Back in the 80s, when Dave Vanian put on white face and Siouxsie slithered into a black rubber skirt, part of the UK punk scene morphed into Goth. It was still just plain old post-punk then, maybe “deathrock” for reasons of trying to explain the fascination with vampires and spiders and fishnet, but it was all we had, and we were happy for it, if for no other reason than it gave an awful lot of freaks and weirdos a place, music, and style, that allowed an expression of their darker side.
Over almost 40 years, Goth has shape-shifted a hundred times in a thousand different directions. The classic post-punk style, now known as “trad goth” was forced to step aside for new and interesting variations and influences, from cyber and Victorian steampunk to perky, Lolita, nuGoth and for a while there in the late 90s, world music, folk music, and even Goan techno. All of these offshoots are valid (sub)sub-cultures in their own right, based on a distinct look and sound that sometimes only minimally references back to the original movement. But if you came of age in the 1980s, then that original post-punk style is still the only “real” Goth look, no matter how it might be dressed up otherwise.
Chronicling the decade of post-punk and Goth are Andi Harriman and Marloes Bontje in their 2014 publication Some Wear Leather Some Wear Lace – The Worldwide Compendium of Postpunk and Goth in the 1980s. Looking at the music, the style and the clubs, predominantly in the UK and Europe, that shaped the scene, Harriman and Bontje explore how Goth developed and grew throughout the decade.