The London exhibition exploring Japan’s punk underground

Punk is the subculture that epitomises the spirit of disenfranchised youth. Since it first erupted in 70s New York and London, its attitude has manifested sartorially in the form of studded leather, safety pin piercings and bleached mohawks. But it’s not just a movement that has found its feet in Britain and the US – the impact of punk has dominated the world, and remains thriving in cities thousands of miles from its roots. One such city is Tokyo, where the spirit of punk is currently more alive than ever.

Enlisting the talents of documentary photographers Tatsuo Suzuki, Yusuke Yamatani and Naoya Matsumoto, Harris Elliott set about curating a series of images which trace Japan’s underground punk scene. They’re presented together in a new exhibition entitled Punk in Translation, and running over London Collections: Men at The Horse Hospital. A collaboration between Leather Japan and forward-thinking label Blackmeans, the exhibition is also a sartorial exploration of Japanese youth and the ways in which they are inspired by and devoted to the subculture. Here, Elliott explains the story behind the show and details the specific elements of Japanese punk that make it unique to the country’s rich culture.

What was it about Japanese punk that inspired the exhibition?

Harris Elliott: Six or seven years ago while on a work trip I was introduced to the brand Blackmeans who were having a party in a small shop in a side street of Harajuku. From that moment I became aware of the current Japanese punk scene. In fact, the Japanese punk scene in Tokyo is niche but very active – each month there are over 50 bands and artists that regularly perform in small venues and festivals like Kappunk, and we actually took photographs at Kappunk which were used for the exhibition. However, not many people outside of Japan are familiar with their unique punk culture and aesthetic, so when the opportunity arose to showcase it in the UK I took it gladly.

What were you looking to achieve with the exhibition?

Harris Elliott: My aim was to help the Japanese punks that are bringing the show to London, to put on a show that reflects their expression of contemporary Japanese punk music imagery and culture. I believe they wanted to show their respect to the UK as this is where their initial punk inspirations came from. 2016 is the 40th anniversary of the Sex Pistols’ debut album, so it was great to be able to showcase how punk's legacy has spread globally and is still relevant to many people today. More than anything, it was a great opportunity to spotlight this Japanese interpretation of punk and how the scene has become integrated over there.

“2016 is the 40th anniversary of the Sex Pistols’ debut album, so it was great to be able to showcase how punk’s legacy has spread globally and is still relevant today” – Curator Harris Elliott

How did you go about finding photographers and work to feature?

Harris Elliott: I randomly discovered Tatsuo Suzuki on Instagram. I came across his work online and decided that I would love to feature him as his black and white photography manages to capture a frenetic and dynamic quality, so when I started working on this project he was the first person I brought on board. Yusuku Yamatani was recommended to me by Blackmeans as he is a great photographer but also a drummer in a rock n roll band in Tokyo, so he knew a lot of the bands we were photographing.

Why (and when) do you think punk found fans in Japan?

Harris Elliott: Punk found fans in Japan in the early 80s. During that whole era the world was in a state of flux, and I believe the reactionary appeal of the British punk attitude appealed to the young impressionable kids in Japan. I think punk gave youth a way out of the Japanese system, and heavily promoted self-expression for those who felt different.

Japan is renowned for its conservatism, why do you think it's such a subcultural hotbed?

Harris Elliott: In every country where conservatism has a strong presence it, in its very nature, suppresses individuality and expression. I think it’s a bit like a pressure cooker – if the steam is not released, there will eventually be a build-up of force which needs a release. The same can be said of all subcultures, they emerge because they are forcing their way out of the pressure enforced by these conservative systems.

How far is Japanese punk entangled with fashion? Which brands are the most pioneering?

Harris Elliott: The Japanese punk scene is very visual and takes many cues from the spiky hair and the studded embellishment associated with early punk manifestations. Brands like Blackmeans are synonymous with that scene – they have a DIY visual approach to their garments but the garments are all immaculately crafted, as you would expect given the high standard associated with Japanese garments.

What elements of Japanese punk are unique to the country? 

Harris Elliott: The Japanese punk scene incorporates the original style from England but mixes it with traditional Japanese festival culture. Also, in terms of DIY fashion, there is a sensitivity towards detail which is more characteristic to Japan than anywhere else.

Punk in Translation runs from Saturday 9th January to Monday 11th January at The Horse Hospital, London