![]() A very visible element is the use of clothing itself and look as a way of transmitting an ideology. In this sense, the dimension of resistance, as a symbolic resistance, turns out to be transversal to all the dimensions of the youth subcultures, expressing itself, in particular, in the appropriation that the subcultures make of the style and the meaning attributed to it. A first dimension of subcultures is crossed by the notion of resistance (Guerra & Quintela, 2018). Juvenile subcultures are complex and multidimensional realities and require analysis that takes into account the differences between and within them. The perspective, is to perceive the creation and perpetuation of a visual imaginary of punk up to the present considering its legacy and of course, its memory and heritage. In order to explain these crosses, we will take a three-level approach: first, we analyze the emergence of punk in England in the mid-1970s, as well as the socio-economic context that allowed this emergence then we will approach the connection between fashion and punk, how it has been and influenced each other finally, we will study the lasting impact of this fashion/punk link through the focus on graphic design. The interpenetrations between these worlds will be approached through the trajectories of Vivienne Westwood, Malcolm McLaren and Jamie Reid. ![]() In this article, we will analyze the punk movement as a potentiator of fashion innovation and contemporary visual imagery in a spectrum of incessant resurrection and death (Guerra, 2017 Guerra & Straw, 2017). ![]() However, punk also allowed - from a cultural and symbolic point of view - several purposes and concomitant revivals. From it, in fact, the finitude of Western culture seemed more pressing - ineluctable. The epitome words of Marguerite Yourcenar are emblematic of cultural and symbolic changes under the impact of punk. It was then that a momentary melancholy squeezed my heart: I thought the words finish, perfection, contain the word end: perhaps I had only offered one more prey to the devouring time ( YOURCENAR, 2010, p. Keywords: (Post)Punk Subculture, Fashion, Visual Culture. The perspective is to perceive the creation and perpetuation of punk visual imaginary up to the present considering its legacy and probably even its memory. To explain these crosses, we will take a three-level approach: first, we analyze the emergence of punk in England in the mid-1970s, as well as the socio-economic context that allowed this emergence then we will search the connection between fashion and punk, how it has been and influenced each other finally, we will study the lasting impact of this fashion/punk link through the focus on graphic design. ![]() In this article we will analyze the punk movement as an innovator in fashion and contemporary visual imagery. Palavras-chave: (Pós)Subcultura Punk, Moda, Cultura Visual. A perspetiva, é perceber a criação e perpetuação de um imaginário visual do punk até o presente considerando o seu legado e provavelmente, até a sua memória. Para explicar estes cruzamentos, levaremos a cabo uma abordagem em três níveis: primeiro, analisaremos o surgimento do punk em Inglaterra, em meados da década de 1970, bem como o contexto socioeconomico que permitiu este surgimento em seguida, abordaremos a conexão entre a moda e o punk, como esta se processou e se influenciaram mutuamente por fim, estudaremos qual foi o impacto duradouro desta ligação moda/punk através do foco no design gráfico. As interpenetrações entre estes mundos vão ser abordadas através das trajetórias de Vivienne Westwood, Malcolm McLaren e Jamie Reid. ![]() Neste artigo procuraremos analisar o movimento punk enquanto potenciador de inovação na moda e no imaginário visual contemporâneo. ![]()
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