[en] Existing trends in the fashion industry and social movements have always had a close relationship, with youth being one of the main drivers in recent decades. The following project attempts to analyze the processes of creation and influence of the aesthetic models of the socalled "urban tribes" in the fashion industry, thus establishing a relationship between the subcultures that, since the early 1960s, have been generating in the urban environment of modern societies and the market of appearances. Although many of the urban tribes still in force (mods, punks, rockers, etc.) continue to influence and affect the fashion industry, in this TFG, to understand this phenomenon in more detail, we have focused on a case study in particular: the skinhead movement. On this subculture, which has emerged in the 1960s in the United Kingdom, we have carried out not only an aesthetic analysis, we have also tried to reach a greater understanding of its origins, its global diffusion, as well as the context in which it has emerged, its associated values and the message perceived by a part of our society through appearance. At the same time, the particular case of the skin world is analyzed in comparison with other preceding and contemporary subcultures and its influence on the world of fashion, not only in relation to designers and catwalks but also in streetstyle. For the elaboration of this study, reference literature has been consulted, as well as the observation of current fashion and existing fashion in the 60s, making use of different types of sources such as books, fashion magazine articles. and audiovisual and musical material. Thanks to this bibliography and this material, a journey through the origins and trajectory of the skinhead style is thus configured, especially in Great Britain. On the other hand, the use of this material has been completed with interviews with people linked to the skin movement and its characteristic aesthetics. It concludes by determining that the aesthetic attributes, both considered skins, have a mainly identity role and that their influence in the world of fashion, despite being existing, was totally unrelated to the movement by the industry. This is due to the negative values associated with this urban tribe: violence, rebellion, and racism, despite the fact that only one sector of this subculture was really identified with this ideology of extreme right, so widespread in the media. In its origins, there was no political struggle, but as its evolution develops, it can be concluded that the tribe is classified into four different subgroups. Apolitical skinheads, anti-racists (or SHARP), communists or socialists (red skins) and extreme right-wing or neo-Nazi skinheads. All of them had a common aesthetic identity differing merely with the use of certain symbols. It was not ideological factors, but social factors, but especially cultural ones (highlighting the influence of music) that influenced the conception of this urban group and those that allowed it to endow it with a great diversity of thought, which contrasts with the homogeneous aesthetic that characterizes them.

[gl] As tendencias existentes na industria da moda e os movementos sociais sempre tiveron unha estreita relación, sendo a xuventude un dos principais motores durante as últimas décadas. O seguinte proxecto trata de analizar os procesos de creación e influencia dos modelos estéticos das chamadas "tribus urbanas", na industria da moda, establecendo así unha relación entre as subculturas que, dende principios dos anos 60, foron xerando no ámbito urbano das sociedades modernas e o mercado das aparencias. Aínda que moitas das tribus urbanas aínda vixentes (mods, punks, rockers, etc.) continúan influíndo e adectando á industria da moda, e neste TFG, para entender este fenómeno con máis detalle, centrámonos nun estidio dun caso particular en concreto: o movemento skinhead. Sobre esta subcultura, a cal xurdiu nos anos 60 en Gran Bretaña, levamos a cabo non só unha análise estétetica deste colectivo, senón tamén intentando alcanzar unha maior comprensión das súas orixes, da súa difusión global, así como co contexto no que xurdíu, os seus valores asociados e a mesaxe percibida por unha parte da nosa sociedade a través da apariencia. Á súa vez, analízase o particular caso do mundo skin en comparación con outras subculturas precedentes e coetáneas aos mesmos e a súa influencia no mundo da moda, non só en relación cos deseñadores e pasarelas senón tamén no streetstyle. Para a elaboración deste estudo consultouse literatura de referencia, así como se levou a cabo unha observación da moda actual e da moda existente nos anos 60, facendo uso de diferentes tipos de fontes como libros, artigos de revistas de moda e material audiovisual e musical. Grazas a esta bibliografía e este material configúrase un percorrido polas orixes e a traxectoria do estilo skinhead, especialmente en Gran Bretaña. Por outra banda, o uso de este material completouse con entrevistas a persoas vinculadas ao movemento skin e á súa estética característica. Conclúese determinando que os atributos estéticos dos considerados skins tiñan un papel principalmente identitario e que a súa influencia no mundo da moda, a pesar de ser existente, foi totalmente desvinculada do movemento por parte da industria. Consideramos que esta circunstancia débese, en parte, aos valores negativos asociados á dita tribu urbana: violencia, rebeldía e racismo, a pesar de que só un sector desta subcultura realmente estaba identificado con esta ideoloxía de extrema dereita tan difundida polos medios de comunicación. Nas súas orixes, non existía unha loita política, pero conforme se desenvolve a súa evolución pódese concluír nunha clasificación da tribu en catro diferentes subgrupos. Os skinhead apolíticos, os antirracistas (o SHARP), os comunistas ou socialistas (red skins) e os skinhead de extrema dereita ou neonazi. Todos eles contaban cunha identidade estética común, diferenciándose meramente co uso de certas simboloxías. Non foron os factores ideolóxicos, senón os factores sociais, pero especialmente os culturais (destacando a influencia da música) os que influíron na concepción deste grupo ubrano e os que permitiron dotalo dunha gran diversidade de pensamento, o cal contrasta coa estética homoxénea que os caracteriza.