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Towardstheend ofthe1950’ swhen thenumberofTeddyBoyshad startPreppy ,preppi eand prepareallabbreed to dwi ndle,manyofthoserevi ati onsoftheword ‘ preparatory’ . mai ni ng TeddyBoyshad started to Thi srefersto amodern,wi despread adoptbri ghtercolourswi th narcli que,often consi dered asubculr owe r l a p e l s a nd t r ou s e r s . Thi si s ture. theti mewhen I ceBlue,Maroon and BottleGreen drapesui tsbecamepopTheterm ‘ preppy’comesfrom theexularwi th blackvel vettri m wi th 2” pensi veprepschoolsthatupper mi ddleclasschi ldren someti mes lapelsand 14”bottom trousers.Thi s attend.Peoplehavegrown to thi nk parti cularstylewould then setthe thatthi si saveryglamorousculsceneforthereemergenceofthe ture,astheyportraythepreppy TeddyBoysome10yearslateri n 1967 soci algroupsaswelleducated and when thei denti calstylebecame wellconnected,and al though exclureadopted. si ve,courteousto othersoci al groups.

Theusageof‘ preppy’i soften used to descri beafashi on choi ce,asoppose to thepreppyli festyleassoci ated wi th theupperclass.Duri ng the 1990s,preppyfashi on camebacki nto stylewhen desi gnerssuch asRalph Lauren,TommyHi lfi ger,Marc J acobs etc.added thepreppystylei nto thei r collecti ons.New YorkCi tyholds i tselfastheheadquartersforthe mostpreppyclothi ng li nes,i ncludi ng J .Pressand Ralph Lauren,whi ch reflectson thei mpactofEastCoast cul tureon preppyli festyle.Examples ofpreppyatti rei ncludepullover sweaters,chi nos,Madras,button down shi rtsand boatshoes.

Asaresul t,the1970’ sdrapej ackets wereheavi lyi nfluenced bythi sglam rocki magewhi ch had perpetuated 1970’ spopularcul tureand much bri ghtercolourswerethen worn. Thesecoloursi ncluded ScarletRed, RoyalBlue,CanaryYellow and i n somecasesthej acketshad Lurexand Leopard ski n tri mi n placeofvel vet. Generallyhowever,greateruseof vel vethoweverwasworn on both collars,pocketsand cuffs,alli n vel vetofvaryi ng colours.ManyTeds i n theseventi esworeblackdrape j acketswi th red vel vet,however blackvel vetsti llpredomi nated as bei ng thepopulartri m.Theuseof Vandykecuffson DrapeJ ackets becamepopularasopposed to the ori gi nal50’ scufforFrench double cuffofthe1950’ s.Therewasalso a predomi nanceofdrapej acketswi th vel vetrolled collarsand vel vet edged halfmoon pockets.Trousers weregenerallyof14”bottomswi th veryfew who would wearturnups. ManyTeddyBoysi n the1970’ swere weari ng Bootlace( orBolo)ti eswi th thei rsui tsasopposed to ‘ sli mj i m’or ‘ maveri ck’ti esworn i n the1950’ s.

Te ddyboy s .

I n thelate1970’ s,London experi enced amovementunli keanyother, when theyoung generati on started arevoluti on agai nsttheauthori ti es,akaAnarchy .Thi scamepost world war2and si gni fi ed thefrustrati on fel tbytheyoung generati on atthewaythegovernment were layi ng down thelaw.Theyroseto such alevel,thattheybecameglobal i consand even to thi sday ,havea strong i nfluenceon fashi on and li festyle.Theydi smi ssed theModerni sti c vi ew and trashed anythi ng the si gni fi ed theneed fororderand so began thePostModern era.


Subc ul t ur e

Pr e ppy .

Thei rai m wasto “ shockand awe” . Theyli ved and breathed aggressi on and rebelli on.From thei rli festyle to thei rdressstyle,theyembodi ed angerand theyfound thepleasure from pai n.Thei rstylewasastri ct uni form,wherebythei rhai rstylewas the hi rbadgeofmembershi p .The “ mohawk”roseto globalfamei n the early1980’ sand becameatouri stattracti on allon i tsown.Even today , you can seepeople,even young chi ldren wi th watered down versi onsof themohawk.Theori gi nalpunksuti li sed everydayobj ectssuch assafety pi ns,toi letchai ns,razorsand other paraphernali a,to customi sethei r clothi ng.Leatherj ackets,ri pped j eans,torn fi shnetsti ghts,ri pped wi febeaters,and Doc Martenswere theregularstaplesofthepunk streetstyledi et.


subculture descriptions