By Brent Luvaas
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Extra info for DIY style : fashion, music and global digital cultures
And anyone who didn’t was a model of mainstream mediocrity. Punk’s DIY ethos was also glaringly evident in its fashion sensibility. Inspired by the early work of designer Vivienne Westwood, British punks in the mid 1970s pioneered what is now standard punk practice, altering their own garments with scissors, safety pins, and permanent markers, constructing new ones out of found or recycled materials. In fact, for many non-musicians, fashion became the entryway into punk cultural production. “While some innovations in visual style,” notes Laing, “came from the early bands, later shifts came equally from off-stage and outside the 14 • DIY Style auditorium.
A coalition of loosely aligned revolutionary youth made their move, and Sukarno, sometimes against his own will, was thrust forward as their leader. He declared independence from his Jakarta residence, while kidnapped by associates of Menteng 31, a hardline independence group. Years of bloody battle ensued, with tens of thousands of local people giving their lives for independence, sometimes wielding little more than talismans and ritual swords against the far-better armed Dutch and Allied Forces, and out of the bloodbath, thus, was born Indonesia.
Like DIY’s relationship with capitalism more generally, the relationship here is more fraught and complicated than a simple either/or. The DIY ethos is both a continuation and a rupture in development thinking, a historically specific reworking of a larger, and longer running, cultural theme. The Indonesian state, after all, has preferred central management to radical democratization, a model of leadership Geertz (1981) and others (see Pemberton 1994; Baulch 2007) have referred to as the doctrine of the “exemplary center,” where the provinces were to always look to the capital of Jakarta for their example of how to think and behave.
DIY style : fashion, music and global digital cultures by Brent Luvaas