How punk and counterculture extends beyond purely music, lifestyle and fashion

Me wearing a very punk sleeveless leather jacket covered in pin badges

Characterised by its vast and broad public image, and its followers taking on their trademark alternative image and way of presenting, one may view the influence of the punk movement as being merely cultural, and lifestyle based, or use the term as an all-encompassing means of describing anything vaguely alternative, individual and outside of social norms, or that would be countering existing fashionable and cultural conformity. While this is largely accurate, there is way more to punk than just a style clothing and music, and, indeed, it would be wrong to consider oneself as punk without taking into account the political dimension of the movement, the ideology adopted by individuals involved within it, and ultimately the overlaps and clear presence of similar ideals for punk movements on both sides of the political spectrum, those movements on the right arguably having become hugely over-ruled by punk movements on the left active from the mid 20th century with the Teds and the 1960s mods and rockers, to today's antifascist revolutionary youth movements. As someone who admires and loves to engage with punk culture, it is through reflecting on the evolution (or lack thereof) which had been observed socially and politically for the UK,  that we can understand the importance of mass mobilisation amongst younger demographics through culture and music to inspire them to bring about change and use their own means of creative expression to make these statements in powerful and accessible ways in which more of the public would be keen to engage with.

Not all punks look loud, bold and gaudy. Some can just have power and make a statement with their unique presence and the means they have. Me (in my typical clothing) outside an arms factory in Brighton with my homemade protest sign.

While aiming to effectively disprove the system that represses us and advocate a world in which freedom of expression, individual liberty and acceptance for all are paramount in the creation of a stable and reformed society, along with the breaking of barriers in relation to class and social standing, with many influential individuals in the punk movement having come from fairly average working class backgrounds from which they developed their sense of class consciousness and by which they were able to on first hand account demonstrate their distaste for the society that failed them in which austerity, corporate greed, and the increasing rise of financial crisis and recession overruled their individual financial security and socioeconomic stability. Equally, the beginnings of the punk era were at a crucial turning point in the change of society's attitudes towards female (as with movements such as Riot Grrrl) and queer liberation, and the passing of new laws on same sex marriage, this having been assisted and campaigned for through these movements. This can be seen with Joan Jett and the Runaways, in spite of their growing support amongst UK youth amidst Thatcherism and growing financial instability, somewhat struggling to develop their careers in the US largely due to their political sentiment and the lack of awareness and engagement with political issues amongst younger audiences, as well as a general lack of understanding even amongst supposedly progressives (the Runaways' guitarist Lita Ford even, due to previous lack of experience and recognition of the queer movement in society, temporarily left the band in her younger days due to the shock that came with all the other members of the band apart from Jackie Fox being gay). It is thus further proven that good successful movements are formed largely out of individuals' own struggles and experiences, and through relating these back to the society that they live under and the true grassroots issues affecting individual demographics that they can truly succeed.

The Sex Pistols and Union Jack colours (also with Che Guevara and Angela Davis posters behind me)

Cuban flag colours and an ironically very Western style of dress.

This cultural dimension can be reflected through many punks dressing acting and presenting in ways that were not typical or conforming to the expectations of their gender. This was observed through women wearing heavy boots, men's shirts and jackets and short hair, and men wearing tighter fitting clothing, more experimental hairstyles, and sometimes kilts or skirts. Indeed, this common theme of wearing clothing to transcend societal expectations can perhaps also be done through taking a somewhat ironic means of reclaiming and demonstrating belonging and presence within a society, yet also showing subtle disapproval. The wearing of plaid, check and tweed fabrics is a good example of this, with these being very much traditional English fabrics often used to reflect individual culture and heritage whilst also mainly having been associated with the fashion adopted by the upper classes. Yet, when worn slightly distressed and with leather, denim, and metal, this can be seen to present the complete opposite culture, as well as further demonstrate class consciousness through appearing to make what would originally have been associated with nobility as more widely worn and recognised amongst the working classes.

Me wearing vintage men's jackets in quintessentially English checked fabric

Some more of my heavily stylised vintage menswear

Provocative language and imagery was central to demonstrating individual freedom of expression and fighting against repression so as to make a clear social comment that could shock audiences into consciousness and make them think harder as to the future of the evolution of their society, often featuring punk groups performing in rough areas or at events in which their presence would likely not have been supported by unsuspecting comparatively socially conservative audiences (such as with the Sex Pistols performance of "God Save the Queen" as the 1977 silver jubilee was taking place, causing much controversy. Another of the controversial means by which individuals outside of the punk sub-culture view punk is through its glamourisation and stylisation as merely an appearance or fashionable way of presenting of a time. This attitude leads to its monetisation and commercialisation, thus very much going against its true essence in anti-capitalism and against conformity to social norms, as well as the homemade run-of-the mill appeal of its fashion. This thus proves to present there to still be gaps in the ways in which people recognise the punk movement and the disregard for its broader sociopolitical presences and definition. Especially considering one can still very much be punk without brightly dyed short hair, studded leather clothing, heavy boots and tighter silhouettes, it is very clearly down to individual revolutionary interests and aims to rebel against the system in which one is repressed, all of which having much more basis and being of greater importance for the much needed cultural revolution we should hope to have.

Me aged 17 with bright pink hair and black clothing.