He favours an art that conveys a sense of tradition, restraint and quiet accomplishment – a selection featuring modern British paintings, sculpture and photographs that embody a certain nostalgia, while exploring notions of place and environment, issues of identity and class, and ideas about form. Rather than retreat into a world of rose-tinted romanticism, Perry presents an alternative view of British art, one that reassesses the relationship between past and present, and questions the boundaries between the radical, the conservative, and the radically conservative.
To the right is a selection of some of Martin Parrs photography, he easily become one of my favourite photographers after seeing his work displayed at the Barbican a few years ago. I love the humour and individuality that all is work has, underlying playful tones.
Parr has developed an international reputation for his innovative imagery, his oblique approach to social documentary in the UK and overseas, he is best known for his projects which takes a critical look at aspects of modern life on simple and surburban life.
West Indian migration to the UK soared after the Second World War, and with it came a wealth of cultural influence. With people settling largely in London, the newcomers made an incredibly valuable contribution to the rebuilding of Britain’s post-war economy through their addition to the workforce, before a series of racist laws from the 60s to the 80s slowed immigration. The introduction of Reggae, Patois and the style and swagger of the Rude Boys formed a major repository of inspiration (and appropriation) for subcultures to come, including Skinheads and Ska fans.
The original Teddy Boy of the 1950s was typified by Edwardian styles reintroduced by Saville Row tailors after World War II. The Ted subculture rapidly spread across the UK. It soon became strongly associated with American Rock n Roll music that emerged during the period. It gave a voice and sound to the British Ted swing-dancing teens as well as heavily influencing their fashions. A youth culture boomed and shook the foundations of British and American society. Culture was undergoing revolution following the austerity of wartime.
In the late 1940s, Perry was approached by Tibby Wegner, an Austrian footballer who had invented an anti-perspirant device worn around the wrist. Perry made a few changes to create the first sweatband. Wegner's next idea was to produce a sports shirt, which was to be made from white knitted cotton pique with short sleeves and a buttoned placket like René Lacoste's shirts. Launched at Wimbledon in 1952, the Fred Perry tennis shirt was an immediate success. The white tennis shirt was only supplemented in the late 1950s when mods began demanding more colours. The Fred Perry shirt became popular with teenagers throughout the 1960s and 1970s, including those involved with the skinheads to the Northern soul scenes.
Supreme Drop: Modern day subculture
Unlike other clothing brands, who release their new collections all at once, Supreme releases a small number of items at a time, typically five to fifteen. This "drop" occurs online at 11 am local time in America, UK and Japan. This strategy maintains the aura of "hype" that the brand creates. Their shoes, clothing, and accessories create a big secondary market for supreme clothing, because items are produced to a very limited quantity and also because there are only nine stores worldwide. Supreme has a line of collaborations with brands such as Nike, Air Jordan, Vans, Clarks, The North Face, Hanes, Playboy, Levi's, Timberland, Comme des Garçons etc.
Mimicking the shape and placement of where braces would be sat.
Bleach samples on reclaimed denim
James Long SS13
Using fabric paint to create the block colour stripes that I intend to use on the sleeves of my design. I really like the impact of the vivid orange and think its a really interesting contrast with the bleached and indigo colours on the denim.
Experimenting with how I create the double lines around the collar. Making them come to a point as four separate lines instead of two continuos lines to further it slightly from the Fred Perry brand but still making that obvious link between subculture.
Experimenting with heating and bending orange acrylic plastic to crate a collar shape. My first attempt wasn't long enough so it didn't stay in position once it had cooled down although I still think the shape created was really effective as it still mimics a collar.
This summer, Somerset House is proud to present Return of the Rudeboy, an original exhibition created and curated by prolific photographer and filmmaker for music’s most wanted Dean Chalkley and fashion-industry favourite creative director Harris Elliott, which showcases a sartorial subculture through a series of portraits, installations and set pieces. Over the course of the past year the duo has photographed over 60 sharply dressed individuals from across the UK, all of whom embody the essence of what it is to be a Rudeboy (or Rudie) in the 21st century, to document the life, style and attitude of this growing urban group. The curated collection of images shows the subjects presenting their pure and singular sartorial swagger in locations linked to the Rudeboy lifestyle, whether it be on the streets of Shoreditch or Savile Row.
Really interesting article and short film to watch that briefly touches on the history on skinheads
Fashion Space Gallery: Mad About The Boy
Modern Day Subculture
I saw a lot of parallels between the skinhead culture and some modern day social "trends". In this day and age trainers and sportswear fashion has become extremely popular with brands such as Supreme creating such hype that overnight camps have become the norm, so people can access new stock the day it drops. This popularity of such a brand often creates a uniform of sorts, enabling you to quite easily define those who appreciate this culture such as within Mods, Rockers and Skins. Im interesting in maybe looking at what pieces I could create that associate you with your style sub culture.
JW Anderson A\W 16
The striking use of bold block print is most effective incorporated with the classic designs of a polo shirt we are all accustomed to seeing.
It’s a first time for Ha Na Jung when it comes to the British subcultures, and the audacious styles that painted the streets of London inspired her patchwork design of tartan and denim, both essential looks in the punk scene. These patchworks were turned into stripes on ecru shirts and printed on to the shirting fabrics, with strips of denim and tartan then embroidered upon the shirt to create an appliqué effect.
This piece of plastic was much longer because I thought I could bend it round in a more collar like shape although as it cooled it distorted and I couldn't keep it the same shape, because of this my initial sample worked out much better. With this I intend to make a denim "sleeve" that can slide onto it.
Following my initial research at the start of the project on bags, I decided to make additional ones last minute that could attach not the body of the shirt. I used large poppers with a neon orange cotton that matched the rest of my my printing, so that when removed they became part of the design.
Personally I think culture is also about how your traditions and beliefs are represented, whether this is shown in traditional clothing or art forms.
Whether he was a fly-on-the-wall in London’s fetish clubs, or on the street with Skinheads forming relationships that allowed him to capture the raw and honest portraits he is known for, British photographer Derek Ridgers has been infiltrating the inner circles of UK tribes since he ditched his advertising job in the early 70s. His latest book, 78-87 London Youth was a raw look at the kids he’s encountered in London’s streets, bars and clubs, containing some of Ridgers’ most iconic shots from over the years.
The girls often chose to wear very similar outfits to the men, often wearing t-shirts underneath more tailored jackets and a scarf at the neck to unify yourself to your gang. The Teddy girls were some of the first women also to adopt jeans as casual wear for women.
The Harrington jacket, or variations of it, can be found in most retailers, which is also the same case for the parka jacket, desert boots, miniskirts and colorblock dresses.
Skinheads were greatly influenced by West Indian and Jamacian rude boys in terms of fashion and music back then, but some were and are still today dressed in this particular way to demonstrate their passion towards politics and/or race but despite this most skinheads are apolitical. Some wore their braces up and some work them down, but traditionally, if you wore your braces down, this meant that you were openly looking to fight somebody. There have been many myths about the colour of the braces and the colour of the shoelaces symbolising particular meanings such as white meaning white power and red meaning that you have shed blood for your movement. Different areas were supposedly using this colour scheme yet there is not accurate information explaining this and traditionally the colour of the braces and shoelaces were associated with the individuals football team.
It’s often been argued that the internet and the easy access to information it provides has been the undoing of subculture as we know it, allowing for meaningful movements to be reduced to Tumblr trends. But that doesn’t mean that the various strands and passions of youth that first ignited these movements have been killed off. They’ve just had to adapt, like they always have. Meeting places have been vital for members of subcultures to come together and talk about new tracks or bands they’ve found, or to swap and sell the clothes that became uniforms of their culture and expressions of their identity. These Facebook groups are simply virtual versions of those spaces, which aren’t geographically constrained in the way that they might have been for past generations. Sure, these places aren’t as obvious or visible as Carnaby Street in the 60s or the Hacienda in the 80s and 90s. But like that punk club or goth hangout, they’re there – you just need to know where to look.
Raf Simons x Fred Perry
Esme Famewo brings forth the Rude Boy culture influenced by the mod and skinhead subcultures. Taking inspiration from the 1960s Jamaican diaspora, Esme built her designs upon the rich diversity of dress styles imported to London by West Indian immigrants, which have impacted street style and high fashion ever since. Her designs were a myriad of prints from experiments with Afrocentric linocuts, recycled materials and woven yarns – all enlarged, processed and printed repeatedly on the shirts. Reinforced with pan-African red, gold and green, the red and black twin-tipping complete the bowling shirt, whereas showcased upon the sleeves are contrasts of red and black with green and black twin-tipping.
I played around with the sizing, thickness and placement of the stripes on the collar. Quite like them further apart although I would like to try again and make them thinner.