Northern Soul - Fashion and Imagery

Fashion and Imagery

A large proportion of northern soul's original audience came from within the 1960s mod subculture. In the late 1960s, when some mods started to embrace freakbeat and psychedelic rock, other mods - especially those in northern England - stuck to the original mod soundtrack of soul and Blue Beat. From the latter category, two strands emerged: skinheads and the northern soul scene.

Early northern soul fashion included strong elements of the classic mod style, such as button-down Ben Sherman shirts, blazers with centre vents and unusual numbers of buttons, Trickers and brogue shoes and shrink-to-fit Levi's jeans. Some non-mod items, such as bowling shirts, were also popular. Later, northern soul dancers started to wear light and loose-fitting clothing for reasons of practicality. This included high-waisted, baggy Oxford trousers and sports vests. These were often covered with sew-on badges representing soul club memberships.

The clenched fist symbol that has become associated with the northern soul movement (frequently depicted on sew-on patches) emanates from the Black Power civil rights movement of the 1960s in the United States. The symbol is related to the salute given by African-American athletes at the 1968 Olympic games in Mexico City. On his visit to the Twisted Wheel in 1971, Dave Godin recalled that "...very many young fellows wore black "right on now" racing gloves ... between records one would hear the occasional cry of "Right on now!" or see a clenched gloved fist rise over the tops of the heads of the dancers!"

Read more about this topic:  Northern Soul

Famous quotes containing the words fashion and/or imagery:

    I love all men who dive. Any fish can swim near the surface, but it takes a great whale to go down stairs five miles or more; & if he don’t attain the bottom, why, all the lead in Galena can’t fashion the plummet that will.
    Herman Melville (1819–1891)

    The Dada object reflected an ironic posture before the consecrated forms of art. The surrealist object differs significantly in this respect. It stands for a mysterious relationship with the outer world established by man’s sensibility in a way that involves concrete forms in projecting the artist’s inner model.
    —J.H. Matthews. “Object Lessons,” The Imagery of Surrealism, Syracuse University Press (1977)