Posted: Friday, July 12, 2013
I learned from visiting PUNK: Chaos to Couture that punk was an ironic movement and that its irony has contributed to its staying power. When punk started in the mid-1970s, it was dealing with a social landscape that had lost sight of its goals. The hippies said they wanted a revolution, but changing the world is not a passive exercise. That's where the punks came in.
Posted: Friday, July 5, 2013
In my drawing at left, I wanted to create a visual response of sorts to what I saw in PUNK: Chaos to Couture, namely the D.I.Y.: Hardware gallery.
Posted: Monday, July 1, 2013
Shhhh! The dresses in the D.I.Y.: Hardware gallery in PUNK: Chaos to Couture are punk undercover. In contrast to the more obviously punk shirts, pants, trash-bag dresses, and tie-dye ball gowns in the rest of the exhibition, these clothes are not necessarily meant to be punk. It is obvious, however, that they are indeed influenced by punk style.
Posted: Friday, June 21, 2013
The punk aesthetic of the 1970s, its underground survival throughout the 1980s, and its high-fashion revival in the 1990s have profoundly shaped what it means to be a rebellious youth. To be punk means to express one's disillusionment with the status quo and to challenge it.
Posted: Thursday, June 13, 2013
When I walked into the Metropolitan Museum's PUNK: Chaos to Couture exhibition, I was not expecting big-name designers. Punk was supposedly a movement for nobody and nothing, wasn’t it? However, upon walking into the exhibition's catacomb of glorified dissension, replete with pieces from Galliano, Dolce and Gabbana, and Prada, I soon realized that the designer clothes on display are a testament to punk's power. I didn't used to associate names like Versace and Dior with crusty-shirted tribalism and deconstructionism, but punk has so changed the landscape for artistic expression that Givenchy and Johnny Rotten can now coexist happily in the same place.