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New Romanticism (also called Blitz kids and a variety of other names)〔T. Cateforis, (''Are We Not New Wave?: Modern Pop at the Turn of the 1980s'' ) (University of Michigan Press, 2011), ISBN 0-472-03470-7, pp. 47–8.〕 was a pop culture movement in the United Kingdom that began as a nightclub scene around 1979 and peaked around 1981. Developing in London and Birmingham, at nightclubs such as Billy's and the Blitz,〔D. Johnson, ("Spandau Ballet, the Blitz kids and the birth of the New Romantics" ), ''Observer'', 4 October 2009, retrieved 24 July 2011.〕 and fashion boutiques such as PX in London and Kahn and Bell in Birmingham, it spread to other major cities in the UK and was characterised by flamboyant, eccentric fashion. Several music acts at the start of the 1980s adopted the style of the movement and became known to epitomise it within the music and mainstream press, including Visage, Duran Duran, Spandau Ballet, and Boy George (of Culture Club). Ultravox were also often labelled as New Romantics by the press though did not exhibit the same visual styles of the movement, despite their link to the band Visage. Japan and Adam and the Ants were also labelled as New Romantic artists by the press, although both refuted this and neither had any direct connection to the original scene.〔 A number of these bands adopted synthesizers and helped to develop synthpop in the early 1980s, which, combined with the distinctive New Romantic visuals, helped them first to national success in the UK, and then, with help of MTV, to play a major part in the Second British Invasion of the U.S. charts. By the end of 1981, the original movement had largely dissipated〔 and, although some of the artists associated with the scene continued their careers, they had largely abandoned the aesthetics of the movement. There were attempts to revive the movement from the 1990s, including the short-lived romo movement. ==Characteristics== New Romanticism can be seen as a reaction to punk,〔S. Borthwick and R. Moy, (''Popular Music Genres: an Introduction'' ) (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, p. 132.〕 and was heavily influenced by former glam rock stars of the 1970s such as David Bowie and Roxy Music.〔D. Buckley, (''Strange Fascination: David Bowie, the Definitive Story'' ) (London: Random House, 2005), ISBN 0-7535-1002-2, p. 318.〕 In terms of style it rejected the austerity and anti-fashion stance of punk.〔R. Evans, (''Remember the 80s: Now That's What I Call Nostagia!'' ) (London: Anova Books, 2009), ISBN 1-906032-12-2, p. 16.〕 Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions.〔 This "gender bending" was particularly evident in figures such as Boy George of Culture Club and Marilyn (Peter Robinson).〔 Fashion was based on varied looks based on historical romantic themes, including frilly fop shirts in the style of the English Romantic period,〔D. C. Steer, (''The 1980s and 1990s'' ) (Infobase Publishing, 2009), ISBN 1-60413-386-4, p. 37.〕 Russian constructivism, Bonnie Prince Charlie, French Incroyables and 1930s Cabaret, Hollywood starlets, Puritans and the Pierrot clown, with any look being possible if it was adapted to be unusual and striking.〔V. Steele, ed., (''The Berg Companion to Fashion'' ) (London: Berg, 2010), ISBN 1-84788-592-6, p. 525.〕 Common hairstyles included quiffs,〔 mullets and wedges.〔 Soon after they began to gain mainstream attention, however, many New Romantic bands dropped the eclectic clothes and make-up in favour of sharp suits. New Romantic looks were propagated from fashion designer Helen Robinson's Covent Garden shop PX,〔 began to influence major collections and were spread, with a delay, through reviews of what was being worn in clubs via magazines including ''i-D'' and ''The Face''.〔 The emergence of the New Romantic movement into the mainstream coincided with Vivienne Westwood's unveiling of her "pirate collection", which was promoted by Bow Wow Wow and Adam and the Ants, who were managed by her then partner Malcolm McLaren.〔R. O'Byrne, (Style City: How London Became a Fashion Capital ) (London: Frances Lincoln Ltd, 2009), ISBN 0-7112-2895-7, p. 77.〕 However, the post-punk Adam Ant himself has always denied being a New Romantic, and reiterated this in 2012.〔D. Aitkenhead, ("Adam Ant: To be a pop star you need sex, subversion, style and humour" ), "The Guardian", 19 Feb 2012, retrieved 26 May 2012.〕 The band Japan also refuted any connection with the New Romantic movement, having adopted an androgynous look incorporating make-up ever since their inception in the mid-1970s at the tail-end of the glam rock era, many years before the New Romantic movement began. In an October 1981 interview, vocalist David Sylvian commented "There's a period going past at the moment that may make us look as though we're in fashion."〔Rimmer, Dave. Japanese Boys (an interview with David Sylvian and Mick Karn). Smash Hits. Volume 3, issue 22, pages 42–43, October 1981〕 In another interview, he stated "I don't like to be associated with them (New Romantics). The attitudes are so very different." Of Japan's fashion sense, Sylvian said "For them (New Romantics), fancy dress is a costume. But ours is a way of life. We look and dress this way every day." Similarly, the electronic duo Soft Cell also denied any connection to the New Romantic scene. In an interview published in January 1984, keyboardist Dave Ball reflected back on their first year of success (1981) and stated "At this time we were linked to the whole New Romantics thing, but we were never a part of that. It was just a trendy London club thing with Steve Strange."〔Martin, Peter. ''Soft Cell: That Was Then But This Is Now'' (an interview with Marc Almond and Dave Ball). ''Smash Hits''. Volume 6, issue 1, page 6, January 1984〕 While some contemporary bands, particularly those of the 2 Tone ska revival, dealt with issues of unemployment and urban decay, New Romantics adopted an escapist and aspirational stance.〔Simon Reynolds, ''Rip It Up and Start Again Postpunk 1978–1984'' (London: Faber and Faber, 2005), ISBN 0-571-21570-X, pp. 326 and 410.〕 With its interest in design, marketing and image, the movement has been seen by some as an acceptance of Thatcherism and style commentator Peter York even suggested that it was aligned with the New Right.〔S. Borthwick and R. Moy, (''Popular Music Genres: an Introduction'' ) (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, p. 124.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「New Romanticism」の詳細全文を読む スポンサード リンク
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