The Interconnected World of Gothic Literature, Music, and Fashion - Guest post from www.curtisallen.co.uk
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The Interconnected World of Gothic Literature, Music, and Fashion – Guest post from www.curtisallen.co.uk
About 15 years ago, I chose the Phaidon book “The Anatomy of Fashion” by Colin McDowell as part payment for an illustration job I did for a publisher. I'd never really thought much about where fashion comes from and why and so I thought being given a book like this, that I would almost certainly never actually buy, might be interesting.Early on, it mentions that after the 9/11 terrorist attacks, handbags suddenly started being designed with more chains, locks, and metal on them and that this was because people wanted reminders of security in their everyday lives. The idea that fashion could reflect the world around us in this way intrigued me. Having this very direct cause-and-effect being pointed out was fascinating and made me question fashions more than I ever had before!
Besides being an illustrator, I've been a club and wedding DJ in the alternative scene of the Midlands for about 17 years now (visit www.curtisallen.co.uk if you need an alternative DJ for anything!), and have enjoyed watching the changing fashions over these years associated with the different subgenres within the scene.
When Kate asked me to write a guest post for her, I thought I'd have a look at goth fashion, where it comes from, and how it's entwined with gothic music and literature.
The Foundations: Gothic Literature
My own journey into the gothic world began with literature. Many years ago I spent a summer engrossed in classic horror novels—Frankenstein, Dracula, Strange Case of Dr Jekyll and Mr Hyde—stories that didn’t just explore fear but delved deep into the human psyche. These narratives were complex, intertwining themes of identity, power, love, and loss, all while draped in a shroud of darkness and mystery.
This Gothic literature and its repeated themes were born out of the complex interplay of cultural forces that created the Victorian “cult of mourning”. Mortality rates of the Victorian era were high, which in turn led to the Spiritualism movement which maintained that the living could communicate with the dead.
Additionally, after Prince Albert's death in 1861, Queen Victoria entered a state of deep mourning that lasted for the rest of her life—over 40 years. During this period, she wore black clothing almost exclusively, avoided public appearances, and even had rooms in her homes kept as they were during Albert's life, contributing to the public cult of mourning. It’s an aesthetic that resonates deeply within the goth subculture.
The dark, atmospheric settings of these novels—the shadowy castles, mist-covered moors, and decaying mansions—would later become visual touchstones for a style that embraced the mysterious and the macabre.
The Music: Soundtracks to the Subconscious
I was about 14 or 15 when I first stumbled upon Adam and the Ants, and it was like discovering a hidden treasure. Their music was infectious, but it was their style that really grabbed me. The bold, theatrical fashion and the swaggering charisma of Adam Ant himself—it was all so captivating. The band's earlier incorporation of S&M and bondage imagery was an eye-opener. As I delved deeper into the world of Adam and the Ants, I began to uncover the intricate web of influences behind them, and working and performing alongside them.I found my way to Siouxsie Sioux, who, along with her band, Siouxsie and the Banshees, had taken the raw energy of punk and turned it into something darker, more introspective—a precursor to what would later be known as goth. Siouxsie’s haunting voice and striking appearance were mesmerizing. I didn't really lean into an exploration of goth at this point, but my curiosity was piqued. Learning about these artists, I realized how the seeds of goth were planted in the fertile soil of the post-punk movement.
A few years later, in 2003, when I was 19, Evanescence’s Fallen album hit the scene and became my (rather late) further gateway into gothic music. I was actually in World's Apart in Birmingham – formerly Nostalgia & Comics – when I first heard “Bring Me To Life”. I ran up to the poor woman behind the counter of the shop and practically begged her to tell me who it was! While it isn't what you'd consider “true” goth music, I was into nu-metal at the time and the Fallen album is goth-tinged metal. I'd never heard anything quite like it and I loved it! From there, I discovered bands like Within Temptation, The Gathering, and Lacuna Coil. (Check out what they like to wear...)
But how did goth music come to be?
Goth music didn’t just materialize out of thin air; it was born from a complex web of influences that spanned literature, fashion, and the shifting landscape of post-punk music. By the late 1970s, the raw energy and rebellion of punk were starting to fragment, giving way to something darker, more introspective.The late 1970s and early 1980s were marked by significant economic hardship and social unrest in the UK, where many of these bands originated. High unemployment rates, the decline of traditional industries, and widespread dissatisfaction with the government created an atmosphere of uncertainty and despair. The ongoing tensions of the Cold War and the looming threat of nuclear annihilation also played a significant role in shaping the cultural psyche of the time. There was a growing sense of disillusionment among post-punk musicians who felt that the anger and rebellion of punk hadn’t led to real change. This disillusionment paved the way for a more introspective approach, where themes of alienation, despair, and existential questioning took centre stage. The late 1970s and early 1980s also saw the rise of other genres that influenced goth music, such as post-punk, glam rock, and even elements of early electronic music. David Bowie, Iggy Pop, and Roxy Music, for example, had already begun to explore themes of alienation, identity, and the darker side of life in their work.
Bands like Siouxsie and the Banshees, Bauhaus, and The Cure were at the forefront of this evolution. They took the DIY ethos of punk and channelled it into exploring themes of melancholy, death, and the human psyche—territory that had already been deeply mined by Gothic literature for centuries.
But this connection to Gothic literature was more than just thematic; it was as if the pages of Frankenstein and Dracula had been transformed into sound. Bauhaus' “Béla Lugosi's Dead” even name checked one of the famous Frankenstein's Monster actors from the 1940s.
These stories, with their eerie atmospheres, complex characters, and explorations of fear and identity, laid the foundation for what goth music would become. The soundscapes created by these early goth bands were haunting and atmospheric, filled with echoing guitars, moody bass lines, and ethereal vocals. It wasn’t just music; it was an experience that mirrored the dark, atmospheric settings of Gothic novels. The introspective lyrics delved into the same existential questions and emotional depths that Gothic literature had been exploring for years—questions about mortality, identity, and the often terrifying unknown.
The Fashion: Wearing Your Heart on Your Sleeve
As goth music took shape, goth fashion developed in tandem, with both elements becoming deeply intertwined. Unlike the raw, torn aesthetics of punk, which was about rejecting the present and future norms, goth bands looked backward, drawing heavily from the Victorian and Edwardian eras and their obsession with death, mourning, and the macabre—an obsession that mirrored the themes they were exploring in their music. The choice to align themselves with the past wasn’t just a stylistic decision; it was a deliberate effort to evoke the same sense of timelessness, mystery, and existential dread that permeated Gothic literature.Goth bands and their followers gravitated toward all-black attire, lace, corsets, and heavy makeup, not as a mere fashion statement, but as a visual representation of the themes running through their music and the literature that inspired it. The Victorian cult of mourning, with its elaborate rituals, strict dress codes, and deep connection to themes of mortality and decay, provided a rich source of inspiration. Black, the dominant color in goth fashion, came to symbolize not just rebellion but also a profound connection to the darker aspects of life that were central to Gothic storytelling. The rise of Goth in the early 1980s also coincided with the fetishisation of black by the Japanese whose designers “invaded” Paris in 1982. By embracing these elements, goth fashion didn’t just evolve from punk; it became something entirely its own, creating a visual language that was both more elaborate and introspective.
While punk was about tearing down societal norms, goth was about exploring the darkness within those norms, delving into the existential questions that society often shied away from. However, much like the punk movement from which goth partially evolved, goth fashion often incorporates elements that challenge societal norms and taboos. The use of bondage and S&M imagery in goth fashion became a way to confront and subvert mainstream expectations about sexuality, propriety, beauty, and morality.
By the time the 1980s were in full swing, the goth scene had solidified both musically and visually. Bands like Bauhaus set the tone for the genre with their haunting soundscapes and eerie lyrics, while Siouxsie Sioux's dramatic makeup and attire became iconic, influencing the way goths dressed across the globe and defining what it meant to “look goth”. This wasn’t just a subculture; it was a fully formed aesthetic movement where music, fashion, and the underlying themes all came together to create something far greater than the sum of its parts. The result was a subculture that visually and sonically expressed the deep, brooding emotions and love of the darker side of life that have been central to the Gothic tradition from the very beginning.
The ever-evolving goth subculture continues to shape and reshape itself, finding new forms and expressions with each passing generation. For example, the crossover between goth and fetish cultures became more pronounced in the 1980s and 1990s, particularly in club scenes where goth and industrial music played such as The Batcave and Slimelight in London. Many of these clubs would have fetish nights, and the two scenes began to influence each other more directly. Fetish-inspired clothing, such as latex, PVC, and bondage gear, became more prevalent in goth fashion as a result.
The recent Wednesday streaming series, for instance, has brought a modern twist to the gothic narrative, reintroducing the world, and especially younger people, to the character of Wednesday Addams and her distinct gothic style. Her sharp tailoring, black lace collars, and love for the macabre have once again brought gothic fashion into the mainstream, blending classic elements with a contemporary edge.
The goth subculture is a broad and diverse spectrum, encompassing everything from the neon-drenched world of cyber-goth, with its industrial beats and futuristic attire, to the intricate and historical influences of steampunk, where Victorian elegance meets speculative technology. Then there's the Elegant Gothic Lolita (EGL) style, with its roots in Japanese street fashion, combining doll-like dresses with dark, Victorian-inspired elements. Each of these subcultures, while distinct, shares a common thread—a love for the dark, the mysterious, and the beautiful.
This ongoing evolution of goth culture highlights its resilience and adaptability, continuing to shape both high fashion and street style. From underground clubs to the runways, gothic aesthetics remain ever-present, a testament to the enduring appeal of this rich, multifaceted subculture. Goth's influence isn't fading; it's simply finding new ways to make its mark.
I'll Be Off Now...
I'll leave you with a passage from “Anatomy of Fashion”:“Lords of the Undead. Pirates. Highwaymen. For male Goths, clothes are dressing-up costumes. What better for a young person who is still unsure of himself than to adopt the guise of a larger-than-life figure from a romantic past? (Dracula is, after all, an aristocrat and always impeccable in his manners and appearance.) Female Goth style takes us closer to S&M. The tight velvet bodices of Transylvanian wenches or Morticia Adams share the same lineage as corsets and bustiers: they are clothes of constraint that invite the pleasure of being undone. The same is true of pencil skirts that make anything other than small steps impractical. Leather and plastics are the materials of bondage; and black is the only appropriate colour, with its associations with elegance but also with death and satanic practices.”
What do you reckon? Is it on the money and speaking to some of the appeal of goth fashion, or is it flailing wildly and condescendingly?