(Aronson, 1972). For whatever reason, the inevitable glut of articles gleefully denouncing the latest punk outrage was counter-balanced by an equal number of items devoted to the small detail of punk family life.” (Hebdige, 1979), During the summer of 1977, several articles were published on punk babies, punk-ted weddings and on a lot of other common daily situations involving punks and with titles like ‘Punks have mothers too: They tell us a few home truths’ (Woman, 15 April 1978) or ‘Punks and Mothers’ (Woman ‘s Own, 15 October 1977), “All these articles served to minimize the Otherness so stridently proclaimed in punk style, and defined the subculture in precisely those terms which it sought most vehemently to resist and deny” (Hebdige, 1979). are driven to the conversion into mass-produced objects. (Travis Baker). Quite the opposite, punks firmly supported the anti-fascism and anti-racism movement. did nothing but worsen the situation. An inevitably feisty claim but it is indicative of what was the real situation at that time. Hair was dyed with bright colours and straightened up in spikes and Mohawk. These clothes had something to say – they carried slogans, not logos. As early as 1950, David Riesman distinguished between a majority, “which passively accepted commercially provided styles and meanings, and a ‘subculture’ which actively sought a minority style (hot jazz at the time) and interpreted it in accordance with subversive values. Following the “Swinging London” era of the 1960s, a new group of cultural icons arose. mock leopard skin) and ‘nasty’ colours, long discarded by the quality end of the fashion industry as obsolete kitsch, were salvaged by the punks and turned into garments (fly boy drainpipes, ‘common’ miniskirts) which offered self-conscious commentaries on the notions of modernity and taste.”(Hebdige, 1979). They were imprisoned in a vicious circle. “Objects borrowed form the most sordid of contexts found a place in the punk’s ensembles: lavatory chains were draped in graceful arcs across chests encased in plastic bin-liners. “The perverse and the abnormal were valued intrinsically. For the first time in the history, there was an attempt by a working-class youth subculture “to provide an alternative critical space within the subculture itself to counteract the hostile ore at least ideologically inflected coverage which punk was receiving in the media”. From that time on, many different studies were carried out and various interpretations on the meaning and the function of the subcultures were given by estimated personalities as John Clarke, Phil Cohen, Walter Miller, Matza and Sykes, Peter Willmott and Stuart Hall. Despite a gap between US and UK punk style, two trends survived: ripped shirts and safety-pins. The young McLaren was convinced that music and fashion were two inseparable things and so, when in 1971 he obtained the proprietary rights on the store, he renamed it ‘Let It Rock’ and transformed it in a clothing store stocked up with second-hand and new teddy boy clothes designed by his girlfriend Vivienne Westwood. We are dealing with the late 1970s in Britain, with its massive unemployment, with its continuous warlike violence episodes (as ,for instance, the tragic one happened during the ’76 Notting Hill Carnival to which the punk group The Clash dedicated the song ‘White riot’), with its changing moral standards and its rediscovery of poverty. Fashion History; Clothing Types and Styles; Punk Fashion; Punk Fashion . They even caged a live rat within a specially-made table. It was ironic for Sid to wear such a symbol as for some time he was dating Nancy Spungen who was Jewish. Vivienne Westwood and McLaren’s first 1981 catwalk show was called ‘Pirate’. In the fourth chapter, it will be discussed the role of media in the spread and acceptance of the punk subculture. 10FRIDAY2020 can only be used on orders that are under 14 days delivery. Their iconic band t-shirt – synonymous with teen rebellion – is still worn by college kids today. In the majority of punk clubs, they used to play regularly heavy reggae music between live acts and, moreover, the song “Punky Reggae Party” by Bob Marley & The Wailers, is the evident and overwhelming proof of this contamination. The emergence of the mass media, modifications in the structure of the family and in the organization of school and work, shifts in the relative burdens of work and leisure, all contributed in fragmenting and polarizing the working-class community. In fact he took over their management, he dressed them in red leather clothes supplied by his London store and promoted them using Soviet iconography. In the sixth and last chapter, finally, it will be pointed out how the commodity form of incorporation struck the punk made it fashion available and accepted by the vast public. Safety-pins were taken put of their domestic ‘utility’ context and worn as gruesome ornaments through the cheek, ear or lip. Nevertheless, we must be careful in stressing the importance of integration and coherence between youth and parent culture because one of the most relevant feature in the definition of a subculture is its dissonance and discontinuity with the most largely accepted culture. Malcolm McClaren had recently returned to London from the U.S., where he had unsuccessfully tried to reinvent the New York Dolls to sell his clothing. The media was quick to label them as a menace and violent which was based on a single incident, when teenager John Beckley was murdered (July 1953) by Teddy Boys. The overwhelming impression was one of urgency and immediacy, of a paper produced in indecent haste, of memos from the front line.” (Hebdige, 1979). Debates still continue on the questionable subversion of such a symbol. On the other hand, there was the white working-class youth, placed at the same social level as the black ones but stuck in their present time, having no foreseeable future and no places or means to escape the reality. On the one hand, there was the urban black youths, living and working in Britain but dreaming and finding an imaginary refuge in an ‘elsewhere’ (Africa, the West Indies, etc.) Obviously, also punk fashion followed the DIY ideology: The clothes suited the lifestyle of those with limited cash due to unemployment and the general low-income school leavers. Their ‘God Save the Queen’ t-shirts – the Queen passively sporting a safety pin through her nose – still provokes. ‘Street punk’ created the image of punk we all know: mohawks, studded chokers, tattooes, Dr. Martens boots and tartan. In this contest, it is not surprisingly that the main features of punk fashion were so extremely impressive and shocking. Therefore, Reggae, notwithstanding its apparent distance from punk music, started to be present in a number of repertoires of punk bands as The Clash, The Slits, The Jam, and many others.