The Deconstruction of the Mod Subculture the Early 1960'S Was
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The deconstruction of the Mod subculture The early 1960’s was when the Mod youth subculture was at its strongest, with the obsessions of the era including music, clothing and scooters, which could also be interpreted as freedom and independence. As a consequence of the shocking new ideas and designs of the time- such as the creation of the mini-skirt and unisex clothing- it forced the youth of the generation to embrace it resulting in the outrageousness of the culture. This report will deconstruct the Mod subculture style, discovering what makes up its design DNA and then reconstructing it to create a conventional product. This will be done through the use of Barthes’ deconstruction table. A breakdown of the colours used in iconic Mod images and products will be used to help with the colour scheme during the reconstruction as colour was a huge part of the design at the time. DECONSTRUCTION Using a range of iconic products and interiors from the 1960’s it is clear to see how important the use of colour is. The breakdown of the 10 images used shows there are obvious reoccurring colours- red, blue, white, yellow, orange and black- at least 2 of these colours are present within each image. Each colour is used in a block which focuses the viewer on the product as a whole rather than an individual detail or part. This is also achieved by repeating colours to link the product together as a whole. This is best presented in the interiors (figures 9 and 10) with colours from the wallpaper being present in other areas such as cushions or lights, resulting to each interior feeling like a natural and relaxing space rather than a room with objects. The boldness of the colours used represents the bold ideas at the time conflicting with the previous traditions in society. Materials were also a very important factor in design with plastic being a huge driving force but wood still dominated a large amount of furniture (as seen in figures 7 and 8). Figures 3 and 4 show the Vespa scooter, which were commonly customised often showing the personality of the owner. A large quantity of mirrors, lights, luggage rails and crash bars, all of which were made from chrome, were added making the scooter totally unique. The use of chrome can also be seen in the small details of other products during the time, possibly linking back to the Vespa (figure 2 and 5). There is a strong contrast of ‘hard’ and ‘soft’ shapes within each product or interior. A ‘hard’ shape would be straight and angular, whereas a ‘soft’ shape would be curved and subtle. A clear example of this can be seen in figure 6- the light itself is a soft sphere held in a hard angular stand. Even the colours contrast in hard and soft tones- the stand is bright red which is a strong colour, whereas the light is white which can be seen as a pure and delicate colour. The same contrast can also be seen in figure 10 where the soft curved light, sofas and table stand against the strong blocked angular wallpaper.. Despite the contrasts each piece fits perfectly together. The Mod symbol itself is another example of the hard and soft contrast- the hard colours against the soft shapes. The symbol is also present within other products in more ways than colour- large circles can be seen in almost every image used. Figures 6 and 10 show oversized spherical lights, figure 5 shows 2 large circles as the main feature of the telephone, and in figures 3 and 4 the scooters have a large amount of circular lights and the circular wheels are eye-catching, almost as if they were designed to be noticed. The wheels also use red and white paint which takes the simulation of the Mod symbol further. Table 2 Figure 8 Figure 11 Reoccurring patterns as seen in figure 8 were a huge part of the 1960’s, whether it’s on wallpaper, furniture or clothing. This could be seen as a type of geometric code. Aspects of the Fibonacci sequence (figure 11) can be seen in figure 8 which may what makes it such a bold piece. Using Barthes’ theory of deconstruction, the Mod symbol has been transformed from denotative signifiers to connotative to discover why the logo is so iconic. (table 1). Table 1 DENOTATIVE SIGNIFIER DENOTATIVE SIGNIFIED Red Mod White Symbol Blue Circles DENOTATIVE SIGN/ CONNOTAIVE SIGNIFER CONNOTATIVE SIGNIFIED Target Force Union Jack Patriotic Flag Excitement Buttons Awake Wide eye Alive Blood CONNOTATIVE Powerful Important Emergency As it can be seen from the table of deconstruction the colours used are very important to the message it sends. The red, white and blue indicate the union jack making it patriotic, the red and blue represent the types of blood, and the blue blood could denote the royal family. The red circle symbolizes a red button (usually the most important button)- all of these are important and powerful forces. Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 RECONSTRUCTION Due to the massive influence of music at the time, the product chosen to be reconstructed in the style of the Mod subculture is a CD player. To capture the design DNA of the time the colours red, white and blue were the main colours, with the proportions in line with the proportions of the Mod symbol (except the top). The mod symbol was also used as a target of where the CD disk should be placed. The orange strip angles on the front then stretches over the top to the back, this way it joins the whole product up as one. Orange was used as it was another reoccuring colour from the images previously looked at. It also compliments the blue and contrasts with the red giving more depth to the design. The chrome grill, along with the knobs and CD holder replicate the chrome used on the scooters. The grill is made from very angular and harsh lines, which cover the front and sides of the base which have soft, curved edges. This, aswell as the oversized rounded kobs and circlular CD hole give the contrast between hard and soft as previosuly mentioned. As seen in figure 3, parka coats were raging during this era, as the mods would want to keep their suits clean while out. In some ways, the chrome grill acts like a parka coat as it wraps around the most detailed area. To conclude, breaking down the Mod subculture to several parts then deconstructing further helped give a better undersanding as to why iconic images were iconic. Taking into account the ideas and feelings of the time also helped decide and create the concept of the CD player which looks like it belongs in the 1960’s. REFERENCES Adrineh Asaduria. (2013). orange vintage phone. Available: http://designspiration.net/image/1256342187379/. Last accessed 22nd November 2013 (figure 5) Eves, B. Design Semiotics, in: Garner, S. and Evans, C. (Ed). 2012. Design and Designing. BERG Eves, B. Asthetic notes. 2013 Janae. (2013). 50′s and 60′s pieces I adore. Available: http://houseofbelief.wordpress.com/tag/60s-furniture/. Last accessed 22nd November 2013 (figure 8) Francesca. (2009). Italian Space Age Table lamp,60's. Available: http://www.flickr.com/photos/designturbo/6113745361/. Last accessed 22nd November 2013 (figure 6) HardandSmart. (2013). History of the mod target. Available: http://www.hardandsmart.net/2013/05/history-of-mod- target.html. Last accessed 22nd November 2013 (figure 1) Modern House Insight. (N/A). 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