CTRL+ALT
Done by Khushi Rawat
CAMPAIGN GOALS
To spark a movement that reclaims fashion as a personal, ethical, and community-driven act of self-expression. This campaign challenges the fast fashion cycle by empowering people to embrace DIY fashion, ethical consumption, and a culture of upcycling and repair.
Call to Action
Inviting people to reject mass-produced trends and instead create, customize, and swap clothing in a pop-up event that encourages people to bring old/unused garments and upcycle them.
Disruption
It breaks the cycle of overconsumption by shifting the focus from passive consumerism to active participation in fashion.
Community Building
It fosters a network of makers, artists, and ethical consumers who share skills, ideas, and clothing.
Sparking Discussion
It challenges the mainstream narrative that microtrends are stylish and promotes the development of personal style and individuality.
Shifting identities
Subcultures have historically served as spaces of resistance, offering marginalized groups a means of self-expression and dissent against dominant societal norms. However, the infiltration of capitalist consumerism has systematically eroded their subversive origins, transforming alternative identities into commodified aesthetics devoid of their foundational belief systems.
Not only were subcultures all encompassing movements which could encapsulate your taste in music and dress, your ethos, and even how you spoke and danced, but each choice was loaded with the intentional provocation of mainstream society (Schofield, 2025).
According to Blackman (2007), the concept of subculture at its base is concerned with agency and action belonging to a subset or social group that is distinct from but related to the dominant culture. The word distinct or different from is key to understanding the currency of the term subculture because it suggests something separate and unlike the majority of the population.
The commodification of subcultures— visible in the mainstreaming of punk, goth, and grunge—demonstrates how consumerist structures appropriate and neutralize once-radical movements, reducing them to fleeting fashion trends. We live in a consumerist society and an era of hyperindividualism. Audiences are addressed as ‘consumers’ and they themselves are brands (Farmiloe, 2023).
To reclaim the authenticity of alternative subcultures, there must be a renewed emphasis on community and shared values rather than mere visual identifiers. The rise of DIY fashion, independent art scenes, and ethical consumption represents a pushback against the homogenization of alternative identities. More than just a style, being “alternative” must return to its roots that challenge societal norms rather than being dictated by them.
“Audiences are addressed as ‘consumers’ and they themselves are brands”
(Farmiloe, 2023).
1950s-70s
Subcultures emerge as tight-knit, often radical communities rooted in music, ideology, and style. Beatniks, hippies and punks emerge as responses to the social and economic climate of the era.
1980s-90s
Goth, grunge, and rave scenes develop with strong ties to music and vanti-mainstream values. Subcultures rely on underground venues, record stores, zines, and word-of-mouth to maintain exclusivity.
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Online forums such as MySpace help niche communities connect beyond physical spaces. Emo, scene, and cyberpunk gain traction but remain tied to music-based communities. Brands begin to market alternative styles (Hot Topic, Urban
2010s
Instagram, Tumblr, and TikTok accelerate visual trends, making subcultures more about looks than ideology. “Soft grunge,” “pastel goth,” and “dark academia” appear as aesthetic trends detached from their original countercultural roots.
2020-now
Aesthetic labels dominate (e.g., Cottagecore, Y2K, E-Girl/Boy) with no fixed philosophy or resistance to mainstream culture. TikTok accelerates trend cycles, leading to short-lived, surface-level engagement with subcultures.
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The audience is unified by a desire to resist conformity, promote individualism and ethics, and redefine fashion as a statement rather than a product.
The DIY enthusiast
Age Range: 18-30
Interests and hobbies:
• Thrifting and second-hand fashion
• Sewing, patchwork, and customising clothes
• Ethical and slow fashion advocacy
• Zine-making and independent art projects
• Following underground designers and upcycling influencers
Jung's archetypes:
• Seekers (Explorer Archetype): Individuals searching for meaning outside of mainstream culture—spiritualists, wanderers, and self-discovery enthusiasts.
• Creators (Artist Archetype): Designers, musicians, visual artists, and makers who value originality over conformity.
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Shared values
The Subculture loyalist
20-35
Interests and hobbies:
Deeply involved in punk, goth, rave, or skate culture
Collecting vintage band tees and alternative fashion
Attending underground music shows and warehouse parties
Tattoo culture and body modification
Graffiti art, photography, or experimental
Advocating for subcultural authenticity and identity
Jung's archetypes:
(Outlaw Archetype): Punks, anarchists, anti-capitalists, and those who reject societal norms.
The Ethical consumer
22-40
Interests and hobbies:
Shopping second-hand and supporting small brands
Reading about fashion activism and industry ethics
Participating in clothing swaps
Engaging in political and environmental activism
Jung's archetypes:
(Sage Archetype): Intellectuals, activists, and counterculture theorists who critique mass consumption and fast fashion.
• Change Makers (Hero Archetype): Activists and organizers who fight for ethical labor practices, sustainability, and slow fashion.
• They value authenticity and reject mainstream fashion in favor of niche,
• They use fashion as a form of self-expression and often upcycle, embrace DIY or
• They align with the campaign’s emphasis on sustainability, ethics, and
• They reject the status quo and gravitate toward ethical fashion, secondhand
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Dr. Martens
• Dr Martens stages free events and funds projects featuring up-and-coming musicians and artists, including concerts with British singer-songwriter and poet Arlo Parks and music documentaries from Los Angeles filmmaker Alison Roberto.
• The brand has a consitant stream of limited-edition collaborations to win new customers. Among them are partnerships with fashion names like Raf Simons and Marc Jacobs, and Commes des Garçons (O’Connor, 2021).
Strengths:
• Dr. Martens has cultivated a strong brand identity synonymous with rebellion, individuality, and self-expression, making it a preferred choice for many.
• The brand boasts a robust global presence, with a distribution network spanning over 63 countries, further attesting to its enduring popularity and appeal.
Weakness:
• While Dr. Martens’ reputation and quality justify its pricing, the brand’s products can be relatively expensive compared to some competitors. This price sensitivity may limit the brand’s appeal to certain consumer segments.
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Channel justification
• Aesthetic-driven platform where alternative fashion thrives
• Strong online subcultural communities (e.g., punk, grunge)
• Engages DIY creators, ethical fashion advocates, and indie designers
Content:
• Post behind-the-scenes content, garment-making processes, and upcycling tutorials
• Reels and carousels: Show transformation of clothing from waste to wearable
• Promotional content for the pop-up event
• Partner and collaborate with DIY artists, indie designers, and ethical fashion activists
TikTok
• Strong following of anti-fast-fashion movements (e.g., #NoBuy, #SlowFashion, #ThriftFlip)
• DIY fashion content and microtrends spread rapidly
• Large Gen Z userbase
Content:
• Show unfinished projects, thrift flips, and fashion “hacks”
• Promotional content for the pop-up event
• Launch a #DIYRevolution challenge, encouraging users to customize their own clothes.
Zines and Indie Print Media
• Aligns with punk, goth, and DIY traditions that reject digital oversaturation
• Appeals to anti-capitalist and underground art communities
• A tangible, collectible format that resists fast-consumption culture
Content:
• Zine featuring interviews with independent designers and local small businesses that can be distributed at underground music gigs, thrift shops, and bookstores
• Mini DIY tutorials
Street art and Graffiti
• Evokes the punk spirit of rebellion against consumerism
• Engages people outside of digital spaces
Content:
• Posters with anti-fast-fashion statements in urban areas
• Promotional art for the pop-up event
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Campaign schedule
CTRL+ALT is a three-day community event designed to bring together alternative fashion enthusiasts, DIY creatives, and ethical consumers. This event aims to reignite community-driven fashion, promote upcycling, and challenge mainstream consumerism through interactive workshops, panel discussions, and hands-on customisation sessions.
Venue: [Independent Store, Art Space, or Pop-Up Venue]
Dates: [Friday, Saturday, Sunday]
“A brand built around a specific culture offers a compelling proposition to customers: they can join a tribe simply by buying a product. This dynamic has become more powerful as consumers are more likely to shop with brands that claim to align with their values.” (O’Connor,
2021)
Weeks 1-3: Awareness and Pre-Event Hype
Focus: Campaign Teasers and Community Engagement
• Instagram and TikTok: Posts hinting at the "CTRL+ALT" message (e.g., “CTRL+ Your Wardrobe, ALT+ Your Style”)
• Street Posters and graffitis: Paste posters, distribute zines, and QR codes leading to the campaign’s sign-up page
• Influencer Seeding: Send DIY kits to alternative influencers, indie designers, and upcyclers to showcase their own clothing transformations and promote the event
• Event Sign-Ups Open: Limited slot bookings for workshops, panel talks and customisation booths
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Weeks 4-5: CTRL+ALT launch
Focus: Launching the 3-day event
Day 1: Community Panels and Talks
• Panel discussions: "Fashion as Protest, Subcultures and Identity", “The Rise of DIY vs. The Fall of Fast Fashion”
• Live Styling Session: Creative ways to style staple clothing items to create mixed alternative looks
• Clothes Swap Corner: Trade clothes, no money involved
Day 2: Upcycling and Customization Workshops
• Clothing Repair and Reinvention Booths: Bring old clothes, learn how to upcycle them into something you would wear again
• Punk and Grunge Customisation Station: Patchworking and distressing workbenches with tutorials on the basics
• Tattoo and Graffiti-Inspired Clothing Art: Attendees can try their hand at unconventional techniques such as bleach dyeing and airbrushing
• Live Music: DJs and underground band performances
Day 3: Activism and Digital Takeover
• Panel discussion: "Sustainable fashion and ethical consumption"
• Live Zine-Making and DIY Content Creation Booth
• Graffiti Wall: Attendees can spray paint and leave their messages on fashion as resistance
• Finale Party + Capsule Collection Drop:
Week 6: Post-Event Content & Community Growth
Focus: Keeping the Movement Alive
• Instagram and TikTok Recap: Highlights from workshops, before-and-after clothing transformations
• Feature Attendee Stories: Showcasing personal DIY creations and impact of the event
• Circulating Hashtags: Continue to post short video content on DIY clothing
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Weaknesses
Campaign zine does not contain substantial content related to local
• The campaign might only attract individuals already engaged with alternative fashion and DIY culture rather than introducing new audiences to these ideas. This limits its potential for cultural impact beyond its existing niche.
• The in-person event may be inaccessible to people outside major urban areas, and could exclude interested individuals.
Recommendations:
• If possible, take the event to different locations or host smaller-scale pop-ups in cities with strong alternative fashion communities.
• Interview local artists and businesses for more relevant content for the zine.
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Threats
• Overlap with other sustainability or fashion events might dilute engagement.
• As DIY fashion becomes trendier, there’s a risk of losing its subversive, community-driven ethos.
• Some participants may find it difficult to afford travel, workshop fees, or participation costs.
• Maintaining social media presence post event
Recommendations:
• Establish a Discord server, Reddit community, or online zine where people can continue sharing upcycling projects, swap clothing, and discuss alternative fashion.
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Quantitative metrics
Event attendance and participation:
• Number of attendees across the three-day event
• Number of people participating in each workshop
Social media and digital engagement:
• Hashtag tracking: Engagement with campaign hashtags across Instagram and TikTok
• Content Reach: Views, shares, and interactions on campaign-related content
• Follower Growth: Increase in social media followers before, during, and after the event
These metrics will help us track participation, engagement, and audience growth.
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A small focus group discussion with students in fashion and art provided valuable insights into the perceptions of alternative fashion, DIY culture, and the relevance of community in fashion today.
Participants showed strong interest in DIY and upcycling workshops, even those without a fashion background. Participant C mentioned that awareness is a major barrier— people are interested but don’t know where to start. Participant B shared examples of thriving upcycling communities like the Cairo Vintage Market where people actively engage in sustainable fashion.
Participants expressed a desire to own one-of-a-kind pieces that reflect their personalities. DIY and upcycling are seen as ways to retain sentimental clothing and create exclusive items. There is a growing demand for customisation in contrast to fast fashion’s homogeneity.
"I think a lot of it is drawn from the punk movement, the new Romantics movement, and all of that came about because people wanted to rebel against homogeneity or urbanisation Or Gentrification"
(Participant C, 2025, Appendix)
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Image References
• Fig 1: Rawat, K. (2025) Alt shoot [photograph]
• Fig 2: Pavarotti, R. (2023) Karolina Spakowski [photograph] British Vogue. Available at: https://anneofcarversville.com/fashion/2023/9/27/karolina-spakowski-by-rafael-pavar otti-vogue-uk (Accessed: 16 March 2025).
• Fig 3: Siouxsie Sioux Press Photo (1981) [photograph] Polydor Records. Available at: https://www.popmatters.com/goth-punk-the-great-escapism (Accessed: 16 March 2025).
• Fig 4: kayleighkadaverous (2025) [photograph] Instagram. Available at: https://www.instagram.com/p/DGTcyD3RZeh/?igsh=aXk3bWNsajhld200 (Accessed: 16 March 2025).
• Fig 5: Amplify (2020) Dr. Martens underground [photograph] Available at: https://www.weareamplify.com/news/dr-martens-says-underground-events-are-shifti ng-boots (Accessed: 16 March 2025).
• Fig 6: Kugelberg, J. (n.d.) Punk: An Aesthetic [photograph] Available at: https://www.printmag.com/culturally-related-design/punk-aesthetic-graphic-design/ (Accessed: 16 March 2025).
• Fig 7: Rawat, K. (2024) Good Clothes show panel [photograph]
• Fig 8: Rawat, K. (2025) Alt shoot [photograph]
• Fig 9: Rawat, K. (2024) Good Clothes show [photograph]
• Fig 10: Rawat, K. (2025) Alt shoot [photograph]
• Fig 11: Mercer, M. (n.d.) The Batcave [photograph] Available at: https://faroutmagazine.co.uk/the-batcave-club-london-goth-movement-1980s/ (Accessed: 16 March 2025).
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• Fig 13: Siouxsie Sioux Press Photo (1981) [photograph] Polydor Records. Available at: https://www.popmatters.com/goth-punk-the-great-escapism (Accessed: 16 March 2025).
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• Fig 27: Vlachopoulou, M. (2025) Raw portraits of goth and metal fans [photograph] Available at: https://www.instagram.com/p/DHLq8gIsfsi/?img_index=4&igsh=dTl1b3JwYW81N2M4 (Accessed: 16 March 2025).
• Fig 28: Vlachopoulou, M. (2025) Raw portraits of goth and metal fans [photograph] Available at: https://www.instagram.com/p/DHLq8gIsfsi/?img_index=4&igsh=dTl1b3JwYW81N2M4 (Accessed: 16 March 2025).
• Fig 29: Dr. Martens (2022) Bootfair poster [photograph] Available at: https://www.nts.live/events/dr-martens-bootfair/ (Accessed: 16 March 2025).
• Fig 30: Amplify (2020) Dr. Martens underground [photograph] Available at: https://www.weareamplify.com/news/dr-martens-says-underground-events-are-shifting-b oots (Accessed: 16 March 2025).
• Fig 31: Getty Images (n.d.) Boots in mashpit [photograph] Available at: https://www.bbc.co.uk/news/uk-england-45952572 (Accessed: 16 March 2025).
• Fig 32: Means, B. (2019) Fans gather in the Community Market at the 2019 Vans US Open of Surfing. [photograph] Available at: https://www.girlisnota4letterword.com/blog/vans-us-open-of-surfing-releases-ful-schedul e-of-events (Accessed: 16 March 2025).
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• Fig 34: Means, B. (2019) Fans gather in the Community Market at the 2019 Vans US Open of Surfing. [photograph] Available at: https://www.girlisnota4letterword.com/blog/vans-us-open-of-surfing-releases-ful-schedul e-of-events (Accessed: 16 March 2025).
• Fig 35: Rawat, K. (2025) Instagram post [screenshot]
• Fig 36: Rawat, K. (2025) Instagram post [screenshot]
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• Fig 39: Kugelberg, J. (n.d.) Punk: An Aesthetic [photograph] Available at: https://www.printmag.com/culturally-related-design/punk-aesthetic-graphic-design/ (Accessed: 16 March 2025).
• Fig 40: Rawat, K. (2024) Good Clothes show panel [photograph]
• Fig 41: Rawat, K. (2024) Good Clothes show [photograph]
• Fig 42: Pinspiration (n.d.) Crafting Workshops [photograph] Available at: https://www.pinspiration.com/classes/ (Accessed: 16 March 2025).
• Fig 43: Rawat, K. (2024) Zine making [photograph]
• Fig 44: Rawat, K. (2024) Zine making at Carousel [photograph]
• Fig 45-48: Rawat, K. (2024) Alt shoot [photograph]
• Fig 49: Rawat, K. (2025) Instagram metrics [screenshot]
• Fig 50: Rawat, K. (2025) TikTok metrics [screenshot]
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• Fig 52: Rawat, K. (2024) Good Clothes show [photograph]
• Fig STEPIC:
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• Vidal, J. (2007) ‘Waste and pollution’, The Guardian, 17 August. Available at: https://www.theguardian.com/environment/2007/aug/17/waste.pollution (Accessed: 16 March 2025).
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