KSENIJA MARKOVIĆ BOŽOVIĆ
Univerzitet umetnosti u Beogradu, Fakultet dramskih umetnosti, Beograd, Srbija
ksenijamarkovicart@yahoo.com
MODA KAO ARTEFAKT KONTRAKULTURE MLADIH ŠEZDESETIH I SEDAMDESETIH GODINA XX VEKA
FASHION AS AN ARTIFACT OF THE YOUTH COUNTER-CULTURES IN THE 1960s AND 1970s
Zbornik 16/2020 (Muzej primenjene umetnosti), strana 66-73
Kategorija članka: pregledni rad
UDK:
316.723: 7.05:646.4
316.32:316.7
Apstrakt:
Kontrakultura šezdesetih godina započela je kao pobuna protiv konzumerističke i kapitalističke ideologije; kao destrukcija poznatih vrednosti, koja je za cilj imala konstruisanje novih. Potreba za slobodom, u najširem smislu značenja te reči, ispoljila se u napuštanju tradicionalnih i kreiranju pop normativa i formi, koje su opštim prihvatanjem postale kulturne determinante. Međutim, takvom „pobedom” pop je izgubio prefiks kontra, zbog čega se postavlja pitanje preživljavanja njegove suštine, te nameće stav da su antimaterijalističke ideje bunta pobile sebe same onda kada su Bitlsi (The Beatles) i mini-suknja postali globalni fenomeni. Rad istražuje paradigmu popa kao subverzivnog delovanja koje je ušlo u glavne (mainstream) tokove, analizirajući modnu scenu šezdesetih i sedamdesetih godina prošlog veka kao artefakta i značajnog segmenta kontrakulturnog stvaralaštva mladih. Polazeći od teza da proizvodi pored tržišne imaju i simboličku funkciju i da tržišno redefinisanje kontrakulture nije isto što i kreativni proces stvaranja njenih dobara, autor dokazuje ideološku autentičnost tada nastalog mladalačkog tržišta i zaključuje o delovanju modne forme kao „kontradela”.
Ključne reči:
kontrakultura, popularna kultura, moda, mladi, šezdesete, sedamdesete
Summary:
The subculture of the 1960s began as a rebellion against consumerist and capitalist ideology; as the destruction of well-known values, aimed at constructing the new ones. The need for freedom, in the broadest sense of the word, was manifested in the abandonment of traditional and the creation of pop norms which became a cultural determinant by their general acceptance. Thus, subversion overcame a previously dominant cultural model while its production exceeded expectations, creating a (youthful) market of its own products intended to express pop habitus. However, due to its victory, pop has lost its subversive prefix, which questions the surviving of its essence and poses the thesis that antimaterialist ideas of rebellion neglected themselves once the Beatles and miniskirts became a global phenomenon. This paper analyses the paradigm of pop as a subversive action that has become mainstream and analyses the fashion scene of the 1960s and 1970s as an artefact and a significant segment of youth counter-cultural creativity in these years. Starting from the thesis that, in addition to their market function, products have a symbolic function, and that the market redefinition of subculture is not the same as the creative process of making its goods, the author proves the ideological authenticity of the youth market created in the 1960s and draws conclusions about the fashion form as a “counter-act”.
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