' | ||
| + | |||
| + | By the mid-1960s, fashion was heavily under the influence of the ska music that filled the airwaves. Skinhead subculture was created from a fascination with the Jamaican rude boy style and evolved to adopt drainpipe denim, checkered shirts, white T-shirts, braces and cherry red DMs as a fashion identity. As a young lad going to watch Blackburn Rovers in the late 60s, I was in awe of these immaculately turned out – and somewhat menacing “skins”. Shame the look was adopted by rightwing racists in the 1970s but now the look has swung the other way as a “uniform” for some members of the gay community. | ||
| + | |||
| + | '''5. Hippies''' | ||
| + | |||
| + | The hippie movement of the 1960s based itself on the concept of not conforming to socially approved patterns of behaviour and indulging in a form of gentle anarchy. Nakedness was celebrated and shopping for pre-worn items at jumble sales and charity shops was commonplace with long-discarded military uniforms and ethnic dress mixed and matched to create a unique style. The music was heavily folk inspired, peppered with political messages promoting peace and love. The aesthetic created a platform on which social change could be promoted and the surreptitious agenda of conflict exposed for all to see. | ||
| + | |||
| + | '''6. Glam rockers''' | ||
| + | |||
| + | While the US was embracing R&B in the 1970s, the UK was taking part in a musical and visual experiment. Glam rock was a theatrical, bi-curious creation – 5” platforms and brightly coloured make-up and tunes that tested many a parent’s tolerance to their children’s tastes. | ||
| + | |||
| + | '''7. Punk''' | ||
| + | |||
| + | In the late 1970s, punk changed everything. The expensive creations of Vivienne Westwood and Malcolm McLaren spawned a DIY revolution that allowed a generation to express themselves through self-cut and dyed hair, artistically ripped T-shirts, jewellery made from safety pins and dog collars and charity shop trousers made into bondage strides. The photocopied, hand-folded record covers, posters produced on an art college Gestetner machine to promote bands made up of creative individuals who often hadn’t picked up an instrument in their lives were testament to an empowered youth. | ||
| + | |||
| + | '''8. Goths''' | ||
| + | |||
| + | Although the goth subculture has a diverse following, it is most closely associated with repressed teenage rebellion, outsider culture and a dark, alternative to punk. The two genres came together in the late 1970s with the Damned’s Dave Vanian and Bauhaus bringing sallow cheeks and black cloaks and howling to the stage. Thought of as a two-fingered renunciation to sparkly-eyed, perfect preppy kids, goths favoured eyeliner and a neo-Victorian style – all in black. Goth was never about being at the cutting edge of cool, but will always live on with youth as a way to say: “I don’t conform”. | ||
| + | |||
| + | '''9. New romantics''' | ||
| + | New romantics were a fashion marriage of the neoclassical and glam rock. Establishing itself in its own right at the end of the 1970s, the movement evolved throughout the 1980s. A generation of Bowie, Roxy and the original punk kids fell in love with Bowie’s Scary Monsters incarnation and designers such as Sue Clowes and Vivienne Westwood went to town with flouncy shirts with balloon sleeves and wild prints. London’s Blitz Club became synonymous with experimentation in androgynous, sexually liberal stylisation and new wave electronics. This “cult with no name” soon became the movement for cool kids. | ||
| + | |||
| + | '''10. Soulies, disco and ravers''' | ||
| + | |||
| + | People enjoyed the different music styles: disco allowed them to be flamboyant; funk and rare groove to be underground; jazz funk to try complicated dance steps; and electro to be a bit weird. When acid house emerged, the subversive T-shirts and colourful footwear allowed the brand Red or Dead to flourish. By the 1990s, acid became rave and trainers replaced shoes and the pea-whistle gained new status. | ||
==Вывод== | ==Вывод== | ||
Версия 19:31, 2 ноября 2020
Содержание
Авторы и участники проекта
Участники группы "Исследователи"
Тема исследования группы
YOUTH SUBCULTURE
Проблемный вопрос (вопрос для исследования)
What role does the youth subculture play in society?
Гипотеза исследования
We assume that youth subcultures play a very important role in society.
We assume that British youth subcultures have left a significant trace in the world of fashion.
Цели исследования
1. To learn the main paths among youth subculture in the UK.
2. To build a time feed for the history of British youth subcultures.
3. To learn the role which youth subcultures play for the society.
4. To build a mental map.
Результаты проведённого исследования
Our assumptions were successfully proven.
Firstly, let's pay attention to 10 main paths in youth subcultures of Great Britain.
1. Dandies and flappers
It’s unclear whether fashion influenced music or vice versa in the 1920s, era of the “bright young things”, but clothing certainly became more risque at just the time when music upped the tempo and dancing became virtually acrobatic. The activities of choice for feisty females during the decade were public smoking, drinking and the freedom to indulge in casual relationships – along with a desire to look fashionably fabulous (think Sex and the City with cloche hats). For the male dandy, the demand was for all things exotic, in particular fashion with elaborate African, Oriental or Aztec references.
2. Teds
Teddy boys adopted a look inspired by the prominent artists of the 1950s performing the new music sound – rock’n’roll. As a subculture, teddy boys had a reputation for being troublesome and violent, clashing frequently with authority and famously ripping out seats at concerts. Drape jackets, drainpipe trousers, skinny ties and creepers were compulsory attire. Teddy girls are not as well documented but were just as enthusiastic, sporting denim, Edwardian-inspired blazers and pencil skirts, which must have been a nightmare on the back of a greasy motorbike.
3. Mods
The modernist movement of the late 1950s and early 1960s was heavily influenced by Italian fashion. The increase in youth employment saw a rise in juvenile spending. The congregation of the like-minded at cafes and nightclubs fuelled an obsession with clean-cut fashions and black American R&B bands or British bands influenced by them, such as the Small Faces and the Who: the three-button, 14” bottom, mohair suit, fishtail parkas, Fred Perry polos, Hush Puppies, a Vespa with 20 or more mirrors and a girl in a twin set with capri pants and false lashes so long that they blew in the wind.
4. Skinheads
By the mid-1960s, fashion was heavily under the influence of the ska music that filled the airwaves. Skinhead subculture was created from a fascination with the Jamaican rude boy style and evolved to adopt drainpipe denim, checkered shirts, white T-shirts, braces and cherry red DMs as a fashion identity. As a young lad going to watch Blackburn Rovers in the late 60s, I was in awe of these immaculately turned out – and somewhat menacing “skins”. Shame the look was adopted by rightwing racists in the 1970s but now the look has swung the other way as a “uniform” for some members of the gay community.
5. Hippies
The hippie movement of the 1960s based itself on the concept of not conforming to socially approved patterns of behaviour and indulging in a form of gentle anarchy. Nakedness was celebrated and shopping for pre-worn items at jumble sales and charity shops was commonplace with long-discarded military uniforms and ethnic dress mixed and matched to create a unique style. The music was heavily folk inspired, peppered with political messages promoting peace and love. The aesthetic created a platform on which social change could be promoted and the surreptitious agenda of conflict exposed for all to see.
6. Glam rockers
While the US was embracing R&B in the 1970s, the UK was taking part in a musical and visual experiment. Glam rock was a theatrical, bi-curious creation – 5” platforms and brightly coloured make-up and tunes that tested many a parent’s tolerance to their children’s tastes.
7. Punk
In the late 1970s, punk changed everything. The expensive creations of Vivienne Westwood and Malcolm McLaren spawned a DIY revolution that allowed a generation to express themselves through self-cut and dyed hair, artistically ripped T-shirts, jewellery made from safety pins and dog collars and charity shop trousers made into bondage strides. The photocopied, hand-folded record covers, posters produced on an art college Gestetner machine to promote bands made up of creative individuals who often hadn’t picked up an instrument in their lives were testament to an empowered youth.
8. Goths
Although the goth subculture has a diverse following, it is most closely associated with repressed teenage rebellion, outsider culture and a dark, alternative to punk. The two genres came together in the late 1970s with the Damned’s Dave Vanian and Bauhaus bringing sallow cheeks and black cloaks and howling to the stage. Thought of as a two-fingered renunciation to sparkly-eyed, perfect preppy kids, goths favoured eyeliner and a neo-Victorian style – all in black. Goth was never about being at the cutting edge of cool, but will always live on with youth as a way to say: “I don’t conform”.
9. New romantics New romantics were a fashion marriage of the neoclassical and glam rock. Establishing itself in its own right at the end of the 1970s, the movement evolved throughout the 1980s. A generation of Bowie, Roxy and the original punk kids fell in love with Bowie’s Scary Monsters incarnation and designers such as Sue Clowes and Vivienne Westwood went to town with flouncy shirts with balloon sleeves and wild prints. London’s Blitz Club became synonymous with experimentation in androgynous, sexually liberal stylisation and new wave electronics. This “cult with no name” soon became the movement for cool kids.
10. Soulies, disco and ravers
People enjoyed the different music styles: disco allowed them to be flamboyant; funk and rare groove to be underground; jazz funk to try complicated dance steps; and electro to be a bit weird. When acid house emerged, the subversive T-shirts and colourful footwear allowed the brand Red or Dead to flourish. By the 1990s, acid became rave and trainers replaced shoes and the pea-whistle gained new status.
Вывод
All the aims were achieved.
1. We have learned different youth subcultures in the UK:
- dandies and flappers
- teds
- mods
- skinheads
- hippies
- glam rockers
- punk
- goths
- new romantics
- disco and ravers
2. We have build a time feed to show the history of youth subcultures in the UK.
3. We have learned that youth subculture plays an enormous role for the society. It moves the humanity forward, helps us evolve, stay true to our free spirit. Youth subcultures change the world, make it a better place full of love, freedom, tolerance and acceptance.
4. We have built a mental map to digitalise the results of our research.
Полезные ресурсы
The 10 best British youth cultures
A brief guide to the British subcultures
The difference between Russians and Brits
