page_title: Punk subculture
section_title: Fashion
hierarchical_section_title: Punk subculture / Fashion
caption_attribution_description: 日本語: ゲンドウミサイル 2012/04
context_page_description: The punk subculture includes a diverse array of ideologies, fashion, and other forms of expression, visual art, dance, literature and film. It is largely characterised by anti-establishment views, the promotion of individual freedom, DIY ethics, and is centred on a loud, aggressive genre of rock music called punk rock.
  The punk ethos is primarily made up of beliefs such as non-conformity, anti-authoritarianism, anti-corporatism, a do-it-yourself ethic, anti-consumerist, anti-corporate greed, direct action and not "selling out".
  There is a wide range of punk fashion, including deliberately offensive T-shirts, leather jackets, Dr. Martens boots, hairstyles such as brightly coloured hair and spiked mohawks, cosmetics, tattoos, jewellery and body modification. Women in the hardcore scene typically wore masculine clothing.
  Punk aesthetics determine the type of art punks enjoy, which typically has underground, minimalist, iconoclastic and satirical sensibilities. Punk has generated a considerable amount of poetry and prose, and has its own underground press in the form of zines. Many punk-themed films and videos have been made.
context_section_description: Early punk fashion adapted everyday objects for aesthetic effect: ripped clothing was held together by safety pins or wrapped with tape; ordinary clothing was customised by embellishing it with marker or adorning it with paint; a black bin liner became a dress, shirt or skirt; safety pins and razor blades were used as jewellery. Also popular have been leather, rubber, and PVC clothing that is often associated with transgressive sexuality, like BDSM and S&M. A designer associated with early UK punk fashion was Vivienne Westwood, who made clothes for Malcolm McLaren's boutique in the King's Road, which became famous as "SEX".
  Many punks wear tight "drainpipe" jeans, plaid/tartan trousers, kilts or skirts, T-shirts, leather jackets (often decorated with painted band logos, pins and buttons, and metal studs or spikes), and footwear such as high-cut Chuck Taylors, trainers, skate shoes, brothel creepers, Dr. Martens boots, and army boots. Early punks occasionally wore clothes displaying a swastika for shock value, but most contemporary punks are staunchly anti-racist and are more likely to wear a crossed-out swastika symbol than a pro-Nazi symbol. Some punks cut their hair into Mohawks or other dramatic shapes, style it to stand in spikes, and colour it with vibrant, unnatural hues.
  Some punks are anti-fashion, arguing that punk should be defined by music or ideology. This is most common in the post-1980s US hardcore punk scene, where members of the subculture often dressed in plain T-shirts and jeans, rather than the more elaborate outfits and spiked, dyed hair of their British counterparts. Many groups adopt a look based on street clothes and working class outfits. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, combat boots or trainers and crewcuts. Women in the hardcore scene typically wore army trousers, band T-shirts, and hooded jumpers.
  The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos, torn clothes, patches, safety pins, studs, spikes, etc.). Circle Jerks frontman Keith Morris described early hardcore fashion as "the...punk scene was basically based on English fashion. But we had nothing to do with that. Black Flag and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or submarine shop." Henry Rollins echoes Morris' point, stating that for him getting dressed up meant putting on a black shirt and some dark pants; Rollins viewed an interest in fashion as being a distraction.  Jimmy Gestapo from Murphy's Law describes his own transition from dressing in a punk style (spiked hair and a bondage belt) to adopting a hardcore style (i.e. boots and a shaved head) as being based on a need for more functional clothing. A punk scholar states that "hardcore kids do not look like punks", since hardcore scene members wore basic clothing and short haircuts, in contrast to the "embellished leather jackets and pants" worn in the punk scene.
  In contrast to Morris' and Rollins' views, another punk scholar claims that the standard hardcore punk clothing and styles included torn jeans, leather jackets, spiked armbands and dog collars, mohawk hairstyles, and DIY ornamentation of clothes with studs, painted band names, political statements, and patches. Yet another punk scholar describes the look that was common in the San Francisco hardcore scene as consisting of biker-style leather jackets, chains, studded wristbands, pierced noses and multiple piercings, painted or tattooed statements (e.g. an anarchy symbol) and hairstyles ranging from military-style haircuts dyed black or blonde, to mohawks and shaved heads.
  The Metropolitan Museum of Art in 2013 hosted a comprehensive exhibit, PUNK: Chaos to Couture, that examined the techniques of hardware, distress, and re-purposing in punk fashion.
caption: Japanese punk rock musicians
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