Эссе на тему: "Abstract"

Abstract

This paper examines the history of the appearance of the punk style in Russia, its features in clothing, as well as its influence on fashion in general. The relevance of this essay is explained by the long-term popularity of punk style in fashion. It is interesting to consider the interaction of punk as a shocking and nihilistic style and the fashion industry, which implies the creation of a popular and trendy product. The features of the punk style considered within the framework of this essay form a single picture that reflects the reasons for its demand in fashion, which is largely due to the transformation of punk as a musical style, as well as one of the forms of social protest and statement.

Introduction

Since ancient times, fashionable clothes have been a significant identification mark, reflecting the hierarchy of society, and serving to distinguish the social positions of people. In addition, fashion is a way to emphasize unity with one's subculture, an opportunity for self-expression within its framework, because each subculture establishes and creates new images, and fashion regulates the social needs of a person (Cherry & Mellins, 2011).

Clothing created in punk style was originally a part of a subculture, and subsequently transformed into a way of expressing personality. In fashion, it began to express itself, mostly because punk as a counterculture ceased to exist. The way of life, the behavior of punks no longer oppose the social system and do not subvert moral values. This largely led to a new wave of popularity of punk as an element of the fashion industry. This style within fashion has become more of a sublimation of challenge, used to relieve tension and aggression arising from the framework created by society or the person himself.

Chapter 1: Punk Culture in Russia and their features

In Western countries, punk originated as a protest against the culture of adults, ignoring the problems, and often even the elementary presence of youth in society. In many ways, this adult culture was represented by serious rock music, which, having begun as a protest in the 1960s, by the mid-1970s completely lost its rebellious spirit and became a commercially successful entertainment of the middle class. In the Soviet Union in the late 1970s, the situation was different. Although the actual problems of youth were discussed in popular culture texts no more often than in the West, rock itself was in deep underground. Independent musicians were just beginning to reclaim their place in popular culture, and there was no need to speak of the need for protest against rock music (Fenghi, 2017).

Figure 1. Soviet punks of 1980s

Nevertheless, at a certain stage of the search for cultural autonomy, the informal Russian scene gives rise to specific anti-aesthetics, from which punk subsequently emerges. Firstly, this anti-aestheticism is associated with the movement of the Leningrad necrorealists, an amorphous art and music community, which at its early stages included Andrei Panov and many other characters who became important figures in the Russian punk scene later on.

Figure 2. Andrei Panov as one of punk icons of soviet rock

Already in the 80s, rock music in general is becoming louder, and rock musicians are becoming more outrageous. Their texts increasingly deal with social and political issues. In the mid-1980s, more and more Leningrad groups began to discuss political issues. Thus, the “Television” band performs several songs in the genre of a socio-political manifesto. Andrei Tropillo records several albums as a part of the “Cloud Region” band, in which the musicians openly sneer at the Soviet elite and criticize the lifestyle of an ordinary Soviet person. Bands that began by describing the problems of teenage idleness are turning towards discussing poverty and social inequality among young people. In the punk movement of this period, there are definitely tendencies towards protest, including political ones (Fenghi, 2017).

Figure 3. The new National Bolshevik Party.

In general, it was after the 80s that punk in Russia was no longer just kind of “foolery”. It has become a space of open opposition to the state and society. The punks of the mid-1980s directly declared their fundamental incompatibility with the authorities and society as a whole. This was expressed not only in music - the concept of "punk" became much more extensive, and began to represent a certain style and even worldview.

Chapter 2: Punks’ clothing. What do they wear?

When punk music was created in the 1970s, punk clothing tended to be rebellious, wild, and shocking. Although this style of the 70s was far from the style of punk now, at the time it was considered as confrontational in nature. Designers like Vivienne Westwood had a big impact on the punk fashion of the time. Thorn T-shirts and anarchist symbols were very popular in the punk subculture during the 70s. In addition, controversial images and studded or plain leather jackets were a staple of punk style and remain common today (Weiner, 2018).

Figure 4. Vivienne Westwood & Malcom McClaren in their shop SEX (1970´s)

Alternative clothing footwear typically ranged from motorcycle Chuck Taylor to boots. Bondage clothing, tapered jeans and leather trousers dominated punk clothing in the near past. It was also a time when hairstyles took a drastic change and began to appear in light colors and various lengths. This was just the beginning of what would become even more controversial in the fashion world. After the hardcore youth fashion uprising of the 1970s, the punk fashion scene went through a revolutionary phase and began to pay more attention to functionality rather than shock factors. Dr. Martens and military boots (often with steel toes) became the footwear of choice among most punk followers.