Alternative fashion

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Alternative fashion or alt fashion is fashion that stands apart from mainstream, commercial fashion. It includes both styles which do not conform to the mainstream fashion of their time and the styles of specific subcultures (such as emo, goth, hip hop and punk). [1] Some alternative fashion styles are attention-grabbing and more artistic than practical (goth, ganguro, rivethead), while some develop from anti-fashion sentiments that focus on simplicity and utilitarianism (grunge, rocker, skinhead).

Contents

Characteristics

Alternative fashion styles often originate as ways of expressing attitudes towards individuality, consumerism, social constructs on behavior, self-expression, and/or disillusionment with what is viewed as "normal" society. [2] [3] Many styles are influenced by music and the dress style of individual bands or musicians. [4] While the qualities of individuality and open-mindedness are associated with alternative fashion, levels of conformity within subcultures, judgemental behaviors and expressions of feelings of superiority exist within certain alternative fashion communities just as they exist in aspects of mainstream fashion and culture. Pressure to 'fit in,' even just within a small niche community, may influence personal style. [5]

Historical and sociological perspectives

1911 sketch by American journalist Marguerite Martyn contrasts fashion designer Beatrice Farnham's alternative attire with that of a modern woman of that era. Sketch by Marguerite Martyn of Beatrice Farnham and woman with dog, 1911.jpg
1911 sketch by American journalist Marguerite Martyn contrasts fashion designer Beatrice Farnham's alternative attire with that of a modern woman of that era.

Alternative fashion is often considered a modern concept but it, and the concept of subculture it is often related to, have existed for centuries. As covered in Ken Gelder's exploration of the history of alternative culture patterns in Western society, Subcultures: Cultural Histories and Social Practice, alternative fashions have often been used to identify, and even stereotype, members of groups with value systems that diverged from common culture. Gelder states that alternative fashions have traditionally been related to subcultures that have been identified by mass society as:

Those who utilize alternative fashion may vary greatly in beliefs and not identify with any of these concepts. Often it is the mass social perceptions of the meaning of certain fashions and their relation to a particular niche group that is important in understanding the interaction of alternative fashion with mass culture - a fashion is often more remembered for what it is related to in the popular consciousness than what its wearer's intended it to stand for. Particularly in a sociopolitical sense alternative fashion has often been intentionally adopted by an individual or group to display a break from the beliefs or mores of popular culture and as a form of self-expression that challenged the boundaries of what was considered appropriate, fashionable or practical. [6]

The use of subculture terminology in the 21st century to categorize or interpret dress style is often inaccurate, or at the least does not provide a complete picture of the individual being assessed by their 'look,' due to the constant evolution in the meaning, relevance and cohesion of certain subcultures and even the term 'subculture' itself. [7] Alternative fashion is often looked at through the lens of social politics - it is considered a visual expression of opposition to societal norms, thus heavily associated with the idealism, energy and rebellion of youth culture. [8] [9] However, sociological studies into exploring alternative fashion have found individuals who retained statistically uncommon modes of dress on a permanent post-adolescent basis. [10] Alternative fashion generally lays down a challenge to accepted norms, though the reactions received by wearers of alternative fashion from those who adhere to more conventional stylings can be as diverse as the wearers themselves. It can be a visual language that people employ to communicate with each other [11] [12] indicating common interests or involvement with similar activities, a challenge to modern conceptions of aesthetic beauty and/or a basic form of self-expression, like painting or writing. [13]

Commodification

Traditionally alternative clothing, shoes and accessories have been largely procured from independently owned businesses, such as the boutiques found in artistic districts of large urban centers. As some alternative fashion have become increasingly embraced by the mainstream, these types of small, specialized retailers have become displaced much like mainstream retail outlets by the Internet. Also, as fashion trends are co-opted by more and more people chain stores, which may offer a wider variety of products at a lower price and are easier to access in non-urban areas than boutiques, began to soak up a large part of the alternative fashion market. This change in the availability and commodification of alternative fashions has encouraged much broader use of styles in the mainstream once only found in niche groups. Items from thrift & vintage shops, altered and DIY fashions have also long held a place in alternative fashion to the point where the use of mismatched second-hand clothing is considered cliche to alternative and liberal ideologies. [14]

Controversies

Many forms of alternative fashion gain attention, and even notoriety, through their relationship to individuals or groups that are seen as socially undesirable – those involved in behavior considered criminal, deviant or anti-social – even though these types of behaviors may not be common among those involved in alternative fashion. [15] [16] For instance, greasers of the 1950s were associated with street gangs and random acts of juvenile violence, hippies of the 1960s (along with ravers of the 1980–1990s) with promiscuity, anti-establishment agendas and, especially, drug use and those sporting hip hop style with the selling of drugs and other criminal behavior. There was a wave of anti-gothic policies and commentary in the wake of the Columbine High School massacre. The crime, perpetrated by two young men dressed in black trench coats who were known to be fans of heavy, dark themed music, was immediately associated with the gothic subculture in the media despite the shooters' lack of association to the subculture and music. Policies were passed in schools across the country banning dress styles and items associated with the gothic subculture. Many individuals who dressed in any way related to the gothic style, whether or not they associated with this subculture, were targets of fear, anger and suspicion. [17] The subculture as a whole, though extremely diverse in religious and social beliefs, was pigeonholed by the media as a dangerous influence on children. [18]

Influence

Mainstream culture, particularly retailers and the mass media, have often looked to alternative fashion for up and coming trends and, increasingly, as an easy way to market products to a niche group that may not be having its tastes supplied elsewhere. [19] Some in subcultures view this as flattering and as a positive expansion of what is socially acceptable, and easily available, fashion. Others consider the involvement of mainstream institutions in alternative fashion as a desecration of what the concept stands for and feel the mass marketing of previously underground styles, particularly to impressionable youth markets who are more concerned with a look than the meaning behind it, amounts to a non-violent form of cultural genocide. When a previously non-mainstream style becomes popular the core group of a certain alternative niche may be watered down with dozens or even hundreds of individuals who are not genuinely invested in the advancement of alternative culture or its precepts of individuality and present an image of the subculture not at all related to its traditional members' behaviors. [20] For instance, rave culture was heavily associated with ideas of racial, gender and sexual orientation equality and encouraged unity, creativity and individuality amongst its members. [21] The commodification of rave fashions in chain outlets and internet boutiques coincided with a media frenzy focusing on drug use in the rave community. These factors led to an insurgence of young people interested in emulating rave style, and obtaining the substances associated with it, rather than in promoting the utopian precepts originally associated with raves. [22]

Alternative fashion is expressed, discussed, viewed and proliferated through many of the same channels as mainstream fashion, such as fashion shows, websites, blogs and magazines, however in non-mainstream forms of these spaces, fueled by personal creativity. It is common for projects related to alternative fashion to be independently run by individuals or small groups and to be offered to the public cheaply or free of charge. However, just as alternative fashion has been commodified by chain stores, some level of commercialization may exist within outlets of alternative fashion seeking to exploit certain styles as "the next big thing" or taking financial advantage of customers with limited options. [23]

Alternative fashion examples

See also

Related Research Articles

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The punk subculture includes a diverse and widely known array of music, ideologies, fashion, and other forms of expression, visual art, dance, literature, and film. Largely characterised by anti-establishment views, the promotion of individual freedom, and the DIY ethics, the culture originated from punk rock.

<span class="mw-page-title-main">Skinhead</span> Working-class youth subculture

A skinhead or skin is a member of a subculture that originated among working-class youth in London, England, in the 1960s. It soon spread to other parts of the United Kingdom, with a second working-class skinhead movement emerging worldwide in the late 1970s. Motivated by social alienation and working-class solidarity, skinheads are defined by their close-cropped or shaven heads and working-class clothing such as Dr. Martens and steel toe work boots, braces, high rise and varying length straight-leg jeans, and button-down collar shirts, usually slim fitting in check or plain. The movement reached a peak at the end of the 1960s, experienced a revival in the 1980s, and, since then, has endured in multiple contexts worldwide.

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<span class="mw-page-title-main">Gothic fashion</span> Fashion of goth subculture

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References

  1. ↑ Osgersby,Bill. (2010)Fashion and Subculture: A History of Style. ISBN   978-1-84520-809-7
  2. ↑ Bennett, Andy. (2004)After Subculture: Critical Studies in Contemporary Youth Culture. ISBN   978-0-333-97712-5
  3. ↑ Hall,Stuart.(1990) Resistance Through Rituals: Youth Subcultures in Post-War Britain. ISBN   978-0-415-09916-5
  4. ↑ Schwobel, Laura.(2008)Gothic Subculture in Finland: History, Fashion and Lifestyle. ISBN   978-3-639-02884-3
  5. ↑ Hodkinson, Paul. (2002) Goth: Identity, Style and Subculture. ISBN   978-1-85973-605-0
  6. ↑ Gelder, Ken.(2007)Subcultures: Cultural Histories and Social Practice. ISBN   978-0-415-37952-6
  7. ↑ Muggleton,David.(2004)The Post-Subcultures Reader. ISBN   978-1-85973-668-5
  8. ↑ Brake,Mike.(1990)Comparative Youth Culture: The Sociology of Youth Cultures and Youth Subcultures in America, Britain and Canada. ISBN   978-0-415-05108-8
  9. ↑ Greenberg,Arielle.(2006)Youth Subcultures: Exploring Underground America. ISBN   978-0-321-24194-8
  10. ↑ Jenks, Chris. (2004) Subculture: The Fragmentation of the Social. ISBN   978-0-7619-5371-5
  11. ↑ Smith,Courney & Topham,Sean. Extreme Fashion. ISBN   3-7913-3175-2
  12. ↑ Straw, W. (1991) "Systems of Articulation, Logics of Change:Communities and Scenes in Popular music" Cultural studies, 5 (3) :368-88
  13. ↑ Muggleton,David.(2002)Inside Subculture: The Postmodern Meaning of Style.978-1859733523
  14. ↑ Julia Plevin. "Who's a Hipster?" Huffington Post. August 8, 2008
  15. ↑ Hebdige,Dick. (1981) Subculture: The Meaning of Style. ISBN   978-0-415-03949-9
  16. ↑ Haenfler,Ross. (2009)Goths, Gamers, and Grrrls: Deviance and Youth Subcultures. ISBN   978-0-19-539666-9
  17. ↑ Kass, Jeff.(2009) Columbine: A True Crime Story, a victim, the killers and the nation's search for answers. ISBN   978-0-9816525-6-6
  18. ↑ Goodlad,Lauren M.E. (2007) Goth: Undead Subculture. ISBN   978-0-8223-3921-2
  19. ↑ English, Bonnie. (2007) A Cultural History of Fashion in the Twentieth Century: From the Catwalk to the Sidewalk. ISBN   978-1-84520-342-9
  20. ↑ McKell, Iain (2004) Fashion Forever: 30 Years of Subculture. ISBN   978-1-903781-08-1
  21. ↑ St.John, Graham.(2004).Rave culture and religion. ISBN   0-415-31449-6
  22. ↑ Reynolds,Simon.(1999)Generation ecstasy: into the world of techno and rave culture. ISBN   0-415-92373-5
  23. ↑ Simon, Leslie. (2009)Wish You Were Here: An Essential Guide to Your Favorite Music Scenes-from Punk to Indie and Everything in Between. ISBN   0-06-157371-X
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