Patricia K. Flynn
The bell signals a rush of adolescent bodies from the doorways of classrooms. A myriad of styles of clothing covers these forms of contemporary teenagers of the mid1980’s, as they move with exuberant energy. Eye popping flourescents bounce from the legs, arms, torsos, and hair of the girls. Stockings of every hue and texture rise to meet short skirts. Wide metallic belts are slung across their hiplines. Skin tight pants, cut above the ankles, swing rhythmically along the hallways. Glittery, sparkling bracelets reach almost to the elbow, musically jingling. Bare fingers emerge from a leather palm and raise to signal recognition. Military camouflages, pressed striped jeans, and denim jackets saunter past other males. Grafitti—vibrant jackets identify the wearer, symbols and words move and turn in every direction like personal billboards. Sneakers complete the male uniform, each day brings a new model.
This is the clothing of the 1980’s adolescent. Like all clothing, it says something about the wearer. Since this unit is intended to meet teenage requests in middle school art classes, six issues are worthwhile exploring.
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1.
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Adolescent dress is a form of communication
. It carries nonverbal messages to its audience composed of teenage peers and adults.
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2.
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Adolescent dress represents teenage values
of identity with a particular peer group, and at the same time expresses a need to be different from adults.
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3.
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Adolescent dress differences symbolize a need for autonomy
. Teenagers strive for independence.
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4.
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Adolescent dress as different from adult dress is a relatively recent historical phenomenon
. Previous to the 1950’s the dress of young people mimicked adult fashions.
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5.
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Adolescent dress of the 1980’s appears to have a historical connection with the teenage clothing of the late 1950’s and early 1960’s
. Fashions styles manifest a cyclical nature. What is new and apparently original dress to one generation has its derivation in the past.
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6.
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Adolescent dress of the 1980’s is influenced by the media
. The recent development of the music video demonstrates the powerful effect clothing of popular rock stars has on teenage audiences.
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Clothing is a language, a nonverbal system of communication that through its symbols conveys much about the wearer to the viewer. Before people speak to one another, their clothing makes a statement that expresses their sex, age, class, occupation, origin and personality, as well as what they are or what they want to be at a particular moment. A businessperson is recognized in a well tailored suit.
As a language clothing can range from conventional to eccentric styles. Dress can identify its wearer with a social group or role that the individual wants to emulate. Notice how significant jeans are to teenagers. Importance is placed upon style, cost and labels that identify them as designer. As a nonverbal language, the jeans may signal that they are all members of the same group, no matter how different they may be socially or intellectually. Teenage girls carry the group identification a step further by sharing clothes. In this way they share their friendship and group identity, just as they share their slang in creating their own verbal language.
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But clothing can and does express more than identity with a group or role. It can also express the value of that group.
Teenage clothing communicates messages other than that of belonging and similarity, for teenagers are working out their own set of values different from those of their parents. Clothing can also express the psychological need for adolescents to rebel against their parents and other adults in authority in order to seek autonomy.
The process of personal development and growth in adolescence is a complex one. Protest and rebellion against parents and adults in authority are commonly observable behaviors. Protest can take the form of enjoyment and pleasureseeking. Enjoyment conveys messages of freedom and autonomy. The objects and activities important to the teenager are valuable in developing his/her independence.
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One example of adolescent protest is seen in their choices of clothing. In the 1950’s teenage “greasers” wore leather jackets possibly with leather pants in an attempt to appear “tough”. Contemporary teenagers adopted the “Punk” or “New Wave” look. The “Punk’’ look originated in England in the late 1970’s. It’s appearance combines the conflicting emotions of rage, fear and pity for the injured child. “Punk” dress of boys can include black leather jackets, studded jeans, torn shirts and pants held together with safety pins, exposed skin that is bruised and scratched, and multipierced ears. Girls may wear styles similar to the boys or vary it with slit skirts, tight fitting hot pants and sweaters. Hair and makeup styles include: shaved heads, hair dyed in vibrant hues, faces heavily powdered, eyes darkly made up and lips painted with gaudy lipstick. Metal bicycle or dog chains can hang around the neck or wrapped around the hips or legs.
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As a language of clothing, the “Punk” style transmits a double message. From one view “Punk” clothing conveys an angry statement that is sexually charged with energy and violence. Outfits of leather, chains and exposure of the skin with real and artificial scars are intended to threaten the adult audience through fear. Another aspect of “Punk” clothing that may not be as obvious, but adds to the disturbing effect that it has on adult viewers, is its image of the wounded child. Examples of this are the hair colors one may find in dyed Easter chicks, poorly fitting jackets and pants, scratched and scraped faces and knees, and the use of the safety pin to pierce the ear, cheek, etc. The “Punk” look is less dramatic in the version know as “New Wave”. “New Wave’s” message is one of restlessness and boredom.
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Historically, the phenomenon of distinct teenage dress did not develop until the 1950’s. War had reduced the numbers of a bridging age group. Young people who were born after the war, or were too young to remember, did not share the adult memories.
Following World War II, and particularly during the 1950’s and 1960’s, a new development in fashion emerged, clothing designed specifically for teenagers. By the mid1960’s, one half of the population of the United States was under the age of thirty. Prosperity had increased since the end of World War II in America. Teenagers had more disposable income. A culture that glorified youth had arrived.
Teenagers of the 1950’s were differentiated from adults. Luxury businesses, in a time of increased affluence, saw the advantage of creating a separate youth market. Businesses made money while teens spent their income on products that gave them status and identity. Though teenagers were relatively unproductive members of American society, due to the fact that young people did not enter the world of work until their late teens; adolescents were consumers of product specifically designed for the young. In 1958 adolescents spent twenty million dollars on such products as cosmetics, T.V. sets, phonographs, records, cars and clothes.
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Many factors contributed to the value placed upon being young. Progressive education stressed the uniqueness of the child in contrast to the child as being an imperfect adult. The American educational system reflected society’s value placed upon business and consumerism. Social obedience and conformity pervaded. The valued of political naiveté, caution, commercialism, status seeking and apathy were rewarded by adult institutions. Child rearing practices were introduced to the public as a product in Dr. Benjamin Spock’s
Common Sense Book of Baby and Child Care(1946)
. Youth of the 1950’s were labeled the “Silent Generation”. Not all were silent, but they were aware of the adult pressures to conform that was shaped by middle class values.
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By the end of the 1950’s dissension from the existing values was evident in young people. The 1960’s saw the birth of civil rights activism, New Left political policies and pacifism.
Teenage clothing styles of the 1950’s grew out of economic prosperity following World War II. Along with this fact a consumer market was directed at adolescents who were more pampered and had money to spend. At first adult designers dictated the teenage styles; but teens began to see clothing in a new way, as a means of selfexpression. They bought only what they liked.
Contemporary adolescents of the 1980’s live in an American society that differs in time, technological advances and social changes from the late 1950’s and early 1960’s. Yet some similarities can be identified. Teenagers of the mid1980’s do not have the personal memories of the Viet Nam War. They, like their predecessors of the 1950’s, are too young to remember. A conservative politics exists that encourages a conformity to past values. Advances in the areas of civil rights have moved haltingly. Patriotism is prompted with a belated recognition of Viet Nam veterans, ten years after the fact. Adolescents are pampered by society. A vast consumer market of young people are bombarded with advertising from the media. The messages glorify youth. Energetic sensual bodies sell products ranging from soda and fast foods to popular music stars.
With the technological advances in communication, specifically the video tape, teenagers now have their favorite rock stars in their living rooms. Twentyfour hours a day, M.T.V.(Music Television) plays the latest music for its adolescent audience. Sophisticated visual and auditory technology produces rock music stars. Video tapes guarantee rock performers the publicity needed for success. The clothing styles worn by popular rock stars is creatively adopted by teens.
Popular rock music stars are numerous. Within the limits of this unit, twelve personalities groups are selected as examples representative of the varying musical tastes of teenagers. Their clothing styles are just as diverse as their musical expressions, as well as their racial and ethnic origins. Photographs of these personalities can be readily found in such rock publications as
Bop, Super Stars, Stars Hits
, and
Video Rock Stars
.
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1.
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Agnostic Front
wears camouflage military dress.
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2.
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Billy Idol
wears black leather with metallic chains.
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3.
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Bruce Springsteen
wears denim and cutoff plaids
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4.
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Cyndi Lauper
wears denim, lace and piles of costume jewelry.
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5.
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David Lee Roth(Van Halen
) wears vibrant skin tight prints, metallic glitter and one cutoff white glove.
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6.
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Duran Duran
wears both tight leather and soft loosely hanging fabrics with metallic chains.
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7.
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Kool and the Gang
wears casual knits with soft leather.
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8.
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Lionel Richie
wears easygoing sports clothes.
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9.
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Madonna
, the rage of the moment, wears lace mini skirts, heaps of bracelets and prints.
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10.
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Menudo
wears youthful sports clothes of comfortable fabrics.
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11.
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Prince
wears ruffles, satin and bejeweled costumes.
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12.
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Tina Turner
wears sensual mini skirts, lace, leather and spangled outfits.
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The six issues discussed above apply to the following twofold lesson plans. The major emphasis is placed upon the cyclical nature of teenage fashions: the late 1950’s and early 1960’s compared to the mid1980’s. What seems to be new in contemporary teenage dress mirrors the styles of 25 years ago, ie. miniskirts, leather jackets, and crop pants.
The twofold lesson plans that follow: 1. Analyze an object of clothing from the 1950’s, a pair of Capri pants, utilizing Professor Jules Prown’s methodology of object analysis and 2. Design an outfit that a teenager would like to wear that reflects one of the functions of clothes: utility, status, and sex.
