SKINS
Figure 1.
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Figure 2: THE Streets of England, 1960.
SKINHEADS: FIRST WAVE A Gritty Account
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A discussion and debate surrounding the impact of the ‘first wave’ of the Skinhead movement, on menswear fashion during 20th century Britain. (2997 Words) Abbie Franks
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CONTENTS Introduction Methodology From Mods to Hard Mods
6 7 8
Literature Review Chapter 1: The Brawl 1.1: Boots 1.2: Peanut Head 1.3: Key Uniform Pieces 1.4: Analysis
10 12 14 16 18
Chapter 2: Football 2.1: football kit 2.2: Analysis
20 22 24
Chapter 3: Music 3:1: Influence of Ska 3.2: Analysis
26 28 32
Chapter 4: Conclusion
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Appendices: 1: Second Wave 2: Subcultures 3: 2-Tone
36 38 40
References Figures
42 45
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Figure 3
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Figure 4: SCOTTISH SKIN
INTRODUCTION Bootboys. Smooths. Suede Heads. Skinheads. These titles refer to the youths who were involved in a British, organic social movement that first emerged throughout the late 1960s (Clarke, 2000). Skinheads are an interesting British cult to explore, as the mostly male camaraderie had a significant amount to say in a “no job, no money, no future Britain” (O’Hagan, 2014). Through the exploration of Skinhead interests such as: violence, football, and music, this critical appraisal seeks to discuss and debate the impact of these interests and values on solely menswear fashion throughout the century. Along with this, although the movement appeared in the UK in two waves, between the late 60s and the mid 80s (Geoghegan, 2007), for the purpose of this appraisal, only the ‘first wave’ will be discussed in detail. See Appendix 1 for more details on the ‘second wave’.
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METHODOLOGY In order to gain a sound understanding of the impacts that Skinhead culture had on fashion throughout the 20th century, a number of sources will be referred to. Documentaries that include opinions and views of real Skinheads from the 1960s will be referenced, as these provide an authentic interpretation of the movement, and what fashion meant to Skinheads. Skott-Myhre (2008) explains that there is an exceedingly contentious question of who can speak on behalf of youth subcultures, and this question has influenced the complexity of this writing. SkottMyhre believes that the positioning of skinheads through traditional academic disciplines such as sociology and psychology, arguably produce texts that merely portray youth subcultural behavior within academic frameworks relating to politics and ideologies. Marshall (1994: 5), in his Spirit of 69: A Skinhead Bible, states that the book was not written to “impress some twat of a Sociology professor”, but instead to “put the record straight about the Skinhead cult”, and to give the “Skinheads themselves a written history of the cult”. He expresses that he is not an expert, but instead a Skinhead that provides a truthful account of the subculture. Such writing is essential for this critical appraisal, as it suggests that not all texts surrounding the Skinhead subculture are credible. For the purpose of this writing, although Skott-Myhre (2008) believes that some academic writing forces subcultural behaviours into academic frameworks, one believes it is still necessary to compliment the opinions and experiences of real Skinheads with academic literature; this academic literature will not only describe the subculture, but also critique it. The research will be sourced from books, journals and peer-reviewed online sources. By combining these methods of research, it will create a deep, reliable analysis of Skinhead’s impact on menswear fashion.
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From Mods to Hard Mods
Figure 5: UK MODS.
During 1968, Skinheads first emerged as a formalised style and cult, developing from the Mod style that dominated parts of England throughout the 1960s (Arnold, 2011). Throughout this year, the Mod’s commercial style had been merged into the “glossy image of Carnaby Street” (Clarke, 2000: 8), and “splinter groups emerged within the Mod ranks” (Roach, 2015: 20). Large numbers of Mods were college and university educated, meaning that they were being influenced to new sounds and sights across the country; left over from these Mods were what Marshall (1994: 9) describes as the ‘hard Mods’ or ‘gang Mods’, soon to become the Skinheads.
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Figure 6: YOUNG SKINS.
Figure 7: WHITE SHIRTS, BRACES & JEANS
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Chapter 1: The Brawl
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Figure 8: Skinhead bomber jackets
Figure 9: Braces and shirts.
Coming of age in a time where violence was the normality within schools and at home, groups of children growing up on council estates developed a vicious, cocky and brutal attitude that enabled them to terrorise whoever did not adhere to their bold and British style (Arnold, 2011). By the end of the 1960s, a certain uniform had developed for the Skinhead tribe; this uniform aided gang fights that took place, making it hard for Police to distinguish between single Skinheads in a large crowd brawl (Roach, 2015). Social theorist, Georg Simmel (quoted in Sarabia and Shriver, 2004: 41), believes that an individual derives fulfillment from knowing that style adopted by himself represents something superior and striking, while at the same time “he feels inwardly supported by a set of persons who are striving for the same thing�. This applies to the Skinhead movement, as clothing was chosen to provide a feeling of worth and inclusion, suggesting that the movement and values behind the movement, impacted significantly on the youth fashions of the time. The Union Jack was an important symbol for Skinheads to feel this sense of inclusion and pride, as this made them feel English, working-class, and proud of everything that the Government at the time rejected (Howler, 2016).
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Figure 10: Black dr. martens boots, with rolled up jeans.
Figure 11: Levis & Dr. Martens
Chapter 1.1 DR. MArtens Extensive literature surrounds the importance of boots as an element of the Skinhead uniform, along with the negative connotations which they often carried (Nytimes.com, 1993). Original studded army boots with steel toe caps were eventually substituted by the majority for Dr. Martens, “in popular colours of cherry red and black” (Marshall, 1994: 167). Johnathan Freedham, owner of Brutus, explains that Dr. Martens were what any aspiring young Skinhead wanted and needed in their wardrobe, as these completed an outfit. He states that they “had a feel to them which made you feel that bit taller and that bit tougher – and that’s what the movement was all about” (quoted in Roach, 2015: 22). Here it can be argued that wearing Dr. Martens boots provided members of the
Skinhead movement with a sense of belonging, as they added “threat and menace” to an outfit, and facilitated fights (Arnold, 2011: 42). These boots, along with the shared desire to cause disorder, were a key element to the Skinhead movement. Along with the style of boot which was worn, the customisation and colour of the laces on the boots also played a large part in defining who the Skinheads were, what they stood for, and where they came from (Roach, 2015). “Looking after the boots was important because the boots looked after you” (The Story of Skinhead with Don Letts, 2016), and many Skinheads opted to repairing their own boots with a technique called ‘hot-knifing’, showing that these boots were worn in but cherished by Skins (Roach, 2015: 24).
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“It’s as if shaving your head and lacing up a pair of Dr. Martens turns you into some sort of dangerous alien life form” (ROACH, 14. 2015: 20)
Chapter 1.2 peanut heads The violent behavior, and blatant masculinity of Skinheads has also been argued to have had an impact on the haircuts of the time. Skins were easily recognisable by their shaven heads, which varied from a number four on a barber’s razor to a number one, the shortest (Moore, 1993); Again these haircuts made the youths less easy to grab during a fight, and harder to find in a crowd.
Figure 12: shaven head and tribe tattoos.
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Chapter 1.3 uniform
Figure 13: SKIN CAUSING 16.MENACE.
Figure 14: comparison of skin style with hippies.
The remaining fundamental components of the Skinhead uniform, that made them difficult to find in a crowd, and gave them a sense of belonging, included: A Brutus or Ben Sherman Shirt – usually Tartan or plain, Sta-Prest Levi’s trousers of 501 Levi’s jeans, and a pair of braces (Marshall, 1994: 172).
Appearing in numerous fights meant that a Skin’s uniform had to be functional, and this meant that a youthful image of working clothes was created (Moore, 1993). Jeans and trousers were often rolled up, to boast the heavy, threating boots, and braces were worn for function, not for style, as they held trousers up higher than the usual individual would wear them (Clarke, 2000). Wearing all of these items created an overall look that was instantly recognisable, and this suggests that the desired toughness of the skinhead movement was found by wearing certain clothing. The impact that fighting had on Skinhead fashions was obvious, as unlike Mods who dressed a particular way purely for fashion and smartness, Skinheads dressed for violence, and wore clothing that allowed them to fight (Moore, 1993).
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Chapter 1.4 ANALYSIS Throughout this chapter the impact of fighting, on Skinhead menswear fashion has been evident. Although it is notable that Skinhead style created an overall aesthetic that was a reconstruction of a working-class image, and was “essentially a defensive response” (Hall and Jefferson, 1976: 160), it is interesting to note that this can still be argued as unauthentic. Shriver and Daniel (2004) argue that Skinhead clothing can be expensive, which seems quite the opposite to the ‘working-class’ ideals that Skinheads champion. Opposing to this, real Skinhead Marshall (1994: 167) states that “any prick with money can look the part, but its where your heart is that really counts”. This shows that a “nostalgic, and largely imagined” (Arnold, 2011: 42), working-class Britishness was not only created through clothing, but also lifestyle and mindset. Agreeing with this, Hall and Jefferson (1976: 152) argue that a subculture’s reaction against other subcultural groups is not solely apparent in the symbolic elements of style and clothing. They argue that a Skinheads reaction against other tribes is not only based on opposing hair styles and clothing, but instead their “defence of community”, which is portrayed through their physical and violent actions. These violent actions have been analysed throughout this chapter, and combined with key uniform pieces, they create an overall ‘style’ for the Skinhead subculture.
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Figure 15: Overall skin aesthetic.
working-class Britishness was not only created through clothing, but also lifestyle and mindset.
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Figure 16: crombie coat and polo shirt.
Chapter 2: FOOTBALL
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Figure17: skins and football scarves.
Skinheads’ passion for football is interesting to briefly discuss, as attending football games helped to circulate Skinhead fashion across the terraces of football stadiums (Spaaij, 2006). Jack Slinger – original Shipley Skin – observed that Skinhead fashion moved up to the North of England because males moved up from London, and dressed that way; He then stated that football fans started dressing like these Skinheads from the south of England (The Story of Skinhead with Don Letts, 2016). Furthermore, their interest in football is undeniably linked with their desire to cause chaos, as much fighting “occurred mostly at or around football matches” (UAL Research Online, 2013). Although this means that much of the clothing worn to football matches was directly impacted by their desire to fight and cause menace, it is questionable to what extent Skinheads should be directly associated with violence against rival supporters. It is useful to note
here, that although authors such as Brake (1985), and Spaaij (2006) and journalists such as Geoghegan (2007), state that Skinheads were highly involved with football hooliganism, it is often insightful to hear views from real Skinheads to add to this level of argument. Tilbury Trojan Skins in Howler (2013), Beneath the Skin Documentary, state that Skins were described as “savages who shame football”, however “everywhere you went there was a fight at football, not just Skinheads”. Such quote argues that literature, although evidentially true, can often be exaggerated. On the contrary, disregarding the extent to which Skinheads were involved in violence on the terraces, it is undeniable that with supporters as young as twelve and thirteen, were introduced to Skinhead ideologies and fashions, and this meant that football weaved the tough, powerful style through to young teenagers (King, 2000).
football weaved the tough, powerful style through to young Teenagers
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Figure18: skin group WITH POLICE.
Chapter 2.1 FOOTBALL kit Skinheads demonstrated a strong connection with colours and symbols, and many of their statement fashion pieces were often linked with the colours of their chosen football teams (Daniel and Shriver, 2004). A statement piece of the Skinhead uniform, was a Fred Perry polo, which moved from a fourbutton polo, to a three, then eventually a twobutton (Marshall, 1994). Such polo’s are well known for having tipped collars and sleeves that boast colours of British football teams, and wearing them made it easy for Skins to identify who supported what team (Flynn, 2014). It is interesting to note here that Fred Perry has a clear link with Skinhead heritage and the violent activities that occurred during football matches, thus suggesting that the Skinhead movement had a direct impact on not only 22. fashion, but also fashion brand like Fred Perry. The
connection with Skinhead culture, and the late 1970s extremist Skinhead views, have consequently forced the brand to broaden its appeal (Hewitt, 2013). To compliment the Fred Perry polo, specific outerwear was also worn by Skinheads at football matches. Tartan-lined Harrington jackets, and Crombie jackets, some with football team crests, were adopted by football supporters (The Story of Skinhead with Donn Letts, 2016), and these were paired with football scarves, again in supporting colours (Marshall, 1994: 170). Wearing the aforementioned uniform not only reinforces a chosen team, but it also creates and supports a meaningful identity that again allowed Skinheads to feel part of a tribe (Clarke, 2000).
Figure19: crombie coat, fred perry and braces.
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Chapter 2.2 ANALYSIS It is interesting to briefly discuss here, that although Skinheads were seen to wear football scarves, colours and badges, it is debatable to what extent these elements were exclusively sported by Skinheads. These elements are documented by a real Skinhead in Marshall’s (1994) Spirit of 69: A Skinhead Bible, however they are often circulated within other subcultures – such as Football Casuals (Thornton, 2003). Bypassing the exclusivity of these articles of clothing, the direct link to Skinhead fashion is still apparent, as Fred Perry CEO John Flynn explains that the reason that the Fred Perry shirt became so popular was primarily based on the football colours, which were extremely popular within Skinhead fashion (Flynn, 2014). Overall, the style, and whatever specific elements aided to its final aesthetic “projected selfdeclared toughness, maleness, and working class roots” (Howler, 2013), that Skinhead’s interest in football did not just influence, but also aided the circulation of. From football, the Skinhead working-class philosophy found a home in northern England.
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Figure 20: young skin aesthetic.
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Figure 21: The specials, SKA BAND.
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Chapter 3: MUSIC De La Haye and Dingwall (1996: 1) believe that “music, rather than art, politics or literature was the primary fuel for post-war subculture”. This can be seen through the original Skinhead movement of the late 1960s as its origins lie deep within fashion and music, creating a “multicultural synthesis” between British and Jamaican youths (Brown, 2004: 157). Although Skinhead style was spread throughout the all-white terraces of football matches, it was “consorted with West Indians at the local youth clubs and on street corners”, as white Skinheads adopting the mannerisms, style and music of the Jamaican ‘rudeboy’ culture (Hebdige, 1979: 56). Stolzoff (2000: 81) refers to the term ‘rude boy’ as “the anarchic and revolutionary youth of the poorest classes and the young political ‘goons’”. He follows on by expressing that the rude boy movement began during 1961, however it blossomed in 1964 where it grew as a distinct force among the jobless, male youths of Kingston. The rise of the rude boy culture is therefore crucial to discuss, as during this time, the links between the ‘hard mods’ and rude boys were drawn tighter by Skinheads, and the style and fashions of the Skinhead subculture were heavily influenced by that of rude boys (see Hall and Jefferson, 1976 and Stratton, 2014). This chapter focusses on how this appreciation for black culture and music played a crucial role in the overall aesthetic and ethos of the Skinhead subculture throughout the 20th century.
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Figure 22: black and white skins wearing checkered ben shermans.
Chapter 3.1 SKA As American soul music, and Jamaican ska had stood the centre of the Mod subculture, the Skinheads developed the connection further, adopting direct elements of the West Indian style as their own (Brown, 2004).
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During the first wave of immigration, young Jamaican immigrants prided themselves on the smart, clean look of the rude boy culture, which fit suitably into the hard, yet smart, look of the Skinheads. Hebdige (1979), observes that the uniform that was composed within the black and white worlds, symbolised aesthetic themes that were mutual to both. With this influence of Soul and Jamaican Ska, reggae and ska dancehalls saw West Indian ska-lovers, and white Skinheads dance together and mix freely and happily; it is within these dancehalls that fashion and style was shared (Roach, 2015).
Figure 23: Crombie coat, jeans and dr. martens.
The Crombie coat that was adopted by Skinheads, was inspired directly by the long coats that were worn by a number of West Indians; this coat then became a popular article of the Skinhead uniform for those attending midnight dances, rather than football matches (Hall and Jefferson, 1976).
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Figure 24: The Special wearing po pie hats
Pork pie hats were another piece of the Skinhead aesthetic that was borrowed from the rude boy look, along with loafer shoes that were made popular due to the rise of 2-Tone (Marshall, 1994) (see Appendix 3 for more information on 2-Tone). Borrowing these specific items from their working-class, West Indian neighbors (Abbotts, 1994), displays how music played a vital role in the Skinhead movement and style, and is therefore evidence of how such music had a direct impact on Skinhead menswear fashion of the 20th century. Laughey (2006: 1) explains that music and youth often have a distinctive relationship with each other, and that music “retains a social and cultural force of identification and presentation in nearly all young people’s lives”. It is subsequently arguable that the overall aesthetic of
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Skinhead fashion, particularly nightwear fashion, would therefore not have been as it was without the influence of Ska and Jamaican reggae music. This desire to be mixed with black culture is expressed in this example of Noel Green – who was born in London during 1958. His father explains: “As a young child he wanted to be called an Englishman. But now [in 1969] he considers himself as a West Indian and a black person” (quoted in Hall and Jefferson 1976: 127). As this quote describes a real Skinhead, it is clear to see how finding a common voice in Two Tone music created a cross-cultural identity that was had a direct impact on the Skinhead menswear fashion. Following on from this example, the impact of ska on the British singles chart can also be linked back to the importance of music on the Skinhead subculture, because as the subculture dispersed, so did the presence of ska music on the charts (Stratton, 2014).
ls ork
RUDEBOY Figure 25: popular loafer shoes and harrington jacket.
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Chapter 3.2 ANALYSIS Overall, it is interesting to discuss that although elements of Skinhead fashion were directly adopted from and circulated through black culture, it is still argued whether or not the link between two societies was genuine. It is clear that these two worlds were united, as it was not uncommon for West Indians to shave their heads, and it was not uncommon for Jamaican rude boys’ suits to be worn by white Skinheads on the evening either (see Brown, 2004 and Roach, 2015). Despite this, Hall and Jefferson (1976: 125) still believe that the spontaneous shift towards cultural integration seemed rather artificial, and was “just a bit too contrived to be convincing”. After considering this, it should again be noted that who can speak on behalf of the youth subculture is highly debatable; whether the integration of cultures was convincing or not, it is undeniable that Skinhead fashion and lifestyle was intrinsically linked to music, and that their “lifestyle needed a soundtrack and the soundtrack needed a look” (Roach, 2015: 26).
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Figure 26: THE SPECIALS: 33. black and white skins sharing the same style.
Figure 27: Matching tattoos.
Chapter 4: CONCLUSION Throughout this critical appraisal, and the discussion and analysis of three key interests of Skinheads, it is has become apparent that youth were trying to find a voice in Britain, and this voice and identity was found through clothing and music. Geoghegan (2007) believes that the Skinhead subculture overall provided some of the “most powerful youth imagery in the UK”, which is still analysed and discussed in 21st century literature. As a whole, it is clear that the Skinhead fashion was powerful, and easily identifiable, which demonstrates its direct impact on menswear fashion throughout the 20th century. As musician Mike Skinner states, they were the “last genuinely misunderstood postwar subculture, but the first to actually influence the sound of British black music, now still influencing kids today with what to listen to and wear” (Skinner, 2016).
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Appendix 1. second wave of skins The Skinhead movement had developed in Britain at a time of racial tension (Arnold, 2011), however despite this, a number of traditional Skins believe that the tribe were actually “uniting blacks and whites together” (Belinky, 2016), especially through 2-Tone bands such as The Specials and Madness (Howler, 2013). The ‘second wave’ of the Skinhead movement refers to revival of the subculture more so after the 1970s, around the time of Punk (Stratton, 2014). During the second wave, extremist and racist connotations began to become associated with the Skinhead culture, influencing how we see the workingclass youth subculture today (Sarabia and Shriver, 2004: 41). These new Skins arrived and often clashed with punks and other youth subcultures, often generating striking newspaper headlines for the media to sell (Roach, 2015). It is here that a number of arguments surrounding Skinheads have become manipulated and exaggerated by journalists (see Belinky, 2016, Roach, 2015 and Howler, 2013). Taking this into account, it is difficult to assume that all literature, media and opinions of real Skins surrounding the topic are truthful interpretations. For the purpose of this text, despite the arguments for and against neo-Nazism, it is clear that these beliefs caused the Skinhead movement to develop, and this was shown through fashion. Cooter (2006: 145) explains that members of the neo-Nazi movement “traditionally presented themselves in a blatant, intimidating fashion replete with tattoos, Nazi symbology, and startling imagery”. Conforming to this, O’Hagan (2014) and Shriver and Daniel (2004) explain that this wave of Skinheads embraced extreme nationalism, practicing Nazi salutes, being covered in tattoos and wearing swastika t-shirts. Overall, this second wave of the Skinhead movement is important to discuss, as today it is argued that images of Skinheads portray the ideology of racist neoNazis (Cosgrove, 2016). In order to conflict against the views of those racist neo-Nazis, nonracist Skinheads of the second movement then also partook in wearing their own symbolic elements of fashion such as the crossed out swastika (Shriver and Daniel, 2004). This conflict in fashions and views still poses a problem for wearers of the Skinhead fashion today, as they can face discrimination solely on their choice of clothing and shaved head (The Story of Skinhead with Don Letts, 2016).
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Figure 28: bleached levi’s and cargo 37. pants.
Appendix 2. insight into subcultu
Figure 29: Skns with the police.
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In order to gain a deeper understanding into the Skinhead tribe, it is useful to briefly gain a further insight into subcultures, and the styles of subcultures. Being a member of a subcultural group often means that the ideas and lifestyle of that member oppose, or differ to those of the dominant culture (De La Haye and Dingwall, 1996). Contemporary theories of youth culture, predominantly within Britain, have often been influenced by thoughts of Marxist (Brake, 1985).
Marx (1970) grounds a theory of class struggle, by explaining that the class which is “ruling force in society is at the same time ruling intellectual force� (Marx and Engels, 1970: 39). Cohen (1980) also states that subcultures such as the Mods, were an attempt to appreciate the socially mobile prosperous worker style, through music and clothing. Cohen goes on to observe that Skinheads represented a systematic reversal of Mods, as Mods found
ures
Figure 30: Crombie and union jack
themselves becoming institutionalised, and Skinheads instead became uninterested in revolutionary advancement (Clarke, 2000). With these theories surrounding class and economics in mind, a number of subcultures have therefore been said to have arisen due to rates of employment and increased levels of youth affluence (Clarke, 2000). This suggests that working-class subcultures could
not have appeared without a “real economic base� (Hall and Jefferson, 1976: 42). Due to this, the changing social landscape with the young consequently gave working-class youth the confidence to adopt styles which were different to their parents, and created a style which became central to their subcultural identity (De La Haye and Dingwall, 1996: 1).
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Appendix 2. 2-tone genre Brown (2004) believes that Reggae artists and labels guided white Skinheads through their songs and albums, and this resulted in a genre called ‘Skinhead reggae’. This knowledge and love for Jamaican music became a test for authenticity for Skins, and created a dialogue between British youths and black immigrants centered around music (Hebdige, 2979). 2-Tone refers to a ska-led genre of music – “a precursor to reggae” (Brown, 2004: 158) – that’s name arose from the record label ‘2 Tone Records’ – founded by Jerry Dammers (Thompson, 2004). The Jamaican sounds of Ska were centered around the 2-Tone label and bands such as Madness and The Specials (Brown, 2004). These multiracial bands enabled black and white youths to find a common voice, and created a hybrid cultural identity for Skinheads (Stratton, 2014).
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Figure 31: 2-tone
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FIGURES Figure 1: Billing, L. (2015). Skinhead Cover. [image] Available at: https://www.buzzfeed.com/lynzybilling/grittypictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016]. Figure 2: Sadler, V. (2014). Streets of the UK. [image] Available at: http://www.huffingtonpost.co.uk/victoriasadler/science-museum_b_6391080.html [Accessed 11 Dec. 2016]. Figure 3 & 4: Billing, L. (2015). Gritty Skinheads. [image] Available at: https://www.buzzfeed.com/lynzybilling/grittypictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016]. Figure 5: Theblondsalad.com. (2016) UK Mods. [image] Avaialble at: http://www.theblondesalad.com/wpcontent/uploads/2016/01/on-the-set-of-quadrophenia-70s-style-and-design.jpg [Accessed 9 Dec. 2016]. Figure 6: Pinterest. (2016) Young Skins. [image] Available at: https://uk.pinterest.com/pin/539446861601088980/ [Accessed 9 Dec. 2016]. Figure 7: Pinterest. (2016) Braces, White Shirts and Jeans. [image] Available at: https://uk.pinterest.com/ pin/539446861601088882/ [Accessed 9 Dec. 2016]. Figure 8, 9 & 10: Billing, L. (2015). Skinheads Brawl. [image] Available at: https://www.buzzfeed.com/lynzybilling/grittypictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016]. Figure 11: Abarca, J. (2014). Jeans & Dr. Martens. [image] Available at: https://www.buzzfeed.com/justinabarca/ things-you-didnt-know-about-dr-martens [Accessed 9 Dec. 2016]. Figure 12: Billing, L. (2015). Shaved Head. [image] Available at: https://www.buzzfeed.com/lynzybilling/grittypictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016]. Figure 13: Pinterest, (2015). Skinhead Causing Menace. [image] Available at: https://uk.pinterest.com/ pin/467178161328549708/ [Accessed 9 Dec. 2016]. Figure 14: Pinterest, (2016). Skinhead Style in Comparison to Hippies. [image] Available at: https://uk.pinterest. com/pin/539446861601088906/ [Accessed 9 Dec. 2016].
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Figure 15: Pinterest. (2010) Overall Skinhead Aesthetic. [image] Available at: https://uk.pinterest.com/ pin/539446861600820950/ [Accessed 9 Dec. 2016]. Figure 16: Billing, L. (2015). Crombie Coat and Polo Shirt. [image] Available at: https://www.buzzfeed.com/ lynzybilling/gritty-pictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016]. Figure 17: Pinterest. (2016) Football Scarves [image] Available at: https://uk.pinterest.com/ pin/539446861601089746/ [Accessed 9 Dec. 2016]. Figure 18: Hoffman, D. (2016) Skins with Police. [image] Available at: http://hoffman.photoshelter.com/image/ I0000S8WJGSJQErA [Accessed 9 Dec. 2016]. Figure 19: Brumfitt, S. (2015) Crombie Coat, Fred Perry and Braces. [image] Available at: http://www. mensfashionmagazine.com/fashion-trend-skinhead-style [Accessed 9 Dec. 2016]. Figure 20: Pinterest, (2010) Young Skin Aesthetic. [image] Available at: https://uk.pinterest.com/ pin/539446861601088901/ [Accessed 9 Dec. 2016]. Figure 21: Hitthefloor.com (2016) The Specials, Ska Band. [image] Available at: http://www.hitthefloor.com/ reviews/specials-roundhouse-camden-151114-live-review/attachment/the-specials-2/ [Accessed 9 Dec. 2016]. Figure 22: Crunchyroll.com (2015) Black and White Skinheads in Checkered Ben Shermans. [image] Available at: http://www.crunchyroll.com/forumtopic-901499/if-you-were-to-describe-yourself-using-3pictures?pg=1 [Accessed 9 Dec. 2016]. Figure 23: Subcultz.com. (2012) Crombie Coat. [image] Available at: http://www.subcultz.com/2012/09/jack-thelad-a-skinhead-biography-soho/ [Accessed 9 Dec. 2016]. Figure 24: Davis, J. (2009) The Specials Wearing Pork Pie Hats. [image] Available at: http://www.popmatters.com/ feature/111664-the-ska-will-go-on/ [Accessed 9 Dec. 2016]. Figure 25: Pinterest. (2016) Popular Loafers and Harrington Jacket. [image] Available at: https://uk.pinterest.com/ pin/539446861601087951/ [Accessed 9 Dec. 2016]. Figure 26: Pinterest. (2016) The Specials. [image] Available at: https://uk.pinterest.com/ pin/291115563391909878/ [Accessed 9 Dec. 2016]. Figure 27: Billing, L. (2015). Matching Tattoos. [image] Available at: https://www.buzzfeed.com/lynzybilling/grittypictures-of-britains-skinheads-from-the-1980s?utm_term=.vp1Pe6PjX#.dkoEYNE9w [Accessed 9 Dec. 2016].
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Figure 28: O’Hagan, S. (2014) Bleached Levis and Cargo Pants. [image] Available at: https://www.theguardian.com/ artanddesign/2014/aug/19/skinheads-derek-ridgers-portraits-street-photography-70s-80s-youth-culture [Accessed 9 Dec. 2016]. Figure 29: Alder-versand.com. (2016) Skins and the Police. [image] Available at: http://adler-versand.com/shop/ images/policeandskinheads.jpg [Accessed 9 Dec. 2016]. Figure 30: Pinterest. (2016) Crombie Coat & Union Jack. [image] Available at: https://uk.pinterest.com/ pin/539446861601089844/ [Accessed 9 Dec. 2016]. Figure 31: Fanshare.com. (2016) 2-Tone. [image] Available at: http://www.fansshare.com/gallery/photos/11572960/ tone-ska-man-rude-boy/?displaying [Accessed 9 Dec. 2016].
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AF 48.