Project "Men's youth fashion as a subculture". Mod youth subculture

When the booming post-war economy of England gave young people jobs, it created a class - a class of young people who earned decent money through physical labor (these were factories, repair shops - in general, not clerical work). But everything is connected in the economy, and new enterprises have created many white-collar jobs - clerks, managers, etc. The young people who came to these places were better educated and more “modern” - they listened to “progressive” music, wore fashionable clothes, rode scooters that protected them from dirt and did not leave oil stains on their clothes, etc. and so on. These were mainly city residents, starting with teenagers. Rockers - everything remained the same - these guys were “simpler”. Leather is protection from weather, falls and oil (when the first Japanese motorcycles were tested by English motorcycle journalists, one of them wrote with delight that after the ride there was not a single oil stain on his trousers!). Music - rock and roll, rockabilly. Conversations are rude, education is low. In general, these were the heirs of the "Teddy Boys", while the Mods can be called the heirs of the "dandies". And most rockers lived in the suburbs, small towns or villages.

All the prerequisites for skirmishes were at hand. And the main reason was not class differences, but partly the cultural and aesthetic contradictions generated by them. This was not a class confrontation - it was a confrontation generated by the conflict between a new wave of youth with new values ​​and those who had “revolted” several years earlier. But neither of them were “representatives of evil.” There were simply too many things that separated them, and this could not but cause contradictions. Rockers considered the Mods to be snobs and brats. Fashion considered Rockers outdated and grimy. In general, it was difficult to coexist peacefully. Thus was born (mainly thanks to the press and cinema, but more on that later) the legend of Mods versus Rockers. The birth of Mods (from Modernists). It is difficult to say when this confrontation began. Rockers, as a subculture, existed even before the early 60s. Mods were “noticed” in the press in 1962. This year, England's economy experienced its second post-war boom. Naturally, this boom entailed a cultural boom. New music, new ideas, a new "youth" vehicle - a Vespa or a Lambretta - all this was the ideal stage for a new movement. And the Mods were at the very crest of this wave.

So, what did these guys look like and how did they live? Main interests: Music: modern jazz, The Who, Small Faces, The Jam, The Yardbirds. Clothing: fashionable youth clothing (pseudo-military style, ponchos, short raincoats, tennis shirts, combat boots, moccasins - everything is bright and expensive). Shapeless army parka jackets were extremely popular. They perfectly protected from bad weather and did not constrain the choice of what to wear under them. Transport: Italian scooters, Vespa or Lambretta, sometimes hung with dozens of chrome mirrors, arches, antennas. High seat backs, white striped tires. The fashion scooter was usually polished to a mirror shine, but was not distinguished by functional tuning.

Groups: Aces - the elite, the most advanced, educated and indisputably recognized as the leaders of the Mods movement. Tickets are mostly teenagers, very aggressive, fueled by amphetamines, not very imaginative and practically following in the footsteps of the Aces - according to the mods themselves - a little closer to the working class. Meeting places: among the Aces these are serious music clubs, where interesting and new music was played, first of all. The Tickets run dance halls and nightclubs, mainly in East London. Behavior: The Mods were younger and, as a result, more aggressive than the Rockers. The mods were mostly younger (under 20 years old), while the rockers in the 60s were mostly 21-25 years old. Switchblades were quite popular among mods. In addition, they sewed fishhooks onto the lapels of their coats - in a fight, grabbing the collar lapels was dangerous. Most of the brawls were initiated by Mods, paradoxically as it may seem. The rockers were more interested in how to "make the tone" (100 miles per hour, and only in the dark and in bad weather), modifying the motorcycle and racing from traffic light to traffic light between cafes. Almost all serious clashes took place “on the road”. On Saturdays and the so-called "bank holidays" the Mods and Rockers went (not too different from most of England) to the coast - to Margate, Brighton or Clacton. In situations where such mass excursions collided with each other, a fight broke out. The strange thing is that there were no particularly major clashes. Ordinary residents of coastal cities were not involved in this and did not suffer in these clashes. It was mainly the awnings and tables on the beaches that suffered.

England in the 60s gave birth to a lot of youth movements. Nevertheless, English society remained for the most part a society inclined towards traditionalism and certain “moral principles”. It was this society that reacted extremely negatively to Mods and Rockers, without distinguishing or separating them. In these movements, English citizens saw the danger of the destruction of customary morality. The press played one of the decisive roles in this. By describing rockers (already habitually positioned as “bad guys”) and mods, English newspapers created not just an image of an unusual social phenomenon, but an image of a threat to English morality and the foundations of life. This, in turn, escalated the negative attitude on the part of ordinary people, the police and the government. May 17, 1964 was one of the "bank holidays". As always, many Englishmen decided to spend this day on the coast - the weather promised to be good. By a strange coincidence (this was in no way planned) a huge number of Mods and Rockers decided to spend the day in Brighton at the same time. Naturally, a collision was inevitable. According to eyewitness accounts and now elderly former mods and rockers, it was the Mods who started it all. A huge number of them gathered in the city. At some point (no one can say what the original reason was), the fashions, armed with stones from the beach, rushed to “hunt” the rockers. Two fairly large groups of mods and rockers (although to be fair there were a LOT more mods) clashed in a massive brawl on a beach in Brighton. Gradually, riots and fights moved to the streets of Brighton. The hastily assembled approximately 100 police officers were unable to stop the clashes. In the end, the warring parties were dispersed, more than 50 people were arrested. The trial of those arrested was a public process, carefully hyped by the press. However, no one was killed, no firearms were used, and the scandal did not last long on the front pages of the newspapers. But the label was stuck forever. And without dividing into rockers and mods.

The judge who presided over the trial called the participants in these riots "Sawdust Caesars" - it is difficult to say what this means for the British, but the meaning is clear. The term took root and became firmly entrenched in the brains of the average Englishman. This incident was and remains the most famous episode in the history of Mods and Rockers, not because of the seriousness of the actual events, but because of the press coverage and, above all, because of the film made in 1979 "Quadrophenia" (reminiscent of the story of riots in Hollister, isn't it?). This film is still a cult film for the British, and above all, for the residents of Brighton. Tours are available for tourists about the history of the "battle" in Brighton and the filming locations. Surprisingly, the much more serious incident that took place on Easter Sunday in Clacton in 1964 has received less attention. This incident is considered the first officially recorded mass clash between Mods and Rockers. Two large groups that collided "on the road" staged a massive brawl, using beach umbrellas as weapons. Many windows in nearby houses were damaged, and 97 people were arrested. Newspapers carried the headlines “Scooter gang's day of terror” (Daily Telegraph) and “Savages invade coast - 97 arrests” (Daily Mirror). But a film was not made about this story - and it sank into oblivion.

The rockers were the first to leave. It was a natural process - and the Fashions also did not last long. By 1966, their movement simply became uninteresting to the new youth - the hippies came. Fashions are a thing of the past, leaving behind a tour of the sites of the “great Battle of Brighton”, the film “Quadrophenia” and the new term “moral panic”. The term itself only appeared in 1987 - after the publication of research by sociologist Cohen, who built his theory by observing clashes between rockers and mods, and the film in 1979 - but the heroes of both were still recognizable. The fate of those Mods who, in their own classification, stood at the bottom rung of the philosophy and aesthetics of the movement was strange. They gradually transformed - Doctor Martins boots appeared, previously short-cropped hair began to be simply shaved, elements of clothing for young people from the working classes were added to Mod army jackets. They retained some of the basic attributes of the mods - music, Levi's jeans, Fred Perry sportswear - but that's probably all. This is how skinheads arose.

But to this day, older people - former Mods and Rockers - organize "re-unions" in the places where they spent their stormy youth. The legendary "Ace Cafe" in London was and remains the stronghold of former Rockers - this cafe has turned into a historical center. There you can not only drink coffee or beer in an authentic environment, but also buy classic rocker motorcycle clothing and accessories, exchange technical information or find the missing part for a lovingly restored Triumph or Norton. Regular official “re-unions” of rockers are also held there and their motorcycle rides begin there. For Mods, such places are concentrated by geographic location. In Brighton you can visit Jump the Gun for authentic Mod clothing and accessories. Regular "re-unions" take place mainly in the same cafes where they once met, but all this has acquired the character of clubs for classic scooter lovers, and not mod meetings.
according to the website "Neoformal"

research work (project)

"Men's youth fashion as a subculture"

Completed: Gaifullin

Vildan Rafisovich

Student 10"A" class

MBOU secondary school No. 58

Sovetsky district Kazan

Supervisor: teacher

technologies:

Martynova E.P.

Kazan, 2016

Content.

1. Introduction

2.Goal and objectives.

3 . History of the term,

4. The birth of subcultures.

5 . Basiccharacteristics of youth subcultures.

7. Fashion creators of the third millennium.

8. Fashion and youth subcultures in our time.

9 .Conclusion

10.Bibliography.

“It’s scary to say how often the most exciting clothing concepts can be found in the poorest people.”

Designer Christian Lacroix.

Introduction.

When you walk through our wonderful city, you involuntarily pay attention to how my peers are dressed. And it can be very interesting to determine by appearance which social group of people he belongs to. And when he wears an unusual outfit, it’s immediately clear which subculture he prefers. And I wanted to consider the phenomenon of youth fashion as a subculture.

Modern society is not homogeneous. Each person is a special microcosm, with his own interests, problems, concerns. But at the same time, many of us have similar interests and requests. Sometimes, in order to satisfy them, it is necessary to unite with other people, because together it is easier to achieve the goal. This is the social mechanism for the formation of subcultures - associations of people based on interests that do not contradict the values ​​of traditional culture, but complement it. And youth subcultures (which are often based on hobbies for various genres of music, sports, literature, etc.) are no exception.

Teenagers have always constituted a special socio-demographic group, but in our time a specific teenage culture has developed, which, along with other social factors, plays a large role in the development of the modern teenager. Sociologists first addressed this issue in the 60s.XXcentury. In Russia, since the late 80s, the attention of researchers to youth subcultures has become more noticeable. In recent years, much more attention has been paid to youth subculture.

Each subculture has its own fashion and style. A single style unites people, be it music, clothing or lifestyle.

No matter how subcultures try to isolate themselves from the common basic culture, it is very difficult to become completely autonomous.

2.The purpose of my work :

consider the concepts of “fashion” and “subculture”; find out how these concepts are related to each other.

Tasks:

consider the main characteristics and aspects of youth subcultures,

highlight their features, show their interrelation and influence on the formation of fashion, tastes and worldview of the younger generation.

study literature on this topic;

Relevance: this topic is due to the appearance in Lately large quantity various subcultures and the growing interest of researchers and society in this phenomenon.

Hypothesis: subcultures have a connection with fashion and mutually influence each other.

3. History of the term the concept of “subculture”, “fashion”.

Let's start with the history of the term. In 1950, American sociologist David Reisman, in his research, introduced the concept of a subculture as a group of people who deliberately choose the style and values ​​​​preferred by a minority. subcultures attract people with similar tastes who are not satisfied with generally accepted standards and values. The style of the youth subculture turns out to be not just its external expression; through its rituals and iconic forms, it challenges the existing moral order and dominant ideology. In the USSR, the term “Informal youth associations” was used to designate members of youth subcultures.

The subculture has the following characteristic features: a specific lifestyle and behavior of the participants; peculiar norms, values, worldview characteristic of a given social group; also the presence of a more or less obvious initiative center that generates ideas.

The word “fashion” comes from the Latin “modus” (measure, method, image, rule, norm). The Latin "modus" was used by the philosophy of the 17th-18th centuries. as a transitory property of matter (object). In the Russian language, the word “fashion” appears under Peter I and is recorded in the first Russian dictionaries.

The history of fashion is as old as the history of costume. From the moment when man discovered the significance of clothing as a means of protection from the adverse effects of nature, it was not long before he began to think about its aesthetic and stylizing function. Clothing speaks volumes; it reveals certain thoughts and characteristics of a person. Subculture is a part of the culture of a society that differs from the prevailing one, as well as social groups of carriers of this culture. The subculture creates its own unique culture, including a special system of values, language, behavior, clothing and other aspects, and therefore has a connection with the phenomenon of fashion.

4. The birth of subcultures.

It is customary to distinguish between the concepts of “subculture” and “youth subculture”. It is believed that a youth subculture is a culture created by young people for themselves; it is a culture “not for everyone,” a cultural subsystem within the official system. It determines the lifestyle, value hierarchy and mentality of its bearers. The youth subculture is a special case, one of the many subcultures in modern society. The epithet “youth” immediately defines a certain cultural niche occupied by people united by the principle of age. Age in this case is a very important demographic characteristic. Taking into account the special psychology of age in culture is undoubtedly important, since it leaves a significant imprint on spirituality and mentality. The youth subculture, according to the German scientist L. Hauser, is “a form of expression of the process of searching for and mastering a worldview.” In other words, a youth subculture is usually a temporary phenomenon; it is a special form of life search. Subculture is a part of the culture of a society that differs from the prevailing one, as well as social groups of carriers of this culture. A subculture creates its own unique culture, including a special value system, language, behavior, clothing and other aspects.

For my work, this feature of subcultures is of great interest, since it all has a connection with the phenomenon of fashion.

From birth, a child tries to repeat the behavior of his parents and other adults around him. For young children, their parents are role models. But the older the child is, the closer his age is to adolescence, the more children separate from their parents, they want to be different from them, and not only from their parents, but also from the society around them. This is the reason for the emergence of youth subcultures. Young people unite in separate movements that differ from the prevailing majority in behavior, clothing and general lifestyle. The main function of the youth subculture is to give young people the opportunity to stand out from others, to realize themselves, and to find friends with the same views.

Each youth subculture has its own attributes,your style of clothing and in music, their websites. There are even gestures characteristic of certain subcultures.

For a 50's teenager rock and roll was a revolution in literally everything: in the manner of dancing, speaking, walking, in views on the world, on power, on parents, and most importantly, a revolution in a person’s views on himself. This is how rock culture arose. And among young people it has become really fashionable.

In the 60s there arosesubculture "Modos" (Fashion). Fashion picks up the dandy way of dressing from the “Teddy Boys” (1950). Their motto is “moderation and accuracy!” The mods wore perfectly fitting suits, a chemical miracle of the early 60s - snow-white nylon shirts with narrow collars, thin ties, boots with narrow toes, faux leather jackets with a zipper, neat hairstyles. In 1962, the legendary Beatles became followers of the Modos style. Youth fashion, rapidly developing in this decade, also has its influence on the classic houses of Haute Couture. Such houses offered their clients an “ennobled” version of youth fashion: knee-length skirts, suits, “modernized” with bright colors and new lines, classic “pumps” with low heels, etc. The fashion of the late 1960s is influenced by the new youth fashionsubcultures - “hippies”. The hippie diffuser style brought bright ethnic motifs into fashion eastern countries, the deliberate effect of shabbyness and, above all, jeans, which were something of a symbol of protest against the bourgeois uniform. With their appearance and behavior, hippies emphasized their rejection of the norms of official culture. In search of individuality, young rebels mixed clothes different styles, times and peoples. They sang the value of old clothes. This is where the worn effect and ripped jeans come from.

It is known that some subcultures continue to live to this day, while others cease to exist. This also has a connection with the phenomenon of fashion. Fashion quickly responds to the changing needs of young people. And sometimes it is ahead of their change, creating new ones. If something ceases to be relevant, it disappears from everyday life into history. Pagers, for example, can now only be found in a museum, but once upon a time it was fashionable. The situation is the same with subcultures. The Zooties, rockabillies, beatniks, hippies (if they exist, then very few) have long disappeared. But now such a subculture as emo, for example, has gained enormous popularity among young people. This conclusion can be drawn from the abundance of young people dressed in this style. People who don’t consider themselves emo dress this way too, they just think it’s beautiful. The hairstyles that came into fashion thanks to this subculture also caught on very well. Such subcultures owe their mass popularity to the fashion created by youth media.

Subculture sometimes gives life to completely new things and ideas. And as it develops and interacts with society, this “new” phenomenon gradually penetrates into general culture and can even become a classic in some field. For example, let's givesubculture "hipsters". It appeared in the USSR and existed from 1940 to the beginning. 1960s. This subculture had a Western (mainly American) lifestyle as a standard. Hipsters stood out with their bright clothes and original manner of speaking (special slang). They had a special interest in Western music and dance. Western fashion still has a huge influence on our country. Unfortunately, this applies not only to clothing... Subcultures are also an indicator of this. It is difficult to remember at least one subculture that originally arose in Russia. Basically they all came to us from the West.

Another subculture directly related to fashion ishipsters or indie kids. The name speaks for itself. It comes from the English word hip, which translates as “to be in the know.” Fashion is perhaps the main component of hipster culture.

5. Main characteristics of youth subcultures.

Each informal belongs to one of the types of youth subcultures: (the most common subtypes of subcultures are presented below)

general description

Subspecies

Description of subspecies

Musical

Subcultures based on fans of various genres of music

Alternatives

fans of alternative rock, rapcore

Goths

gothic rock fans

Metalheads

fans of heavy metal and its varieties

Punks

punk rock fans

Rockers

rock music fans

Hip-hop (rappers)

fans of rap and hip-hop

Skinheads

ska lovers

Emo

emocore fans

Image

Subcultures distinguished by style of clothing and behavior

supporters of the movement do not have a specific ideology; they prefer electronic club music.

Mods

snow-white nylon shirts with narrow collars, thin ties, boots with narrow toes, faux leather jackets with zippers, neat hairstyles

The subculture is based on imitation of the “golden youth” by teenagers.

Glamourists

majors. The main component is the desire for a life advertised in glamorous “men’s” and “women’s” magazines (the pursuit of fashion, clothing and cosmetics).

Freaks

Hipsters

A "dead" Soviet movement inspired by the Western way of life.

Military

Paramilitary style of clothing.

Political and ideological

Subcultures distinguished by social beliefs

Antifa

Hippie

.

.

.

Informals

.

.

By hobby

Subcultures formed through hobbies

Bikers

Motorcycle lovers

Writers

Graffiti fans

Tracers

Parkour lovers

Hackers

Fans of computer hacking (usually illegally)

For other hobbies

Subcultures based on cinema, games, animation, literature.

Otaku

Fans of anime (Japanese animation)

Gamers

Fans of computer games

Football hooligans

6. The relationship between fashion and subculture. Youth men's fashion - for the young and stylish. Fashion and subculture occupy an important place in modern society. Both of these concepts are quite complex and interesting to study, and both of them are components of culture as a whole. Fashion today penetrates into all spheres of life.Some people even choose their behavior or lifestyle under the influence of fashion trends. In this case, we can talk about the existence of fashion for certain subcultures, as well as the mutual influence of these phenomena on each other. Fashion in general always strives for a young and fresh impression: it wants to rejuvenate. At the same time, the essence of fashion – change – is closer to the dynamic pace of life of young people.Fashion acts as a special social sign, a symbol of prestige. Fashion focuses on recognized leaders, unites in accordance with in a certain way behavior, stimulates interest in new things. The compensatory function allows you to fill unsatisfied or insufficiently satisfied needs, acting as a regulator of social needs. Fashion is a social phenomenon and therefore should be researched and studied from different angles. A youth subculture is usually a temporary phenomenon; it is a special form of life search. Subculture sometimes gives life to completely new things and ideas. And as it develops and interacts with society, this “new” phenomenon gradually penetrates into general culture and can even become a classic in some field. Fashion often gives rise to subcultures. No matter how representatives of a particular subculture try to stand out and deviate from official fashion, the end result is that the more widespread a subculture becomes, the greater the chance that it will be fashionable and vice versa - the more fashionable a subculture is among young people, the more widespread it will be.Thus, the connection between subcultures and fashion is obvious, this connection can be expressed in different ways: subcultures create their own fashion, at the same time influencing the development of fashion as a whole, they in some sense give birth to a new fashion, and sometimes fashion makes possible the emergence and the development of subcultures. This complex connection concerns mostly the external image, some individual elements. But, as mentioned earlier, fashion is not only about clothes, it affects almost all areas of the life of a modern person. Therefore, the connection between fashion and subculture is deeper than it seems at first glance. But even its external manifestations are enough to draw a conclusion about its existence. The important role of the youth subculture is that it provides the opportunity for self-development and self-realization to its participants. And also the opportunity to create your own reality and culture. It is not limited to household items or clothing. We came to the conclusion that there are practically no boundaries for fashion: it can penetrate science, art, politics, ideology, etc. Sometimes elements of such fashion go beyond the subculture and become quite acceptable to the bulk of the population, moving into the category of “official” fashion. Fashion for a certain style of music, clothing, etc. can become the basis of a subculture, and also determines the development or cessation of its existence.

Image for a representative of a subculture is not only clothing, it is a demonstration by one’s appearance of the beliefs and values ​​that the subculture promotes.As mentioned earlier, fashion is associated with the instinct of imitation. This is one of the contradictions inherent in youth - to be like everyone else and at the same time stand out. This contradiction is resolved thanks to subculture.For example, a Goth among “his own people” will be like everyone else, but in comparison with people who do not belong to this subculture, he will be a “black sheep.” The goal has been achieved, he will be noticed. Fashion is art, fashion is an endless list of victims, fashion is a lifestyle, fashion is a philosophy, fashion is shocking. Modern fashion is becoming more and more democratic, it no longer imposes rigid rules, allowing everyone to express their individuality. Fashion is cyclical, so previously popular items often get a second life. And if you reconstruct the history of this or that thing, you can find connections with a wide variety of subcultures.

7. Fashion creators of the third millennium.

Refusal of a uniform style.Among the countless sources of inspiration for designers, retrospective ones have recently occupied the most important place. Even the greatest Couturiers usually draw inspiration from well-known human experiences. Genius often manifests itself in re-reading with brilliance well-known chapters of human history.Another source remains street fashion and the fashion of designers working for the “street” and subcultures. Beginning in the '90s, designers began to eclectically mix elements of several different subcultural styles and play freely with historical, cross-cultural and futuristic influences to create new fashions.

John Galliano admitted that the inspiration for his spring-summer 2005 collection was just one line from a song - it was the phrase “Napoleon in Rags” from the classic Bob Dylan song LikeaRollingStone. The show itself was more like a performance: videos, live music, singers, rock band Uminski, violins and viols and rock stars in the front row. Rock musicians, as is the custom of all rock dinosaurs, broke both guitars and drums towards the end of the performance.

Ripped jeans and rock 'n' roll presentedKarl Lagerfeld at Paris Fashion Week in his spring-summer 2005 collection for the house of Chanel, the prototypes of which were two great icons of the 20th century - James Dean and Coco Chanel. From the first - an abundance of torn denim jackets and frayed breeches with tweed and rock and roll leather chic, and from the second - glamorous and feminine fluffy dresses with corsets and sexy butterfly swimsuits.

Show of the latest autumn men's collection “swing, dudes and rock and roll” from SirPaul Smith the soundtrack of which was entirely composed of songs by modern young British and American bands playing rock and roll, Britpop, post-post-punk, junk, testified to the designer’s genuine love for non-commercial rock music and referred to the image of a swinging intellectual from Chelsea in the late 60s. Paul Smith invited his aristocratic intellectual to feel free to mix everything in his wardrobe. Large dockers and factory workers' caps with expensive tweed jackets and skinny trousers. And all this - with zebra boots with elongated toes. This is exactly what Smith believes a reincarnated London dandy from the 60s should look like in the winter of 2006.

Street style showed the House of Christian Dior at Paris Fashion Week in the fall/winter 2010/2011 collection. Stretched sleeves and a dropped loop effect are “new chic” from John Galliano. He invited the brilliant audience to imagine themselves in a torn knitted dress, in a bias-cut jacket with raw edges, in randomly selected clothes. “Would you be shocked if I wore something more comfortable?” - these words of the heroine Jean Harlow from the Howard Hughes film “Hell's Angels” are taken as the epigraph!

Often, truly great designers find ideas literally in their own backyard. Two years agoGiorgio Armani created a collection inspired by images of workers from Eastern Europe. How can a luxury designer get ideas for luxury clothing from a world of poor immigrants? My new collection Armani updated the slanted berets in the style of the 1960s.

Glam and rock by Jean-Paul Gaultier on Paris Fashion Week. “More glam! David Bowie, thank you! T. Rex, thank you! ”- this is how leading French fashion designer Jean-Paul Gaultier began his seasonal show, loudly calling on the audience gathered in Paris to get up from their seats and move to the beat of the energetic music.

Models began to appear on the catwalk in bright, stretchy leggings that harkened back to the 1980s, sparkling shapeless tops, torn shearling coats with shiny leather prints, sweaters with huge fluffy collars, caped blouses, golden leggings and translucent tops with crosses. This is how Jean-Paul Gaultier saw the coming autumn and winter of 2009/2010.

Today there is an increasing popularity of the hippie style. Neo-hippie and ethnic romanticism captured the podiums. Dresses and skirts embroidered with flowers and beads, oriental motifs, intricate patterns, hand painting, and asymmetry are very popular. Skirts trimmed with braid, T-shirts decorated with rhinestones. Long, floor-length dresses with multi-colored embroidery. Tunics worn over trousers. Accessories: pouches, handbags, cloth bags, belts embroidered with beads.

000 CollectionZegna spring/summer 2015-Z Zegna was born under the sign of the house of Pitti Uomo, so it is quite fair to find designer influences this seasonPaul Surridge and Murray Scallon that they presented their current proposals for the Italian label.

Ermenegildo Zegna presented the Ermenegildo Zegna Couture spring/summer 2015 collection with a fashion show in the form of an original film directed by Johan Söderberg. Unconventional cut, a different look at the latest spring-summer trends in men's fashion - all forecasts from Stefano Pilati. The starting point was architectural restraint and classic elegance in premium men's business clothing. The silhouettes were perfectly adjusted in volume and cut. The main theme of this collection was to be the study of the original male strength and energy, intellectual masculinity.

It should be noted that the designer offered quite a lot of striped items. Where there are black and blue, where there are gray and dark red, black and white or beige with sand stripes - they are found in different widths, vertical and horizontal, even oblique and circular lines, as on shirts and jackets, coats and three-piece suits. The coat and wide trouser legs are cut in the usual loose way, just reaching your ankles. As for the choice of fabric, there is freedom in combining them, the main thing is that the combinations of materials are pleasant to the body, so that the air circulates freely and inspiredly. Youth trends are too diverse and changeable to highlight a specific style, so just focus on your ideas about convenience and your sense of style.

8. Youth subcultures and fashion in our time.

An important place in modern youth fashion is occupied by clothing in the style of various subcultures and simply style trends. Most young people belong to some movement - hip-hop, goths, punks, hippies - and dress in accordance with their hobbies. The main criteria for choosing such clothing are comfort and the ability to emphasize one’s belonging to a specific subculture.Hip-hopera easy to recognize by wide pants and a T-shirt that do not hinder movement while dancing. Hippies prefer loose fit, natural fabrics, and bright colors. Black clothing combined with dark makeup - business card ready. Retro distractions and passion for recreating the styles of ancient civilizations deserve special attention; for summer - these are the motifs of Egypt and Ancient Greece, for spring and autumn - this can be the rich East and in winter the expected aspiration to the North.

Universal clothing for the city. However, youth fashion does not only include subcultures; there are also simpler and more universal styles. One of them is casual, comfortable clothes for everyday wear in the city. Casual is characterized by a mixture of styles, a combination of dissimilar elements - for example, shorts and a jacket, a business suit and sneakers, jeans and a formal shirt. The highlight of casual style is the opportunity to create new looks every day, combining and experimenting . The conclusion is simple: clothing style is a business card, which, even before the first words, can tell a lot about its owner. This is why it is important to create an image, taking into account your own preferences, and this is why there are so many trends in fashion: so that everyone can find themselves. Youth men's fashion is a fairly broad concept. Here you can find styles from various subcultures and just comfortable everyday clothes. The fashion portal Manero.ru offers a closer look at what youth men's fashion is.

Men's youth clothing

Men's youth fashion in the coming season is, first of all,denim fashion. Skinny jeans can be complemented with bright printed T-shirts or simple white T-shirts - the hit of the season. In cool weather, the T-shirt can be replaced with a long sweater with a striped pattern. In general, stripes will become the most popular print of the spring-summer 2015 season. It adorns T-shirts, sweaters, and jackets. Classic nautical stripes and multi-colored stripes, both horizontal and vertical, will be in fashion.

This year's sports style is aristocratic and reminiscent of sailing regattas and golf clubs rather than backyard basketball courts.

Every fashionable young man needs a classic knit polo shirt - white, dark cherry or blue. Another must-have element of a fashionable men's wardrobe is loose, soft chinos made from light-colored cotton, which can be an original alternative to jeans. Interesting models can be found in new collections of such European brands as Gray Connection, John Devin, Mod, Esprit, Tom Tailor and many others.The clash of classics and avant-garde: as always, two opposites met on the catwalks - a strict classic style and the image of a fashionable rebel. Both of these areas of the fashion industry find their buyers. Young people are also happy to choose traditional jackets and blazers, skillfully combining them with jeans and trousers. The coming year was no exception: classic men's fashion is in demand not only by respectable businessmen, but also by their younger brothers.

Some other trends in youth fashion

Today, youth fashion is still not as fierce as before, but it is influenced by youth subcultures. Hip-hop, rock and punk also left their mark on men's youth fashion in 2015.

Hipster- This is another noticeable trend in modern youth fashion. Retro style references, granny sweaters, stylish vests, jackets and tapered trousers are still relevant. Bright colors and the use of stylish accessories are encouraged - sunglasses, scarves, hats and bags. Another trend that has been increasingly capturing youth fashion lately is the so-called J-style. It is characterized by the fact that it has overt references to the fashion of the East, in particular Japan. Original patterns and non-standard styles of J-fashion clothing help create a memorable youth look .

Street fashion for men

This year it is presented quite brightly. Most designers of fashion houses relied on street style and were right. The main principle that is observed when choosing an outdoor wardrobe is comfort and convenience. Biker jackets, bomber jackets, raincoats and coats - all these types of outerwear are great for youth street style.

yukami. The rolled-up jeans are completely splattered with paint, which adds some chaos to men's outfits and makes the collection much closer to youth. Admiral's coats and naval cloaks with wide shoulders proudly stand out throughout the entire ensemble, some of them even have shoulder straps. The sleeves are decorated with wide blue stripes. In general, Gucci collections always have something of a style military, so there is nothing unexpected about the new clothes. Some shirts are more reminiscent of pajamas: they are just as long and without a collar.

It will be interesting to know that Frida Giannini always prefers two styles: a jet-setter in a pantsuit and a rock musician with a rebellious character. So the designer combined these two images into one, calling them “decadent admiral.” You can also see the influence of British subcultures, for example, mods. Does a Gucci pantsuit look too formal? It doesn’t matter, Frida Gianini relaxed her look, just roll up your trousers, put on moccasins and put on a bag over your shoulder, and you will radically change your appearance.

7.Conclusion

The fashion industry today is not a closed monolithic system that sternly dictates to everyone what is in the bull's eye and what is out. On the contrary, she herself, in turn, experiences the enormous influence of the subculture, “street fashion,” which very quickly becomes the main source of imagination for the creators of the fashion world. They take ideas from styles and subcultures, modernize them, and then mass produce them. Subculture research is like a spotlight that shines a spotlight on a cultural space in search of originality and authenticity - with the fashion industry hot on its heels. Thanks to the Internet, digital and mobile communications, the world is becoming faster and reality is becoming virtual. Now the decisive factor is the flow of information - from the catwalk to manufacturers, and from final buyers to fashion creators.As a result, "street style" and designer fashion quickly became closer to each other, and fashion as a whole became more monolithic. In the era of globalization, boundaries are being erased in fashion.

The ability to dress fashionably, in accordance with the ideas inherent in a given age, is perceived as an extremely important feature that allows a teenager to be considered “almost an adult.” Those who are still dressed according to the standards of children's fashion are often called "nerds", "skins", "hi", "touched", or "babies who go shopping hand in hand with mommy." All these unflattering reviews emphasize that "nerds" are perceived as people with great oddities or are completely marginalized in the peer group, and all because they do not do what is considered normal for young people, that is, they do not listen to the opinions of children their own age, they don’t pay attention to what they’re wearing, etc. And it is precisely, most often, such “nerds” who fall under the influence of subcultures, so that in the future they will “stand out from the crowd.”

Thus, the connection between subcultures and fashion is obvious, this connection can be expressed in different ways: subcultures create their own fashion, at the same time influencing the development of fashion as a whole, they in some sense give birth to a new fashion, and sometimes fashion makes possible the emergence and the development of subcultures. This complex connection concerns mostly the external image, some individual elements. But, as mentioned earlier, fashion is not only about clothes, it affects almost all areas of the life of a modern person. Therefore, the connection between fashion and subculture is deeper than it seems at first glance. But even its external manifestations are enough to draw a conclusion about its existence.

So, the topic of subcultures and fashion is one of the most interesting topics. It is vast and multifaceted. It is vital and is observed every day. Subcultures and fashion do not stand still, they develop and change. They are increasingly embracing humanity.

8. Bibliography

S.I. Levikova / “Youth subculture” / textbook / M., / Grand / 2004.

B.D. Parygin / Social psychology: textbook / 2nd edition / M., / 2003.

Fashion theory. No. 10, winter 2008-2009. Dick Hebdige. Chapters from the book “Subculture: the meaning of style”

A. Vasiliev/ “Russian Fashion”/M.,/2004.

www.hazzen.com/publications/articles/istorija_subkultury_hippi_chast_i

www.glamur.3dn.ru/forum/39-250-1

“Bike Freak” magazine issue No. 6, article “Guys in Leather”

Magazine "POP» autumn- winter 2005

Mots Mots (eng. Mods from Modernism, Modism) are a British youth subculture that formed in the late 1950s. among the London petty bourgeoisie and reached its peak in the mid-1960s. A distinctive feature of the houses was their special attention to appearance (initially, fitted Italian suits were popular, then British brants), and a love of music (from jazz, rhythm and blues and soul to rock and roll and ska). The music of such British rock bands as the Small Faces, the Kinks and The Who also became associated with the mods. Spendthrifts chose motor scooters as transport, and there were frequent collisions with rockers. The mots tended to meet in clubs and seaside resorts such as Brighton, where the infamous 1964 street clashes between rockers and mods took place. In the second half of the 60s. the house movement waned and has since revived only sporadically.

Goths Goths are representatives of the gothic musical subculture that emerged in the late 70s of the 20th century in the wake of post-punk. A distinctive feature of the subculture is a passion for gothic rock. Early Goths looked the same as punks, with the only difference being that the dominant color of clothing and hair was black (with accents of white, red, blue or purple) and silver jewelry. They wore torn clothes and even mohawks. They also usually wore a lot of fishnet (most often men on their arms) and had an original make-up style, with very white faces and a lot of black eyeliner (both men and women). Hair was usually curled and combed. The only thing that prevails is the desire to look more beautiful, more unusual, hence the fascination with all kinds of “dark” symbolism.

Bikers Bikers (English biker, from bike motorbike motorbicycle “motorcycle”) are lovers and admirers of motorcycles. Unlike ordinary motorcyclists, bikers have a motorcycle as part of their lifestyle. The biker movement originated in the United States when bikers were divided into several aggressive and warring factions. The most famous group is the Hells Angels. The stereotypical appearance of a biker: a bandana (a dark-colored headscarf tied in a pirate manner at the back of the head) or a knitted cap, a “biker jacket” (a leather jacket with a zipper at an angle) or a leather motorcycle jacket (often a sleeveless denim or leather vest with the “colors” (symbols) of the motorcycle club) and leather pants are worn over the motorcycle jacket. Bikers often grow long hair, mustaches, beards, wear glasses to protect their eyes from the wind, and often ignore helmets. Bandana

Hippie (from English hippy or hippie; from colloquial hip or hip “fashionable, stylish”; youth philosophy and subculture, popular in the USA in the 1960s and 1970s, expressing protest against generally accepted morality and the desire to return to natural purity through the promotion of free love and pacifism. The most famous slogan of the hippies is “Make love, not war!”, which means “Make love, not war!” and soldiers, and also used the slogan “Flower Power” (“strength”, or “power of flowers”), they began to be called “children of flowers.”

Ravers Ravers are a youth subculture of regular participants in electronic dance music raves, which gained mass popularity in 1988 in the UK. The appearance of ravers is characterized by bright colors in clothes, plastic Sunglasses, short dyed hair for boys, colored strands of long hair for girls. Piercings are extremely popular, and the design used the “smiley face” symbol.

Punk, punks, punk rockers (from the English punk rottenness, nonsense) youth musical subculture, which emerged in the second half of the 1970s in the USA and Great Britain, the characteristic features of which are a love of energetic and deliberately primitive rock music (punk rock), a critical attitude towards society and politics. The popular American group Ramones is considered the first group to play music in the style of “bright unnatural colors, combed and fixed with varnish punk rock.” The Sex Pistols are recognized as the first British punk band. Punk rock Many punks, as a rule, have a colorful, shocking image. Many punks dye their hair with dye or gel to make it stand up. In the 80s, the mohawk hairstyle became fashionable among punks.

Traditional skinkhets are an apolitical subculture. They created their own style of clothing, called “boots & braces”. Jeans and massive boots, which served as an indispensable argument in the endless showdowns of football fans and street brawls.

Mods(English) Mods from Modernism, Modism) is a British youth subculture that formed in the late 1950s. and reached its peak in the mid-1960s. Mods replaced teddy boys, and later the skinhead subculture sprang from the most radical mods.

A distinctive feature of the mods was their special attention to appearance (initially, fitted Italian suits were popular, then British brands), love for music (from jazz, rhythm and blues and soul to rock and roll and ska). By the mid-60s, the music of such British rock groups as the Graham Bond Organization, Zoot Money Big Roll Band, Georgie Fame, Small Faces, Kinks and The Who (whose album was based on the 1979 film “The Who”) also began to be associated with mods. Quadrophenia"). The film was received ambiguously, and to this day there are debates about its adequacy and role in popularizing the fashion movement.

Fashions chose motor scooters as their means of transport (especially the Italian Lambretta and Vespa models), and there were frequent clashes with rockers (owners of motorcycles). The Mods typically met in nightclubs and seaside resorts such as Brighton, where the infamous street clashes between rockers and Mods took place in 1964.

In the second half of the 60s. The mod movement waned and has since been revived only sporadically. At the end of the 70s. the mod style was adopted by some punk bands (Secret Affair, The Undertones and The Jam).

And in English:

Mod(from modernist) is a subculture that originated in London, England, in the late 1950s and peaked in the early-to-mid 1960s.

Significant elements of the mod subculture include fashion (often tailor-made suits); music, including African American soul, Jamaican ska, British beat music, and R and motor scooters. The original mod scene was also associated with amphetamine-fuelled all-night dancing at clubs.From the mid-to-late 1960s and onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable, or modern.

There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in Southern California.

Etymology

The term mod derives from modernist, which was a term used in the 1950s to describe modern jazz musicians and fans. This usage contrasted with the term trad, which described traditional jazz players and fans. The 1959 novel Absolute Beginners by Colin MacInnes describes as a modernist, a young modern jazz fan who dresses in sharp modern Italian clothes. Absolute Beginners may be one of the earliest written examples of the term modernist being used to describe young British style-conscious modern jazz fans. The word modernist in this sense should not be confused with the wider use of the term modernism in the context of literature, art, design and architecture.

History

Dick Hebdige claims that the progenitors of the mod subculture "appear to have been a group of working-class dandies, possibly descended from the devotees of the Italianite style." Mary Anne Long disagrees, stating that "first hand accounts and contemporary theorists point to the Jewish upper-working or middle-class of London's East End and suburbs." Sociologist Simon Frith asserts that the mod subculture had its roots in the 1950s beatnik coffee bar culture, which catered to art school students in the radical bohemian scene in London.Steve Sparks, who claims to be one of the original mods, agrees that before the mod became commercialized, it was essentially an extension of the beatnik culture: "It comes from 'modernist', it was to do with modern jazz and to do with Sartre" and existentialism. Sparks argues that "Mod has been much misunderstood... as this working-class, scooter-riding precursor of skinheads."

Coffee bars were attractive to youths, because in contrast to typical British pubs, which closed at about 11 pm, they were open until the early hours of the morning. Coffee bars had jukeboxes, which in some cases reserved some of the space in the machines for the students" own records. In the late 1950s, coffee bars were associated with jazz and blues, but in the early 1960s, they began playing more R&B music Frith notes that although coffee bars were originally aimed at middle-class art school students, they began to facilitate an intermixing of youths from different backgrounds and classes At these venues, which Frith calls the "first sign of the youth movement", youths. would meet collectors of R&B and blues records, who introduced them to new types of African-American music, which the teens were attracted to for its rawness and authenticity. They also watched French and Italian art films and read Italian magazines to look for style ideas. .According to Hebdige, the mod subculture gradually accumulated the identifying symbols that later came to be associated with the scene, such as scooters, amphetamine pills, and music.

Decline and offshoots

By the summer of 1966, the mod scene was in sharp decline. Dick Hebdige argues that the mod subculture lost its vitality when it became commercialized, artificial and stylized to the point that new mod clothing styles were being created "from above" by clothing companies and by TV shows like Ready Steady Go!, rather than being developed by young people customizing their clothes and mixing different fashions together.

As psychedelic rock and the hippie subculture grew more popular in the United Kingdom, many people drifted away from the mod scene. Bands such as The Who and Small Faces had changed their musical styles and are no longer considered mods themselves. Another factor was that the original mods of the early 1960s were getting into the age of marriage and child-rearing, which meant that they no longer had the time or money for their youthful pastimes of club-going, record-shopping and scooter rallies. The peacock or fashion wing of mod culture evolved into the swinging London scene and the hippie style, which favored the gentle, marijuana-infused contemplation of esoteric ideas and aesthetics, which contrasted sharply with the frenetic energy of the mod ethos.

The hard mods of the mid-to-late 1960s eventually transformed into the skinheads.Many of the hard mods lived in the same economically depressed areas of South London as West Indian immigrants, and those mods emulated the rude boy look of pork pie hats and too-short Levis jeans.These "aspiring "white negros"" listened to Jamaican ska and mingled with black rude boys at West Indian nightclubs like Ram Jam, A-Train and Sloopy"s.

Dick Hebdige claims that the hard mods were drawn to black culture and ska music in part because the educated, middle-class hippie movement"s drug-oriented and intellectual music did not have any relevance for them. He argues that the hard mods were also attracted to ska because it was a secret, underground, non-commercialized music that was disseminated through informal channels such as house parties and clubs.The early skinheads also liked soul, rocksteady and early reggae.

The early skinheads retained basic elements of mod fashion — such as Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi's jeans — but mixed them with working class-oriented accessories such as braces and Dr. Martens work boots. Hebdige claims that as early as the Margate and Brighton brawls between mods and rockers, some mods were seen wearing boots and braces and sporting close cropped haircuts (for practical reasons, as long hair was a liability in industrial jobs and streetfights).

Mods and ex-mods were also part of the early northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Some mods evolved into, or merged with, subcultures such as individualists, stylists, and scooterboys, creating a mixture of "taste and testosterone" that was both self-confident and streetwise.

Fashion

Jobling and Crowley called the mod subculture a "fashion-obsessed and hedonistic cult of the hyper-cool" young adults who lived in metropolitan London or the new towns of the south. Due to the increasing influence of post-war Britain, the youths of the early 1960s were one of the first generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the Carnaby Street and Kings Road districts. Maverick fashion designers emerged, such as Mary Quant, who was known for her increasingly short miniskirt designs, and John Stephen, who sold a line named "His Clothes", and whose clients included bands such as Small Faces.

Two youth subcultures helped pave the way for mod fashion by breaking new ground; the beatniks, with their bohemian image of berets and black turtlenecks, and the Teddy Boys, from which mod fashion inherited its "narcissitic and fastidious tendencies" and the immaculate dandy look.The Teddy Boys paved the way for making male interest in fashion socially acceptable , because prior to the Teddy Boys, male interest in fashion in Britain was mostly associated with the underground homosexual subculture"s flamboyant dressing style.

Clubs, music, and dancing

The original mods gathered at all-night clubs such as The Roaring Twenties, The Scene, La Discothèque, The Flamingo and The Marquee in London to hear the latest records and to show off their clothes and dance moves. As mod spread across the United Kingdom, other clubs became popular such as Twisted Wheel Club in Manchester.They began listening to the "sophisticated smoother modern jazz" of Dave Brubeck and the Modern Jazz Quartet." They became "...clothes obsessed, cool, dedicated to R&B and their own dances."Black American servicemen, stationed in Britain during the Cold War, also brought over rhythm and blues and soul records that were unavailable in Britain, and they often sold these to young people in London. Although the Beatles dressed "mod" in their early years, their beat music was not popular among mods, who tended to prefer British R&B based bands. Rolling Stones, the Yardbirds and The Kinks all had a following among mods, but a large number of specifically mod bands also emerged to fill this gap. These included The Small Faces, The Creation, The Action, The Smoke, John's Children and most successfully The Who. The Who's early promotional material tagged them as producing "maximum rhythm and blues", but by about 1966 they moved from attempting to emulate American R&B to producing songs that reflected the Mod lifestyle. Many of these bands were able to enjoy cult and then national success in the UK, but only the Who managed to break into the American market.

The influence of British newspapers on creating the public perception of mods as having a leisure-filled clubgoing lifestyle can be seen in a 1964 article in the Sunday Times. The paper interviewed a 17-year-old mod who went out clubbing seven nights a week and spent Saturday afternoons shopping for clothes and records. However, few British teens and young adults would have the time and money to spend this much time going to nightclubs. Jobling and Crowley argue that most young mods worked 9 to 5 at semi-skilled jobs, which meant that they had much less leisure time and only a modest income to spend during their time off.

Amphetamines

A notable part of the mod subculture was recreational amphetamine use, which was used to fuel all-night dances at clubs like Manchester's Twisted Wheel. Newspaper reports described dancers emerging from clubs at 5 a.m. with dilated pupils. Mods bought a combined amphetamine/ barbiturate called Drinamyl, which was nicknamed "purple hearts" from dealers at clubs such as The Scene or The Discothèque. Due to this association with amphetamines, Pete Meaden's "clean living" aphorism may be hard to understand in the first decade of the 21st century. However, when mods used amphetamines in the pre-1964 period, the drug was still legal in Britain, and the mods used the drug for stimulation and alertness, which they viewed as a very different goal from the intoxication caused by other drugs and alcohol. Mods viewed cannabis as a substance that would slow a person down,and they viewed heavy drinking with condescension, associating it with the bleary-eyed, staggering lower-class workers in pubs. Dick Hebdige claims that mods used amphetamines to extend their leisure time into the early hours of the morning and as a way of bridging the wide gap between their hostile and daunting everyday work lives and the "inner world" of dancing and dressing up in their off -hours.

Dr. Andrew Wilson claims that for a significant minority, "amphetamines symbolized the smart, on-the-ball, cool image" and that they sought "stimulation not intoxication ... greater awareness, not escape" and "confidence and articulacy" rather than the "drunken rowdiness of previous generations." Wilson argues that the significance of amphetamines to the mod culture was similar to the paramountcy of LSD and cannabis within the subsequent hippie counterculture. The media was quick to associate mods" use of amphetamines with violence in seaside towns, and by the mid-1960s, the British government criminalized amphetamine use. The emerging hippie counterculture strongly criticized amphetamine use; the poet Allen Ginsberg warned that amphetamine use can lead to a person becoming a "Frankenstein speed freak."

Scooters

Many mods used motorscooters for transportation, usually Vespas or Lambrettas. Scooters had provided inexpensive transportation for decades before the development of the mod subculture, but the mods stood out in the way that they treated the vehicle as a fashion accessory. Italian scooters were preferred due to their cleanlined, curving shapes and glamping chrome. For young mods, Italian scooters were the "embodiment of continental style and a way to escape the working-class row houses of their upbringing". They customized their scooters by painting them in "two-tone and candyflake and overaccessorized with luggage racks, crash bars, and scores of mirrors and fog lights", and they often put their names on the small windscreen. Engine side panels and front bumpers were taken to local electroplating workshops and recovered in highly reflective chrome.

Scooters were also a practical and accessible form of transportation for 1960s teens. In the early 1960s, public transport stopped relatively early in the night, and so having scooters allowed mods to stay out all night at dance clubs. To keep their expensive suits clean and keep warm while riding, mods often wore long army parkas. For teens with low-end jobs, scooters were cheaper than cars, and they could be bought on a payment plan through newly-available Hire purchase plans. After a law was passed requiring at least one mirror to be attached to every motorcycle, mods were known to add four, ten, or as many as 30 mirrors to their scooters. The cover of The Who's album Quadrophenia, (which includes themes related to mods and rockers), depicts a young man on a Vespa GS with four mirrors attached.

After the seaside resort brawls, the media began to associate Italian scooters with the image of violent mods. When groups of mods rode their scooters together, the media began to view it as a "menacing symbol of group solidarity" that was "converted into a weapon". With events like the November 6, 1966, "scooter charge" on Buckingham Palace, the scooter, along with the mods" short hair and suits, began to be seen as a symbol of subversion. After the 1964 beach riots, hard mods (who later evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or cut down, which was nicknamed a "skelly". Lambrettas were cutdown to the bare frame, and the unibody(monocoque)-design Vespas had their body panels slimmed down or reshaped.

Gender roles

In Stuart Hall and Tony Jefferson's study on youth subcultures in post-war Britain, they argue that compared with other youth subcultures, mod culture gave young women high visibility and relative autonomy. They claim that this status may have been related both to the attitudes of the mod young men, who accepted the idea that a young woman did not have to be attached to a man, and to the development of new occupations for young women, which gave them an income and made them more independent.

In particular, Hall and Jefferson note the increasing number of jobs in boutiques and women's clothing stores, which, while poorly paid and lacking opportunities for advancement, nevertheless gave young women disposable income, status and a glamorous sense of dressing up and going downtown to work. The presentable image of female fashion meant it was easier for young mod women to integrate with the non-subculture aspects of their lives (home, school and work) than for members of other subcultures The emphasis on clothing and a styled. look for women demonstrated the "same fussiness for detail in clothes" as their male mod counterparts.

Shari Benstock and Suzanne Ferriss claim that the emphasis in the mod subculture on consumerism and shopping was the "ultimate affront to male working-class traditions" in the United Kingdom, because in the working-class tradition, shopping was usually done by women. They argue that British mods were "worshipping leisure and money... scorning the masculine world of hard work and honest labor" by spending their time listening to music, collecting records, socializing, and dancing at all-night clubs.

Conflicts with rockers

Main article: Mods and Rockers

As the Teddy Boy subculture faded in the early 1960s, it was replaced by two new youth subcultures: mods and rockers. While mods were seen as "effeminate, stuck-up, emulating the middle classes, aspiring to a competitive sophistication, snobbish, phony", rockers were seen as "hopelessly naive, loutish, scruffy", emulating Marlon Brando"s motorcycle gang leader character in the film The Wild One by wearing leather jackets and riding motorcycles. Dick Hebdige claims that the "mods rejected the rocker"s crude conception of masculinity, the transparency of his motivations, his clumsiness"; the rockers viewed the vanity and obsession with clothes of the mods as not particularly masculine.

Scholars debate how much contact the two groups had during the 1960s; while Dick Hebdige argues that mods and rockers had very little contact, because they tended to come from different regions of England (mods from London and rockers from more rural areas), and because they had "totally disparate goals and lifestyles".However, British ethnographer Mark Gilman claims that both mods and rockers could be seen at football matches.

John Kovach's Introduction to Rock and its History claims that in the United Kingdom, rockers were often engaged in brawls with mods. BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south coast of England, such as Margate, Brighton, Bournemouth and Clacton.The mods and rockers conflict led sociologist Stanley Cohen to coin the term moral panic in his study Folk Devils and Moral Panics, which examined media coverage of the mod and rocker riots in the 1960s.Although Cohen admits that mods and rockers had some fights in the mid-1960s, he argues that they were no different from the evening brawls that occurred between youths throughout the 1950s and early 1960s, both at seaside resorts and after football games. He claims that the British media turned the mod subculture into a negative symbol of delinquent and deviant status.

Newspapers described the mod and rocker clashes as being of "disastrous proportions", and labeled mods and rockers as "sawdust Caesars", "vermin" and "louts".Newspaper editorials fanned the flames of hysteria, such as a Birmingham Post editorial in May 1964, which warned that mods and rockers were "internal enemies" in the United Kingdom who would "bring about disintegration of a nation's character." The magazine Police Review It is stated that the mods and rockers" purported lack of respect for law and order could cause violence to "surge and flame like a forest fire".

Cohen argues that as media hysteria about knife-wielding, violent mods increased, the image of a fur-collared anorak and scooter would "stimulate hostile and punitive reactions" among readers. As a result of this media coverage, two British Members of Parliament traveled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers discussed that mods and rockers were youths with no serious views, who lacked respect for law and order. Cohen says the media used possibly faked interviews with supposed rockers such as "Mick the Wild One". As well, the media would try to get mileage from accidents that were unrelated to mod-rocker violence, such as an accidental drowning of a youth, which got the headline "Mod Dead in Sea"

Eventually, when the media ran out of real fights to report, they would publish deceptive headlines, such as using a subheading "Violence", even when the article reported that there was no violence at all. Newspaper writers also began to use "free association" to link mods and rockers with various social issues, such as teen pregnancy, contraceptives, drug use, and violence.

(Based on Wikipedia materials)

“Fashion”, without exaggeration, is an incredible “cultural” phenomenon of our century.

You can always remain a “fashion”, the main thing is to move along the unbeaten path, constantly discovering new layers in music, clothing, literature and cinema. “Taking the most worthy things from everywhere, they sought to create something previously unknown, something that could not leave anyone indifferent. It is not surprising that among the mods themselves, the one who had the most exquisite wardrobe, the most interesting collection of records, the best library, the most developed mind was considered the most worthy.” In terms of style, and the fashions came from the so-called upper-working and lower-middle class (that is, from families of professional, highly paid workers and employees) - this is Dressing Up, taken to the absolute. In 1963, The Beatles blew up musical culture and “invented sex.” Around the same time, fashion began to take shape as a purely teenage subculture with its own traditions, ideas and idols. The reason for all this is the post-war economic boom that England experienced in the fifties and sixties. As a result of the boom, young people now have some free cash on their hands, and young minds found themselves at the mercy of previously unknown problems - where to spend all this?

Fashion found something to borrow from both the “Teddy Boys” and the “Beatniks”: from the former they inherited a keen interest in to the smallest details, as soon as we were talking about fashion, thanks to the latter, the style of “mods” acquired a clear minimalist slant. By combining these two components, “fashion” received its unique edgy image. The average Englishman, accustomed to more insipid things, had difficulty digesting this. “When everyone in England started singing about free love, which was very controversial, the fashions also turned out to be troublemakers - but for the exact opposite reason. It was as if they were deeply indifferent to this problem. I think the mods were too self-centered by nature to make a couple.”
Fashion's search for their own style was not limited to borrowing alone. In many ways they came from the opposite direction. Motto: “Moderation and accuracy!” Narrow shirt collars, tailored suits, always white socks and neat hairstyles (usually “French” style). The last money was spent on having the latest squeak of Italian fashion - be it clothes or a motor scooter - the main means of transportation for mods, unlike rockers. Moreover, the appearance was determined not only by material capabilities, there were also a lot of subtleties that prescribed what was possible and what was not (for example, such strictness - with a certain width of trousers, the distance between them and the shoes had to be half an inch, and with a slightly larger width - already a whole inch ). The slightest mistake - and you turned into a universal laughing stock.

The main word in the “Mod” vocabulary was “obsessed,” borrowed from Colin McCleans’ “cult” Mod novel “Absolute Beginners” (1958). This obsession was also in music - they absorbed like a sponge modern jazz, blues, and soul, unknown how leaked from black musicians in the States, and absolutely exotic things, like Jamaican ska music. In this way, cross-cultural dialogue between subcultures was carried out. Moreover, the “mods” adopted from the blacks not only music, but also the jargon of the Jamaican “rudies” and some other elements of style. They imitated Prince Baxter, the creator of many songs about the Rude Boys. In 1965, a boom among mods was caused by Baxter’s song “Madness” - hence the name of the leading British ska group. In the 60s, the first multiracial clubs appeared - “Ram Jam” in Bristol, etc. Mass culture, digesting “Mod” radicalism and mixing it with British beat and rhythm and blues, brought The Who and Small Faces to the pinnacle of commercial success. Truly innovative ensembles such as Action, Creation and The Eyes were left behind.
The image of “fashion”, thanks to the press, soon became truly fashionable among a huge number of teenagers and, with its mass popularity, prepared a short-term phenomenon that in the mid-sixties would be called “Swinging London”. In 1963-65, the famous confrontation between rockers and mods began in the seaside towns of England, with up to a thousand people sometimes participating in mass fights on both sides. If later the “skinheads” portrayed ethnic minorities as the enemy, then here there was a struggle between social groups within society (rockers, as a rule, came from lumpen sections of society, and listened to hard rhythm and blues, such as the Rolling Stones and "Kinks"). Due to the massive dissemination of the image, “real fashion” disappears into the crowd in the literal sense of the word. In addition, with the appearance of the “Generation of Flowers” ​​on the stage, values ​​completely changed. And as Kevin Pearce wrote: “When everything was scattered into dust, those who once stood at the very origins preferred “self-immolation” to “looting.” But their spirit itself, the true Mod spirit, turned out to be immortal. AND the best for that proof is the punk “explosion” that broke out in the 70s, behind which one can see the shadow of the old fashions.”

By 1979, when punk had already begun to slow down, interest in what was hidden behind the very concept of “fashion” awoke with renewed vigor. This was largely thanks to the famous British musician Paul Weller and the band The Jam. But it just so happened that Weller took ten years to reach his mod peak, finally combining Debussy, the surf rock of The Beach Boys and the modern jazz of The Swingle Swingers on the last album of the Style Council group. This is how the Mod obsession was cast into a new art form.
The Mod subcultural “Renaissance” in the 1978-1980s brought a new rise in the popularity of Jamaican “ska” and “bluebeat”, as well as “rudiz” songs. These times were no longer so prosperous. 1979 Shortly after the Winter of Discontent, Thatcher came to power. Unemployment was growing. This affected the appearance of punks, who became the reincarnation of old fashions. Not a trace remained of the former neatness. The graceful lines of a fashionable Italian suit were replaced by khaki-colored paramilitary outfits tailored without much sophistication. However, this casual style allowed for some variety. One option: a very thin tie, cardigan, bleached trumpet jeans, white socks and power shoes. Having called what was happening a “revival of mods,” “the press and researchers of youth subcultures did not understand one obvious thing: if there was any funny moment in this “revival”, then it was a moment, nothing more, but at the same time there was a whole process of learning, comprehending new things. And very, very many people were drawn into this process.”

The eighties became a time for the “mod” subculture to search for new forms. The music became more and more sophisticated. This process was fueled, on the one hand, by the re-release of black “soul” classics of the 60s, and on the other, by the activities of underground groups like The Jasmine Minks and The Claim. Fashions increasingly entered jazz territory, which ultimately led to the creation of the famous Acid Jazz company. Eddie Piller, one of the co-owners of Acid Jazz, dealt with a Mod magazine in the early eighties, and a little later united several Mod record companies on one label (recording company). And now, in the nineties, without any stretch, one can call all this “funk jazz” a living embodiment of the very spirit of the old fashions.
Well, what’s happening in the nineties with the “Mod” style is simply rampant pluralism and democracy. Even the word “mod” itself no longer lends itself to precise definition. The thirty-year dominance of youth culture with the endless change of “eras” and “styles” has done its job. There are now so many “mods” that it is not possible to make an accurate description. This was also facilitated by the current musical explosion in Great Britain, the rise of the so-called “Britpop” - musical direction, in which rock bands (Oasis, Blur, Supergrass and Cast) essentially returned to the rhythm and blues sound of the “mods” of the sixties, only slightly heavier and faster, responding to the demands of the public who wanted the music to be more politicized and aggressive . There are “Garage” fashions in “psychedelic” shirts with poisonous colors, there are acid-jazz fashions with sideburns and fancy white everything. There are Blur-mods (after the name of the group) in an “Adidas” suit. There are “Mixer Mods”, “Rhythm and Blues” Mods and “Northern Soul Mods”. Please note that within each of the named “orders” there are “suborders”. Thus, hardcore “mods” can be divided into at least four more categories! But with all this diversity, there is something that “fashion 96” has in common with its predecessors. It also has its own “Zeitgeist” - that is, the spirit of the times, marked by certain political trends. A few years earlier, “grunge” ruled the minds of young people. Not very attractive aesthetically, it became a sign of its difficult and stressful times. New “fashions” gave their stylistic response to this “aesthetics of decline and destruction.” The sporty style of the “new wave” and the elegance of “new glam” are closer and dearer to them. The English element is beginning to take its toll. Here's what Adam, owner of the Brighton store Jump The Gun, which sells products exclusively for mods, says about this: “It is no coincidence that our current clothes are more and more in line with mod ideas. After a period of significant American influence, we are returning to traditional British values. Mods, being a quintessentially British phenomenon, are perfectly suited to these new needs.”