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Punk Fashion in Canada PUNK FASHION IN CANADA: THE TRANSLATION OF AN INTERNATIONAL SUBCULTURE A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by KATIE VICTORIA GREEN In partial fulfilment of requirements for the degree of Master of Arts April, 2011 © Katie Victoria Green, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-88934-3 Our file Notre reference ISBN: 978-0-494-88934-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada ABSTRACT PUNK FASHION IN CANADIAN CULTURE: THE TRANSLATION OF AN INTERNATIONAL SUBCULTURE Katie Victoria Green Advisor University of Guelph, 2011 Dr. John Potvin This thesis discusses the emergence of the punk subculture and its subsequent effects on broadening the understanding of marginal identities in Canada. Using an investigative research approach involving the cultural theory of identity construction through use of interview data, material and visual analysis, the main goal of this paper is to understand the Canadian experience of punk and the role of clothing within this subculture. After conducting interviews at various local punk shows in Ontario and British Columbia, it became apparent that Canadian punk is unique but is framed in response to punk subcultures that previously formed in the United States and Britain. Despite their efforts to remain marginal, Canadian punks still rely on Canadian cultural stereotypes to establish themselves as a legitimate punk culture unique from its predecessors. By using fashion to communicate a specific marginal identity, Canadian punks connect to the larger historical and symbolic discourse of punk. ACKNOWLEDGMENTS This study would not have gotten off the ground without the help and support of so many people. First and foremost I would like to thank Dr. John Potvin of the University of Guelph's School of Fine Art and Music for his endless support and ironclad patience throughout my years at Guelph. I would also like to thank my advisory committee, Dr. Alia Myzelev and Dr. Catharine Wilson, for their helpful advice and guidance over the past two years. 1 would particularly like to thank all those that donated their time and words which provided the real backbone of this study. Those people are (in no specific order): Chris Walter, Bev Davies, wendythirteen, Mr. Chi-Pig, the boys from Broadcast Zero, Todd Serious and the Rebel Spell (especially for opening up their home and tour bus to me), Matt and Subsistance, Jan and Ang, Colin Lichti, Steve Stumble, Brian Wicks and the entire random assortment of audience members, bands, and crazy characters that I encountered during my travels. If I have missed anyone, know that I am truly sorry but eternally grateful. On a more personal level I would like to extend my deepest love and thanks to my entire family. Mum and Dad, you are two of the most awesome people I know and I consider myself very lucky and honoured to be your daughter. Finally, one last big thank you goes out to Nick for his love, friendship, and putting up with my insanity. i Table of Contents Acknowledgements ii Table of Contents iii List of Figures v Introduction 1 1.1 Organization of Thesis 4 1.2 Art History and the Birth of Fashion Studies 6 1.3 Cultural Studies and the Language of Subcultural Style 8 1.4 Translating Punk's Visual Language 15 1.5 Punk Rock in Canadian Culture 18 1.3 Methodology 21 Chapter 1: Origins of Punk Fashion 27 2.1 Anarchists and Anti-Heroes: Punk Fashion in the late-1960s 28 2.2 Anarchy in the UK: Punk Fashion in the late-1970s 31 2.3 American Hardcore: Punk Fashion in the 1980s 37 2.4 Punk in Canada 42 2.5 What is Canadian Punk? 44 Chapter 2: Discussion 51 3.2 The (Punk) Body as Text 53 3.3 Modification versus Mutilation 55 3.4 Constructing Gender in Punk 58 3.5 Maturation of Style 62 3.6 Initial Introductions to Punk 66 3.7 Overcoming Geographical and Communicative Barriers 72 iii 3.8 D.I.Y. Fashion 77 3.9 The Festival of Utopic Space 81 3.10 The Creation of Cultural Memory 83 3.11 Readdressing the Question: What is Canadian Punk? 86 Conclusion 90 Bibliography 96 Appendix A - Schedule of Dates and Locations 102 Appendix B - Information to Participants/Interview Consent 103 Appendix C - Photograph Consent 106 Appendix D - Copyright Material Permission 109 Appendix E - Figures 110 iv List of Figures Introduction: Fig 1.1: Little Big House, Kamloops, British Columbia. © Katie Green Fig 1.2: Hammond United Church, Maple Ridge, British Columbia. © Katie Green Fig 1.3: Elk Lodge #373, Campbell River, Vancouver Island. © Katie Green Fig 1.4: Bully's Rehearsal Studio, New Westminster, British Columbia. © Katie Green Fig 1.5: Rearview Mirror, Toronto, Ontario. © Katie Green Chapter 2: Figure 2.1: Drummer for the Rebel Spell, Rearview Mirror, Toronto, Ontario, 8 June 2010. © Katie Green Figure 2.2: Anonymous Female Audience Member (Femme Fatale), Rearview Mirror, Toronto, Ontario, 8 June 2010. © Katie Green Figure 2.3: Anonymous Male Audience Member (Street Warrior), Rearview Mirror, Toronto, Ontario, 8 June 2010. © Katie Green Figure 2.4: Bare-chested Male Enjoys Himself at the Rebel Spell Show, Maple Ridge, British Columbia, 10 July 2010. © Katie Green Figure 2.5: wendythirteen, Funky Winkerbeans, Vancouver, British Columbia, 9 July 2010. © Katie Green Figure 2.6: Example of D.I. Y. fashion, New Westminster, British Columbia, 11 July 2010. © Katie Green Figure 2.7: Nick Shrubsole - "Support Your Local Scene," Funky Winkerbeans, Vancouver, British Columbia, 9 July 2010. © Katie Green Figure 2.8: Lead Singer of Shlonk, Bovine Sex Club, Toronto, Ontario, 22 June 2010. © Katie Green Figure 2.9: Interior of the Bovine Sex Club, Toronto, Ontario, 22 June 2010. © Katie Green Figure 2.10: Entrance to Washrooms, Bovine Sex Club, Toronto, Ontario, 22 June 2010. © Katie Green Figure 2.11: D.O.A. in Trafalgar Square, London, England, 1981. © Bev Davies Figure 2.12: Dave Gregg (D.O.A.) in England, 1981. © Bev Davies Introduction "No red dresses allowed!" This rather blunt statement was yelled at me at a punk show in Kamloops, British Columbia. Kamloops marked the first stop on a British Columbian tour that 1 had embarked upon as part of the research for this study. Eager to establish myself as a hard-hitting researcher of the punk scene, I had been attempting to politely climb my way over two gentlemen who were sitting in front of the entrance when one of them decided to make a point of calling out my ensemble. As he sneered at me, what I should have done, in retrospect, was to muster up a degree of confidence and assert my position as a travelling companion of the band. At least that might have garnered some degree of respect on account of the perceived authority that comes with the statement "It's okay, I'm with the band." Instead, I stammered out: "It...it's not red, it's um, coral." Luckily, just as I finished exclaiming this brilliant comeback, the man sitting next to him (who just happened to be the owner of the venue) assured him that I was indeed "cool." After receiving this quasi-security clearance, I was begrudgingly let into the show. While this anecdote can be laughed off as an amusing little memory from my research travels, it also illustrates a distinct system of exchange between members of a particular subculture and a perceived "outsider." In this instance, the seriousness of the threat of rejection is irrelevant. Regardless of the intent, my immediate entry into the venue was stopped based on a single visual, sartorial assessment. What is important is how this incident conjures up questions concerning the development of a community and the social order that exists within it. Clothing plays a key element within this social order as it helps members of a particular subculture to recognize and read each other as part of the same group. As a 1 newcomer I was easily identified within this tight-knit community of punks.
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