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University of Arts in Belgrade, Faculty of Dramatic Arts, Belgrade, Serbia
ksenijamarkovicart@yahoo.com
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FASHION AS AN ARTIFACT OF THE YOUTH COUNTER-CULTURES IN THE 1960s AND 1970s
Journal 16/2020 (Museum of Applied Art), pages 66-73
Article category: scientific review
UDC:
316.723: 7.05:646.4
316.32:316.7
Abstract (original language):
????????????? ?????????? ?????? ???????? ?? ??? ?????? ?????? ??????????????? ? ?????????????? ??????????; ??? ??????????? ???????? ?????????, ???? ?? ?? ??? ????? ???????????? ?????. ??????? ?? ????????, ? ???????? ?????? ??????? ?? ????, ???????? ?? ? ????????? ?????????????? ? ???????? ??? ????????? ? ?????, ???? ?? ?????? ??????????? ??????? ???????? ???????????e. ???????, ?????? ??????? ??? ?? ??????? ??????? ??????, ???? ???? ?? ???????? ?????? ???????????? ?????? ???????, ?? ?????? ???? ?? ?? ???????????????????? ????? ????? ?????? ???? ???? ???? ???? ?? ?????? (The Beatles) ? ????-????? ??????? ???????? ????????. ??? ????????? ????????? ???? ??? ???????????? ???????? ???? ?? ???? ? ?????? (mainstream) ??????, ????????????? ????? ????? ?????????? ? ???????????? ?????? ??????? ???? ??? ????????? ? ????????? ???????? ??????????????? ???????????? ??????. ???????? ?? ???? ?? ????????? ????? ??????? ????? ? ?????????? ???????? ? ?? ??????? ???????????? ????????????? ???? ???? ??? ? ????????? ?????? ???????? ????? ??????, ????? ???????? ????????? ???????????? ???? ???????? ??????????? ??????? ? ????????? ? ???????? ????? ????? ??? ??????????.
Key words: (original language)
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Summary:
The subculture of the 1960s began as a rebellion against consumerist and capitalist ideology; as the destruction of well-known values, aimed at constructing the new ones. The need for freedom, in the broadest sense of the word, was manifested in the abandonment of traditional and the creation of pop norms which became a cultural determinant by their general acceptance. Thus, subversion overcame a previously dominant cultural model while its production exceeded expectations, creating a (youthful) market of its own products intended to express pop habitus. However, due to its victory, pop has lost its subversive prefix, which questions the surviving of its essence and poses the thesis that antimaterialist ideas of rebellion neglected themselves once the Beatles and miniskirts became a global phenomenon. This paper analyses the paradigm of pop as a subversive action that has become mainstream and analyses the fashion scene of the 1960s and 1970s as an artefact and a significant segment of youth counter-cultural creativity in these years. Starting from the thesis that, in addition to their market function, products have a symbolic function, and that the market redefinition of subculture is not the same as the creative process of making its goods, the author proves the ideological authenticity of the youth market created in the 1960s and draws conclusions about the fashion form as a counter-act.
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