Do Not Disturb: by Gwen Harris

DO NOT DISTURB

An investigation into the ‘teenager’ and the appeal of post punk culture in today’s postmodern consumer driven society.

GWEN HARRIS

N0642953

XFTK10001: DESIGN, CULTURE & CONTEXT

2018 - 19

L. MCAFFERTY

DO NOT DISTURB An investigation into the ‘teenager’ and the appeal of post punk culture in today’s postmodern consumer driven society.

CONTENTS Introduction

Teenagers, seeking identity & kinship The stereotypical teenager Coming of age Behind closed doors Music is the answer

14 16 20 25 28

Falling in love with post punk An introduction to post punk Keeping it real Substance over style

34 36 39 47

The return of moody hair and makeup The return of post punk Back to the future Nostalgia & consumerism

52 54 61 62

Conclusion

Appendix

References

Illustrations

Bibliography

100

INTRODUCTION As a teenager, my bedroom was where I spent a lot of my time. Full of my most precious possessions, it was my very own sanctuary in which I could escape from the troubles of everyday life and lose myself in loud, endless music. As youth culture expert Andy Bennett explained: “The bedroom is often the only space within the home that is personal, personalised and intimate. It is a space over which teenagers are able to gain privacy from parents and siblings alike, often displayed on the bedroom door with signs such as ‘knock before entering!’” (Bennett 2004, p. 95)

My bedroom was exactly that: personal and private, with a shut door and a “do not disturb” sign. Whilst many girls at school were interested in hockey or netball, I found solace in my favourite bands. My pocket money would go on guitar strings, CDs and gig tickets. Whilst I was fairly quiet, I had a wild imagination, and I expressed this through the music I was interested in. What started as a solitary hobby soon became something I shared with others. I met like-minded people who became my friends, and we’d spend time jamming after hours, trading CDs and discussing song lyrics. As I look back on our shaggy, unkempt hair and odd clothing, I now realise that we were either dabbling in various subcultures, or at the centre of our own – and it felt great. For a long time, I thought we were doing our own new, brilliant thing. As Elliot Cohen1 said: “each generation feels it is the future” (Cohen in Savage 2007, p. 455). However, I recently discovered that some of my family members – the people I thought least likely to understand my obsession – were part of the original subculture that inspired me the most: post punk2 (which I will examine in detail in my second chapter).

Fig. 1. Tea towel currently for sale on Etsy marketplace website

1 Cohen was a liberal magazine editor who famously proposed a ‘Teen-age Bill of Rights’ for The Guardian newspaper in 1945. 2 Post-punk music has been described as “a more adventurous and arty form of punk, no less angry or political but often more musically complex and diverse” (AllMusic 2014). Well known post-punk bands include The Cure, Joy Division and New Order.

Fig. 2. Robert Smith (1984) by Tom Sheehan

I’ve noticed that countless consumer goods on sale today are taking inspiration from post punk culture, however they often lack authenticity. For example, Fig. 1 shows a tea towel decorated with the infamous face of Robert Smith (of post punk band The Cure). Whilst there is a clear likeness to Smith (Fig. 2), the illustration has a caricatural nature to it with its digitised, cartoonish lines and monochromatic colour palette. This is a startlingly different vibe to Smith’s unkempt, wild hair and smudged, moody makeup in reality. A consumer who purchases this towel might feel that they are buying into the authentic nature of the post punk subculture, however by doing so, ironically turn against its “political” anti-capitalist values. This has driven me to investigate the appeal and relevance of post punk culture in today’s postmodern society. In my first chapter I will explore the private and emotional nature of the teenager, and the unquenchable ‘quest for identity’ that is often felt. By researching areas such as bedroom culture, youth culture in relation to music and coming-of-age films, I explain how teenagers can come together to form kinships and subcultures. In my second chapter, I will introduce ‘post punk’ as a subculture and examine its initial appeal in the early 80s, comparing and contrasting with the new wave movement, which was associated with popular culture at the time. I will also unpack its appeal in today’s postmodern society, suggesting what post punk can offer us in today’s awkward, angsty time. In my third and final chapter, I will look at how the revival of the post punk scene is being repackaged and sold back to contemporary teens who are seeking identity, and middle aged consumers who are feeling nostalgic towards their youth. I will explore themes such as nostalgia, authenticity, rebellion, conformity and consumerism. I will also explain how my current fashion design work, inspired by my own teenage years, relates to this investigation. Understanding these ideas will allow me to examine the true relevance of the teenager and post punk culture in today’s society, providing key information as to how we can move forward as designers to prevent authentic cultural history being lost to capitalism.

Fig. 3. Harry Enfield as ‘Kevin the Teenager’ in Kevin and Perry Go Large (2000) written and played by Harry Enfield

THE STEREOTYPICAL TEENAGER The average teenager is often stereotyped as being moody, self-centred and irrational. For example, in the early 1990s, Harry Enfield’s infamous television character ‘Kevin The Teenager’ (fig. 3) was first introduced to the UK. Kevin wears a baseball cap the wrong way round and has red, greasy hair hanging over his face; he is slouched with his head turned down; his expression is troubled; and he wears ill-fitting, baggy clothing. Just from initial appearance, we are presented with a negative representation of the average teenager, who comes across as moody and hostile. Furthermore, throughout the series, Kevin is constantly rude to his despairing parents, often shouting phrases such as “I hate you, I wish I’d never been born” and insisting that everything is “so unfair”, leading us to believe the character is being both irrational and selfish. These attributes have of course been exaggerated for the sake of comedy; however there are elements, including the constant ‘angst’ exuding from Kevin, which ring startlingly true to real life. Cohen once stated: “to the teenager, nothing is more important than to find out where he fits in relation to life around him. It is a serious quest, often a painful one.” (Cohen 1945, p. 9). This painful ‘quest’ for identity is perhaps what causes teenagers to appear so emotional in comparison to other age demographics, not quite knowing where they “fit in” and perhaps expressing on occasions that life is “so unfair”. This lack of identity could also be why many teenagers are sometimes mislabelled as self-centred or selfish, when in fact they may simply trying to find their place in society. 16

In support of this, anatomist David Bainbridge stated in his book ‘Teenagers: A Natural History’:

Fig. 4. Still from Lady Bird (2017), directed by Greta Gerwig.

“Not only do teenagers spend more time looking inwards [than other age demographic], but it starts to become something of an obsession. Early teens may sit for long periods mulling over their own hopes, fears, abilities and defects. This newfound obsession is entirely normal, and far from the irritating narcissism it is often claimed to be.” (Bainbridge 2009, p. 189)

We can see how this time spent ‘looking inwards’ could easily be mistaken for selfishness, or ‘irritating narcissism’, when in fact many teens are deeply analysing their emotions and thoughts in order to develop as people and work out where they truly ‘fit’ in life.

COMING OF AGE

Fig. 5. Still from Lady Bird (2017), directed by Greta Gerwig.

That being said, there are elements of popular culture that do represent teenagers in a slightly kinder, more realistic light. For example, within cinema there is a whole genre of film dedicated solely to teenagers: ‘coming of age’. In an episode of his ‘Secrets of Cinema’ series, Mark Kermode explains: “These films deal with characters on the cusp of something, struggling through that netherworld between childhood and adulthood. The best of them capture the authentic feeling of growing up, and that has universal appeal.” (Kermode 2018)

Coming of age films seem to be unique in the sense that, despite being somewhat fictional stories, there is often an incredibly truthful nature to them. This could be because many coming of age films are loosely based on true events. For example Lady Bird [2017] was inspired by writer Greta Gerwig’s childhood, and Moonlight [2016] was inspired by a semiautobiographical play (Tarell Alvin McCraney’s In Moonlight Black Boys Look Blue). In contrast to the careless, more negative representations of adolescents (such as ‘Kevin The Teenager’) the characters in these coming of age films are believable, and honest. It’s this, I believe, that makes these films so authentic and ensures they possess ‘universal appeal’. For example, I relate on many levels to the protagonist in the 2017 coming of age film Lady Bird (Fig. 4). Lady Bird’s dyed, chopped hair, painted nails and bracelets remind me very much of the ways I would attempt express myself at school. In the film, she attends a traditional, religious school with a strict uniform that enforces conformity; so she uses small rebellious acts such as these to express her own identity. I used to do 20

this too; testing the boundaries of fitting in and being individual. When Lady Bird breaks her wrist, she uses this as an opportunity to experiment with her identity once more, opting for a bright pink cast, before signing it with a small note reading “FUCK YOU MOM” (Fig. 5). When we compare this written statement to Kevin the Teenager’s frequently shouted line “I hate you, I wish I’d never been born”, we can see that despite using different mediums to express it, both teens feel a universal sense of anger and frustration towards the conformity that is being forced upon them, in this case by their parents. These details allow teenagers who might be processing similar emotions to deeply empathise with Lady Bird as she navigates through the ‘netherworld between childhood and adulthood’. 21

Fig. 7. My bedroom (2017) own photograph.

Fig. 6. My bedroom (2016) own photograph.

Fig. 8. My bedroom (2018) own photograph.

BEHIND CLOSED DOORS Another interesting way to learn about teenagers is by looking at their bedrooms. As described in my introduction, the teenage bedroom is “personal, personalised and intimate” (Bennett 2004, p. 96). Looking at this space can surely tell us a lot about a teenager. In his book ‘After Subculture’, youth culture expert Andy Bennett suggests: “The reorganization and accumulation of ‘things’ contained within the space means that, biographically, the bedroom is continually being reconstructed around changing and age-related tastes in cultural activities and uses of bedroom space.” (Bennett 2004, p. 96)

This ‘reorganization’ and ‘reconstruction’ of items is something I often participated in myself as a teenager. As a young teen, I would constantly want to display posters, photographs and other memorabilia throughout my bedroom that I thought represented myself, only for these to be removed and replaced with new interests short weeks later. On a less regular basis, I would go as far as repainting the walls of my room, outgrowing the previous colour. Being only a few years out of my teenage years, I still engage in this ‘reconstruction’ on a regular basis today. For example, Fig. 6, 7 & 8 are images of my bedroom taken in 2017, 2018 and 2019. Each image shows the same area of my room, however there are clear changes in decoration, and the resulting mood within each image. In Fig. 6 my walls are neutral and muted, with my CDs and records neatly stacked on display. The walls are decorated with postcards from art exhibitions, and a framed image of David Bowie. I believe I felt calm, organised and in control when I displayed my room like this. In contrast, Fig. 7 shows my bedroom in a more cluttered state, with trinkets balanced on top of CDs and bright colours on display. The zine I had balanced open was a representation of my new found interest in feminist photography, 24

and I felt I needed to display this, almost provoking someone to question it so I could share my thoughts if they dared to enter my private sphere. Fig. 8 shows my bedroom in its current state, with previous decorative items once again being replaced by new ‘things’, thus forming a more accurate representation of my ‘age related tastes’. So, how do we choose who we let into this sacred space? Something that seems to have unquestionably engrained itself into teenage culture is the need to form kinships (for example, teenagers often seem to be seen in groups in public). This makes sense, considering teenagers all have one big thing in common: they don’t know who they are yet, and what better way to work this out then by practising on other people. Laughey suggested in his book ‘Music and Youth Culture’ that youths could in fact already be classed a subculture in their own right (Laughey 2015, p. 15), however it’s unlikely that simply circumstantial connections can satisfy the angsty teenager’s need for understanding amongst others. If this were true, we would never feel the need to seek kinship outside of our families.

“When [the teenager] meets others who share her fantasies and freedom there is the beginning of a sense of solidarity, of a shared resistance, that can support and encourage progressive action on the microsocial level.” (Laughey 2000, p. 24)

Laughey is suggesting we need tangible things in common to form a meaningful kinship. In other words, in order to form ‘solidarity’ – or friendship – teenagers must on some level share the same ‘fantasies’ or thoughts, thus forming more personal connections. It is this that encourages ‘progressive action’ within teens, such as being happy, spending time with friends and discovering where they fit in relation to life around them.

Fig. 9. Teenagers socialising in a record store (1944) photographed by Nina Leen

This could be supported by the notion that:

I became interested in how these friendships are formed. It seems that ever since the â&#x20AC;&#x2DC;teenagerâ&#x20AC;&#x2122; was first recognised in 1945 (Cohen 1945), music has been prevalent within adolescent social groups. For example, Fig. 9, 10 and 11 are a set of three images taken in 1944, 1982 and 2018. Each image shows a group of teenagers engaging in music-related social activity. Fig. 9 shows a group of teenagers in 1944 interacting and browsing the records on display. Fig. 10 shows a group of male and female teenagers in a 1982 record store, browsing the goods and interacting. Finally Fig. 11 shows a group of shoppers in 2018 all gathered for a record signing, browsing CDs and records, and chatting. We can clearly see the progression in fashion and camera technology over time, with conservative dresses changing to brightly coloured, statement-making outfits, to a mish-mash of styles in 2018, and photographic images increasing in quality over time. However, the activity of meeting at record stores as a form of group entertainment has remained a constant among teens over the past 70 years, suggesting this is a sure way to form meaningful kinships for many teens. 28

Fig. 10. Teenagers gather at a Billy Idol record signing (1984) photographed by Sam Knee Fig. 11. Teenagers gather in record store for a record signing (2018) photographed by Naomi Williams.

MUSIC IS THE ANSWER

Fig. 13. Still from 10 Things I Hate About You (1999) directed by Gil Junger.

In support of this, we could look at the interactions that occur in nightclubs. These social situations are unique in that music is the overarching factor influencing any interactions. At the simplest level, teenagers listen to music, bond over it, and form kinships or relationships as a result. For example, British street photographer Tom Wood documented his local nightclub in a series titled â&#x20AC;&#x2DC;Looking for Loveâ&#x20AC;&#x2122;. Fig. 12 shows an untitled photograph from 1982 showing the interactions occurring. The photo is candid, capturing various youths off guard. The teens seem to all be coupled off, kissing or dancing, all in very close contact. There seems to be little talking occurring, probably because the music would have been too loud to converse. It would seem that these pairs have formed kinships purely encouraged by the loud music. This can also be seen today first hand in almost any student nightclub.

Fig. 14. Still from 10 Things I Hate About You (1999) directed by Gil Junger.

Fig. 12. Image from Looking For Love series (1982-6) by Tom Wood

I became interested in the idea of using music as a sort of ‘buffer’ to form kinships amongst teenagers. Going back to my research into coming of age films for a moment; I noticed that music is often used as a metaphor for communication in many coming of age films. For example, in 10 Things I Hate About You3, there are two key scenes in which music is used in place of having a difficult conversation. Fig. 13 shows one of the main protagonists declare his love for another by singing Frankie Valli’s Can’t Take My Eyes Off Of You through the football field speakers, as opposed to telling her directly. Fig. 14 shows the same character apologise to another by buying her a guitar, leaving it to be found in her car. This idea of indirect communication is interesting, as it almost allows the characters to quickly remove all meaning from the act if they are rejected. In the first example above, the character is able to laugh off his singing as a practical joke, rather than an honest declaration of love, if needed. 1

Perhaps in today’s society too many of us are afraid to share how we truly feel in case we are ridiculed for it, and this prolongs our quest for identity. This could be supported by Conrad’s view that “in a society infatuated with self-consciousness, we have little chance of achieving self-awareness” (Conrad 2014). So perhaps, until we stop worrying about what others think, our quest for identity will never end. In support of this, I have carried out similar acts of ‘self-preservation’ in real life. For example, Fig. 15 is one of many social media posts I have shared on Instagram. It is a screen-grab from my phone showing a song I was listening to. This is something I would often do to communicate to others how I was feeling at the time, indirectly. If questioned, I could simply say that I liked the song, despite truly meaning whatever I believed the song was communicating. This strange scenario has even resulted in having bizarre, indirect ‘conversations’ with others, simply communicating through songs, supporting the idea that until we stop being self-conscious we cannot truly be self-aware. Perhaps then, this is the appeal of being part of a subculture; we are able to strike a balance between expressing our true selves, whilst still conforming to a group set of values. I would like to expand on this idea using the post punk subculture as a case study in my next chapter.

3 The film is ultimately a teenage love story in the context of an American high school; a modern take on Shakespeare’s The Taming Of A Shrew.

Fig. 15. Screen grab of ‘Get Away’ by Yuck posted to my Instagram (2018) my own image.

AN INTRODUCTION TO POST PUNK It has been suggested that we (and perhaps especially teenagers) feel two conflicting impulses: one to conform, and one to stand out (Simmel in Gelder 2005, p. 123). This can be seen in many areas of culture, from the clothes we choose to wear through to the music we choose to listen to. For example, some groups of teenagers dress differently to the majority of teens, but look similar to each other. Fig. 16 shows two teenagers in 1980 who are dressed very similarly. Both girls have short, cropped haircuts, wear sunglasses and dark trousers with striped t-shirts and leather boots. They look startlingly similar and are conforming to their own set of fashion norms. This, however, is not what was “on trend” in the 1980s (see Fig. 17). For example, this cover of Jackie magazine, popular amongst teenagers, shows it was fashionable to have large, bouncy hair; not short, cropped hair. I believe that being part of a subculture answers both of these ‘conflicting’ impulses, blurring the lines between individuality and conformity. I would like to apply this idea to the post punk subculture of the early 1980s, exploring its appeal in today’s postmodern society. Post punk has been described as “the era of DIY no-fi recordings, bedroom cassette culture and the dawn of the underground tape trading scene” (Knee 2015, p. 151) and saw bands such as The Cure, The Smiths, Joy Division and New Order rise to fame. What is it about this genre of music that appeals to us today, nearly 40 years after its original release?

Fig. 16. Teenagers Helen and Emma wearing similar clothing (1980) photographed by Sam Knee.

KEEPING IT REAL Something that I have always found appealing about post-punk music is the sense of authenticity that surrounds it. In the early 80s, whilst the new wave4 scene was becoming saturated with superficial popstars, post-punk offered a more complex alternative sound that was not so well known (see Fig. 18), led by humble idols who sung about real and raw experiences. In his book, ‘The Value of Things’, cultural theorist Neil Cummings suggests that: 1

“It is the idea of the singular, the "original" in a vast field of almost identical objects, that reflects our own drive to feel individual and special, to be "one of a kind". We experience fleeting happiness at the moment of connection with something we perceive to be unique.” (Cummings 2000, p. 86)

I feel this idea can explain the initial appeal of post-punk music. It’s intimate nature and complex narratives often do feel much more “original” and “special” than the commercial, simple nature of new wave, which often seems much less serious. Whereas mainstream bands such as Duran Duran often explored themes of sex and fame, post punk bands such as The Cure explored themes of existentialism, identity and alienation.

Fig. 17. Front cover of Jackie magazine (1976) by Nina Myskow.

4 In contrast to post-punk, new wave music has been described as “more commercially viable than [it’s] abrasive counterparts. [It] encompassed a wide variety of styles, which often shared a quirky insouciance and sense of humour.” (Britannica 2018)

Fig. 18. Screen grab of a visual timeline showing The Cureâ&#x20AC;&#x2122;s lack of popularity in comparison to new wave bands such as Duran Duran and Talking Heads in the early 80s (2018) available through Google Analytics

For example, let’s examine some lyrics from The Smiths song ‘There Is A Light That Never Goes Out’, which was recorded in 1985: “Take me out tonight Because I want to see people and I Want to see life Driving in your car Oh, please don't drop me home Because it's not my home, it's their Home, and I'm welcome no more” (Morrissey 1985)

The use of the word “babe” and sickly metaphors such as “cherry ice cream” and ‘a bird of paradise’ somehow come across as less meaningful. This is true of music today too, with famous artists such as Nicki Minaj, who often skips metaphors all together and explicitly sings about sex, drugs and money. For example in her 2014 song ‘Anaconda’, she sings:

“I'm high as hell, I only took a half a pill I'm on some dumb shit, by the way, what he say? He can tell I ain't missing no meals Come through and fuck him in my automobile” (Minaj 2014)

This song is dealing with feelings of wanting to escape from reality due to lack of belonging e.g. the line “it’s not my home, it’s their home, and I’m welcome no more” conveys a very valid feeling of alienation that teenagers are likely to experience at some point; this is quite an intimate and intelligent emotional exchange. When we compare these lyrics to Duran Duran’s 1982 song ‘Rio’, we can see a clear difference in mood:

The explicit and intense nature of these lyrics might potentially make it difficult for teens to ‘connect’ with the song in a way that seems much more attainable with post punk music.

“Moving on the floor now babe You're a bird of paradise Cherry ice cream smile I suppose it's very nice With a step to your left And a flick to the right You catch that mirror way out west You know you're something special And you look like you're the best” (Le Bon 1982)

Another appealing element of post punk music could include simple factors such as band name relatability. For example, many new wave bands of the 80s had ‘synthetic’ sounding names such as Spandau Ballet and Soft Cell. To me, these names instantly sound less appealing than the more human, relatable The Smiths, for example. Perhaps teenagers are more willing to invest trust into bands they feel understand them on a more ‘human’ level. Furthermore, when we compare the playful, cheesy names of new wave bands such as Wham! and a-ha, to more serious post punk bands such as Joy Division and New Order, it becomes clear the bands are appealing are two opposing audiences. The onomatopoeic nature of the word “wham” is expressive and theatrical, and the exclamation mark has been included in the name to grab attention. It is consequently easy to see why bands like this appeal to happy, fun loving teens. It’s also easy to understand the distaste from the subcultural teens who are seriously questioning their identities, existence and aspirations in life. Perhaps to many, the façade of societal happiness seems superficial in comparison to questioning the ‘bigger things’ in life. This could explain the revival of post punk culture today; with uncertainties in Britain surrounding Brexit and a growing global climate crisis, teens might feel a desire for more serious, intellectual music that speaks to their deeper selves. Something that makes post punk so unique is the everyday nature of the events that occur within the song narratives. Often, we can relate to the activities mentioned in post punk songs, which often take place in mundane locations. For example New Order’s 1983 song ‘Blue Monday’ contains a variety of mundane events: “I see a ship in the harbor … I walked down to the beach … Now I stand here waiting” (Hook 1983). We have all experienced being at a beach, seen ships and harbours, and stood somewhere to wait. Perhaps it is this every day context that allows us to relate to the music so much. To gain some first-hand information, I asked an avid fan of The Cure what she liked about their music. She explained that she liked the fact that their music is “both melodic and has darker undertones”, that it is “complex and varied” and that “it feels like it comes from a genuine place”. I was particularly interested in the idea that the ‘darker undertones’ were appealing, as post punk songs often do have deeply melancholy undertones.

An example of this would be the popularity of the music of The Smiths, who famously sang lyrics such as “heaven knows I’m miserable now” (Morrissey 1984) and “to die by your side would be a heavenly way to die” (Morrissey 1986). Perhaps during our teenage years, when we are most prone to experiencing earthshattering heartbreaks, intense young love and all kinds of emotional struggles, we can relate to this music in a way that people of other ages simply can’t.

Fig. 19. Colour By Numbers album cover by Culture Club (1983), produced by Steve Levine.

SUBSTANCE OVER STYLE An interesting characteristic of post punk bands is that they were famously unconcerned about image in comparison to other genres of music. For example, popular new-wave album ‘Colour By Numbers’ by Culture Club (1983) (see Fig. 19) features bold primary colours, busy shapes and unnecessary clutter. A large area of the cover is taken up by photographs of the band members, suggesting it is important we know what they look like. The featured photographs are posed and manufactured. Boy George’s photograph is notably larger than the other band members’, suggesting he is more important within the band. When we compare this to Joy Division’s minimal ‘Unknown Pleasures’ (1979) album cover (Fig. 20), it is clear that the notion of stardom is much less important. We are not shown who the band are on the cover. Little colour is used, only black and white, and a complex line drawing intrigues us. This idea can be supported by Robert Smith of The Cure’s explanation of how important image is to his own band:

Fig. 20. Unknown Pleasures by Joy Division (1979) by Peter Saville

“Everyone’s conscious of image, I think it’s just that we relegated it to its proper position rather than elevated it to something whereby the image became more important than what we were doing, or the way we were doing it. We’ve always tried to keep it as a secondary thing. It’s kind of tokenism.” (Smith 1988)

This idea that image is simply ‘tokenism’ and something that the band are forced to participate in is interesting, as Smith seems hesitant to admit conformity even in this small way.

Fig. 21. Ian Curtis (1979) photographed by Kevin Cummins

The importance of image goes beyond just album artwork, too. Take post punk band members themselves, for example. Fig. 21 shows Ian Curtis of Joy Division in his typical clothing. He wears a simple, brown button down shirt with a short, neat hair-cut. When we compare Curtis to Boy George of Culture Club (Fig. 22), we can see image is clearly much more important. His face is covered in heavy makeup, his hands adorned with jewellery, and he wears unusual clothing with an enormous feather rising from an extravagant head piece. This is perhaps less appealing to some teenagers than Curtisâ&#x20AC;&#x2122;s more honest representation of the artist behind the songs.

Fig. 22. Boy George (circa 1982), photographer unknown

When we compare this video to Culture Club’s 1982 hit ‘Do You Really Want To Hurt Me’, (Fig. 24) we can clearly see a different approach. The video includes an array of theatrical, over-the-top (and questionably racist) elements including; face paint, costumes, extravagant hats and accessories, hundreds of other people, and a range of different settings. Importantly, there is little to no focus on other band members aside from front man Boy George. When we compare the superficial elements surrounding new wave culture, the appeal of the more believable, stripped back post punk becomes clear.

Fig. 24. Still from Culture Club’s Do You Really Want To Hurt Me video (1982) directed by Steve Levine.

Fig. 23. Still from She’s Lost Control by Joy Division music video (1979) directed by Martin Hannett.

In support of this, we can tell more about the image of post-punk bands by looking at their music videos. I was interested to discover that the majority of them are just as mundane as the lyrics they are singing about. For example, Fig. 23 shows a still from Joy Division’s 1979 ‘She’s Lost Control’ video. The entire video is just clips of the band playing the song live. There is equal focus on all band members, showing us candidly and honestly how they are producing the sounds that we are hearing. All band members are dressed in simple shirts and trousers, and the dark backdrop creates a low budget, simple effect.

Fig. 25. screen grabs from news articles from Mirror, Independent and Red Bull highlighting the return of post punk music (2018)

THE RETURN OF POST PUNK After examining the appeal of post punk culture, I’d like to analyse why it seems to have resurfaced nearly 40 years later. Fig. 25 shows a selection of newspaper headings announcing the comeback of various post punk bands in 2018 & 2019, suggesting that there is most definitely an interest in this genre of music once again. Whilst I’m glad to see the return of one of my favourite music genres, I have noticed a number of magazines selling the image of post punk culture as a trend. For example, Fantastic Man’s recent feature ‘The Obscure’ (Fig. 26) is a clear nod to Robert Smith’s iconic look (Fig. 2), advertised as “a smashing return of moody hair and makeup” (Jonkers 2018, p. 148). It’s interesting that the word “moody” has been used to appeal to the reader, as if being unhappy is almost an attractive thing, and that this can be communicated simply by hair styling and makeup. Perhaps, the reader feels on some level that if they adopt this image, they will come across as having more emotional intelligence and depth. Ironically, we can assume that many post punk fans would be unimpressed with this advert; appearance and image were famously unimportant to Robert Smith, as I mentioned earlier in my second chapter. This suggests that contemporary consumers who engage with this advert are perhaps accidentally becoming “part of the very world they were trying to break free from” (Boyle 2004, p. 114), being consumed by the powerful capitalist economic system.

Fig. 26. Magazine editorial â&#x20AC;&#x2DC;The Obscureâ&#x20AC;&#x2122; from Fantastic Man (2018) photographed by Richard Burbridge

Furthermore, it’s interesting that the entire feature focuses on making a range of different people look, well… the same. Much of the ethos of post punk culture stems from authenticity and the notion of self-acceptance; the way it has been adopted into mainstream culture here seems to have the opposite intentions. This feature allows anyone to simply adopt the appearance of this subculture, play the ‘character’, without actually understanding it’s origin or cultural context, inevitably losing authenticity. In support of this, Thomas Frank, author of ‘The Conquest of Cool’ suggested that “retro’s vision of the past as a floating style catalogue from which we can choose quaint wardrobes, but from which we are otherwise disconnected is … consumerism’s proudest achievement.” (Frank 1997, p. 227) This is precisely what we are seeing in this feature. Readers are falling victim to the appeal of the image of post punk culture, but are ‘otherwise disconnected’. Consumers are shamelessly adopting a cultural image as if from a ‘style catalogue’ to appear ‘quaint’ or unusual, despite having no real connection to post punk, and in doing so feed into capitalism’s “feverish cycling of obsolescence” (Frank 1997, p. 227). In other words, we are hastily buying into trends and feeding into capitalism, discarding each trend as the next becomes more popular. Jean Baudrillard suggested that as time goes on, we are exposed to “more and more information, and less and less meaning” (Baudrillard 1994, p. 79). This can be seen in the music industry in particular, with many popular artists becoming famous for their controversial lyrics (for example Nicki Minaj, who I mentioned in my second chapter) and our now instant access to songs through online streaming services such as Spotify. This has made music feel less ‘special’ to us, and perhaps we crave ‘meaning’ in our confusing, oversaturated society. This could explain the desire to buy into post punk culture, which has always been associated with true meaning and authenticity.

Fig. 27. T-shirt in various colours currently for sale on Etsy marketplace website (2018)

However, many consumer goods available today are inauthentic, repackaged versions of post punk culture. For example, Fig. 27 shows a t-shirt for sale on Etsy, an online marketplace. It is a plain shirt decorated only with popular The Smiths lyrics “HEAVEN KNOWS I’M MISERABLE NOW” in a standard issue black type face. The t-shirt is available in a range of different colours at the touch of a button, suggesting the design has not been well considered, and the product can be purchased with minimal thought or effort. Consumers who buy this product might be seeking authenticity and identity, and so by purchasing and wearing this t-shirt might feel that they becoming more authentic themselves, however there is no ‘meaning’ behind the shirt itself, or the purchase, thus being an inauthentic repackaging of post punk culture.

Fig. 28. My collections of CDs and records (2018) own photograph.

BACK TO THE FUTURE This search for authenticity can be supported by the fact that tangible music forms, such as records and CDs, have made a huge comeback recently. Sales of LPs reached an all-time high in 2016 with over 3.2 million records sold in just one year, a 53% increase from the year before (EllisPeterson 2017). With records being arguably useless in the face of digital downloads, why have they become popular again? Cultural theorists Lewis and Bridger suggested in their book ‘The Soul of the New Consumer’ that “at the heart of the new consumer lies a desire for authenticity. … In this quest, they are prepared to put themselves to considerable inconvenience [to find it].” (Lewis 2001, p. 10). The ‘vinyl revival’ is a perfect example of this idea. In an age where it becomes increasingly easy to consume music digitally at the touch of a button, it seems bizarre that we go to the effort of buying physical copies of our music in a format that puts us to some ‘inconvenience’. As a collector of records and CDs myself (Fig. 25), it is interesting to consider the truth behind this statement. There is something truly lovely about holding a physical record and committing to listening to an entire album. It feels more authentic, and true to how the music was intended to be listened to. After all, it must be irritating for artists that spend weeks curating an album when songs are plucked out by consumers at random and played with no context. This is also the reason I, and increasingly many others, still like to collect CDs and cassettes, and collect physical copies of magazines as opposed to reading them digitally; to engage with them in the manner that is most authentic, and was originally intended. 60

Fig. 29. Nostalgic clothing available from Urban Outfitters online (2018) and family photographs (circa 1989) own photographs.

NOSTALGIA & CONSUMERISM In his book ‘Teenagers’, youth culture expert Tom Crabtree exclaims: “It is interesting how many adults, as though caught in a time capsule, adore the music of their own teenage. The ‘teens have become a peak experience time, rather than a boring apprenticeship for the adult world.” (Crabtree, 1980 p116)

It seems that perhaps whilst we spend our childhood desperate to grow up, the ‘grown ups’ would do anything to be teenagers once again. This could be why post punk in particular has made a comeback now. It has been around 40 years since its peak in the early 80s, so many of the teenagers who were involved in this subculture originally are now middle aged. Despite not having been part of the original subculture, there is something about post punk music that I find extremely nostalgic. Perhaps, it is the feeling of nostalgia5 that many of us find more appealing than the culture itself. For example, on a personal level, my parents were teenagers in the 80s and therefore a lot of the music that was played throughout my childhood was from that era, as well as their clothing and household items. Therefore, seeing this again reminds me of my childhood, and subconsciously provides fond memories. 1

The same notion can be applied to fashion. Fig. 29 shows some products for sale at popular high-street store Urban Outfitters, next to a group of family photographs from many years ago. It’s uncanny how similar the clothing is, from the wash of the denim, to the stitching details and the sporting stripes on the side of the polo shirts. I feel warmth towards these 5 Nostalgia is defined as “a sentimental longing or wistful affection for a period in the past” (Oxford English Dictionary 2008).

clothing is, from the wash of the denim, to the stitching details and the sporting stripes on the side of the polo shirts. I feel warmth towards these products knowing that they were worn in my parents’ youth, and I can easily understand the appeal from my generation to buy into products such as these simply due to nostalgia. This could be supported by Baudrillard’s idea that “in an attempt to compensate for the fading of the real, we make a fetish of the supposedly authentic” (Baudrillard in Ward 2003, p. 75). As we grow up, and the reality we once knew ‘fades’ away, we find anything that reminds us of this time to be appealing, even if it is not truly authentic. This also applies to the middle aged consumers who are reminded of their own teenage years and feel a fond sense of nostalgia upon seeing elements of post punk culture return today. To further evidence this idea, an interesting occurrence I have noticed recently is the use of nostalgic post punk music in advertising. Over the past few years, a number of companies have used post punk music to sell products in their adverts, often using gentler, more whimsical covers of songs to appeal to a particular customer.

However, I do believe that nostalgia can be an excellent way to engage with consumers if it is used authentically and carefully. For example, I like to weave nostalgia into my own fashion design practice, with the intention of encouraging consumers to fondly remember their childhoods. My current work is inspired by my teenage bedroom and the years I spent in it. From this starting point, I am designing a 6 piece womenswear collection that incorporates teenage diary entries, favourite songs and other details inspired by childhood memorabilia (Fig. 31) into an 80s inspired line-up of power suits, playful textiles and feel-good garments (Fig. 32). Researching themes such as authenticity, identity and nostalgia has made me carefully consider the implications of my work. I am now ensuring each and every piece is designed and crafted to be both emotionally and physically durable, so that in the future I can look back and still feel that my garments are as relevant then as they are now.

For example, a Nivea deodorant advertisement shown in Fig. 30 uses the song ‘Close To Me’ by The Cure in the background, however it is not the original version. The cover version is performed by a female, and the squealing guitars and shaky, voyeuristic-sounding vocals have been switched for whimsical xylophone sounds and a smooth tuneful melody. As a beautiful woman engages in a pillow fight with her attractive boyfriend, we are being sold the idea of a lifestyle, not an authentic product. The original meaning of the song has been completely lost, however women that were teenagers in the 80s will recognise it and might feel a connection to the advertisement. In support of this, cultural theorist Nicholas Mirzoeff explains in his book ‘An Introduction To Visual Culture’ that “in the spectacular society we are sold the sizzle rather than the steak, the image rather than the object” (Mirzoeff 1999, p. 27). This is true of many adverts, including this Nivea one, in which we are drawn to the product by the ‘sizzle’ of the nostalgic song and aspirational imagery, as opposed to the product – or ‘steak’ – itself. 64

Fig. 30. Still from Nivea advert (2010) directed by Alexandre Rabehi

Fig. 31. My work inspired by teenage diary entries and childhood friendship bracelets (2018) own photograph.

Fig. 32. An illustration of my line-up idea inspired by my teenage bedroom (2018) own illustration.

IN CONCLUSION So, how does post punk culture fit into today’s postmodern society? On a personal level, I find this subculture fascinating, and feel that if I had been a teenager in the 80s I’d have loved to be a part of it. It’s interesting as whilst I am aware of all of the marketing ploys that are being used to sell inauthentic ‘knock-off’ post punk products, I’m also glad that in some way post punk is returning, as it’s allowing my generation to experience some of the original ‘buzz’, such as being able to see some post punk bands live in 2019. In my first chapter, I introduced the angsty teenager, exploring notions of seeking identity and forming kinships. I delved into youth culture by looking at different representations of teenagers through film and television, and discovered that music is often used as a form of communication. I went on to look at the idea of subcultures, and focussed on post punk in particular, exploring the appeal of post punk in relation to new wave music and the mainstream music of today. I suggested the appeal is largely based on factors such as authenticity, the honest nature of the genre, relatability through mundane experiences and deflection away from superficial image. I then explored how post punk culture is being repackaged and resold to us today and investigated the lack of authenticity surrounding post punk inspired consumer goods, and the notion of nostalgia within advertising and design. I also explained how my own design practice relates to this exploration. Whilst I’m disappointed in the sales-hungry, capitalist nature of many high-street retailers today that simply steal visual inspiration from the past but forget its origin; as Vivienne Westwood once said: “looking back is the only way of creating the future” (Westwood 2011). I plan to do this through my work, taking the time to carefully construct authentic feelings of nostalgia, creating lasting emotional durability. Word Count: 6478 70

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REF ERENCES

REFERENCES All Music, 2014. [online]. Post Punk. Available at: https://www.allmusic.com/ style/post-punk-ma0000004450 [Accessed: 23/1/19] Bainbridge, D., 2009. Teenagers, A Natural History. London: Portobello Books Baudrillard, J., 1994. Simulacra and Simulation (The Body in Theory: Histories of Cultural Materialism). Michigan: University of Michigan Press. Bennett, A. & Kahn-Harris, K., 2004. After subculture. London: Palgrave. Boyle, D., 2004. The New Economics: A Bigger Picture. London: Routledge Cohen, E., 1945. A ‘Teen-age Bill of Rights. The Guardian. p. 9. Conrad, P., 2014. 21st Century Mythologies, 2014 [Radio]. 28 Nov 2014. BBC Radio 4. Crabtree, T., 1980. Teenagers. London: David & Charles. Cummings, N., 2000. The Value of Things. London: Birkhauser. Ellis-Peterson, H., 2017. Record sales: Vinyl hits 25-year high. The Guardian. 3rd Jan 2017. Available at: https://www.theguardian.com/music/2017/ jan/03/record-sales-vinyl-hits-25-year-high-and-outstrips-streaming [Accessed: 24/1/2019] Encyclopaedia Britannica, 2018 [online]. New Wave. Available at: https:// www.britannica.com/art/new-wave-music [Accessed: 28/11/18]. Frank, T., 1997. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: University of Chicago Press. Gelder, K., 2005. The Subcultures Reader. 2nd ed. London: Routledge. Hook, P., 1983. Blue Monday. Manchester: Factory. Jonkers, G., 2018. Fantastic Man. The Obscure. AW18, Issue 28. pp. 148157.

Kermode, M., 2018. [TV]. Mark Kermode’s Secrets of Cinema. BBC Four, 1 Aug 2018. Available at: https://www.bbc.co.uk/programmes/b0bd7qlk [Accessed: 22/11/18] Laughey, D., 2006. Music and Youth Culture. Edinburgh: Edinburgh University Press. Le Bon, S., 1982. Rio. London: AIR. Lewis, D., and Bridger, D., The Soul of the New Consumer: Authenticity - What We Buy and Why in the New Economy. Boston: Nicholas Brealey Publishing. Minaj, N., 2014. Anaconda. California: Young Money Entertainment. Morrissey, S., 1984. Heaven Knows I’m Miserable Now. London: Rough Trade. Morrissey, S., 1986. There Is A Light That Never Goes Out. London: WEA. Mirzoeff, N., 1999. An Introduction to Visual Culture. London: Psychology Press. Oxford English Dictionary, 2008. Oxford: Oxford University Press. Savage, J., 2007. Teenage: The Creation of Youth: 1875-1945. London: Pimlico. Smith, R., 1988. That Was Then, This Is Now, 1988. [YouTube] Molloy, B., 25 Mar 2018. Available at: https://www.youtube.com/ watch?v=h7cFpbbmRFE [Accessed: 22/11/18] Ward, G., 2003. Postmodernism. Chicago: Contemporary Books. Westwood, V., 2011. [online] Did I Say That? The Guardian. Available at: https://www.theguardian.com/lifeandstyle/2009/jul/19/viviennewestwood-quotes [Accessed: 22/11/18]

Knee, S., 2015. The Bag I’m In: Underground Music and Fashion in Britain 1960-1990. London: Cicada. pp. 151-157. 92

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ILLUSTRATIONS Fig. 1. Tea towel currently for sale on Etsy marketplace website (2018) from ‘KatyBladesShop’. From: Etsy, 2019 [online]. Available at: https://www. etsy.com/uk/listing/281035132/robert-smith-tea-towel-the-cure?ga_ order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_ search_query=the+cure+towel&ref=sr_gallery-1-1&organic_search_ click=1&frs=1 [Accessed on 23/1/2019] Fig. 2. Robert Smith (1984) by Tom Sheehan. From: The Cure website, 2018 [online]. Available at: http://www.thecure.com/photos [Accessed on 23/11/2018] Fig. 3. Harry Enfield as ‘Kevin the Teenager’ in Kevin and Perry Go Large (2000) written and played by Harry Enfield. From: Kevin and Perry Go Large, 2000. [Film]. Directed by Ed Bye. London: Tiger Aspect Productions. Fig. 4. Still from Lady Bird (2017), directed by Greta Gerwig. From: Lady Bird, 2017. [Film]. Directed by Greta Gerwig. London: Universal Pictures. Fig. 5. Still from Lady Bird (2017), directed by Greta Gerwig. From: Lady Bird, 2017. [Film]. Directed by Greta Gerwig. London: Universal Pictures. Fig. 6. My bedroom (2016) own photograph. Fig. 7. My bedroom (2017) own photograph. Fig. 8. My bedroom (2018) own photograph. Fig. 9. Teenagers socialising in a record store (1944) photographed by Nina Leen. From: Leen, 1944. Teen-Age Girls: They Live in a Wonderful World of Their Own. LIFE Magazine, Winter 1944, pp. unknown. Fig. 10. Teenagers gather at a Billy Idol record signing (1984) photographed by Sam Knee. From: Knee, S., 2015. The Bag I’m In. London: Cicada. 96

Fig. 11. Teenagers gather in record store for a record signing (2018) photographed by Naomi Williams. From: Williams, 2018. Shame record signing [Instagram] 9 December 2018. Available at: https://www.instagram. com/p/BrKre-FBAqS/ [Accessed 23/1/2019]. Fig. 12. Image from Looking For Love series (1982-6) by Tom Wood. From: Wood, T., 1989. Looking For Love: Chelsea Reach. London: Cornerhouse Publications, pp. 23. Fig. 13. Still from 10 Things I Hate About You (1999) directed by Gil Junger. From: 10 Things I Hate About You, 1999. [Film]. Directed by Gil Junger. US: Touchstone Pictures. Fig. 14. Still from 10 Things I Hate About You (1999) directed by Gil Junger. From: 10 Things I Hate About You, 1999. [Film]. Directed by Gil Junger. US: Touchstone Pictures. Fig. 15. Screen grab of ‘Get Away’ by Yuck posted to my Instagram (2018) my own image. Fig. 16. Teenagers Helen and Emma wearing similar clothing (1980) photographed by Sam Knee. From: Knee, S., 2017. Untypical Girls. London: Cicada. Fig. 17. Front cover of Jackie magazine (1976) by Nina Myskow. From: Myskow, 1976. The First Of Summer Fun. Jackie No. 646 (May 22 1976), front cover. Fig. 18. Screen grab of a visual timeline showing The Cure’s lack of popularity in comparison to new wave bands such as Duran Duran and Talking Heads in the early 80s (2018) available through Google Analytics. From: Google Analytics, 2018 [online]. Available at: https://musictimeline.appspot.com/?fbclid=IwAR0uzFpGe96T0-S3Hu4JUsB2lD_ aRzaUC6BeHbIznUHfbG2j3uZ2BFOs86s [Accessed: 23/1/2019] 97

Fig. 19. ‘Colour By Numbers’ album cover by Culture Club (1983), produced by Steve Levine. From: MCKNIGHT-TRONTZ, J., 2005. This Aint No Disco: New Wave Album Covers. USA: Chronicle Books.

Fig. 26. Magazine editorial ‘The Obscure’ from Fantastic Man (2018) photographed by Richard Burbridge. From: Jonkers, G., 2018. AW18, Issue 28. The Obscure. Amsterdam.

Fig. 20. ‘Unknown Pleasures’ by Joy Division (1979), by Peter Saville. From: MCKNIGHT-TRONTZ, J., 2005. This Aint No Disco: New Wave Album Covers. USA: Chronicle Books.

Fig. 27. T-shirt in various colours currently for sale on Etsy marketplace website (2018). From: Etsy, 2018 [online]. Available at: https://www.etsy.com/ uk/listing/661242999/heaven-knows-im-miserable-now-the-smiths?ga_ order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_ search_query=heaven+knows+im+miserable+now&ref=sc_gallery-1-1&pl key=a338c08d6c7499539eb21fa6765db8bf6011aa9e%3A661242999&f rs=1 [Accessed: 23/1/2019].

Fig. 21. Ian Curtis (1979) photographed by Kevin Cummins. From: NME, 2010 [online]. Available at: https://www.nme.com/photos/joy-division-bykevin-cummins-1418947 [Accessed: 23/1/2019]. Fig. 22. Boy George (circa 1982), photographer unknown. From: Boy George, 2018 [online]. Available at: http://www.boygeorgeuk.com/ index.php/nggallery/gallerys/classic-george/page/1?p=1131 [Accessed 28/11/2018] Fig. 23. Still from ‘She’s Lost Control’ by Joy Division music video (1979) directed by Martin Hannett. From: She’s Lost Control, 1979 [YouTube]. Directed by Martin Hannett. London: BBC. Available at: https://www. youtube.com/watch?v=FD2SfQJOK08 [Accessed: 28/11/18] Fig. 24. Still from Culture Club’s ‘Do You Really Want To Hurt Me’ video (1982) directed by Steve Levine. From: Do You Really Want To Hurt Me, 2004 [YouTube]. Directed by Steve Levine. London: Polygram TV. Available at: https://www.youtube.com/watch?v=2nXGPZaTKik [Accessed: 28/11/18] Fig. 25. Screen grabs from news articles from Mirror, Independent and Red Bull highlighting the return of post punk music (2018) From: Mirror, Independent and Red Bull [online]. Available at: https://www.irishmirror. ie/whats-on/music-nightlife-news/post-punk-legends-interpolback-13579355; https://www.independent.co.uk/arts-entertainment/ music/news/the-cure-robert-smith-new-album-release-date-rock-androll-hall-of-fame-2019-a8683246.html; https://www.redbull.com/au-en/ the-the-band-interview-post-punk-evolution [Accessed: 23/1/2019]. 98

Fig. 28. My collections of CDs and records (2018) own photographs. Fig. 29. Nostalgic clothing available from Urban Outfitters online (2018) and family photographs (circa 1989) own photographs. From: Urban Outfitters, 2018 [online]. Available at: https://www.urbanoutfitters.com/en-gb/shop/ bdg-zip-through-denim-worker-jacket?category=SEARCHRESULTS&co lor=040&type=DEFAULT; https://www.urbanoutfitters.com/en-gb/shop/ adidas-3-stripe-navy-t-shirt2?category=SEARCHRESULTS&color=041&t ype=DEFAULT [Accessed: 28/11/18] Fig. 30. Still from Nivea advert (2010) directed by Alexandre Rabehi. From: Nivea Calm & Care: Feel Closer, 2010 [YouTube]. Directed by Alexandre Rabehi. Available at: https://www.youtube.com/watch?v=x1lTNzUB04g [Accessed: 28/11/18]. Fig. 31. My work inspired by teenage diary entries and childhood friendship bracelets (2018) own photograph. Fig. 32. An illustration of my line-up idea inspired by my teenage bedroom (2018) own illustration.

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