What is the definition of subculture?
Subcultures initially operate under the radar of mass
consumerism. It’s a group of people that come together, often
unconsciously, who have the same rationale or ideals which
relates to music, politics, possibly codes of dress, which they
will then express in their own unique way. They live and
exist within contemporary culture, but hear, see and create
a sound, style or ethos which is markedly different to what is
happening en-masse.
Tell us a little bit about Punk in Translation and Return of
the Rudeboy, and why you felt it was necessary to highlight
these subcultures?
It’s about telling their stories and unique points of views –
there’s enough happening in the mainstream that tells what
everybody else is doing. When initially thinking about them
they might seem random, but when people become aware of
the story you’re trying to present, an affinity is formed. Return
of the Rudeboy embraced a spirit of defiance and self-worth
which has its origins in Jamaica in the 1950s and translated
itself to the streets of Britain. In 2016 the motivations are
different but the ability to define one’s existence resonates
with the culture’s origins by going against the norm; this is
presented via a series of images and installation set pieces.
Punk in Translation tells of the niche punk scene in Tokyo,
and although small, it is very active and traces its lineage
back to Britain in the 1970s.
Both projects depict groups of people that have carved
their own path by defying the contemporary norms – that
is both exciting and inspiring. These projects were about
documenting and visualising important movements that are
happening today that no one else had shed light on before. In
my personal projects I like championing and documenting art
and life, showcasing things that I’m inspired by and that I feel
have an influence on our day to day lives.
How have the modern times affected subculture from a
style point of view – in terms of social media, information,
our influences, all accessed digitally and at all times?
It has definitely affected people’s sense of cloth and sense
of dress, but I don’t know how much it has specifically
affected subculture. Yes, everybody is aware of every single
label and trend, but these don’t necessarily form subcultures.
Subcultures usually start from the street up, and are not
purely based on what designers are doing. When people
mobilise only regarding fashion it seems one-dimensional.
Those with an intrinsic style, music taste and political thought
process are all interlinked.
You can join people on the internet, but when people
think they are part of something just because they’ve seen it
on online, they don’t understand the merits of it or the back
story. They dress by numbers. We see something and we want
to replicate and emulate, aspiring to that way of being, but
when so many people are passing information around online
there is hardly any reference to its how/why/where rationale.
It’s not about subcultures; it’s often about self-promotion.
You’ve worked with brands who have been inspired by
subculture... Is menswear quite driven by subculture?
Menswear used to be driven by subculture, now it is
driven by social media posts, trends and guys who dress up,
declare themselves a vlogger and then get paid to endorse a
plethora of average brands and take selfies at fashion shows.
So many PR agencies use the word ‘culture’ in their agency
mantra but it is one of today’s overused words.
So many of these agencies don’t care about, let alone
understand what culture is, it’s merely a means to sell
product. The word ‘culture’ helps the selling process because
it has come to mean authenticity; previously the buzz word
was ‘heritage’. I’m not sure what it will be next, not that
I care.
Do you think new subcultures are being formed?
There needs to be an implosion, where people dissect
themselves from their tablets and from their feeds and start
engaging with people and not just technology. Though one
could say this is a new form of engagement... People power
and mobilisation is what starts movements and subcultures.
In an age which is meant to be about information I find
very little coming out of individuals’ mouths other than what
they find from a feed. Subcultures will continue, of course,
but it will take a while before anything new or interesting
comes along. Some might say trap – as a subdivision of hip-
hop – is a movement or subculture, but now it’s so mass and
mainstream, and when it becomes mainstream it cannot
remain sub.
So it loses its essence?
Yes you can’t retain integrity when everyone is doing the
same thing. That’s not possible. When you go to a club you
can become a big group of people debating about where to go.
I go with smaller groups who are likeminded, and we go out
for this reason and that’s why we are here. When you try to
democratise and please everyone you end up as some kind of
mush, fed by the mainstream.
What are your thoughts on Punk.London?
Punk.London is essentially a marketing tool for the
government to hang on to the fact that as a nation we were
once ‘cool’ and responsible for defining culture which has
impacted the globe. Promoting an ideology which is about
tearing down walls, the establishment and boundaries and
alternative ways of thinking, doesn’t really make any sense.
It’s a misnomer. The fact that it is called Punk.London is also
part of this country’s problems, by the fact that we usually
only herald the capital city which is what helps cause dissent
in the nation as a whole.
That said, if by their endeavours, young people are able
to learn and embrace the punk ideology of do-it-yourself,
and be taught why people had to react or carry themselves
differently, then hopefully we will have a few new thinkers
who can mobilise and be part of new cultures and subcultures,
because that’s essentially what’s missing today – free thought
and people called to action.
# 1
H A R R I S E L L I O T T
___
nown for his contribution to modern-day documentation of subcultures, Harris Elliott’s career has taken him
through various avenues of the music, fashion and art industries. The widely regarded Return of the Rudeboy
exhibition was a co-founded project between Elliott and photographer Dean Chalkley, and was situated in
Somerset House for 10 weeks before moving to Laforet, Harajuku.
Since then, Elliott instigated and art directed the Japanese punk exhibition Punk in Translation, releasing a short
film, Punk: A Feeling of No Future with voiceovers from subculture icons Don Letts, Judy Blame and Roger Burton, and
has created and led a variety of projects highlighting that which strays from the mainstream. A self-described “visual
storyteller” and an instigator of free thought, his work has inspired those who lived through the movements and those
who rise through the new generations.
K
“Subcultures usually
start from the street up.”
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