
Analysis of Rebellion Spirit of Fashion—— Taking an Example of Ripped Jeans
- 1 Beijing Keystone Academy, Beijing, China
- 2 Hailiang Foreign Language School, Zhuji, China
* Author to whom correspondence should be addressed.
Abstract
With the development of fashion trends, ripped jeans have become more and more popular among the general public. However, the journey to becoming a popular consumer of ripped jeans is not an easy one, as it involves a number of ups and downs. Through the evolution of fashion, the use of ripped jeans as a symbol of punk culture has changed over time. It is evident from this study that ripped jeans have been used as a symbol of rebellion throughout history by working-class people, hippies, punk groups, and adolescents of today. Especially in punk culture, ripped jeans embody the spirit of disruption, aggression, and authenticity. Overall, ripped jeans have developed into an upward spiral, with more and more people embracing this style. Eventually, the public begins to recognize the special properties of ripped jeans, and finally accepts their uniqueness in pop culture. It is concluded that while rock and roll pants are considered to be an exclusive part of culture, the average person perceives them as clothing that enhances the appearance of glamour. Specifically, it is a symbol of fashion, a popular fashion item, which is contrary to its original meaning of revolt and rebellion. Due to this trend, ripped jeans have lost much of their rebellious appeal.
Keywords
Ripped Jeans, Punk Culture, Rebellion Spirit
[1]. Malik, E. [2021, March 21]. Explained: Ripped jeans - and everything about them. The Indian Express. Retrieved August 14, 2022, from https://indianexpress.com/article/explained/explained-ripped-jeans-and-everything-about-them-7235868/
[2]. Yue Chen, & Zhou Fan. [2017]. Cultural analysis of ripped jeans, 109–111.
[3]. Ya Zhuo. [2022]. Shavar Ghimiz and Ragged Jeans - The Paradoxical Metaphor of Film Costume in the Pakistani New Wave, 49–58.
[4]. Editor, E. P. | L. [2022, April 19]. The history of Ripped Jeans through the decades. Sidelines. Retrieved August 14, 2022, from https://mtsusidelines.com/2022/04/18/the-history-of-ripped-jeans-through-the-decades/
[5]. Deryl. [2021, September 22]. The 4 major reasons why people wear ripped jeans. denimshine. Retrieved August 14, 2022, from https://denimshine.com/the-4-major-reasons-why-people-where-ripped-jeans
[6]. Levi's®, P. by P. for. [2016, October 25]. Rip it to Shreds: A history of punk and style. Pitchfork. Retrieved August 15, 2022, from https://pitchfork.com/features/from-our-partners/9943-rip-it-to-shreds-a-history-of-punk-and-style/
[7]. Taylor Bazinet April 28, 2017 0 C. [n.d.]. Punk subculture & the fashion movement. Taylor Bazinet. Retrieved August 14, 2022, from https://taylorbazinet.com/punk-subculture-its-fashion-movement/
[8]. Rahman, Osmud. [2015]. Denim jeans: A qualitative study of product cues, body type, and appropriateness of use. 7. 53-74. 10.2752/175693815X14182200335691.
[9]. Howell, S. [2021, December 13]. Five reasons why people are interested in fashion. LEAFtv. Retrieved August 14, 2022, from https://www.leaf.tv/articles/five-reasons-why-people-are-interested-in-fashion/
[10]. Yuting Jiao. [2021]. An inquiry into the emergence of niche cultures into the public eye, 119–120.
Cite this article
Liu,X.;Zhang,X. (2023). Analysis of Rebellion Spirit of Fashion—— Taking an Example of Ripped Jeans. Communications in Humanities Research,4,69-74.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 2
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).