Archive Magazine by Rafaella De Guzman

ARCHIVE

COVER ART: Linghui Li 6

ARCHIVE MAGAZINE ISSUE 1 SPRING/SUMMER 2019

LAYOUT + EDITOR: Rafaella De Guzman Rafaella De Guzman Ecuador- Italy Melissa Gargiullo Switzerland Linghui Li China Anna Lorenzon Italy Federica Pontoglio Italy

SPECIAL THANKS TO: Rocco Mannella

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EDITOR

An Issue Inspired by Decennium Connotations

A time period of change, rebellion, and liberation - that was the 1960s. There are so many views to what happened during the 60s from positive points of view to negative stereotypes. This Archive issue is dedicated to such connotations from the 60s regarding the different subcultures that happened in this decade. In this issue, we take a look at the origins of the different subcultures, they revival over time, the gender influence, and especially the influence each subculture had on fashion.

Rafaella De Guzman

An Issue Inspired by Decennium Connotations

CONTENT

DANCING TO THE 60s FRENCH BEAT YÉ-YÉ

LET’S SWING WITH THE MODS MODS

ROCK’N’ROLL AND MOTORCYCLES ROCKER

FLOWER POWER FOREVER HIPPIES

THE BUZZING SOUND OF REBELLION SKINHEADS

DANCING TO THE 60S FRENCH B E AT By: Linghui Li

In the late 1950s, the French used their unique romance to make a gentle transformation of rock and roll genre, by blending together classical music, French chanson and rock and roll music so thus was born the “Yé-yé”, which was suitable for young girls to sing in a low voice, has created a trend that encompasses music and fashion and has swept the 1960s. Yé-Yé, originated in French, means “Yeah! Yeah!” in English. In this pop culture, the subsequent derivation of “ Yé-Yé girl” refers to a group of modern young female singers who were known for their music of said style. 12

These young singers tend to have a playful, lively and naive image. The high demand for French songs and the fact that many local singers were writing some songs in French in the 60s, indirectly promoted the development of the Yé-Yé music. In terms of music style, the rhythm can be fast or slow, but most of them belong to the type of light and natural, which gives the audience a lot of fresh feeling. We can consider the first song of the famous singer France Gall “Ne sois pas si bete” as the best example. The clear singing, accompanied by a light beat, won her the TV award of Eurovision contest.

In addition to the rhythmic style, lyrics in Yé-yé music contains a deep social reflection behind it. Take French Gall’s Baby Pop as an example, in which the lyrics are:

Sur l’amour tu te fais des idées Un jour ou l’autre c’est oblige Tu seras une pauvre gosse Seule et abandonnée Tu finiras par te marier Peut-être même contre ton gré À la nuit de tes noces Il sera trop tard pour

You get ideas about love One of these days you’ll end up As one poor kid Alone and forsaken You’ll have to get married Maybe even against your will On your wedding night It’ll be too late

The Lyric a reflects the tragic fate of women, that tells the helplessness of the view in the 60s society’s eyes and even in the marriage, which it meant to be a happy event. Although France was also trying to advocate equality between men and women at that time, women were still beaten up by the value of the patriarchal society. In the traditional expectations and norms of society, most girls could only comply with their parents’ wishes, or even couldn’t have their own wishes. Therefore, Yé-yé music is not only a kind of pop culture, but also a complain of the 60s society and the women treatment by said institute. 13

THE YE-YE MOVEMENT In France, the generation of Baby Boomers born after World War II was the first to not have known how war was like. Like most European nations at the time, France was totally focused on reconstruction. The United States was endowed with the prestige of liberators, and French youth fantasized about the American way of life. CocaCola, chocolate bars, nylon stockings, flaming automobiles, chewing gum, Hollywood films, comics, and jazz were like promises of a better world, far from the hardships of the everyday life. American military bases were all around the French territory and they influenced many things. For example rock ’n’ roll became well known thanks to American soldiers, who stormed a nation dominated by rural traditions and the overwhelming French chanson. As for the intellectual elites, they were only interested in jazz, and despised these new binary rhythms, which sounded too simplistic to their ears. Rock ‘n’ roll music was also seen as a ‘joke’ in France at that time. The young French teenagers were influenced by the rock ‘n’ roll culture of Britain and of the United States.

“yeah yeah”

In 1959, a radio music program called <Salut Les Copains> was broadcast in France. From Monday to Friday evening, the station continuously broadcast rock music composed by French native musicians, including Eddie Mitchell, ‘French Elvis’ Johnny Hallyday and ‘Music Poet’ Serge Gainsbourg, who created a series of pop songs combining classical music, chansons and rock music. It is sung by the sweet voice of a young girl. It is named Yé-yé because it often appears to sing in a low voice like `yeah yeah’. 15

A General View “About three years ago Europe No. 1 [a leading French radio station] decided to create a program especially designed for young people. It was totally new in France. At the time, rock was not popular at all. The beginnings of Salut Les Copains were met with general indifference, but after some understandable confusion, a huge amount of mail started to arrive at the station’s HQ, proving that not only in France, but also in Belgium and Switzerland, there were thousands of young girls and boys happy to listen to a show that was truly theirs.” —Daniel Filipacchi, from the editorial in the first issue of Salut Les Copains. Yé-Yé movement was born from this. Besides the play on words, Gainsbourg contributed to installing in both the purists’ and the general public’s opinions the idea that the work of the yé-yé had no worth at all. Following Morin’s article, “yé-yé” replaced both “rock” and “pop” in people’s minds and vocabularies. The yé-yé wave can be seen as a kind of allegory for the era known as the Trente Glorieuses, during which people believed in modernity, in plastic things, in fashion and the vigor of youth. An era filled to the brim with optimism and faith in the future. Carefree and candy-colored, yé-yé music became, in hindsight, an oasis of exotic freshness designed to cheer people up.

YEYE GIRL + FASHION From 1963 to 1970, the younger generation born in the post-war era, in addition to anti-war and anti-society and other ideological content, thought that the traditional concept of high fashion regulation was very undemocratic, so they rebelled against this tradition. Young people launched a challenge to the taboo of traditional clothing. Jeans, miniskirts, bellbottoms, no bras and other phenomena swept the western world. In 1964, the magazine “American Life” introduced “Yé-Yé” to the world with the words: “ Yé-Yé came from France, just as The Beatles came from the British Isles.” Four names stand out at the head of the flock: Hardy, Vartan, Gall and Sheila. Female singers France Gall, Francoise Hardy, Sylvie Vartan, France Gall and Sheila, known as “Yé-Yé” girls, had the magic of letting all girls follow their footsteps and imitate their clothes.

If Serge Gainbourg created yé-yé words, then France Gall is the person who brought yé-yé songs into full play. France Gall not only has a beautiful voice, but also has a very sweet and pleasant image. Golden hair and pure eyes, coupled with miniskirts, was the image representatives of young French girls at that time. Fashion magazines were also scrambling to make her into their cover. In addition, France Gall’s songs often reflect a lot of social problems, including some feminist ideas. In the turbulent 1960s, young people’s resistance to society never stopped, and such songs overthrown the traditional ideology of the French. However, France Gall’s life was not as smooth as she had imagined. She had been influenced by some obscure lyrics in her songs, and her love failures kept piling up. The young singer had a very mature mind. She was brave enough to face everything, and even after turning around with the most difficult setbacks, she was able to present her most perfect image to everyone on the stage. Although she eventually died of breast cancer, the spirit of her struggle for her own destiny has affected generations of young people, I believe.

One day, Serge Gainsbourg was asked if he could think of someone under thirty worthy of being made into a statue, and he said something that was really overwhelming: “It’d be a huge statue of France [Gall] in barley sugar whose fingers would be licked by all children around.” — France Gall in Rock & Folk, February 1968

Sheila has shiny brown hair, always wearing a white shirt and sweater when she appears in the public eye, and her hair curls up in a symbolic arc. At that time, Sonia Rykiel, the Queen of Knitting, was an ordinary housewife in Paris. She knitted a striped tightly knitted shirt called “Poor Boy” herself and sold it in her husband’s shop. Luckily she caught up with Sheila’s growing popularity and people’s demand for knitted sweaters rose up. Knitted sweaters were sold out immediately. So Rykiel started to show off in fashion with this first income.

Sylvie Vartan, an Eastern European immigrant from Bulgaria, has a small but convex skeleton and is the sexiest of the “ Yé-Yé girls”. Before she became famous, she often visited a boutique called Réal, in the first moment to see if she could meet her idol Brigitte Bardot, and then gradually became fascinated by the girl-like dresses in the shop, often wearing these Chiffon skirts covered with lace on the stage. Sylvie Vartan has Brigitte Bardot-style sexy charm --- blonde hair, good figure, soft and slightly hoarse voice, and even big teeth cracks, all of which make her star path smooth. At the age of 17 she was introduced to a rising rock singer Frankie Jordan by her brother Eddie Vartan, who was a music composer. After their collaboration song “Panne d’essence” became popular in France, Sylvie immediately stopped her studies to join the pop music industry and soon became a teenage girl idol under his brother’s supervision. In 1962, she and Johnny Hallyday, the French Elvis Presley, were invited to attend the concert of rock star Vince Taylor. Hallyday fell in love with Sylvie at first sight in the backstage and started immediately a persisting flirting that kept going until she accepted him some years later. In 1965, Sylvie and Hallyday held a grand wedding. . The wedding news even reached the British Royal family. Buckingham Palace invited them to sing for Queen Elizabeth II.

In the years spent with Hallyday, Sylvie Vartan ushered in the golden age of her career and witnessed the upsurge of the “yé-yé” movement. Today, she is still active in the French artists circle, maintaining the achievement of the first pop album to reach the top position of the French music chart. Whatever Sylvie wore, easily became a hot item. Her style can be described as everchanging, in addition to a style similar to Sheila’s, made of white shirt with crayon-colored knitted wool cardigan, she also liked to dress some of the hippie’s A-shaped dresses. Since the mid-1960s, she started working with Yves Saint Laurent. In the MV of <<Comme Un Garçon>>, YSL designed a performance suit for Sylvie, which combines smoking suit and jazz dress. Then the designer, who knew the essence of Paris fashion, changed the famous “Mondrian straightforward skirt” into “yé-yé” style, replacing the non-figurative red, white and blue pieces with popular color stripes more in line with the taste of “yé-yé girl”. In 2008, at the designer funeral in Morocco’s Majorelle Garden, her old friend Sylvie came to say goodbye. She was wearing a small black dress with a white Peter Pan collar.

Françoise Hardy is one of the more special “Yé-Yé girls”: tall and thin, dark skin, the slightly downward oriented eyes of hers gives her a pitiful look. Straight long blonde hair reaches her shoulders, a thick fringe covers her forehead. Hardy, who is shy and doesn’t want to attract attention, has a superb IQ and knowledgeable personality, like an elite who has fallen into the rock circle by mistake. On the stage, she sang quietly; off the stage, she lived quietly, keeping the same frozen expression in every occasions in the 1960s, when the society was full of twisted faces and exaggerated howling. 23

Of course, Françoise could not escape the eyes of the fashion world, since she was known as a “ Yé-Yé girl”, even though herself is extremely reluctant to spend time dressing up. In the 1960s, the Paris fashion stylists said: “The tall and thin Françoise Hardy looks good in all clothes, no matter what she wears, her beauty will multiply.” The “Yé-Yé girl” became a fashion icon reluctantly and became a frequent cover reader of magazines such as “Paris Match” and “Vogue”. Under the transformation of fashion masters such as YSL, Paco Rabanne and André Courrèges, she gradually showed her avant-garde fashion or healthy and sexy image. Françoise ‘s simplicity in daily life has been associated with her lack interest for fashion. Years of unchanged white shirts with geometrically printed A-letter shirts --- usually from YSL, Courrèges, Mary Quant and Lanvin --- became the iconic costume of the “rocking sixties”; Françoise believed that a tight, moderately striped T-shirt would give her freedom, so she often wore it casually; and “gogo boots” popular in the Mod trend were considered the most suitable for rocking dancing. The knee-length lowheeled boots are popular with rock fans, while Françoise simplifies them into comfortable flat-bottomed boots, which became popular as a new different style.

“Forever young , forever tearful”

In the late 1960s, the free and fantastic “Yé-Yé” culture slowly faded away. In the 1970s, the fashion-loving French people bustled off in search of the next wave, and “Yé-Yé” singers turned to other fields of art. But the so-called classics will not be easily forgotten. For example, the trend of sexual liberation and liberalism in the 1960s; such as Serge Gainsbourg’s poetic “ Yé-Yé” music, which was sung by these young “ Yé-Yé girls”; and the “Yé-Yé girl” costume, which represents the age of pure rock music, has been inspired by fashion designers for countless times in the past half century, whenever they wore it. Let people have a good feeling of “Forever young, Forever tearful.”

LET’S SWING WITH THE MODS

By: Melissa Gargiullo

Picture this: London in the 60s; you find yourself in the busy Carnaby Street, The Who’s music ringing in your ears making you frantically dance, your mini skirt or fitted suit giving you a modern and youthful style. Fun, you say? Perhaps even enchanting or on the other hand, confusing? Regardless of your answer, this was the Swinging Sixties. The fashion was stylish, the air smelled like a new era and the music was making you swing, literally. In the midst of this hectic atmosphere, you spot a group of young men, no more than 25 years old, on their perfectly polished scooters, their parkas swaying in the wind and their perfectly structured haircut. You can make up the slim figures of the few girls within the group, wearing their trendy 28

Mary Quant mini skirt and their big deer eyes darkened by the heavy makeup and never ending thick eyelashes. Back in the 60s, subcultures were all over the place in London and this particular one we address here is the Mod subculture. Let’s throw it back to more than 50 years ago to discover who the Mods were, their fashion style, their music taste, the women represented within the subculture and most importantly the contemporary impact of Mods.

Our focus will be on Britain, since the Mods subculture was born there and thrived there for a long time. Post-war Britain was the era in which all the British Baby Boomers of the 50s grew up. The young generation wanted to change things and not live anymore like their predecessors. Interestingly, in the mid-60s, also called Swinging Sixties, it is said that up to 40% of the British population was less than 25 years old (History, no date). What an influence these British Baby Boomers had over the system! Among this new youth coming through in Britain, a very distinctive group emerged: The Mods. A subculture that appeared at the very beginning of the 60s, following the path of the Teddy Boys, another subculture dating from back in the 50s. However, we must underline that they only shared their love for perfectly tailored clothes, and nothing else (Weiner, no date, p. 2). Before diving into our Mods exploration, we must underline the Swinging Sixties that grately impacted this subculture. This movement that probably makes you directly think of music and makes you move your feet was governed by the greatest bands of the time such as The Who, The Kinks and The Small Faces, to name a few. The youth would go out and dance till the morning, enjoying life and trying on the latest fashions such as the infamous Mary Quant mini skirt (History, no date).

OH HOW VAIN...

The name “Mods” comes from “Modernists”, which derives from the term modern jazz, the favorite music of this subculture. The Mod subculture started in London and had spread to the biggest British cities by the end of the movement (Johns Medley, no date). The idea behind this group was to clearly go against the previous generations’ codes and strict way of living (Altman, 2018). We might want to know what their beliefs and activities were? Well, we must underline that they particularly loved the London club scene (Sidlova, 2014, p. 29) and taking care of their looks as well as their beloved Scooters. Scooters, more particularly Vespas, were the chosen way of transportation for Mods and the iconic piece to their whole attire.

Oh how vain, lazy and arrogant they seemed through the public eye. Whether these characteristics were actually true might remain unknown, it clearly depends on where you stand. However, they certainly gave off a certain spoilt kid vibe. The Mods definitely knew and managed to make their parents explode in anger whenever they would see this youth living recklessly. However, another subculture quickly became the main opponent of the Mods.

This group, slightly older than the Modernists, was none other than the Rockers, a distinctive subculture that did not share the same views and values than their counterparts. These motorcycle obsessed and leather dressed were extremely degrading towards women, which confirmed the difference of views and style between them and the Mods (Weiner, no date, p. 2). Various clashes often happened between these two groups and did not give out a peaceful atmosphere at all. But, what can one do, the 60s was a big period of change for everyone and it happened that subcultures of the time did not necessarily get along.

SWINGING BACK... Swinging back into our dear Mods, their fashion sense must be mentioned. In fact, the Mods absolutely loved dressing up and taking care of their appearance. Their colors of choice were usually modest and every single detail of their clothing was carefully studied (Sidlova, 2014, p.33). Here is a glimpse into what the perfect male Mod would wear: Slim-fitting suits, Oxford shoes, parkas, suspenders, polo shirts and ties (Hommes, 2013). This was the way to dress to impress. Actually no. It was simply to be a Mod. As you perhaps realize, we have not touched yet on the subject of women, this is because Mods were primarily made up of young men, since it was more of a maledriven style (Weiner, no date, p. 3). However, women deserve an important place in this Mod research since they still took part in the subculture. 32

Before going into Mod girls and how they dressed, since fashion was the central point of this subculture, I would like to mention that male Mods accepted and even encouraged women to get a job and be much more independent than in the past. As we know, the sixties was a turning point for the emancipation of woman, notably through them getting jobs and the distribution of the contraceptive pill (Mod Your Space, no date). These Modernists seem to have understood it all very well, and therefore, they embraced the idea of going back to the 20s Flapper girls that went out dancing, wore revealing clothes (for the time) and did not accept societyâ&#x20AC;&#x2122;s womenâ&#x20AC;&#x2122;s

strict rules, that reduced them to an inferior role (Altman, 2018). Modernist girls started their appearance changes by modifying their makeup look. Lipstick pretty much disappeared from their makeup routine, letting its place to a prominent eye makeup look. Lashes were black and full and the eyes seemed much bigger. Think Twiggy, the iconic 60s model with a boyish figure, over the top eye makeup and a mini dress. As a summary, Twiggy represents well the Mod style for women. Since we mentioned the mini dress and previously stated that Mary Quant was the creator of the mini skirt, we shall define who Quant was and her influence over women in the 60s.

In 1964, when Mary Quant created the mini skirt, she insisted on the importance of letting the womenâ&#x20AC;&#x2122;s body free from any restrictions. As she herself stated: the mini skirt permits women to run after their bus (France 24, 2019). This fashion was greatly appreciated by young women and quickly represented the ultimate fashion of the 60s. Mod girls particularly liked mini skirts and this became a stable in their wardrobe, something we can absolutely understand! To tie it in with the Mod fashion sense, women also wore rounded toe shoes, twin-sets and even pants, quite the change from the 50s! Finally, Mod girls did not necessarily have long luscious locks, but very short hair (Barnes, 1979, p. 50). After this detailed information on the Mod girls and their fashion, we can definitely say that the Mod style could quite possibly represent the female fashion of the 60s. Who does not think of big eye lashes and mini skirts when they hear â&#x20AC;&#x153;1960â&#x20AC;??

What next? The subculture was a disgrace to the oldest generation but it proved itself popular among the youth. Mod subculture lasted up to the end of the 60s and then spread into different movements: pop art experimentalism, psychedelic scene and the Skinhead subculture (Weiner, no date, p. 3). If we look at the more recent years, thus the ones following the end of the 60s, Mods were perfectly portrayed through the very famous movie « Quadrophenia » by Franc Roddam. The movie was a hit right away, representing the life of Jimmy, a young Mod, whose only true desire is to revolt against society and the previous generation’s principles (Band on the Wall, no date). I personally suggest this movie, which up to this day is the one cinematographic piece that most accurately represents the life of a young Birtish Mod during the 60s. From the fashion to the lifestlye, Roddam aced making the Mods alive on the movie screen.

What also interests us the most is how perhaps the Mod’s fashion sense is still up-to-date. In fact, most people might not even realize that their favorite item of clothing was popularized thanks to the Mod movement or born within this 60s subculture. Concerning the fashion industry, from Marc Jacobs to Ralph Lauren, various designers have presented Mod-inspired collections (Fashion Gone Rogue, 2013). “Fashion magazine” even represented, back in 2012, the Mod girl on its cover and editorial story (Fashion Gone Rogue, 2012). Through these examples, it truly seems like Mod fashion is far from ever dying and stays a source of inspiration.

Perhaps the actual subculture is long gone, but who does not have in its closet pair of Oxford shoes or a parka, perhaps? Even better, a mini skirt or a mini dress? Well, if any of these items, and the ones previously mentioned, are found in your very own wardrobe, it is a sign of the power of the Modâ&#x20AC;&#x2122;s style and how versatile it is. It survived throughout the years and participated in women gaining their independence and freedom through clothes. Despite their fashion sense surviving we can also stress that Mods were definitely modernists and promoted a big step for change, especially regarding women. Without the Mods we could also question ourselves on: which fashion would have represented the 60s if the Modernists had not popularized so many items? In fact, would we have an image of a young man wearing a fitted suit, on a Vespa in the middle of London? This remains an open question to different points of view and debate.

ROCK’N’ ROLL &

M OT O R C Y C L E S By: Federica Pontoglio

Rockers are members of a subculture that started in the United Kingdom in the 1960s among motorcycle-riding youths. Before that time, young motorcyclists had never been grouped together and labelled as such. Rockers defiantly proclaimed their status as outsiders. Let’s find out more about this fascinating subculture typical of the 60s.

ORIGINS + CHARACTERISTICS The Rocker subculture as a result of factors such as the end of PostWorld War II rationing in the UK and a general rise in prosperity for working class youths, the recent availability of credit and financing for young people, the influence of American popular music and film, the construction of race track-like new arterial ring roads around British cities, and the development of transport cafes (pronounced caffs by Rockers of that period) which became their gathering place. 42

These factors coincided with a peak in British motorcycle engineering. Although Rocker-style youths existed in the 1950s, they were known as the “Ton Up Boys” because ton-up was English slang for driving 100 mph (160 km/h). It wasn’t until the 1960s that they became known as proper Rockers and they were immersed in Rockabilly music and fashion, and began to be recognized for their devotion to Rock’n’Roll music as they were for their motorcycles.

Rockersâ&#x20AC;&#x2122; favorite motorbikes were Triumph 500s, BSA Gold Stars or Bonnevilles. The term Rocker may have originated from biking rather than Rock music: they rocked their machines. However, it is more likely to be a reference to Rock music. This photograph is of Geoff Horder on his Royal Enfield Bullet that he customized with a leather trim and racing handlebars. It was very popular among Rockers to customize their motorbikes, and Geoff would often fix the ones owned by his fellow Rockers. The ultimate motorbike was the Triton, a hybrid machine which offered the road-handling of a Norton frame with the power of a Triumph engine. Like any Rocker, Horder wore a leather jacket on his motorbike. These were hard-wearing and closefitting in order to not slow you down when racing around corners.

Rockers generally bought standard factory-made motorcycles and stripped them down, tuned them up and modified them to look like racing bikes. They raced them on public roads and travelled to cafes such as The Ace Cafe, Chelsea Bridge tea stall, Ace of Spades, Busy Bee and Johnsons. Largely due to their clothing styles and dirtiness, the Rockers were not widely welcomed by venues such as pubs and dance halls. This attitude remained prevalent in the UK until the early 1990s, when there was a notable change in the demographics of motorcycle riders in the country. Rockers were generally perceived as bad for the industry by the British motorcycle industry and enthusiasts.

Despite their threatening look, Rockers had no knowledge of any sort of drugs. To them amphetamines, cannabis and heroin were something to hate. Their animosity towards anyone connected with drugs was so intense that it is believed that their ritual enmity with Mods and other subcultures was based in part on the fact that these people were believed to take drugs, and were therefore considered weak. Still, Rockers were frowned upon: society used to consider them dangerous because of such “sports” (races), despite their rejection to the use of drugs, unlike many other gangs. Because of their love for motorcycles, Rockers were considered antithesis of Mods, which used to love scooters instead. Soon, the rivalry between Rockers and Mods turned into an actual feud, reaching violent conflicts. The Mods and Rockers conflict attracted attention in 1964 because of sensationalistic media coverage of fights between the two groups. They became known for Bank Holiday clashes in the southern English holiday resorts of Clacton, Margate and Brighton. The last one is portrayed in Franc Roddam’s film “Quadrophenia” (1979), produced by the popular British Rock band The Who.

...cannabis & heroin were something to hate.

DRUGS + MODS

FASHION + MUSIC The first Rockers were essentially known for their motorcycles, but by the 1960s, their subculture became associated with a specific music genre and clothing style. Many Rockers mostly favored 1950s and early 1960s Rock’n’Roll by artists such as Elvis Presley, Chuck Berry, Gene Vincent, Eddie Cochran and Bo Diddley. The Rocker fashion style was born out of necessity and practicality. They wore heavily-decorated leather motorcycle jackets, often embellished with metal studs, patches, pin badges, and sometimes an ESSO “gas man” trinket. When they rode their motorcycles, they usually also wore a classic openface helmet, aviator goggles, and a white silk scarf (to protect them from the elements). Other common items included leather caps called “Kagneys”, Levi’s jeans, leather trousers, tall motorcycle boots (often made by Lewis Leathers), engineer boots, brothel creepers, T-shirts and “Daddy-O”-style shirts. Also popular was a patch declaring membership to the 59 Club of England, a church-based youth organization that later formed into a genuine motorcycle club with members all over the world.

The Rocker hairstyle, kept in place with Brylcreem pomade, was usually a tame or exaggerated pompadour hairstyle, as was popular with some 1950s Rock’n’Roll musicians. Rockers’ visual iconography of studs, painted insignia, chains and razorsharp winkle-pickers was intended to leave on one in doubt that the spirit of hard-hitting Rock’n’Roll was alive and kicking.

Rock’n ’Roll was ali ve and kicking .

CAFE RACERS The term “cafe racers” originated in the 1950s and 1960s, when Rockers often visited cafes, using them as starting and finishing points for daring road races. A “cafe racer” is a motorcycle that has been modified for speed and good handling rather than for comfort. Features include a single racing seat, low handle bars (such as ace bars or one-sided clip-ons mounted directly onto the front forks for control and aerodynamics), half or full race fairings, large racing petrol tanks (often left unpainted), swept-back exhaust pipes, and rearset footpegs (to give better clearance while cornering at high speeds). These motorcycles were lean and light, and they handled different road surfaces well. 49

The most defining machine of the Rocker was the Triton, which was a custom motorcycle made of a Norton Featherbed frame and a Triumph Bonneville engine. It used the most common and fastest racing engine combined with the best handling frame of its day. The term “cafe racer” is now also used to describe motorcycle riders who prefer vintage British, Italian or Japanese motorbikes from the 1950s to late 1970s. These individuals don’t resemble the Rockers of earlier decades, and they dress in a more modern and comfortable style, with only a hint of likeness to the Rocker style. Levi’s jeans, generic motorcycle jackets and modern helmets are the norm, instead of the specific brand names and styles favored by 1960s rockers. These “cafe racers” have taken elements of American greaser, British Rocker and modern motorcycle rider styles to create a look of their own. Usually races started and ended in cafes: these were the places where Rocker gangs used to meet.

The term “cafe racer” also refers to a specific lightweight leather motorcycle jacket that originated in the 1950s and that may have been designed as more casual non-biking wear, such as the “cafe racer” jacket by Schott.

WOMEN ROCKERS Thinking about this subculture, we almost forget about women. In 1960’s, it looks like girls in the Rocker’s subculture are a kind of fantasy for biker boys. Indeed, this picture of Brigitte Bardot shows exactly how men imagined the perfect sexual picture of biker women. With the long hair, the insolent look, the molding leather clothes, the eyelined eyes and maybe the unzipped jacket, it represents a strong symbol of pinup bikers as a new way of sexuality. This perfect fantasy was used in pornographic magazines where women were a sexual object. It was really uncommon to see a woman driving a motorcycle by herself.

She was as the perfect girlfriend, behind the man. The woman was in the band only to support her boyfriend and she didn’t really participate to the important things. Women were able to form a girlband within the biker band, where the chief was the girlfriend of the biker’s boss. Rocker women were considered more like mere accessories: in “Quadrophenia”, we often see lines of Rockers on their motorcycles with their girlfriend sitting behind them, just like perfect accessories. Women wore over-the-top lipsticks and a cool face, showing attitude with an ever present sigarette in their mouth. In the Rocker culture history, only five or six of them were accepted as entire member of biker’s band and sat at the handles. And that is because they were as strongminded as men were: they were very masculine, completely opposite of the pin-up picture we can all imagine.

1970S REVIVAL In the early 1970s, the British Rocker and hardcore motorcycle scene fractured and evolved under new influences coming in from California, the hippies and the Hells Angels. The remaining Rockers became known as Greasers, and the scene had all but died out in form, but not in spirit. However, in the early 1980s, The Rocker Reunion Club was started by Len Paterson and a handful of original Chelsea Bridge Boys who held nostalgic Rocker reunion dances and motorcycle runs to historic destinations such as Brighton Beach. Within a few years, these attracted 10,000 to 12,000 revivalists, and gained widespread media attention and new converts until Paterson sold his rights to the name. The Rockers’ look and attitude was adopted by many street gangs and crews such as The Savage Nomads, The Skulls, and The Seven Immortals, in New York City and other large cities and rough neighborhoods across the country. It was also worn by Punk Rock bands and fans in the late 1970s.

2OO0S REVIVAL In the 2000s, the rocker subculture is an influence on the Rockabilly revival and Psychobilly scenes. The modern-day Rocker-style has followings all over the world, especially in Japan (where it was originally led by Koji Baba, who attended the Rocker reunions), and also in the United States and Australia. In these years, many Rockers still wear engineer boots or full-length motorcycle boots, but Winkle Pickers (sharp and long pointed shoes) are no longer that common. Some Rockers wear Dr. Martens boots, brothel creepers (originally worn by Teddy Boys), or military combat boots. Rockers have continued to wear motorcycle jackets, leather trousers and white silk scarves while riding their motorbikes, while leather caps adorned with metal studs and chains, common among Rockers in the 1950s and 1960s, are rarely ever seen any more. 2000s Rockers tend to ride classic British motorcycles like a Triumph, a Norton, or a Triton motorcycle hybrid of the two. Other popular motorcycle brands include BSA, Royal Enfield and Matchless from the 1960s. Classically-styled European “cafe racers” are now also use Moto Guzzi, Ducati or classic Japanese engines with British-made frames, such as those made by Rickman.

Nowadays, both on the street and on the fashion catwalk, Rocker style is ubiquitous. It is very likely that in our very own wardrobe we can find some of these items. Who doesn’t own a leather jacket? A real classic, a statement piece of clothing. And what about a nice pair of Levi’s jeans or Dr. Martens? A real must-have, for every man and woman. Rockers remain the first historical example of how youth rebellions can turn into an extraordinary source of earnings for the industry which rides the wave of the new generations protesters’ consumptions.

F LO W E R POWER FOREVER By: Anna Lorenzon

How many times have we thought about living careless, escaping from daily compulsions? The majority of us have thought at least once in life about running away from cities and go in the middle of nowhere to live the best mindless life in the name of freedom, peace and love. A colorful and peaceful life away from troubles that hippies use to emphasize through the slogan “flower power”. So, let’s learn something about their beliefs, interests, fashion styles and lifestyle.

ORIGINS + HISTORY

“ M A K E LO V E N OT W A R ”

A new generation of bohemians had developed in the early 1960s, partly lead by the Beat Generation of poets and writers such as Jack Kerouac and Allen Ginsberg. The 1950s were crossed by Beat Generation’s members, the Beatniks, better known as Hipsters in Haight-Ashbury neighborhood in San Francisco. The word Hippie, also spelled Hippy, was coined by Hipsters and used for the first time in 1965 in an article written by Michael Fallon, a journalist from San Francisco.

The word Hippie, also spelled Hippy, was coined by Hipsters and used for the first time in 1965 in an article written by Michael Fallon, a journalist from San Francisco. The Hippy movement started to come up inside the colleges’ campuses in the US, such as Berkeley in San Francisco, from the young generation that recognized Beatniks as a benchmark. Born as a reaction of youth to the involvement of US in the Vietnam War, hippie generation disagreed to join the Army as the US government required, promoting, on the other hand, peace, love and freedom through the famous slogan: “Make Love, Not War”. In 1965 Allen Ginsberg’s slogan “Flower Power” slogan became very popular to recognize this “non-violence” movement that used to dress with vivid and colorful dresses and with flowers adorning the heads. In 1965 Allen Ginsberg’s slogan “Flower Power” slogan became very popular to recognize this “non-violence” movement that used to dress with vivid and colorful dresses and with flowers adorning the heads.

Beliefs + Lifestyle A foolish life against politics, authorities, middle-class and social violence. Alternatives guys that rejected a “mainstream” lifestyle and promoted an ideology based on peace, love and freedom. They used to have long hair, long beards and dress casually. They promoted the recreational use of hallucinogenic drugs, especially Marijuana and LSD and loe’s freedom. They were environmental and social activists, leading to vegetarianism and environmentalism and fighting for women’s rights, workers’ rights and racial equity in the society. Many of them were also fans of

spiritism, oriental religions, alternative medicine and astrology. John Lennon and Yoko Ono were symbol of the generation change, breaking the social bonds of the past and fighting for the individual freedom. In 1968 the couple were accused of possession of drugs. In 1969 they protested against the Vietnam War, lying in bed for 14 days and getting the attention of the media. On December of the same year they spread the message: “War is over! Happy Christmas from John and Yoko”. Their love against violence spread through the media all around the society, catching the collective imaginary.

THE SUMMER OF LOVE It’s the summer of 1967 and the Haight-Ashbury borough in San Francisco started to attract a rebel tribe of guys that spread “free love”, peace and community life. To open the season is the great reunion Human Be-In, between music, flowers and drugs. Young boys and girls came from every part of US and took over the Golden Gate Park, dancing Big Brother and Holding Company, Jefferson Airplane and Grateful Dead’s songs. On the stage, many other artists as Allen Ginsberg and Timothy Leary. It’s the dawn of a new age and in San Francisco everything seems to be possible. Concerts, reunions, parties and theatre shows non-stop during the whole period and the Monterey Pop Festival signed the peak of the “peace and love” summer. But, unfortunately, the Summer of Love got to the end: at the beginning of the Fall the majority of youths left the city and the remained hippies celebrated the sunset of that amazing experience with a mock symbolic funeral: the “Death of the Hippy” ceremony.

“ P E A C E & LO V E ”

HIPPIES + MUSIC: FROM WOODSTOCK TO COACHELLA Music has always been vital for hippie culture. The huge amount of music festivals started with “The Gathering of the Tribes” in San Francisco in 1967. However, the most known Hippie festival was Woodstock, where more than 400.000 hippies gathered during three days of concerts, from August 15th to 17th, in 1969 in the village of Woodstock, Bethel, New York. Folk, acid rock e psychedelic rock were the main loved genres during those years. Major musicians of the time played at the event, such as Bob Dylan, the Jefferson Airplane and the Beatles, but Woodstock was so much more than just music.

One week after the festival ended, “The New York Times” interviewed six young individuals who attended the festival and they highlighted the abundance of drugs, especially LSD and Marijuana, during those days. One of the interviewees said: “There was a guy sitting there selling acid as if it was hotdogs.”

Moreover, one of the most astonishing things about Woodstock was the completely lack of violence. In the interview, the almost complete lack of violence was discussed by youth. It was striking to notice that, despite of the uncomfortable circumstances, such as rain, mud and inadequate restrooms, the concert remained peaceful and many participants helped to clean up. Lastly, Woodstock Festival was so important to the hippie movement because “it represented an open, classless society of music, sex, drugs, love and peace”, as youths defined. Hippie’s goal was to gather and do whatever they pleased, such as walk around naked and use drugs openly, without any problem with the government. The festival was a success because they were able to demonstrate how the counterculture could come together and live peacefully and freely without interference from “cops, guns or Nixon”, as hippies used to say. Woodstock’s hippy spirit summoned the sense that the music festival could be life-changing.

...SOCIETY OF MUSIC , SEX, D R U G S , LO V E & PEACE 67

In the ‘90s a new festival took hold: the Coachella Valley Music and Arts Festival at the Empire Polo Fields of Indio, California. The festival of the new generation of hippies. Two weekends in the Californian desert dedicated to light-heartedness, freedom and fun. But, of course, nowadays it has shifted from counter-culture to mainstream commercialism. Coachella looks more like a catwalk of people who have decided that free-spiritedness looks good on them than a haven of free-spiritedness. But even so, that nostalgic blend of “peace and love” music retains its power in contemporary scenes.

HIPPIES + THEATRE: HAIR MUSICAL On October 17th of 1967, the musical Hair went on stage for the first time at the Public Theatre in Lafayette, New York, becoming the symbol of hippie’s counterculture. Four months later, the beginning of 1968 saw the musical land at Biltmore Theatre in Broadway. Just in New York it recorded 1750 performances and the peak of its success was during a very bad and hard time due to the Vietnam War. The amazing soundtrack written by Galt MacDermont contributed to its success: songs as “Acquarius” and “Let the Sunshine In” become the milestones of 20th century. The main characters were three friends, Claude, Berger and Sheila, that fought against the Vietnam War and the respectability of middleclass. Hair celebrated not only long hair, the most obvious sign of rebellious youth, but also the permissiveness of the hippie movement with its liberal attitudes towards sex and drugs. A corollary of hippie culture was the rejection of urban values, involving the return to nature. The musical had a strong impact in the society, because of how the use of drugs, sex and nudity were shown. It succeeded in describe properly the hippie world, made of peace, free love and free use of drugs. As Forman, the director of Hair movie in 1979, said: “Hair was an act of freedom.” 69

HIPPIES + FASHION: FROM A FASHION STYLE TO A LIFESTYLE Hippies developed a very original fashion style. Long hair, both women and men, eccentric clothes, colorful and decorated accessories, flared trousers, sandals and John Lennon’s round sunglasses. Against consumerism, they were fans of vintage and therefore, they used to dress second-hand or handmade garments. A revolutionary movement with a sense of glamour, ecstasy and utopianism, that lead to a style based on carefree silhouettes and an eclectic and psychedelic mix and match way of dressing: bohemian vintage floral dresses in pastel colors, floor-skimming boho maxidresses, tye-dye t-shirts, kimonos, embroidered and fringed leather jackets, wide-leg paisley pants, kick flare jeans and a strong addiction to details and adornments, as statement prints, flowers and patchs. Hippies loved natural textiles as the soft breathable cottons for a higher comfort. Vivid colors and casual and easy silhouettes were the keywords for a perfect outfit and, nowadays, this style is inspiring many fashion stylings and designers.

Hippies’ delicate, carefree and lighthearted style has the roots in the ‘60s in San Francisco, California, and it spreads around as a real lifestyle, not just a fashion style. In California you can breathe the real freedom of hippies of the ‘60s: every place seems to be so carefree, from a shop in the middle of a garden under the palm trees with colorful and delicate garments to a “green” coffee bar. And, obviously, Coachella is the contemporary place where hippies come up, showing their self-expression and their freedom philosophy. But it is striking to note how the hippie style has also been spread among other different Countries and cities. Ibiza is definitely the European hippie island. A wild island where everyone is so mindless. Hippie culture merges with modernity and luxury creating the best place to relax and have fun. Very famous are the hippie markets, as the Hippy Market in Punta Arabi, typical markets where to buy floral dresses and eccentric adornments, watching the sunset and listening to good music.

Halfway around the world, in Australia, especially in Byron Bay there is a bohemian paradise that is home to a multitude of homegrown labels, such as Spell & the Gypsy Collective, which embrace the deep spirituality and free-spiritedness of the town. Ecoconsciousness is at the core of this hippie paradise, from sustainable local craftsmanship to local farmerâ&#x20AC;&#x2122;s markets.

SEX + GENDER: “FREE LOVE” “Make love not war”, the famous hippie slogan to celebrate “free love”. The concept of free love meant people were free to love whomever they pleased, whenever they pleased and however they pleased. Sex was something spontaneous. If you met someone you were attracted to, you had sex. Hippies didn’t care what other people thought. The movement began as a utopian vision that embraced nature, created in response to societal negativity. Some members rejected the traditional biological family unit and embraced everyone equally as members of a tribe. Love was no longer to one specific person, but people could love anyone: “love is something that you share with everyone and it exists to be shared freely”, they used to say. This new social orientation lead directly to gay and women’s liberation movements. But sexual openness generated also some sexual diseases, as AIDS that become a scourge and other problems, as teenage pregnancy. Fortunately, the society reacted so fast, opening free clinics, giving classes of sexual education at school, freeing up abortion’s laws and promoting sexual products through advertising campaigns. The free flow of information about sex lead to an expansion of women and gay’s rights and to a collective interest about health and sex. 72

Hippie movement succeeded as a cultural revolution. They experimented with alternative lifestyles. They rejected social norms. They liberated both sex and love from conventional stereotypes and found their deeper meanings. They redefined the meaning of peace on an individual and collective basis. They were social and environmental activists. They expanded their minds, avoiding social conformity. They were ready, willing and able to lead other generations to transform the society into one more understanding, more active, more respectful towards nature and human rights. Nowadays something is changing, more and more people are becoming ethical and sustainable towards the environment, because society starts to figure out the importance of freedom, from human beings to animals and nature. People need to feel free and careless to live their best lives. Hippies are still existing, they were never dead, and they are spreading peace and love somewhere, leading to a better world. As they say: â&#x20AC;&#x153;Power to people!â&#x20AC;?

THE BUZZING SOUND OF REBELLION By: Rafaella De Guzman

Bzzzzzzzzz bzzzzzzz bzzzzzzz the sound of a shaving machine in the 1960s could only mean one thing: a rebel was made. Tired of the hippie movement, the peace and love ethos and their disconformity young teenagers created one of the most powerful subcultures (Jenkins, 2017). Looking for the fastest way to disassociate from the hippie movement was to shave their heads and show their discomfort though rage (All Thatâ&#x20AC;&#x2122;s Interesting, 2017). Their iconic shaved heads gave them the name of skinheads. 76

The skinhead subculture does not have a good reputation not now and definitely not back then. But one thing is clear; it is one of the strongest movements. It started in 1960 but today there are still some groups that fandom the subculture. The subculture had two major phases the first in the 1960s and the second in the late 70s (HighamStainton, 2016).

So, how it started, back in the 1960s the youths felt that they could not relate to the hippie movement since most of them felt they came from an uncool suburban house or working class households (All Thatâ&#x20AC;&#x2122;s Interesting, 2017). For the most part, the youths that belonged to the group were ruthless and directionless (Belinky, 2016). Each one had a different reason to be part of the group and felt that the group was the only thing they had to look forward. The skinheads felt that the hippie movement was for the middle class and therefore did not acknowledged their concerns (All Thatâ&#x20AC;&#x2122;s Interesting, 2017).

Their powerful mentality and their conviction to demand change motivated them. The skinheads were a subculture that was lead by anger, and that anger was so authoritative that it was able to create and solidify a group. Many members of the subculture transmitted the anger through art, but most of the part they were beating up people that did not agree with their beliefs (Belinky, 2016). Just imagine how chaotic that time period was, going from peace and love to ruthless angry teenagers who grasped into the subculture with pride (Belinky, 2016).

...causing more chaos & hostility.

The subculture’s weak point was the magnitude of being manipulated, many political parties tried to control the movement. Since it was very strong and it had a lot of followers they wanted to control them. The National Front, for example, opened a nightclub that only allowed skinhead members inside, and it was far from any rural community (All That’s Interesting, 2017). During the growth and creation of the skinheads, they were known for being a violent group. They frighten their peers and everyone around them, they were not afraid of beating up people. Since the skinheads were so close to one another and they were always in a pack, if a skinhead was involved in a fight the others would join it, causing massive attacks (All That’s Interesting, 2017). There are many connections between the skinheads and racism as well as fascism political movements (O’Hagan, 2014). The skinheads are always related to Nazi groups since they used the Nazi salute and symbols and are linked to white supremacy, causing more chaos and hostility.

But there are always two sides to every story, and the skinheads have huge stereotypes. There are so many misconceptions about the subculture; yes they were a violent group but they also had passions. Many were interested in soccer, clothing, beers and well yes, violence. They wanted to disrupt the multicultural society (All Thatâ&#x20AC;&#x2122;s Interesting, 2017). The group was also about creating an inseparable bond between them, the skinheads had one another when they most needed them and did not want to feel isolated from society (Oâ&#x20AC;&#x2122;Hagan, 2014).

Not only their violent attitude was alarming but also their sense of style. The skinheads were known for having a post-Mod style (O’Hagan, 2014). Attention to detail was key. Starting from the type of tattoos they had to the specific shoes they wore. The use of cropped jeans, oxfords, red sock, and matching handkerchief were the must-have items in any skinhead closet (O’Hagan, 2014). The skinheads were not afraid of anything, they were definitely not afraid of getting inked on their faces. The fashion style involved tattoos and it was very interesting because each one represented themselves through their tattoos. The style sometimes contradicted the innocent young faces, since the style was so raw (O’Hagan, 2014). The clothing was carefully selected; it was urban, utilitarian and accessible, always bringing that element of being from the working-class (O’Hagan, 2014).

The basic skinhead uniform involved red or black 11-hole Doc Marten boots, jeans, button-down shirts, bomber jackets, and everything that was available for them, comfortable clothing to jump into any fight (Rosen, 2018). The style was so clear that anyone could recognize a skinhead. They not only had a fashion style in common but they were also reading the same neo-Nazi literature the “Skinzines” (Janofsky, 1995).

They also shared an interest in music like dub, ska, reggae and African soul music (Liu, 2017). Clothing was a form of self-expression, going from printed floral garments from the hippie movement to wearing with pride their working-class uniform. The skinheads did not care of being judged they had this “I don’t have to prove myself to anybody” attitude that is why they wore whatever made them feel comfortable.

Even though the style and the group sound super manly there were females involved too. The skinhead girls were also not afraid of shaving their heads or having feather cuts, which consists of having some long hair and other parts shaved (Oâ&#x20AC;&#x2122;Hagan, 2014).

Even though their style was a bit more feminine the basics from the male style were the same: chunky cardigans, polished oxfords, combat boots, bleached denim, and braces. The irony of the skinhead style was that the short hair and the utilitarian clothing accentuated their beauty (Oâ&#x20AC;&#x2122;Hagan, 2014). So, instead of causing fear the skinhead women had a cool edgy look. The androgyny look and the hard edge clothing was also a way to disassociate from the hippie movement, adding things from the mods and creating a unique style; that was the skinhead style. 84

SKINHEAD GROUP NEVER W E N T A W A Y.

But how a style and a powerful subculture like the skinhead transcended? From time to time there will always be a group of people who will not agree with what society is dictating. The sense of rebellion will always come. That is why the skinhead group never went away. The style is still present, maybe the ideologies have changed and evolved. Today there is a strong presence of androgyny. There is androgyny in fashion shows and it has trickled down to street style. The skinhead style is present in different ways in todayâ&#x20AC;&#x2122;s society. But the way the style was passed through generations has changed. Where is the skinhead style today? Well, most of the teenagers today have at least one tattoo as a form of self-expression. Women are not afraid of having short hair we have seen it in runways several times. When I look at images from the 60s of the skinhead women it immediately reminds me of model Slick Woods, her style and her rebellious personality are a clear reincarnation of the skinhead women. In the streets if I think of the Hipster style today I can clearly draw a line of inspiration from the skinhead style, it is clear from the tattoos to the Doc Martens. Fashion houses like Givenchy, Dsquared2, Dries van Noten, Burberry, even Gucci, and so many others have done collections influenced by the aggressive, masculine image from the 60s (Liu, 2017).

The reason why the skinhead style has not died is that today the style is just an aesthetic preference not like before when they wanted to show they shared the same ideologies and they were part of the same group. So, yes, basically thanks to the skinheads the hippie movement went away and the rebellious subculture took control of the society, politics, and fashion. The most drastic change in society, going from a population that wanted peace and harmony to youths corrupting the system and going against everything. The number of incidents and deaths during the skinheads was really high that is why political parties had to do something about it and stop it. Also, many skinheads grew up or had terrible stories from the fights, therefore, they decided to stop. Today there are still skinheads and people who follow the ideologies. Many still linked to political movements. In terms of fashion, there is a clear influence of the style.

The skinheads originated in London but later became a worldwide subculture. It was a time of terror and self-destruction. A time of change that persists through so many decades. The skinheads will always have their iconic tattoos, their iconic shaved head, and their iconic Doc Martens and until now we are living the discomfort and need of change that happened 40 years ago. Since we are still living this rebellion, where is our society going? Where are we standing? How will this ongoing movement keep influencing the way young teenagers dress and express themselves? Today, as a matter of fact, we keep listening to the bzz bzzz bzzzz of rebellion.

Dancing to the 60s French Beat:

REFERENCES

JEAN-EMMANUEL DELUXE (2013), Yé-Yé Girls of ‘60s FRENCH POP, Port Townsend, Feral House The Beginning of a New Era, Strars of the Ye-Ye Movement, Mussé Populaire http://www.larevolutiontranquille.ca/en/headliners-ofthe-ye-ye-movement.php French Music: An Introduction of Yé-Yé French pop, What’s Hot [Online] https://girlsguidetoparis.com/french-music-1-an-introductionto-ye-ye-french-pop/ Ashlee Girdner (2013),The Yé-yé Music Movement of the 60’s. [Online][Accessed on 8th April] https://bonjourparis.com/music-andfestivals/ye-ye-music-movement-60s/ “FRANCE GALL - Les sucettes (Videoclip).avi”. YouTube. 2010-06-08. Retrieved 2014-06-04. “Why Yé-Yé Girl Style Was Secretly Feminist”. The Cut. Retrieved 2018-12-01. 7. “Les belles et le beat: The ‘yé-yé girls’ of French Sixties pop”. The Independent. Retrieved 2018-12-01.

Let’s Swing with the Mods:

Hebdige, D. (1979) Subculture the meaning of style. No ed. England: Routledge. Jenss, H. (no date) Fashioning Memory. 2nd ed. Bloomsbury. Valentin-Mackinney, M. (2017) Fashioning Identity. 1st ed., London: Bloomsbury. Bichard, T. (2016) Photographing Britain’s 21st century Mods. Dazed Digital. [Online] [Accessed May 2019] http://www.dazeddigital.com/photography/article/31895/1/photographing-britain-s-21st-century-mods Barnes, R. (1979) Mods!. 1st ed., London: Plexus Publishing Ltd. Altman, C. (2018) The Mods: Sex, Feminism, and Appropriation In Post-War Britain. [Online] [Accessed May 2019] https:// allthatsinteresting.com/mods-feminism-britain Band on the Wall. (no date) An introduction to Mod culture. [Online] [Accessed May 2019] https://bandonthewall.org/2017/08/five-fingersnappin-mod-essentials/ Fashion Gone Rogue. (2013) Mod Style, From the 60s to now. [Online] [Accessed May 2019] https://www.fashiongonerogue.com/mod-style-mod-fashion-from-the-60s-to-now/ Fashion Gone Rogue. (2012) Lisa Cant is part of the Mod squad for Fashion September 2012. [Online] [Accessed May 2019] https://www.fashiongonerogue.com/lisa-cant-is-part-of-the-mod-squad-for-fashion-september-2012-by-gabor-jurina/ France 24. (2019) La minijupe de Mary Quant, de l’outil d’émancipation à la pièce de muse. [Online] [Accessed May 2019] https://www.france24.com/fr/20190407-londres-exposition-mary-quant-museum-minijupe-emancipation-femmes-mode History. (no date) Singing 60s – Capital of Cool. [Online] [Accessed May 2019] https://www.history.co.uk/history-of-london/ swinging-60s-capital-of-cool Hommes. (2013) Style Inspiration: The Mod Culture & Fashion. [Online] [Accessed May 2019] https://hommes.my/style/styleinspiration-the-mod-culture-fashion/#.XNfseC3pNN1 Johns Medley. (no date) Mod Culture. [Online] [Accessed May 2019] https://www.johnsmedley.com/discover/community/modculture/ Mod Your Space. (no date) Role of Gender in Mod Style. [Online] [Accessed May 2019] http://www.modyourspace.com/simple-explanation-role-gender.html Sidlova, B. (2014) British Cultural Studies and the Development of Subcultures in the 1960s. [Online] [Accessed May 2019] https:// is.muni.cz/th/y1z8g/Thesis.pdf Weiner, N. (no date) Mod Men: The Contemporary Mod Subculture Online. Unknown place of publication: unknown publisher. [Online] [Accessed May 2019] http://researchprofiles.herts.ac.uk/portal/files/13119890/Mod_Men_nweiner.pdf

Rock’n’Roll and Motorcycles:

Ted Polhemus, Street style. From sidewalk to catwalk, Second edition, PYMCA, 2010, London, pp. 54-57 http://www.televideo.rai.it/televideo/pub/articolo.jsp?id=5628 (last access: 10/06/2019) https://moda.mam-e.it/dizionario-della-moda/rockers/ (last access: 10/06/2019) http://www.rockandmore.net/2015/01/19/musica-e-storia/ (last access: 10/06/2019) https://museumcrush.org/mods-rockers-skinheads-punks-snapshots-of-southends-subcultural-history/ (last access: 10/06/2019) https://sociologicamente.it/rockers-live-fast-die-young/ (last access: 10/06/2019) https://ltraynorculturesociety.wordpress.com/2013/02/06/subculture-the-rocker/ (last access: 10/06/2019)

Flower Power Forever:

Polhemus T., Street Style: Thames & Hudson, 1994 Mendes V., De La Haye A., Fashion since 1900: Thames & Hudson, 2010 https://allthatsinteresting.com/a-brief-history-of-hippies https://www.wgsn.com/content/board_viewer/#/ https://www.nytimes.com/2017/08/15/opinion/vietnam-san-francisco-1967-summer.html?rref=collection%2Ftimestopic%2FHippies&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=6&pgtype=collection https://www.msn.com/it-it/news/other/la-cultura-del-movimento-hippie-degli-anni-e2-80-9960/ar-AAyxeCX https://www.nytimes.com/2017/08/10/movies/did-they-wear-flowers-in-their-hair-see-the-happy-hippies-in-1967.html?rref=collection%2Ftimestopic%2FHippies&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=7&pgtype=collection https://www.wgsn.com/blogs/levis-vintage-clothing-gets-groovy-summer-love-collection/ https://www.vogue.it/en/trends/trend-of-the-day/2010/03/hippy?refresh_ce= https://www.vogue.it/trends/vota-lo-stile/2011/04/hippie-style https://fashion-history.lovetoknow.com/fashion-history-eras/hippie-style https://www.britannica.com/topic/hippie https://www.myusa.it/myusa-blog/329-la-cultura-hippie-da-woodstock-alla-guerra-del-vietnam.html https://giovaniselvaggelibere.wordpress.com/hippie-cultura-e-movimento/ https://blogs.stockton.edu/hippiemovement/ https://www.iodonna.it/attualita/eventi-e-mostre/2017/06/21/estate-1967-e-summer-love-50-anni-fa-la-rivoluzione-colorata-dei-figlidei-fiori/?refresh_ce-cp

https://www.theguardian.com/travel/2007/may/27/escape https://blogs.stockton.edu/hippiemovement/woodstock/ http://www.bbc.com/culture/story/20190405-from-woodstock-to-coachella-the-ultimate-lost-weekends https://eu.desertsun.com/story/life/entertainment/2014/07/28/woodstock-coachella-music-festivals/13295089/ http://losbuffo.com/2018/10/07/da-woodstock-a-coachella-gli-outfit-dei-festival/ https://www.iodonna.it/moda/star-look/2015/04/12/choacella-la-woodstock-contemporanea/?refresh_ce-cp https://www.cosmopolitan.com/it/lifestyle/a19754997/coachella-storia-curiosita/ https://www.dire.it/17-10-2017/148418-hair-il-musical-icona-del-movimento-hippie-compie-50-anni/ https://www.harpersbazaar.com/uk/fashion/shows-trends/a25945717/tie-dye-is-back-for-2019-and-this-is-why/ https://www.theguardian.com/books/2018/jun/22/free-love-flower-power-and-fallouts-how-kids-coped-with-the-communes http://www.nbcnews.com/id/19053382/ns/health-sexual_health/t/free-love-was-there-price-pay/#.XQAZbS3W4nV https://www.hipplanet.com/books/atoz/atoz.htm https://sites.google.com/site/hippiesubculturewl/2-ideology-and-culture/lifestyle/sexual-behavior

The Buzzing Sound of Rebellion:

All That’s Interesting. (2017) How Skinheads Transformed From Inclusive Youth Movement Into Racist Hate Group. All That’s Interesting. (Online) (May 2019) https://allthatsinteresting.com/skinheads-history Belinky, B. (2016) What It Was Like to Grow Up Skinhead in the UK. Vice Magazine. (Online) (May 2019) https://www.vice.com/en_uk/article/ mvk7qn/gavin-watson-we-were-here-79-89-photography-skins Gregg, A. (2019) Skinhead: What This Word Really Means. CBC Docs Pov. (Online) (May 2019) https://www.cbc.ca/cbcdocspov/blog/skinheadwhat-this-word-really-means Higham-Stainton, R. (2016) Tracing the MA-1 through fashion and subculture. Dazed Magazine. (Online) (May 2019) https://www.dazeddigital. com/fashion/article/33752/1/alpha-industries-ma-1-bomber-fashion-subculture-raf-simons-vetements-skinheads Janofsky, M. (1995) Skinhead Violence Is Worldwide and Growing, a Report Finds. The New York Times. (Online) (May 2019) https://www.nytimes. com/1995/06/28/us/skinhead-violence-is-worldwide-and-growing-a-report-finds.html Jenkins, JP. (2017) Skinhead Youth Subculture. Encyclopaedia Britannica. (Online) (May 2019) https://www.britannica.com/topic/skinhead Liu, C. (2017) On Dress like a Skinhead. Sarah Lawrence College The Phoenix. (Online) (May 2019) http://www.sarahlawrencephoenix.com/ editorial/2017/12/10/on-dressing-like-a-skinhead Meeink, F. Excerpt: ‘Autobiography of a Recovering Skinhead’. NPR. (Online) (May 2019) https://www.npr.org/templates/story/story. php?storyId=125514655&t=1558424744056 NPR. (2010) A ‘Recovering Skinhead’ On Leaving Hatred Behind. NPR. (Online) (May 2019) https://www.npr.org/templates/story/story. php?storyId=125514655&t=1558424744056 O’Hagan, S. (2014) Skinheads: a photogenic, extremist corner of British youth culture. The Guardian. (Online) (May 2019) https://www.theguardian. com/artanddesign/2014/aug/19/skinheads-derek-ridgers-portraits-street-photography-70s-80s-youth-culture Reveron, S. (2016) Oi Oi Oi Rude Girls …Portraits of Skinhead Girls. CVLT Nation. (Online) (May 2019) https://www.cvltnation.com/oi-oi-oi-rudegirls-portraits-skinhead-girls/ Rosen, M. (2019) Photographs of Skinheads, Taken by a Skinhead. Another Man Magazine. (Online) (May 2019) https://www.anothermanmag. com/life-culture/10805/photographs-of-skinheads-taken-by-a-skinhead Rosen, M. (2018) Photos Revealing the Truth About Skinhead Culture. Another Man Magazine. (Online) (May 2019) https://www.anothermanmag. com/life-culture/10570/photos-revealing-the-truth-about-skinhead-culture