MANCHESTER 1976-1982

Manchester, late 1970s: cotton mills are closing one after the other, workers’ brick houses gradually give way to concrete housing estates. Manchester has just entered the post-industrial era, and becomes the catalyst for a new musical and aesthetic vision.

1976: Sex Pistols shockwave

On June 4th, 1976, the Sex Pistols suddenly filled the cultural vacuum. Their concert at Manchester’s Lesser Free Trade Hall attracted an audience of about 40 people, but the event was about to mark the golden age of the first wave of punk.

In the room are Peter Hook and Bernard Summer, 2 friends who decide to found Warsaw. Which will become Joy Division. Then New Order.

Musical and plastic revolution

In the background: Anthony Wilson, who usually hosts the cultural program So It Goes dressed in a white mohair suit and denim shirt. In 1978, he joined forces with Alan Erasmus to found “The Factory”: a club, then a label that reveals young New Wave bands. The musical revolution is also graphic: the young designer Peter Saville, just graduated from the Beaux-Art in Manchester, creates concert posters and covers for Factory Records bands. The trio invented the “culture club” and created in 1982 the Haçienda, an old boathouse transformed into a temple of disarticulated dance, house music, acid house, and rave parties under substances.

Manchester: home of the Punk clothing style

Far from London, and with limited financial resources, Manchester punks are redefining masculine elegance. Their clothes are still shoulder-hugged, although often cheap and trimmed all over. Their stylistic inspirations are multiple, drawing from the wardrobe of Teddy Boys and Mods. Their biggest stylistic concern is getting their hands on slims pants. In the mid seventies everyone was wearing elephant legs, only one store in town sells the right cut: Stratford Arnadale. Finding punk clothes is a challenge. The Manchester punks wear retro, second-hand shirts on which they mark slogans with a marker. Their suits, polished by hundreds of ironings, are shining. Thin Edwardian-inspired lapels mixes with the generous lapels of the 70s, creating a both organic and harmonious, refined and provocative ensemble.

1-BUZZCOCKS.-Manchester-Royaume-Uni.-1977

BUZZCOCKS. Manchester, United Kingdom. 1977. 

2-Joy-Division-Manchester-6-janvier-1979

JOY DIVISION. Manchester, United Kingdom. 1979. 

3-Joy-Division-par-Martin-ONeil-Bowdon-Vale-Youth-Club-14-mars-1979

O’NEIL, Martin, phot. JOY DIVISION, band. Bowdon Vale Youth Club, Manchester, United Kingdom. 1979.

4-affiche-de-Peter-Saville-pour-The-Factory

SAVILLE, Peter, des. poster for The Factory. 1980. 

Peter Saville Tony Wilson Alan Erasmus The Factory 1978, face

SAVILLE, Peter. WILSON, Tony. ERASMUS, Alan. The Factory, Manchester, United Kingdom. 1978. 

6-The-Buzzcocks-par-Fin-Costello-1978

COSTELLO, Fin, phot. BUZZCOCKS. Manchester, United Kingdom. 1978. 

7-Tony-Wilson-So-It-Goes-1976

WILSON, Tony. So It Goes. Manchester, United Kingdom. 1976. 

  • THE DOUBLE-BREASTED SUIT
    « He had on a double-breasted suit of the type then known as the pillbox; it was chalk-striped, pink on blue »
  • LAPELS
    « Trends in lapel size often mirror the economic climate: during World War II, lapels initially became smaller due to fabric shortages »
  • COOPER X 12
    « Dressed up like a million-dollar trouper/Tryin’ hard to look like Gary Cooper/Super Duper – Puttin’ on the Ritz »
  • OUTER POCKETS
    « It wasn’t until the Industrial Revolution that sewn-on pockets, and pockets hidden within the lining, became standard in clothing… »
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