the contemporary tattoo phenomenon in fashion

THE CONTEMPORARY TATTOO
PHENOMENON IN FASHION
AN ANTHROPOLOGICAL STUDY OF A FASHION PROCESS
In a society with unlimited sources of information, the individualistic consumers challenge the industries to
keep up with their unique needs and desires. In an attempt to do so, the fashion industry pushes its own limits
and aims to re-define itself with new measures and in original ways. In this experimental time, the tattoo has
become a popular element in the fashion melting pot of inspiration.
Although most people will have noticed that there is something going on with the tattoo in fashion, no one has
actually tried define the dimensions in detail. In a sociocultural anthropological study, the tattoo and its
“fashion process” (the adoption of the tattoo by fashion consumers)1 are analysed. This in order to grasp the
consumer mentality and their creation of values, on which a relevant and sustainable fashion concept can be
based.
So, what is actually the contemporary tattoo phenomenon in fashion?
In 1971, Issey Miyake was the first to deliberately use the tattoo in a fashion design. His ‘Tattoo’ dress featured
a Japanese tattoo style print of Jimi Hendrix and Janis Joplin, as a contribute to the youth culture legends.2 Then
in the 1980s, as traveling became more common, the tribal tattoo became a source of inspiration for fashion
designers like Jean Paul Gaultier.3 Nonetheless, the interest in tattoos amongst fashion consumers thrived only
in 2005 as tattoo artists themselves became part of the movement,4 when Christian Audigier launched the
tattoo inspired clothing line Ed Hardy.5 It was then not much later, in 2008, that the fashion label Emporio
Armani acknowledged the tattoo as a powerful statement and used it as an additional branding element for the
catwalk show of its Spring/Summer 2009 collection.6 While many tattoo inspired creations by different fashion
labels followed, it was the Chanel temporary tattoo in 20107 which eventually transformed the tattoo from a
source of inspiration and branding element into a fashion accessory for consumers.
Now that this form of body adornment made its way from the catwalk scene to the consumer landscape it can
no longer be ignored. While it may have started as a print inspiration, today the fashion industry has
interpreted the tattoo in a much broader sense. Not only have collaborations between fashion labels and tattoo
artists taken place, even top-models are now known for their tattoos.8 While previously they were to show no
individual personality, the latest appearance is the embodiment of ultimate tattoo dedication. Rick Genest, who
is also known as “Zombie Boy”, has become a well-known muse and model for both fashion and cosmetics
brands.9 Nonetheless, most remarkable is the contribution to this fashion phenomenon made by the fashion
consumer, as among them it has now become popular to get the “actual thing” as a fashion statement. 10
Sproles, G. B., (1974).
Fukai, A., Suoh, T. and Zaidan K.F.B.K., (2006).
3 IPA Phase 1: List of Themes (Henk Schiffmacher), see Appendix M of the research report
4 IPA Phase 1: List of Themes (Henk Schiffmacher), see Appendix M of the research report
5 Christian magazine, (2011).
6 Fashion and Style, (2010).
7 La Chanelphile, (2011a).
8 Trendy Style, (2011).
9 Montreal Gazette, (2011).
10 La Chanelphile, (2011b).
1
2
Taking this into consideration; is the tattoo phenomenon simply a temporary
fashion trend or is there an underlying (possibly permanent) development going
on?
In 2008 the Economist published that “inked skin has gone mainstream.” Karen Bettez Halnon, sociologist at
the Penn State University, explains that this movement can be classified as “gentrification,” meaning that the
tattoo now simply appeals “to almost everyone from doctors to bankers and even to soccer moms” and is no
longer only for minority subcultures. 11
Nonetheless, despite that scientists now tattoo their life work on their bodies12 and that the Amsterdam
government has classified the tattoo as cultural heritage worth preserving13, there is still a large division in
positive and negative tattoo associations within society.14 A survey amongst the young adult generation,
indicates that they often personally have a positive attitude toward tattoos, while they are aware of the
lingering negative connotations. People therefore now tend to differentiate between types of tattoos.15 In turn
this suggests that the general form of tattooing is relatively accepted and that the kind of tattoo simply
determines the degree of individual acceptance.
Acknowledging the attitude of consumers, fashion professionals now also classify the tattoo as permanent form
of dress behaviour,16 of which the popularity might diffuse or the form will evolve.17 This confirms that neither
does fashion industry consider it to be a temporary fashion trend, but rather the addition of a non-apparel
medium to the fashion toolkit.
Anon., (2008).
Carl Zimmer, (2011).
13 Amsterdam Tattoo Museum, (2012).
14 Survey data, see Appendix B of the research report
15 IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
16IPA Phase 1: List of Themes (Peter Leferink), see Appendix M of the research report
17 IPA Phase 1: Initial List of Themes (Fashion students with tattoos), see Appendix I of the research report
11
12
But what is then the role of the fashion industry in this tattoo acceptance
development?
Returning to the fact that the first deliberate use of the tattoo in fashion was intended as an appropriate
contribute to youth culture legends,18 it can be established that it was originally a way to show that fashion was
aware, appreciative, and supportive of the youth culture revolution. Then later when the tattoo had already
begun to go mainstream in society, it became a more popular style element for fashion labels. Through the large
variety of different fashionable tattoo interpretations, the fashion industry at this point articulated the tattoo’s
infinite (personal) possibilities. This in combination with the fact that models now often feature tattoos
eventually “contributed to the way people perceive tattoos.”19 As a result making the tattoo even more
accessible for the masses. Therefore rather than initiating a temporary tattoo trend, the fashion industry
emphasized, articulated, and facilitated the (possibly permanent) tattoo acceptance development in western
society.
18
19
Fukai, A., Suoh, T. and Zaidan K.F.B.K., (2006).
Cherrelle Transcript
What are the fundamental values of the relationship between the fashion and
tattoo culture, which allowed for the fashion industry to play this part?
First of all, originally both phenomena had the purpose to express someone´s social identity. But as the zeitgeist
shifted from a collectivist to an individualist perspective20, both have now become a way to express someone´s
individual identity. However, whereas a fashion identity remains closely related to someone’s social context, the
tattoo identity has become more linked to someone’s personal context as it is a permanent means of expression
and therefore tends to reflect more stable characteristics.
Another effect of the shift in zeitgeist, is the on-going change in their social structures. While the masterapprentice principle has always formed the foundation, now that the next generations are raised in an
environment that encourages self-education, this principle is slowly being replaced by a similar principle with
an opposing intention, also known as cv-building. Rather than that the apprentice really learns the trade secrets
from an established master the younger generation simply desires to be in the presence of a successful
professional only to benefit from the status associated with their name.
In addition, the cultures’ mass appropriation was stimulated by the same drivers. While for both phenomena
the first introduction to the mass market was due to developments during the Industrial Revolution, the most
crucial stimulant was the emergence of youth cultures in the second half of the 20th century. The rebellious subcultures made both the tattoo and fashion a means of expression for the masses as street styles started to
appear.
Lastly, whereas the shared values of the two cultures originated from the mutual motivation to express
someone’s authentic identity in an artistic manner, the values in which they differ from one another are still
based on shared principles. The most obvious difference derived from their intriguing relation to time. While
both cultures value their historic background, they do so for very different reasons. Whereas fashion aims to
understand the past in order to discard it and attempt to redefine itself over time, the tattoo is a permanent and
static form of expression for the individual which explains why its culture values tradition, permanence, and
devotion. Ultimately this also clarifies why the fashion culture has drawn more toward the tattoo culture than
the other way around. The other main difference between the two cultures derives from their common need to
prove themselves. Whereas in the fashion culture someone can prove themselves worthy by uniquely
differentiating and thereby showing to be capable of individual thought, in the tattoo culture someone’s
understanding of sophisticated symbolic expression provides the desired status.21 This drive to prove worthy is
then again grounded in the fact that individuals from both cultures often have felt to be an outcast at a younger
age.
As a result, the mutual understanding of each other’s foundations and developments made it possible for the
fashion industry to gain profound insight in the tattoo phenomenon. This then allowed it to take the powerful
articulating and facilitating role that it has in the contemporary tattoo renaissance development.22
Tsuladze, L., (2009).
IPA Phase 1: List of Themes (Henk Schiffmacher), see Appendix M of the research report
22 Under the Skin, (2004).
20
21
Keeping these mutual fundamental principles in mind; is the current tattoo
adoption by fashion followers a durable concept?
Fashion design professor Peter Leferink explains that the tattoo was initially adopted by the fashion culture in
its original form, with the purpose to express someone’s identity not deliberately in a fashion context. 23
However, as the tattoo later went mainstream in society and turned into a style element in fashion, the literal
tattoo “product” in the fashion environment started to evolve. Driven by the hasty fast-fashion mentality, the
tattoo was swiftly adopted by the early majority of fashion consumers, whom misinterpreted its purpose and
made it into a fashion statement in itself. NRC columnist Rosanne Hertzberger argues that this type of tattoo is
solely a form of self “customization,” a contemporary hype that once again will be out of fashion, which is when
“a whole generation will wear the scars of this phase for the rest of their life.”24
Considering that the current tattoo adopting fashion crowd is now massively going for trend inspired cliché
tattoos,25 the tattoo industry is no longer sympathetic to the tattoo appropriation of the fashion industry.26
Tattoo old-timer, Henk Schiffmacher clarifies that “the tattoo is of course a folk culture and it may therefore
manifest itself in any way” people could possibly want. But nonetheless, as these consumers allow “ the tattoo to
be determined by what is going on at this moment” they neglect the fact that “if there is anything that is not
subservient to fashion (…) it is of course the tattoo.”27
Therefore, from an anthropological perspective it is clear that this current fashion trend, to get a tattoo solely
as a fashion statement, is a purposive mismatch. Considering that the new tattoo “product” in fashion is simply
not based on authentic cultural values it is less likely to be a sustainable concept.
So what now?
The consumer segment that seems to have remained true to the initial (successful) tattoo adoption of the
fashion culture can be classified as the innovators and early adopters. Despite that the tattoo phenomenon in the
rest of the consumer landscape evolved in to a pure fashion statement, they have stayed true to their initial
interpretation as they believe that “tattoos are not one homogenous thing”. They argue that “it’s not like you’re
all wearing the same T-shirt” as the symbol and/or meaning can still be unique for the individual.28 “The fact
that you know it’s there”29 is precisely the essence of the tattoo for the innovators and early adopters and so it is
merely a form of identification and expression for themselves. Possibly, by returning to these fundamental
adoption principles and values, tribes within the fashion culture can successfully adopt the tattoo once again.
IPA Phase 1: List of Themes (Peter Leferink), see Appendix M of the research report
Hertzberger, R., (2011).
25 La Chanelphile, (2011b).
26 Observational Research, see Appendix N of the research report
27 Transcript Semi-structured Interview with Henk Schiffmacher, see Appendix L of the research report
28 Transcript Semi-structured Interview with Lizzie, see Appendix E of the research report
29 Transcript Focus Group Discussion – Fashion students with tattoos, see Appendix G of the research report
23
24
Who are these innovators & early adopters?
The INDEPENDENT CREATORS tribe is an exemplar community. These are international expressive arts
students who are ambitiously orientated and take a particular interest in fashion. With an early awareness of
their preferences30 they are driven to continuously explore these, often resulting in individualistic self-aware
personalities when reaching young adulthood. As a result they are alert about their surroundings but less
dependent on others for appreciation, making them more self-confident31 than the general fashion consumer.
Their individualistic mentality is crucial in the way they make their choices. They initially act from their own
beliefs and do things to please themselves rather than others,32 in order to assure that they “don’t regret
anything.”33 As a result they often oppose and question collective judgements, disregarding the social
consequences. Mostly they do this through confrontational humour. For example, by overindulging - “I love
clichés and stereotypes. They are just in our minds but that makes it nice to create them in reality ”34 – they make
fun of norms, society, and even life itself with a playful but serious undertone.
Despite that the INDEPENDENT CREATORS have no intention to answer life’s mysteries, they do adopt the
symbolism from concepts such as science or religion and give it their own (possibly contrasting) meanings.
This simply because it forces people to question the element’s stereotypical context and indicates that their
choices are thought through.
In terms of fashion they do not prefer branded over unbranded items, but they are aware of what fashion labels
are up to and know which brands fit their own style. While they like to bring different cultural influences in
fashion together, now that the average consumer has also started to combine these aesthetics in their dress the
INDEPENDENT CREATOR aims to do this in a new way, by using the basic principles but discarding the obvious
characteristics. As a result their style is now becoming more functional, androgynous, reference-less, and
abstract.35
IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
32 IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
33 Transcript Focus Group Discussion: Fashion students with tattoos, see Appendix G of the research report
34 Transcript Focus Group Discussion – Fashion students with tattoos, see Appendix G of the research report
35 IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
30
31
As they find themselves within an unstable fast-paced environment they are in the search off something
permanent. For them the tattoo is exactly that. They are aware of how serious committing to a permanent form
of self-expression is, but nevertheless they prefer the tattoo to be a spontaneous act. This simply because they
are certain that overthinking it will lead to forced meaning. Despite the awareness that their identity evolves
over time, they also believe that as long as the tattoo fitted with their identity at that moment it will simply
become part of them. A crucial part of this peace of mind is that they have accepted and appreciate the
unpredictability of life and have therefore decided to live in the moment.36
Whereas the INDEPENDENT CREATORS have accepted tattoos in a general sense they do also differentiate
between tattoo types and styles. As they realize that “at times tattoos can be a sign of lower class”37 they feel that
therefore the image of a tattoo can also be undesirable. While this does not keep them from get tattooed, they
do believe “it is important to be able to cover them up at times.”38 Taking this into consideration it becomes clear
that getting a tattoo is no longer to show rebellion to others, but that it has now evolved into a form of rebellion
in the sense of taking control over ourselves.
While the fashion industry has continuously attempted to marry the tattoo and fashion cultures by merging the
phenomena, it seems that this does not do justice to the tattoo. The INDEPENDENT CREATORS show that
simply when a tribe respects and preserves the tattoo as a separate entity from fashion, while allows them to
complement one another, it can successfully use both phenomena in its self-identification process.
IPA Phase 2: Data merging – Clustering themes (students), see Appendix J of the research report
Transcript Semi-structured Interview with Lizzie, see Appendix E of the research report
38 Transcript Semi-structured Interview with Lizzie, see Appendix E of the research report
36
37
So, how can the fashion industry translate this anthropological phenomenon into a
fashion concept?
As the INDEPENDENT CREATORS are likely to be the future generation that will guide the fashion industry,
their mentality and decision making forms the appropriate foundation for a contemporary relevant and durable
fashion concept. As they embody a symbiotic co-existence of fashion and tattoos, a deduced concept would
need to do the same. Therefore, when attempting to marry the two cultures, it is important to keep in mind that
the tattoo culture will feel affiliated based on “how authentic” the tattoo influence is and “if it is used in the right
way.”39 This is exactly why it would be crucial to involve the tattoo industry itself.
Through an expressive arts platform the fashion and tattoo world can be brought together. From an operational
point of view this would be an organization which has an open space, where every month an expressive arts
field can show how it can uniquely complement or interpret the tattoo. For example, an up-and-coming fashion
label could design a collection which emphasizes the wearers’ tattoos. This collection could then be sold or
exhibited at the platforms’ space. The next month the tattoo industry could then give their own interpretation,
for instance by turning the space into a tattoo studio which does not only tattoo people but also leather. People
could then come by to get a leather jacket, bag, pair of shoes, bike seat, or even a piece of furniture tattooed.
By expressively showing the unique possibilities to symbiotically adopt both fashion and tattoos, this platform
would not only inspire people but also to create awareness of what it is that society is adopting.
39
Transcript Semi-structured Interview with Henk Schiffmacher, see Appendix L of the research report
References:
Anon., (2008). Tattoo you: Inked skin has gone mainstream. Economist, [online] 16 June. Available at:
http://www.economist.com/node/11412723 [Accessed 18 March 2012]. Reference: 11
Amsterdam Tattoo Museum, (2012). News. [online] Available at:
http://www.amsterdamtattoomuseum.com/news/ [Accessed 09 February 2012]. Reference: 13
Carl Zimmer, (2011). Science Ink: Tattoo of Science Obsessed- Excerpt. [online] Available at:
http://carlzimmer.com/books/scienceink/excerpt.html [Accessed 09 March 2012]. Reference: 12
Christian magazine, (2011). Ed Hardy’s Biography. [online] 17 March. Available at:
http://www.christianmagazine.info/christianity/christian-magazine-ed-hardys-biography/ [Accessed 09
February 2012]. Reference: 5
Fashion and Style, (2010). A Look Back at the Last Decade in Fashion. [online] 21 December. Available at:
http://blogs.sun-sentinel.com/features_fashion/2010/12 [Accessed 28 April 2012]. Reference: 6
Fukai, A., Suoh, T. and Zaidan K.F.B.K., (2006). Fashion: The Collection of the Kyoto Costume Institute - a History
from the 18th to the 20th Century. [e-book] Cologne: Taschen in association with Barnes & Nobles. Available
through: Google Books,
http://books.google.nl/books?id=ARLmnMFZ9rcC&lpg=PP1&hl=nl&pg=PP1#v=onepage&q&f=false [Accessed
9 May 2012]. Reference: 2, 18
Hertzberger, R., (2011). Tatoeages, de ultieme minachting van het lichaam. NRC Handelsblad, [online] 5
November. Available at: http://www.rosannehertzberger.nl/2011/11/05/tatoeages-nrc-handelsblad-5november-2011/ [Accessed 08 March 2012]. Reference: 24
La Chanelphile, (2011a). Beautiful dreamer: Peter Philips interview on Nowness. [online] 24 January. Available
at: http://lachanelphile.com/tag/global-creative-director-of-makeup/ [Accessed 15 March 2012]. Reference: 7
La Chanelphile, (2011b). Real Chanel Tattoos – A Permanent Impression. [online] 20 May. Available at:
http://lachanelphile.com/tag/real-chanel-tattoos/ [Accessed 15 March 2012]. Reference: 10, 25
Montreal Gazette, (2011). Zombie Boy transformed – temporarily. [online] 20 October. Available at:
http://blogs.montrealgazette.com/2011/10/20/zombie-boy-transformed-temporarily/ [Accessed 3 April
2012]. Reference: 9
Sproles, G. B., (1974). Fashion Theory: A Conceptual Framework. Advances in Consumer Research, Volume 01, p.
463-472. Available at: http://www.acrwebsite.org/volumes/display.asp?id=5731 [Accessed 26 April 2012].
Reference: 1
Trendy Style, (2011). Modellen met Tatoeages. [online] Available at:
http://www.trendystyle.net/trends/tatoeages-trend.html [Accessed 3 April 2012]. Reference: 8
Tsuladze, L., (2009). Individualist Trends in Collectivist Societies. [PDF] Available at:
http://www.scribd.com/doc/18240602/Individualist-Trends-in-Collectivist-Societies [Accessed 16 April
2012]. Reference: 20
Under the Skin, (2004). 20th Century Tattoos. [online] Available at:
http://individual.utoronto.ca/antonygh/undertheskin/20thcentury.htm [Accessed 03 May 2012]. Reference:
22
In the research on which this article was based, a larger variety of sources was used. Together the with the
primary research, you can find the complete reference list in the appendices of the detailed research report of
this Bachelor Thesis on ‘The Contemporary Tattoo Phenomenon in Fashion’.
LAUREEN VAN BREEN
STUDENT NUMBER 500531775
AMSTERDAM FASHION INSTITUTE
BACHELOR INTERNATIONAL FASHION & MANAGEMENT
THESIS COACHES: CHRIS VELDHUIZEN & ANGELA KILCOYNE
MAY 2012