Moda Madison November 2018 Issue

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LETTER FROM THE EDITOR

T N E R E F A

F I D

DEFINITION

A dictionary search identifies a punk as a worthless person. The thesaurus says a hoodlum, gangster or criminal. But we have a problem with that definition. Punk has a rich history that continues to evolve into our generation. Being a movement that continues to influence young people’s style and culture, we want to show more of the punk story—its history, its reach and its modern effect on our everyday lives.

Where many of our issue themes are abstract and can be up for interpretation, we challenged ourselves this month to hone in on a more specific topic. Despite this, our staff had no trouble brainstorming and latching onto content. This issue is a blend of research, personal experience and opinion; we see punk in different arenas and parts of the world. Its essence can be traced to bands from the UK to Japan, in art revolutions like Dada and in every pair of Doc Martens that tromp down State Street. As a subculture, it is progressive,

liberatory, community-oriented and encourages doing things your own way.

To wrap it up, I’d like to acknowledge the badass 1979 Pontiac Trans Am used in the fashion spread.

My dad has been sporting that ride since he was 15, and to this day, my parents remind me to challenge the rules—that sometimes it’s good to be a little bad.

I hope this issue’s tone of resilience and critical edge leaves you inspired and a little more knowledgeable about the punk identity and ways it has influenced your life—whether you knew it or not. And if by chance someone calls you a punk, definitely take it as a compliment.

Punk on,

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TEAM EDITOR IN CHIEF Eva-Delilah Wieland DEPUTY EDITOR Cassie Hurwitz ART DIRECTOR Lauren Chung WUD PRESIDENT Mills Botham WUD PUBLICATIONS COMMITTEE DIRECTOR Fernanda Martinez Rodriguez WUD PUBLICATIONS COMMITTEE ADVISOR Jen Farley CREATIVE ASSOCIATE DIRECTOR Sadeq Hashemi ON THE COVER Rhys Koch by Max Goldberg SPECIAL THANKS TO August 414 State Street Madison, WI 53703

ASSOCIATE ART DIRECTOR Ellie Braun ART CURATOR Channing Smith PHOTOGRAPHY DIR ECTOR Ella Guo CREATIVE DIRECTORS Geordon Wollner Reilly Koch FASHION EDITOR Brooke Komas LIFESTYLE EDITOR Molly Rapozo CULTURE EDITOR Haidee Chu

CONTRIBUTING WRITERS Eden Breslow Isabel Calvert Raye Pernsteiner Saya Inoue MODELS Difei Xu Eliel Herrera Madeline Rassmussen Madison Foster Rhys Koch

ARTS EDITOR Naomi Gallagher

ART Channing Smith Nicole Shields

SOCIAL MEDIA AND MARKETING LIAISON Lindsey Young

PHOTOGRAPHY Max Goldberg Saya Inque

FINANCIAL MANAGER Maggie Brennan

HAIR & MAKEUP Olivia Stack

WEBMASTER Anna Soboleva EVENT COORDINATOR Ashleigh Perry

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STAFF WRITERS Gloria Requena Isabella Byrne Kasey Busiel Katie Herrick Madeline Rasmussen Marin Smith Martha Daniels Samaaya Jayamaha

TABLE OF CONTENTS NOVEMBER 2018

FASHION

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DRESSED FOR CHANGE

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MOTHER PUNKER

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DR. MARTENS: FROM FUNCTION TO FASHION

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CHAOS TO COUTURE

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Rebellious moments in women’s fashion

A history of punk in fashion

The icon’s humble beginnings through its influence today

The 2013 Met Gala’s exhibition of punk in high fashion

CONCERTS: A HIDDEN RUNWAY The 2013 met gala’s exhibition of punk in high fashion

LIFESTYLE

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PUNK: A RETROSPECTIVE

A history and a debunking of myths

MORE “BRO” THAN BRIDGET JONES

A new wave of female singletons are dating like dudes

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SELL-OUT

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NOSTALGIA FOR AN UNKOWN ERA

Influencers, and where the influence comes from

ARTS

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AESTHETIC REVOLUTIONALIZED

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DADAISTS: THE ORIGINAL PUNKS

The historical and political origins of punk visual art

The original punks

CHAI Japan’s New Girl Group and Redefining Kawaii

CULTURE

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TO ME, THAT’S PUNK ROCK

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SEKAI NO OWARI

Drummer of Fugazi reminisces on his early days in the American punk rock scene

A Japanese band that uses punk to strike a chord

FEATURED

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REBEL GIRL

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THE BOYS’ ROOM

Tough looks inspired by punk fashion

Pretty in punk

Is going back in time really what you want?

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P UN K

LIFESTYLE

A R ETR OSP EC TIV E

RAYE PERNSTEINER, CONTRIBUTING WRITER ILLUSTRATED BY CHANNING SMITH, ART CURATOR

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When thinking of the punk movement, some picture delinquent teens with mohawks, tattoos and piercings, along with mischief and rebellion.

Although this is sometimes an exaggerated perception, they are not completely wrong.

Rising in both the United States and the United Kingdom, the punk movement formed in the 1970s following a new genre of rock bands like The Ramones, The Clash and Sex Pistols. The music that these bands produced shocked many, not only because it was loud and aggressive, but also due to its political, antiestablishment lyrics.

would dress as the opposite gender.

They believed that genders should not have to conform to social norms and hoped to blur the lines between femininity and masculinity—which were very progressive ideas for the 1970s.

Furthermore, the punk movement was a way for women to be seen and have their voices heard. Singer and guitarist Chrissie Hynde of The Pretenders stated that, in her experience, there was no sexual discrimination or double standard between men and women in the punk scene.3

Although the sound was slightly different and was influenced by the pop genre, these bands still believed in rebellion and spreading messages about important social and political issues. This can be seen in songs such as Blink-182’s “Anthem Part Two,” which contains lyrics that bash American politics and imply that it is a corrupt system.

When looking at today’s youth, punk’s influence still exists. Although punk music is not as mainstream as other genres of music, the rise of fashion trends such as ripped jeans and leather jackets are certainly a call back to the 70s punk movement.

The movement started as an outlet for youth to rebel. Those involved with the punk subculture refused to accept poor living conditions and were determined to create a better life for themselves, often protesting unfair treatment of the working class.

Much of the punk ideology has found prevalence among millennials.

Gender roles and the lines drawn by society on what is acceptable or unacceptable for each gender have become much more blurred.

Gender fluidity is quite common and, according to a poll done by Fusion, fifty percent of millennials believe that gender is a spectrum and that “some people fall outside conventional categories.”4

According to music journalist Ryan Cooper, “England’s youth were angry, rebellious and out of work,” because of high unemployment rates in the United Kingdom.1 Likewise, The Balance reports that a 1973-1975 recession in the United States caused by stagflation— the economy’s mixture of high inflation and high unemployment— substantially impacted the working class.2 These issues caused to punks feel as though they could no longer trust the government.

The punk movement can also be seen as a protest of social norms. Those involved wanted to rebel against mainstream music and fashion, and hoped that they would be able to bring about social change such as gender equality.

Both men and women were encouraged to participate in the movement, and oftentimes members Ryan Cooper, “The History and Evolution of Punk Rock Music,” ThoughtCo, April 10, 2018 2 Kimberly Amadeo, “History of U.S. Recessions: Causes, Lengths, Stats,” The Balance, August 7, 2018.

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Following the rise of punk, the 80s and 90s brought new music that was majorly inspired by what came before. These included music genres such as emo, alternative and indie, with mainstream artists Nirvana and Green Day leading the pack.

Groups such as Blink-182 and Good Charlotte came along later, transforming punk rock into what is now referred to as “pop punk.”

Holly George Warren, “Q&A: Chrissie Hynde,” Rolling Stone, November 13, 1997.

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The punk movement can also be seen through the protests and acts of rebellion that have occured since the last election. Like punks, millennials refuse to accept oppression and mistreatment by speaking up for their beliefs. The Women’s March, the Black Lives Matter movement and #MeToo are all examples of today’s youth coming together to create social change and raise awareness towards issues that matter to them.

Although the word punk is often thought of as a negative or offensive term, it is much more than just the stereotypes. Punks—and the punk movement as a whole—work to bring about social and political change to make the world a better, more nonconforming place for all. Although formed almost 50 years ago, the punk ideals continue to rage on.

“50 Percent Of Millennials Believe Gender Is A Spectrum,” Huffington Post, February 5, 2015.

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LIFESTYLE

MORE

“BR O” THAN

BRI DGET JONES A NEW WAVE OF FEMALE SINGLETONS ARE DATING LIKE DUDES

BY ISABEL CALVERT, CONTRIBUTING WRITER ILLUSTRATED BY CHANNING SMITH, ART CURATOR

We’ve all seen the romantic comedies where a girl gets dumped and cries into her ice cream whilst listening to Celine Dion. In the eyes of men, this is how a single young woman is expected to behave—pining for her lost love and desperate to be the little spoon in bed.

Now, however, women are using modern dating and its many apps to their own advantage. From hookups

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to Tinder tourism, there are no limitations to what you can do. As the dating landscape changes and becomes tougher, so too must the muscle fibers of our hearts.

Tinder tourism is just one way in which you can use your single status to your advantage and have the holiday of a lifetime. I have had some of the best weekends of my life making friends with total strangers, eating pasta in

Tuscany with an Italian and swimming in my underwear with a Celt in the national parks of Ireland.

Men have long been known to be speaking to, or even dating, multiple women at the same time, and now more and more women are doing the same. With ghosting—the practice of never replying to a person’s message and disappearing from their life, like a ghost—as an ever-present force in

our dating culture, why not keep your options open?

As long as all parties know each other’s stance on dating multiple people for fun and companionship—and no one is getting hurt—they do not necessarily need to know all the details.

Open relationships are on the rise, with women more often than not being the driving force behind that decision. To realize that you have a connection with someone that you want to explore while acknowledging your attraction to and interest in other people can be a great way to build a relationship with longevity.

Terrible dates are goldmines for future comedic material when you’re out having drinks with friends—that’s what makes them worthwhile.

It’s the tediously average dates that are the worst, ones in which a palpable sense of blandness radiates from the person sitting across from you at the table. I’ll take a date with a confident man who asks to sniff my hair—yes, it happened—over a man with a beige personality and an inability to ask me questions any day.

Despite living in far more enlightened times than when our parents were dating, the old preconception remains

The future for any couple will be full of tests, so why not enjoy the freedom of your early twenties with the side benefit of someone you enjoy spending time with?

Whether it’s a hook-up, a new gym buddy or just a friendly face on campus, there are so many things to gain from Tinder—or any other dating app.

I’m frequently told by friends in relationships to “put myself out there,” as if I’m waiting for Prince Charming to burst through the doors of my apartment while I’m doing my laundry.

The irony of that comment is that many singletons are more “out there” than you may realize. They have arguably learned more about themselves through various flings and awful dates than many people who have been in a long-term relationship since their teenage years can hope to have learned.

The sooner women start dating more like men, the less likely they are to propagate this media stereotype of the single girl being the victim in the dating system. The old adage “don’t hate the player, hate the game” is a rallying cry for women to be the player, not the one that gets played.

It feels so much better when you get ghosted to know that there are five other boys with almost identical haircuts to continue chatting to.

Sure, the stigma lingers, with people making assumptions about why a woman might want to use Tinder. However, to look down upon Tinder and those who use it is to be shortsighted about the freedom it offers a whole new generation of women.

Nevertheless, much of the world seems a few steps behind. I still get pitying looks at parties when I don’t bring a plus one, and my grandmother frets every Christmas as to when I will bring a nice boy home.

None of my single male friends are encouraged by others to put themselves out there more, whereas this vague term has been hurled at me on numerous occasions by wellmeaning friends.

in Madison to not giggle and look shocked when I ask if they have been on dating apps, but rather confidently admit that they have, or indeed, still are. Being single isn’t something to be pitied, and nor is being on Tinder something to be ashamed about.

that a single man is a “lad,” whereas a single woman is just “sad.”

Really, to be single is a personal act of rebellion, a declaration that you are unwilling to settle for less than you deserve.

In Britain, where I’m from, women are no longer accepting the title of “Tinderella.” Rather than waiting for Prince Charming with the glass slipper to swipe right, we’re doing it for them— sending the first message on dating apps and even giving our phone numbers out on cocktail napkins. ;

People say that the longer you’re single, the more cynical you become. However, I’ve found the opposite to be true. Yes, I may be wary of certain men’s behavior but I am also more grateful for the small acts of love and intimacy that I encounter in my dates than ever before.

With the benefit of hindsight, I thank every fuckboy I’ve met, every boy that’s ghosted me and every “slightly too old” man I’ve gone for a drink with for teaching me a little more about myself, for helping me grow a thicker skin and above all giving me an amazing bank of anecdotes.

I want more of the women I meet

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FASHION

DRESSED FOR

CHANGE FASHION AS A FORM OF PROTEST

BY GLORIA REQUENA, FASHION EDITORIAL ASSISTANT ILLUSTRATED BY CHANNING SMITH, ART CURATOR Throughout history, young people have embraced rebellion, fostering societal progression by questioning authority and deviating from the mainstream.

These forward thinkers sought radical change in gender equality and challenged traditional expectations of women in society by sporting provocative fashion for the times.

The restrictive nature of women’s clothing throughout the 19th century was evident. Most garments included several layers of heavy material and covered one’s form with long sleeves and floor-length skirts. Women wore outfits that could weigh more than 25 pounds year-round, regardless of weather conditions.1 Changes in women’s roles in society at this time ushered in the first-wave feminist movement, and women’s rights advocates started to believe that such garments were harmful to women’s health. As male clothing became increasingly practical, women felt more and more constrained by the styles that were available to them.

As a response to this progressively nonconformist spirit, the 1850s brought Bloomerism, the dressMarlise Schoeny, “Reforming Fashion,1850-1914: Politics, Health, and Art,” Ohio State University, April 14th, 2000.

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reform movement which presented pants as a stylish, comfortable and safe feminine option.

However, trousers were traditionally a symbol of masculinity, causing women who embraced this trend to be subject to abuse. This harassment resulted in most of the movement’s devotees abandoning Bloomerism and its creator. Despite its failure at the time, the movement dared to challenge entrenched gender stereotypes and dominant ideas of femininity, initiating the use of fashion as a form of protest.

The debut of the first bikini marked another revolutionary movement in fashion history. French engineer Louis Réard noticed that women on Mediterranean beaches were rolling up the material of their bathing suits to expose more skin to the sun. This observation inspired him to rebel against the conservative social morale of the 1950s by designing the world’s smallest bathing suit, aiming to empower women and provide them with a high visibility way of being heard.2 This historical event materialized a significant step toward women’s Corey Adwar, “The Scandalous Story Behind The Debut Of The Bikini,” Business Insider, July 3rd, 2014.

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emancipation.

Despite being banned from beaches around the globe and declared unacceptable for a “woman with tact and decency,” Hollywood stars including Brigitte Bardot and Marilyn Monroe took increasingly common glamorous shots wearing bikinis, slowly bringing them into the mainstream.3 The invention of the bikini embodies “being seen” as an unexpected ally in times of trouble.

Fashion, like art, reflects the society that surrounds us and aids in communicating the frustration of repressed minorities. The power of dressing to protest against social injustices has grown stronger over the years and reached every corner of the world. Whether dressing against societal norms or sporting slogan t-shirts, fashion as a form of liberation and protest promises an awakening of social conscience and a “A police officer issuing a woman a ticket for wearing a bikini on an Italian beach, 1957”, Rare Historical Photos, October 14, 2016.

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FASHION

MOTHER P U NKE R

BY LINDSEY YOUNG, SOCIAL MEDIA AND MARKETING DIRECTOR ILLUSTRATED BY CHANNING SMITH, ART CURATOR Early 1970s, London. A fashion empire and iconic cultural phase have begun in sync. Two influencers referenced for sculpting this defining moment in UK history are Malcolm McLaren and Vivienne Westwood—a power couple in the early 70s that mixed their music and fashion talents to embellish a new ‘anti-government, anti-fashion’ philosophy. McLaren brought Westwood’s designs into the musical forefront with the rise of the Sex Pistols in the mid 1970s. Together, this duo created a counter-movement from the UK’s late 60s Summer of Love culture to an aggressive, political effort. Even though the punk music scene had been slowly expanding for a few years, it was Westwood’s rebellious designs that would define the movement.

Kings Road in Chelsea, London— arguably the birthplace of the first punk fashion house. A new audience, ready for a rebellious turn from the previous decade, would be absorbed into the ‘anti-fashion’ aesthetic of Westwood within the walls of her risqué Chelsea fashion shop. Rips, studs, badges, pins and armbands were immersed into a distorted, customization of familiar clothing pieces.

Going through a tumultuous decade of continuous rebranding, Westwood’s ‘rocker’ shop in Chelsea was refashioned in 1974 with the help of McLaren—calling it ‘SEX.’ The storefront was complete with three huge, pink rubber letters spelling ‘SEX’ with a slogan above reading “Craft must have clothes but Truth loves to go naked.” The inside of the shop was complete with chicken wire, graffiti and interesting bondage wear. In 1976, the store was rebranded again to ‘Seditionaries: Clothes for Heroes.’ On Westwood’s

‘Seditionaries’ store reboot, the Victoria & Albert Museum states, “the collection remained in the same risqué territory as the clothes sold in SEX, featuring the likes of bondage trousers.” 1 As the store in Chelsea evolved, so too did punk fashion, especially thanks to McLaren’s Sex Pistols shopping at Vivienne’s store, along with other icons within the subculture like musician Siouxsie Sioux. Between this power couple, the punk scene could not be stopped. From the fashion to the bands to the ideologies, McLaren and Vivienne were the masters of scheming for the questionable greater good—a punk era in the UK.

Martens were able to gain a stable foothold in the retail world. As the scene intensified in the 1980s, punk fashion was spreading into ‘street punk’ which created some of the most memorable looks of the era—Mohawks, studded chokers, ripped fishnets, scrawled slogans, tattoos, Dr. Martens boots.2 An innovator in punk turned luxury fashion mogul, we give Vivienne Westwood full rights to the throne as “Mother-of-Punk.”

2

Kat Lister, “Anarchy In The UK: A Brief History Of Punk Fashion,” Marie Claire, March 2, 2017.

With the help of Vivienne and McLaren, brands like Dr. “V&A · Vivienne Westwood: Punk, New Romantic and Beyond,” Victoria and Albert Museum.

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FASHION

DR. MARTENS: FROM

FUNCTION

BY ISABELLA BYRNE, FASHION STAFF WRITER PHOTOGRAPHED BY BROOKE KOMAS, FASHION EDITOR Dr. Martens, the lace-up boots with “bouncing soles,” have achieved icon status, though few know how the footwear revolution began.

While these days, the tough shoes regularly grace runways at New York Fashion Week, their roots are far less glamorous.1 In post-war Germany former soldier Dr. Klaus Martens originally designed the boots after suffering a foot injury while skiing.2 He aimed to create a supportive boot with air-cushioned soles, unlike the standard hard-soled shoes soldiers and manual workers wore at the time.3

The evolution of Dr. Martens, from the anti-fashion movement to today’s mainstream interpretation, demonstrates the design’s longevity and versatility. The brand’s roots lie in self-expression and rebellion, and this spirit has not gone out of style. Today, consumers can find Docs at retailers ranging from specialty footwear stores to Urban Outfitters. The formerly utilitarian and now fashionable boots resonate with a wide audience and can be dressed up or down to fit the occasion or one’s style—a true fashion chameleon if there ever was one.

Martens, in a partnership with a mechanical engineer friend from university, started formal production of the design in 1947 and subsequently sold the manufacturing rights to British footwear company Griggs.4 The most well-known model, the beloved 1460, hit the market on April 1, 1960. At first, the boots found popularity among working-class men due to the soles’ orthopedic qualities.

In the late 1960s, Pete Townshend, lead guitarist of The Who, sported Dr. Martens on stage, sparking a youthful fashion rebellion throughout the 1970s, especially in London. Members of the punk subculture respected Townshend, and after this exposure, anti-establishment subcultures began championing the boots as a form of self-expression in following decades.5

For an edgy look, pair white patent Docs with leather pants and a band tee, inspired by the boots’ history in festival culture. Embracing vintage vibes? Pair black matte leather 1460s with a colorful cropped sweater and plaid pants. Dr. Martens also offers many options for personalization to the classic 1460 model with different colors, materials and laces to choose from. Due to their comfort and universal appeal, many celebrities adore the iconic style including Gigi Hadid, who often rocks the boots with athleisure or classic jeans and a t-shirt.6

Alyssa Coscarelli, “Dr. Martens Might Just Become Spring’s Most Popular Shoe,” Refinery29, September 13, 2018.

2 Alex Tudela, “Doc Martens: From Punk to High Fashion,” The New York Times, November 30, 2015.

3 “Dr. Martens: A History of Rebellious Self-Expression,” Dr. Martens.

4 Ibid 5 Ibid 1

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From a functional work boot, to a rebellious symbol of the punk subculture, to a fashionable wardrobe essential, Dr. Martens never forgets its core of “attitude and empowerment.”7 Dr. Martens symbolize a history of individualism and going against the grain. These boots were indeed made for walking...the walk.

6 7

Ibid Ibid

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FASHION

girl

REBEL MADISON FOSTER & DIFEI XU PHOTOGRAPHED BY ELLA GUO, PHOTOGRAPHY DIRECTOR CREATIVE DIRECTION BY BROOKE KOMAS, FASHION EDITOR ASSISTANCE FROM THE FASHION TEAM: GLORIA REQUENA, MAGGIE MILLER, MARTHA DANIELS, ANNA SOBOLEVA, KATY KEMNITZ & TAYLOR LAURI HAIR & MAKEUP BY OLIVIA STACK

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ARTS

A E ST HET I C REVO LUT IO N IZ E D THE HISTORICAL AND POLITICAL ORIGINS OF PUNK VISUAL ART WRITTEN AND ILLUSTRATED BY MADELINE RASMUSSEN, ARTS STAFF WRITER

Humans have an evolutionary and biological need for novelty. The feeling of discovering something new can be euphoric and addicting. The thrill of uncovering something decapitalized, whether that be music, art, fashion or any other facet of culture has been a hallmark of many alternative subgroups throughout the 20th and 21st centuries.

In this way, the punk movement of the 70s and 80s attempted to create the uncharted. Advocates of the punk lifestyle contrarily pulled for an aesthetic that was anti-establishment, anti-beauty and in many ways antilethargy. The high tempo, thrashing noise of punk rock was so vividly alive in comparison to the produced, polished sound of mainstream artists.

While the shallow buzz of corporate rock infiltrated America’s airwaves, the politically charged mantras of punk boiled in America’s garages.

The historical understanding of the punk aesthetic has been so mulled over that the spiked hair and safety pins have become somewhat of a cliché. To experience such a provocative style as it was evolving, however, was a completely different animal. With its egalitarian nature and alluring novelty, punk became

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an immersive lifestyle with a sort of homemade zeal. The untethered frills that lined the leather jackets and music alike were also present in the visual art found in the scene. Zines or fanzines sprouted during this era as a means to spread information on art, politics or local music. The DIY-collaged spreads were a vital element of the scene, through which punk influencers dispersed culture region by region. So much of punk’s visual language was contained within not only zines, but also in pamphlets, graffiti, posters and other equally accessible mediums.

Visual cues from the movement can be seen in some of punk’s biggest names. The uneven font of Sex Pistols or the four black bars of Black Flag have become ingrained into our minds as cultural landmarks. This specific language of iconography can be attributed to founders and visionaries of the movement. Artist Jamie Reed, who designed several Sex Pistols album covers, is seen as an early patriarch of punk design, and the erratic nature of his collaged works left a deep impression on the aesthetic of punk as a whole.

Reed, and so many of his peers,

catalysed the punk movement with contrarian politics to the 50s and 60s. Situationist International, an association of political activists, theorists and artists, formed the basis for the socialist precept of the punk doctrine. Marxism, anti-capitalism and anarchy were fused and visually realized into avant garde works meant to provoke and criticize. The sheer velocity of works by those like Reed and theorist Guy Debord formed the basis for the DIY aficionados and punk advocates worldwide.

Ironically, with influence and recognition comes capitalization, and much of punk’s imagery has been appropriated by the sphere of mainstream graphics. Designers like Vivienne Westwood and Alexander McQueen have taken inspiration from the deconstructed, raw power of punk design and adopted it into their own composite of design motifs.

Today, the voices of those calling for a revolution can be likened to the angst of working class punk rockers of the 70s. The common thread between downtrodden members of society in every era is the need for a community of like-minded individuals who can revel in the idea of a completely different world.

ARTS

DADAISTS: THE ORIGINAL PUNKS

BY MARIN SMITH, ARTS EDITORIAL ASSISTANT, PHOTOS COURTESY OF THE ART STORY

Dadaism was a literary and artistic movement first recognized in 1916 in Zürich as a response to World War I. A reactive movement that defied the nationalist mentality that many had thought catalyzed the war, Dadaism was rooted in the mockery of materialism, nationalism and consumerism. Though the manifestations of the movement were diverse, ranging from poetry to collage to performative sculpting, the one thing the art form and its participants held central was the notion of uprooting the bourgeois.

of art and even offending many of his colleagues by describing it as such.

Additionally, the fact that the urinal is placed at an angle from which it is not usually viewed is representative of the common Dadaist mentality of changing perspectives and questioning the way the public sees things. In naming his piece Fountain, he was also making a derisive reference not only to the use of the urinal but also to the traditional fountains created during the Baroque and Renaissance periods. Now a

This mentality was primarily exhibited in the unconventional, unappealing aesthetic where sentiments of insecurity and questioning arose.

Dadaism was so rooted in opposition to norms that the movement was hardly accepted by its artists who often claimed “Dada is anti-Dada.” Though complicated by nature, Dadaism gave rise to numerous categories of contemporary art and theories, including the punk movement.

One of the most notable and representative works from the movement is Marcel Duchamp’s Fountain.

Quite plainly, this sculpture is a urinal placed upside down on its back, marked with Duchamp’s signature pseudonym R. Mutt. This piece is often described as one of the cornerstones of the movement because it embodies many of the key characteristics of Dadaism.

First, Duchamp’s use of a readymade material, the urinal, is indicative of his commentary on the definitions surrounding art. By using such a common material and deeming it art, he was bringing to light the fallacies surrounding the modern definitions

Dada icon, Duchamp’s Fountain is on display at the Tate Modern museum in London.

Though often a victim of erasure, as many women have been, Germany’s Hannah Höch was another Dadaist trailblazer. Similar to using readymade items, Höch created the majority of her work using photographs and clippings from prominent national newspapers. A pioneer of collage, she often used images of political figures and titles of articles to create new landscapes and question conventional perspective.

She also was one of the first Dadaists to explore the human form in her

work and did so in 1916 with one of her most distinct pieces, Dada Puppen (Dada Dolls). These two dolls, made from found fabric, beads, yarn and thread, are made to look mutilated and somewhat mechanical. Höch was explicit in her motives behind this; as an iconoclast of the war, she wanted to mirror the bodily trauma so many soldiers faced while also incorporating the rising prosthetics industry which was often inaccessible to those who needed it most.

To tie it all together, these dolls are made to be touched and handled in order to create a sense of playful interaction as many young girls grew up playing with dolls. Dada Puppen is a distinct commentary on the mutilations of the war, inaccessible healthcare and how these injustices were often pacified with the passing of time and the distraction of new material toys. Höch’s work transcended Dadaism at the time but ultimately became a cornerstone to the movement, despite history’s efforts to erase her prominence.

Today, many art historians consider Dadaism a major pillar of the punk movement. Dada’s emphasis on brazen unconventionality, questioning authority and perspective shift was a linchpin in anti-establishment thinking, thereby planting the seeds of rebellion in the minds of future punks. In 2016, The Guardian even named Hannah Höch to be art’s “first punk,” manifesting punk ideologies nearly 60 years before the movement had any foothold in Europe. From their confidence in embracing the conventionally unappealing to their downright insurgency when denounced, it is no wonder that the calumniatory expression of the Dadaists made them the first punks.

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FASHION

THE MET

ELLE

VOGUE

CHAOS TO COUTURE

BY KASEY BUSIEL, FASHION STAFF WRITER

For high-fashion fans across the globe, the Met Gala attracts Super Bowl-level frenzy. On the first Monday in May, Anna Wintour hosts an annual benefit at New York City’s Metropolitan Museum of Art to raise money for its Costume Institute— the only department in the museum that funds itself. With last year’s tickets reportedly costing $30,000, the department evidently receives generous donations each year.1 Muses wear magnificent creations by the industry’s most prominent luxury brands, with designers drawing inspiration from each year’s unique theme selected by Anna Wintour herself. Last May’s theme was “Heavenly Bodies: Fashion and the Catholic Imagination,” and the outfits were nothing shy of superior.

Departing from the benefit’s reputation for ethereal elegance, in 2013 Anna Wintour made a bold decision, announcing the theme of that year’s Gala as PUNK: Chaos to Couture. Celebrities ditched their Hillary Hoffower, “$30,000 tickets, $2 million jewelry, and $2,000 tuxedos: Unbelievable facts show how opulent the Met Gala is,” Business Insider, May 8, 2018.

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usual graceful attire and honored the subculture by wearing eye-catching accessories and statement pieces highlighted in the punk community.

Representing an era of rebellion and do-it-yourself attitude, attendees bombarded the red carpet with silver studs, black lace, gold fabric, fishnet stockings, body cutouts and high updos. Miley Cyrus famously wore a black fishnet dress with a nude slip underneath, pairing her look with silver studded jewelry and styling her short, blonde hair into spikes.

Inside the museum, the exhibition’s seven galleries showed guests the evolution of punk fashion from the 1970s in New York and London to modern influence. Mannequins arranged throughout the galleries displayed different elements of punk fashion ranging from red and black plaid pieces to black and white dresses with holes and shredded hems. Curators accessorized each mannequin’s ensemble with spiked wigs to complete the overall anarchistic look.2 Designs inside each gallery paralleled those of Vivienne PUNK: Chaos to Couture,” The Met.

2“

Westwood, a visionary who brought punk fashion into the mainstream during the 70s.

The department is not only a collection of fashionable mannequins, but the exhibition is also “presented as an immersive multimedia, multisensory experience, the clothes are animated with period music videos and soundscaping audio techniques.”3 Each room of the department— whether it was the replication of a filthy, graffitied public bathroom or an all-black, eerie runway display— included videos and music of the punk era assimilated into the architecture to heighten the senses of guests.

The Punk: Chaos to Couture Met Gala along with the museum’s fashion exhibition gave designers the opportunity to interpret the “anti-fashion” era of punk and create haute-couture masterpieces based on unforgettable attributes. Although punk’s emergence was an act of protest and outcry for change in the past, the spirit of the subculture lives on today in fashion.

3

Ibid

FASHION

CO N CERTS: A HIDDEN RUNWAY

BY MARTHA DANIELS, FASHION STAFF WRITER ILLUSTRATED BY CHANNING SMITH, ART CURATOR

Throughout history, music and fashion have inspired one another, joining forces to form powerful experiential synergies.

Since the mid 20th century, music festivals and concerts have transformed into fashion hubs appealing to unique style identities and subcultures.

Coachella, for example, evokes a dress code reminiscent of the freespirited 60s, attracting enormous crowds for the fashion alone.

Moreover, rock group The Grateful Dead was one of the most famous American bands during the late 1900s, drawing thousands to their performances and eliciting a specific style for their fans. The group’s sound and aesthetic deviated from the standard music of the time, embracing a calm, laid-back feel.

Jerry Garcia and his bandmates dressed casually, often in jeans and t-shirts.

They matched this relaxed style with their sound as they sang about sugar magnolias, ripples on the water and spotted dogs. Fans coordinated with the group, wearing capri pants, tie-dyed band tees and most importantly, Tevas— strappy sandals originally intended for hiking. The Grateful Dead’s music was simple and inspiring, with a slightly less groundbreaking fashion to match.

Across the pond, the punk movement was gaining momentum with The Sex Pistols. This group played a formative role among punks in the 70s and 80s in London, creating a community through music and fashion. The group’s punk rock sound inspired youngsters to embrace rebellion and stand against the societal norms of the time. The Sex Pistols created controversy by speaking out against the British government, but from guillotines on stage to fistfights in the crowd, they were legendary for many reasons.1 Asaf Rotman, “How Vivienne Westwood’s Punk Revolution Changed Fashion Forever - Vivienne Westwood Sex Punk Fashion,” Grailed, January 11, 2017.

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Perhaps one of the most iconic elements of The Sex Pistols’ allure was their visual aesthetic.

Like their music, the group’s fashion was loud.

Inspired by SEX, the boutique created by Vivienne W e s t w o o d — revolutionary punk designer and wife of The Sex Pistols manager—the band members donned outrageous clothing.2 Concerts saw neon spiked hair, graphic tees emblazoned with vulgar words, distressed plaid trousers, chunky boots and safety pins, studs and zippers galore. The music hooked the crowds, but the fashion made the scene. The Sex Pistols inspired young people in this ultimate expression of liberation and rebellion.

Through both music and fashion, concerts empower young people to dress outside the box and express themselves. Though the punk era reigned predominantly in the 70s through the 90s, the ideas of finding community in like minded individuals and personal liberation still ring true today.

2

Ibid

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ARTS

CHAI:

JA PA N ’S N E W G IR L G R O UP R E D E FIN IN G KAWA II

WRITTEN AND ILLUSTRATED BY SAMAAYA JAYAMAHA, ARTS STAFF WRITER

Japan’s image of a “kawaii,” or cute, girl revolves around strict ideals demanding women to be skinny, bigeyed and as pale as possible. Insecurity devours both young girls and grown women alike as the media and society place increasing pressures upon them.

However, an emerging Japanese punk girl group, CHAI, is working to change that by infusing the sounds of punk rock with lyrics of female empowerment— two concepts that have previously never intertwined in Japan’s music industry. Unsatisfied with society’s ideas of “kawaii,” CHAI identifies as “Neo-Kawaii,” a term the band members are using to get one step closer to inclusive beauty standards.

CHAI is also sporting the color pink as an emblem of female power. In Japan, pink is a color associated with youth; beyond a certain age it’s unacceptable for grown women to wear it. Their bassist, Yuki, shared in an interview with Pitchfork that “our pink outfits

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show we’re not just cute: this is what cool women wear.”

Each member of CHAI shares similar personal experiences from their youth; being subjected to repressive beauty standards took a serious toll on their confidence. Band members Yuna and twin sisters Kana and Mana met in high school, but reconnected in college where they met Yuki. She never saw herself as a musician previously, but picked up the bass in less than a year, becoming the final member and instrument the band needed. Although the band members grew up listening to strictly Japanese music, much of their inspiration stems from non-Japanese bands such as Tom Tom Club, Gorillaz and The xx.

Since then, the girls have been sharing their playful chords, artistic music videos (which they direct themselves) and charismatic performances across the globe, just this year venturing to

the United States for a tour. CHAI’s debut album Pink released in autumn of 2017 with particularly interesting song titles like “Flat Girl” and “Gyaranboo.” Unsurprisingly, there is significant meaning behind each of these. The lyrics of Flat Girl revolve around being a woman with small breasts, while Gyaranboo, the first song the band wrote together, tackles the topic of women’s body hair.

Through these songs, the members of CHAI explore ways to help women around the world reaffirm that in 2018, beauty has no single definition.

Although the lyrics in each song are sung in Japanese, CHAI’s work resonates with everyone; memorable and eye-catching aesthetics in each music video distinguish the group as they seize the world with their NeoKawaii ideas and edgy style. They are punk, bold and beautiful, and they are on a quest to topple the rigid beauty standards of Japan.

CULTURE

TO ME, THAT’S PUNK ROCK AN INTERVIEW WITH BRENDAN CANTY

BY EDEN BRESLOW, CONTRIBUTING WRITER

Picture heavy eye makeup, industrial metal piercings and gravity-defying hair.

The vision: punk. However, the punk rock world is more than just its appearance.

In the United States, the punk rock scene emerged in the late 70s from the bowery neighborhood of New York City’s lower east side. Its everevolving musical style was symbolic of the turbulent time in history from which it came: fast drumming and intense guitar cords paired with shouting, rage and anti-establishment cries. American punk rockers weren’t just talented, they were angry.

Reminiscing to the late 80s, Brendan Canty, drummer of punk rock band Fugazi, recalls observing American youth following in the footsteps of popular punk bands of the time. Canty was 14 years old, still in junior high, when he started hanging out weekly at free summer concerts in his native Washington D.C.’s Fort Reno Park. He remembers watching a local band, Teen Idols, open for The Cramps at one concert he attended. They were “loud and weird and great.” After learning that its members all went to the nearby Woodrow Wilson High School, he realized many local youth

like him were inspired by famous punk bands. And he believed, too, that he could be part of the community.

“That sort of direct involvement in a community is something I always look for,” Canty says. “[The artists] were human beings as opposed to corporations, and so we had a very vested interest in our community.

We supported other artists and they supported us.”

Canty started attending shows regularly with his sister. At 15 years old, he started recording through Dischord Records, which was cofounded by his friend and soon-to-be bandmate, Ian MacKaye. He eventually started his first band, Dead Line, when he taught himself how to play the drums. Over the next few years, Canty was in a multitude of bands with kids from his neighborhood—Insurrection, Rights of Spring and Happy Go Licky.

But nothing really seemed to click.

Fugazi, on the other hand, formed organically, tells Canty. He was hanging out with his friends everyday; practicing together, they realized their musical style and dynamic all meshed. He has only looked forward—not back—ever since.

Fugazi’s main goal was to work and tour for the first 15 years after it was founded. The band was determined to spread the word about what frustrated them the most. Like many other punk rock bands, Fugazi used their reach as a tool to raise awareness for causes they cared about: they raised money for free clinics in D.C. and played at protests against the Gulf War. They sang also about gentrification and the AIDS crisis, but their main focus, Canty says, was to make sure tickets were affordable—around $5—by keeping out big corporations like Ticketmaster from monopolizing the music scene.

The world of punk rock has changed greatly since Canty first got involved 30 years ago. He feels the original impulse and spirit of punk still exists, despite more recent involvement by corporations. The best way to keep the corporate world out of music, Canty believes, is to treat audiences the way he would want to be treated.

Focusing on his connection with the audience is one of the most important, fundamental elements of punk rock. “I try to use my powers to be a thinking, emotional person on this planet, and to me, that’s punk rock.”

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CULTURE

SEKAI NO OWARI PUNK-INSPIRED BAND ADDRESSES MENTAL HEALTH AMONG JAPANESE ADOLESCENTS WRITTEN AND PHOTOGRAPHED BY SAYA INOUE, CONTRIBUTING WRITER

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Punk is a popular music genre, but not many think of it as a part of mainstream culture. Although punk is parent to many and various branches of music style, people often struggle to define the idea behind it. Unlike pop music, punk rock songs often counter pure optimism. While punk rock emerged in the United States, the United Kingdom and Australia in the in 70s, its influence is pervasive beyond the bounds of Anglo culture.

Sekai no Owari is a popular punkinspired band in Japan that resonates particularly with the country’s adolescents; its name translates to “the end of the world.” Their name sounds radical, but their music hardly reflects that. Their melodies are beautiful and well-composed, using different kinds of sounds that often sound experimental.

The lyrics, though, offer a different narrative. I remember how the the words of their songs struck me the first time I heard them; they are beautiful but express a sense of sadness about the world at the same time. Sekai no Owari sometimes sings about war and peace, which are prevalent themes in punk.

Young people, like my teenage self, often struggle to find their own identity and paths in life. They are attracted to Sekai no Owari because the band takes them to a magical world. While some are interested in the band’s music because they find joy in it, most are drawn to the group because their music strikes a chord by underscoring certain social messages about the world. In that sense, the band has two main attractions: its music and its message.

I listen to their songs over and over for exactly that—the band’s masterful blend of those two things.

Like many bands, Sekai no Owari often writes love songs, but within that, they seek to express their own philosophy of life and death: If I could be the light never disappearing from the night sky Like the constellations go round and round Wouldn’t I lose anything in the shadow and keep staying here?

Until when can I be by your side?

Can I keep walking believing there’s no unstoppable rain?

I don’t want to forget anything.

You smile and say next to me, “The moon is beautiful, isn’t it?”

The lyrics of this song lend a description of a beautiful nature setting to express one’s love for life and fear of death.

Sekai no Owari wants to stay the way they are together—because they love the world so much—but they have to face their death.

This message is typical of Sekai no Owari’s interpretation of punk music.

Fukase, the band’s vocalist, often mentions in interviews that he struggled with mental health issues when he was younger. His music therefore resonates heavily with a pervasive sentiment among Japanese youth—frustration and depression over the society. More and more adolescents are experiencing loneliness and depression due to pressure about their academics and friendships; the Japanese government reported last year that 80 percent of high school students’ biggest worries are about their future and friendship.

The same report also found suicide to be the leading cause of death for those aged 15 to 39.1 Seishun is a Japanese word meaning “blue spring” and celebrates youth. However, it seems that youth in Japan are struggling to live up with the spirit of this term these days; mental illness among youth is too serious to ignore.

Some critics argue that Sekai no Owari isn’t punk. But punk should not be confined to a specific definition. Sekai no Owari’s music represents emotions and frustrations that are universal among people; the sentiments it underscores evolve as the world does.

Using punk to express a pervasive cynicism about seishun among Japanese youth, Sekai no Owari fuses music with sensitive emotions while broadcasting a serious message at the same time. In that sense, Sekai no Owari transcends traditional definitions offering an original, Japanese form of punk.

“SNS No Kyokan Nigebanimo,” Asahi Shimbun, November 21, 2017.

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LIFESTYLE

S

ELL OUT

INFLUENCERS, AND WHERE THE INFLUENCE COMES FROM

BY MOLLY RAPOZO, LIFESTYLE EDITOR ILLUSTRATED BY NICOLE SHIELDS

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Think hard about this one—what was the last, most genuine post you saw on the Internet? And where was it?

Was it a cute Instagram video of a puppy running to catch a ball? Or a picture of a sweet baby, posted to Facebook by your cousin? Maybe it was a Twitter link to a GoFundMe page, seeking help from a community connected by phones and invisible signals.

Yet, even posts like these may not be completely genuine. It is interesting to explore what makes these cute videos and harmless memes more authentic when put opposite posts that are selling a brand or product.

Do the posts become more genuine if they are posted by someone, uninfluenced, about a product that changed their life, and does that mean the introduction of monetization influences the honesty of the person posting?

opinions. If they like a certain mascara or shop a certain brand of reusable utensils, we trust that their choice is a good one.

This is where it gets tricky, though.

Those trusted opinions are influenced by something bigger: the brands themselves. We still put trust in the influencers we like, but now the influence is stemming from somewhere else. Brands often pay their sponsors to post specific content, or to follow a script of sorts when talking about the brand.

However, claiming that sponsor relationships are absent of all genuine feelings is not the full story. There are certainly online influencers that wholeheartedly believe a product’s

but it can also help remind you that not everything on the internet is true.

Take caution when viewing sponsored content. Be sure to sit with yourself and ask whether or not the good, service or idea is being paid for, and if so, by whom. Is the message or product genuinely worthy of time or money?

Instagram created tools to help consumers and companies with transparent content. Post-tagging allows businesses to add partnerships to the post and allows consumers to see that a post was a “paid partnership with…”

On their website, the Instagram Business Blog states that they created these mechanisms to “bring transparency around Branded Content to the Instagram community.”2 Instagram has recognized that it has become a huge tool to influencers and businesses alike and strives to create connections between business and individuals while still cultivating a genuine, honest relationship between the two.

In a world that is largely supplied by user-generated content, it is increasingly hard to sift through the endless streams of posts and find something true, genuine and unwaveringly real.

In line with being aware of your social media use: it might also be worth your time to examine why these things are marketed to you specifically. What information and data are you giving to websites and companies about yourself, your interests and your life?

This can bring more of an awareness to your place on the Internet, as well as round out the “why” behind the marketing of certain companies.

On top of that, add big-business cashing in on our ability to create our own content. You get post upon post of sponsored content, each of which are almost impossible to verify as authentic.

A study from Curalate found that 50 percent of US consumers say usergenerated content makes them more likely to buy a product from a brand’s social media channels.1 Meaning, your favorite Youtuber or Instagram beauty guru earns a brand more money than the traditional Covergirl commercial does.

As human beings and consumers, we rely heavily on the influence of others.

Our every word, action or movement is affected by the world around us—and social media is no exception.

When we see another person online that we like—whether we know them personally or not—we trust their Curalate, Curalate Consumer Survey: Social Content Is the New Storefront.

1

worth. Plus, if they truly did not like the product, there are a thousand other brands they could work for.

At this juncture, it might be worth stopping to take inventory of what your social media looks like. Are those ads and products that weasel their way into your feed genuinely there as great, well-appreciated products? Or are they being pushed by those who have “sold-out” to brands?

Being aware and diligent with your social media use not only protects you and makes you a smarter consumer,

Life is not full of perfectly captured moments, and it certainly is not a crime for someone to make a living off social media and their followers.

Being mindful of their role, and yours, in the deep chasm of the Internet can make for a more symbiotic relationship—one that truly thrives in this amazing resource.

Be aware—but still enjoy social media for what it is and what it provides.

Most importantly: seek out more cute cat videos.

“Branded Content Tools on Instagram,” Instagram for Business, accessed November 07, 2018.

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The Boys’ Room ELIEL HERRERA & RHYS KOCH PHOTOGRAPHED BY MAX GOLDBERG CREATIVE DIRECTION: REILLY KOCH AND GEORDON WOLLNER CREATIVE TEAM: RACHEL COHEN, JANEY SHETH, MARIA DAYNEKO & KATIE HERRICK MODEL COORDINATORS: ANDREW ZHOU & ANGIE NGUYEN

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LIFESTYLE

NOSTALGIA FOR AN

BY KATIE HERRICK, LIFESTY

It seems impossible to log onto any social media platform and not see someone lamenting about being born in the wrong era or needing to go back in time. Young people today tend to glorify the past, and studies have shown that this age group says that they would go back in time if given the opportunity.1 However, older generations have a different perspective. Those who have lived through the past know Florence Ettlin and Ralph Hertwig, “Back or to the future? Preferences of time travelers,” Society for Judgement and Decision Making 7, no. 4 (2012): 373-382.

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what it was like and how times have changed—and that is exactly why they do not want to go back.

While it is natural to have a curiosity for the past, it is also important to be content with the time period that we are fortunate enough to be living in.

Lynchings no longer occur, same-sex marriage is legal in the United States and many other countries, technology has advanced and some medical diseases have been eradicated. We can fly from continent to continent in just hours, have freedom of speech and freedom to protest—the list goes on.

Current events may make every day seem gloomier than the last, but when we think about how times have changed and what the past truly was like, it only makes sense that we should feel a bit of appreciation for the freedoms that exist today.

We have those who came before us to thank for enacting positive changes and bringing down malicious tyrants. These trailblazers were in their mid-twenties and mad at the state of the world. They acted on their anger. Learning from this, young generations today can also

N UNKNOWN ERA

YLE EDITORIAL ASSISTANT

take positive action instead of wishing they could go back in time.

Regarding the current social climate, it is impossible to ignore the freedoms that are still missing: samesex marriage is still punished and unaccepted in many places, racism is rampant, religious wars are being fought on almost every continent and the environment is rapidly deteriorating with no changes in sight.

And yet, the time we are living in now is ripe with hope and change. Millenials have seen both good and bad things

happen. They have rushed to the polls and voted, started campaigns, shut down restaurants, canceled TV programs and ended careers of those who championed morals that they did not see fit.

Growing up in the fruition of social media, young people know how to connect, inspire, motivate and plan, but also have the ability to hide behind a screen. It is our choice to decide how to use the tools that this era of life has granted us.

And that comes full circle. What would

happen if everyone stopped revelling in nostalgia and looked towards the future to make the changes we want to see? We are powerful, smart and have the tools we need.

Wanting the relative ease, carefree emotions and happiness we associate with the past is nothing to be ashamed of—nostalgia for a past era is, and will always be, real. However, it is necessary to center yourself in the current era to make waves.

Reformation and revolution are often associated with youth—let’s keep that trend going and take a stand.

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