November 2018 1 11 Report

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Suddenly, punk became a set of incendiaries designed for maximum provocation. The T-shirts, mostly tame by modern standards, were angry and whimsical, full of assaults on various logos and images: the Queen of England, naked cowboys, Jesus, swastikas and iron crosses, Snow White. There were detours through bondage gear and schoolboy outfits. McLaren and Ms. Westwood showed that all of history was up for grabs for reinterpretation.

But legibility and consistency was key to that proposition. Because of that, punk was easily brandable and commodified — divorced from its original ideology, sure, but reproducible forever. Almost four decades on, punk has evolved — as a word, as a genre, as a style. In fashion, it’s just another reference to pull from, as valid in its negation of structure as anything that relies on structure. Modern punk, in so much as such a thing still exists, has been ossified in tight T-shirts and shellacked hair; it owes only a little to its forebears.


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