Cosplay is a youth subculture originating in Japan.
The main feature of cosplay is that participants enjoy dressing up as their favorite characters from anime, comic books, and video games. It has developed to include, particularly when adopted in the west, people dressing up as characters from popular non-Asian fantasy and science fiction movies and games, such as Harry Potter, Lord of the Rings, Doctor Who and World of Warcraft.
As a fashion concept, cosplay has also been seen to extend towards a style of dressing up not only as established, famous characters, but as characters that the enthusiast has developed themselves. This is often a crossover into the Japanese Lolita style of dress, where girls wear a distinctive, cute style. This allows girls who like the look but do not want to fully adopt the Lolita style as street dress to enjoy the less serious "Cosplay Lolita" style at cosplay events and venues.
Cosplay are different from Mardi Gras, Halloween and other holidays dressed, not only in time of these independent holiday but its purpose. The mission of the cosplay is his interpretation: an attempt, a character like an actor in a role. Cosplayers can buy or most often, the creation of costumes by their own work. Cosplayers often trained in the production of specialties such as sculpture, face painting, glass, fashion design and such things in an attempt to “look and feel to make a costume with precision. Props are a fun part of the cosplay, because people really crazy with them.
Once in costume, cosplayer presents the gestures and body language of the characters that they represent. cosplayer often to collect the other costumes, show their own creations, tips, pictures, and participate in contests. Fans to make the images, instead of posing in Cosplay costumes are like kamekozo known, or “Children of the camera and support amateur free Cosplay idol and image advertising.
In contrast is known as Reiyaas dedicated or hardcore cosplayer. There is an element of ritual Cosplay users move in a different mood. The use of costumes is no rebellion or fame seeking, but a ready-made social group for groups of people with similar interests. It is an aspect of traditional Japanese culture that is reflected in the cosplay culture. Many think Cosplayers Cosplay is an expansion of world culture.
The steep rise in the number of people to collect points Cosplay since 1990, this phenomenon is an important part of popular culture. This is particularly true in Asia where Japan’s cosplay culture and street fashion has influenced. Companies are always looking for Cosplayers interest in clothes, accessories, and collectibles fair.
what is moral panic?
A moral panic refers to the reaction of a group of people based on the false belief that another sub-culture or a group poses danger to the society. They perceive that group as being a major threat to their social values and culture. Since these panics often cause social tensions, they are not open for discussion in public.
The major impetus for these panics is provided by the media. Moral panic is often expressed as anger than fear. These panics generally have a variety of outcomes. Moral panics are only semi-spontaneous. The term moral panic is coined by Stanley Cohen in 1972 for describing media coverage of Mods and Rockers in UK in 1960s.
The most common themes in moral panics are the influences and behaviors of young people. The term moral panic is of recent one. But many social scientists are of view that the in-depth study of this phenomenon is conducted in 1925 itself.
Rainbow Parties
We Heard About It From:
The Queen of Believing Anything, Oprah Winfrey. The "Threat:"
"Rainbow Party." Doesn't sound too bad, right? It could be a coloring party for kids, or a house decorating get-together. Maybe some kind of friendly gay pride thing.
But no, according to a guest featured on the Oprah Winfrey Show, rainbow parties were wild, oral sex parties that were being held by teenagers all over America. At these orgies, each girl would wear a different shade of lipstick and as they each serviced a lucky guy in sequence, it'd leave a "rainbow" of colors on his dong.
The story was so widely believed that sex educators across the country started to investigate. Simon & Schuster quickly published a young adult novel imaginatively entitled Rainbow Party to warn of the non-existent danger. Don't bother reading it. We flipped right to the end and the party never happens. Turns out the girl's dad comes home early, so the party gets canceled. Fucking douche!
It didn't matter, the damage was done. Once the teen literature industry dips its filthy beak into something, the moral panic is on.
But alas, as awesome as these parties sound, they turned out to be absolutely, tragically, untrue. According to that wicked cool newspaper for kids, The New York Times, sex educators couldn't find any evidence of even one rainbow party having taken place, ever.
Teens were aware of the slang, but no one had ever been to an actual Rainbow Party. And that's remarkable because it just sounds so totally plausible, and not like something a 15-year-old boy thought up during a masturbation fantasy. Relieved, the busybodies of the world went back to worrying about their neighbor's uncut grass.
60s Mod Fashions and the music that goes with them!
The classic Sixties "mod" scene is usually considered a cultural phenomenon, not a musical one, but the original genre did have certain parameters, although it's easier to determine what Mod music was by looking at what it wasn't. First, unlike Merseybeat, which was influenced by skiffle and '50s rock, or the second wave of British Invasion bands focused on traditional American blues (The Animals, The Rolling Stones), Mod was the first true English R&B phenomenon.
The most crucial Mod fixation was on what came to be known as "Tamla/Motown" (the label Motown singles were released on in the UK). The mods, generally more middle-class folk who dressed in a collegiate style and preferred the new R&B to traditional rock, clashed openly in the streets of London with the more working-class "rockers" who wore leather jackets and clung to the obsolete sounds of rockabilly; the war between the two in 1964 was the American public's first introduction to the trend.
The typical Mod song fused the harder, earlier Motown R&B sound with traditional British pop virtues; as a result, the songs were slick, uptempo, yet soulful, featuring hard guitars and drums but also pop harmonies and, typically, sporting a cynical attitude about romance. As the phenomenon died around 1966, the "hard mods" gravitated toward the British garage-psychedelia that would come to be known as Freakbeat; the poppier mods (that is, those who hadn't had the vision to break free from the fad, like the Kinks, Small Faces and the Who) went full hippie, and the fixation with American R&B turned insetad to Jamaican ska and bluebeat. As with so many UK movements, this one came back around -- first in the punk movement, spawning bands like the Jam, and then more recently, complete with a revival of '60s mod clothing and the mod's favorite form of transport, Vespa and Lambretta scooters!
Early 60s
In the first half of the 60s, for women's fashion, the look of the late fifties remained. It was all about the glamour of American movies. By 1963, when this photograph, right, was taken, the wide skirts of the 50s had disappeared, but the look was still formal. The two girls in this picture look very grown up. The look was adult and glamorous, there was no real attempt to look that different from the older generation. This style can be seen in films such as 'Saturday Night and Sunday Morning' (1960).
The young man in this picture is in Mod gear: a smart suit with narrow lapels and tapered trousers, a slim tie and winklepickers. Fashion was very regional in the 60s. Styles adopted in the Capital took some time to reach the whole country. In the film 'Kes' (1969), about Billy, a boy growing up in Barnsley in Yorkshire, his older brother, Jud, still wears this style, right down to the winklepickers. In the early sixties, in some towns, the Teddy Boy style was still in vogue, whereas in London the Mod movement was beginning.
The photograph, above, from 1962, shows a selection of more casual styles. They range from a sports jacket and tie complete with hat for the man on the left, to open necks for the two in the middle. The hat was on its way out in the sixties and was mainly worn by older men.
Slim fitting trousers were also popular casual wear for women in the early sixties. This shot, right, is also from 1962.
For most men over thirty the smart suit remained the only way to dress for going out. Many went to tailors, such as Burton or John Collier to be fitted out at least one a year. Burton's suits were good value for money and lasted reasonably well.
See also 60s mens suit
Mid 60s fashion
By the middle of the decade little had changed in women's fashion. The Chanel suit, left, a hangover from the 50s was still very popular in the 60s. Hemlines might have been slightly higher. The bouffant hairdo (as worn right) dated from the middle years of the sixties. It needed a considerable amount of back combing and hair lacquer.
The smart suit and fairly formal look remained popular, certainly for women over thirty.
Hair styles
Below are some more popular hairstyles from the 60s. The flip was a classic 60s look that remained 'in' for most of the decade. The beehive was popular in the early to mid 60s; this girl has a typical 'Audrey Hepburn look'. The pixie was a short hairstyle, which was popular in the mid 60s, before long hair came back in the hippy era.
The Mod style
The Mods of the early sixties took the suit to new levels of style. The tapered trousers and thin lapels of the Italian style, became a new youth cult in the early to mid sixties. To this look they added striped blazers, Fred Perry shirts and the Mod scooter, a Lambretta if possible.
Carnaby Street was their fashion centre. John Stephen had several shops there. His male boutiques became the equivalent of Mary Quant's Bazaar.
In the mid 60s, the London Mods congregated inCarnaby Street for a regular fashion parade. Pop music poured from the boutiques and men's shops along the small, narrow street. By the mid 60s, boutiques catering for girls as well as boys were common on Carnaby Street; the Mods usually brought their girlfriends along with them. Shops on Carnaby Street often came and went. Shops that were on Carnaby Street in the 60s included:
The Teddyboy emerged in the 1950s as Britain was coming to the end of post-war austerity and represented the first face of British youth culture. The consumer boom of the 1950s America did not reach Britain until the 1960s but nevertheless working class teenagers could for the first time afford good clothes, a bicycle or motorcycle and entertainment. The clothing that the Teddyboys wore was designed to shock their parents' generation. It consisted of an Edwardian style drape jacket, much too 'camp' for a working class man, suede Gibson shoes with thick crepe soles, narrow 'drainpipe' trousers, a smart shirt and a loud tie - usually of the 'Slim Jim' or bootlace type. The trademark drape jacket was not as impractical as it seems. Not only did it act as a badge of recognition but, as it was made of woollen cloth with lots of pockets, its kept it's owner warm as he hung around in the street and was also good at concealing weapons and alcohol. The Teddygirls adopted American fashions such as toreador pants and circle skirts, although they tended to wear low cut tops to make themselves look less prissy. Girls wore ponytails and the boys tried a number of experimental hairstyles, the most favourite being the overblown quiff with a DA (ducks arse) at the back.
The Teds fully embraced the American Rock and Roll music that hit Britain and the British bands that adopted the same style. The Teds were, however, shadowy figures at the dancehalls, lurking around the bars, bopping around and drinking. They formed gangs who sometimes had a common uniform like a particular colour of jacket or socks. For the most part, violence and vandalism was not too serious by modern standards, and exaggerated by the media, but there were instances of serious gang warfare with razors and knives. Some Teddyboys had fascist tendencies and were involved with gangs of youths that attacked the West Indians that emigrated to Britain in the mid Fifties. This racism was the most unfortunate of the Teddyboy's tendencies and it closed off much American Rock and Roll to them. This was their loss as a lot of white covers of Afro-American songs were very poor by comparison with the originals.
American influence on European teenagers was huge. Rock and Roll idols including Elvis Presley, Bill Hayley, Jerry Lee Lewis and film stars James Dean and Marlon Brando set fashions almost unwittingly. The main looks for teenagers were greasers and preppies.
Greasers followed the standard black leather and denim jeans look set by Marlon Brando in "The Wild One" (1953) and later emulated in the 1978 film called "Grease". They raced about town on motorbikes and were consider outrageous.
Preppie qualities were neatness, tidiness and grooming. Teen girls wore full dirndl or circular skirts with large appliqués on their clothing. Neat pleated skirts were also popular. The pleated skirts were made from a then new fabric called TERYLENE (polyester) which helped maintain razor sharp sunray pleating.
The skirts were supported by bouffant paper nylon or net petticoats. On top, teens wore scoop neck blouses, back to front cardigans, tight polo necks or three quarter sleeve white fitting shirts often with a scarf knotted cowboy fashion at the side neck. These teen clothing fashions that originated in America, filtered to Britain in watered down fashion.
Traditionally Teddy Boys or Neo-Edwardians sported the "Drape" a long knee length, single breasted wool jacket with narrow contrasting lapels and cuffs either of velvet or satin and plenty of pockets. They wore contrast or matching narrow drainpipe trousers, brocade waistcoats, stiff shirts and shoestring ties or bootlace slim Jim ties topped off with suede shoes. Teds also wore crepe soled shoes which helped with the dance movements of jiving.
Teddy Boy clothes were not cheap to buy and when custom tailored, usually cost up to £100 for one outfit. An ordinary mass produced drape suit cost approximately £20 and shoes £3. So sporting a new suit indicated to peers how well an individual was doing money wise. At this time a Teddy Boy would have earned between £5 and £12 a week.
A site visitor has written to tell me some fifties facts - The 'Crape' sole shoes originated during the second world war and looked nothing like the Brothel Creepers seen in the 50's, George Cox the company who first made the Brothel Creeper is still in business and making the Creeper.
The boys slicked back their hair with Brilliantine into a wavy Quiff style with long sideburns and because of the way the hair was finished to the back of the head, the style was brushed back to meet in the middle with the finishing touch of a comb run down the centre back ,thus giving the look of a DA (ducks arse). The most common Hair cut was called a Tony Curtis taken from the way he wore his hair.
Lots of Teddy Boys had Bikes in the fifties, the rocker style was born from the Teds who wore Drapes at weekends but leathers on the bike, by the early 60's Rockers were a major style. A trip to the Ace Cafe in London is well worth a visit to learn about Rockers. (Thanks to Chris for input on these few paragraphs).
The fashion for Teddy Boy clothes spread across the world, even to the USSR. In the USA teen fashion fads were paralleled by youths who wore leather jackets instead of a drape, sometimes leather trousers, but often jeans, all accessorized with a shiny motorbike. The film West Side Story captures this era perfectly as does the later retrospective film Grease.
These skirt pattern images are courtesy of anothertimevintageapparel and are typical of the full skirts worn by teddy girls for rock n'roll or jiving.
The pony tailed girlfriends of Teds wore eye make up and took every fashion to excess. Their favourite outfit was a close fitted black sweater and calf length skirt, or toreador pants or circle skirts with low cut tops all perfect to display the body when dancing.
By 1956 the Teddy Boy movement was on the wane in the UK and by 1958 was fading rapidly as teenagers fixed on new fashions influenced by American pop and cinema culture and a nod to the Italians.
