Mod
Originally modernist, sometimes capitalised is a subculture that originated in London in the late 1950s and peaked in the early to mid 1960s.
Significant elements of the mod lifestyle included pop music, such as African American soul, Jamaican ska, and British beat music and R&B; fashion (often tailor-made suits); and Italian motor scooters. The mod scene was also associated with amphetamine-fuelled all-night dancing at clubs. The mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture around them, with its repressed and class-obsessed mentality and its "naffness". 
From the mid to late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or modern.
There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in Southern California.
Fashion
Jobling and Crowley called the mod subculture a "fashion-obsessed and hedonistic cult of the hyper-cool" young adults who lived in metropolitan London or the new towns of the south. Due to the increasing affluence of post-war Britain, the youths of the early 1960s were one of the first generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the Carnaby Street and Kings Road districts. Maverick fashion designers emerged, such as Mary Quant, who was known for her increasingly short miniskirt designs, and John Stephen, who sold a line named "His Clothes", and whose clients included bands such as The Small Faces.
Two youth subcultures helped pave the way for mod fashion by breaking new ground; the beatniks, with their bohemian image of berets and black turtlenecks, and the Teddy Boys, from which mod fashion inherited its "narcissitic and fastidious [fashion] tendencies" and the immaculate dandy look. The Teddy Boys paved the way for making male interest in fashion socially acceptable, because prior to the Teddy Boys, male interest in fashion in Britain was mostly associated with the underground homosexual subculture's flamboyant dressing style.
Newspaper accounts from the mid-1960s focused on the mod obsession with clothes, often detailing the prices of the expensive suits worn by young mods, and seeking out extreme cases such as a young mod who claimed that he would "go without food to buy clothes". Jobling and Crowley argue that for working class mods, the subculture's focus on fashion and music was a release from the "humdrum of daily existence" at their jobs. Jobling and Crowley note that while the subculture had strong elements of consumerism and shopping, mods were not passive consumers; instead they were very self-conscious and critical, customizing "existing styles, symbols and artefacts" such as the Union flag and the Royal Air Force roundel symbol, and putting them on their jackets in a pop art-style, and putting their personal signatures on their style. The song "Dedicated Follower of Fashion" by The Kinks from 1966 jokes about the fashion obsession of the mod community.
Mod fashion adopted new Italian and French styles in part as a reaction to the rural and small-town rockers, who were seen as trapped in the 1950s, with their leather motorcycle clothes and American greaser look. Male mods adopted a smooth, sophisticated look that emphasized tailor-made Italian suits (sometimes white) with narrow lapels, mohair clothes, thin ties, button-down collar shirts, wool or cashmere sweaters (crewneck or V-neck), pointed-toe leather shoes that were nicknamed winklepickers, and hairstyles that imitated the look of the French Nouvelle Vague cinema actors of the era, such as Jean-Paul Belmondo. A few male mods went against gender norms of the era by enhancing their appearance with eyeshadow, eyepencil or even lipstick. Scooters were chosen over motorbikes because scooters' use of bodypanelling and concealed moving parts made them cleaner and less likely to stain an expensive suit with grease. Scootering led to the wearing of military parkas to protect costly suits and trousers from mud and rain.
Female mods dressed androgynously, with short haircuts, men's trousers or shirts (sometimes their boyfriend's), flat shoes, and little makeup — often just pale foundation, brown eyeshadow, white or pale lipstick and false eyelashes. Female mods pushed the boundaries of parental tolerance with their miniskirts, which got progressively shorter between the early and mid-1960s. As female mod fashion went from an underground style to a more commercialized fashion, the slender model Twiggy began to exemplify the high-fashion mod look. The television programme Ready Steady Go! helped to spread awareness of mod fashions and music to a larger audience.
Originally modernist, sometimes capitalised is a subculture that originated in London in the late 1950s and peaked in the early to mid 1960s.
Significant elements of the mod lifestyle included pop music, such as African American soul, Jamaican ska, and British beat music and R&B; fashion (often tailor-made suits); and Italian motor scooters. The mod scene was also associated with amphetamine-fuelled all-night dancing at clubs. The mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture around them, with its repressed and class-obsessed mentality and its "naffness". 
From the mid to late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or modern.There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in Southern California.
Fashion
Jobling and Crowley called the mod subculture a "fashion-obsessed and hedonistic cult of the hyper-cool" young adults who lived in metropolitan London or the new towns of the south. Due to the increasing affluence of post-war Britain, the youths of the early 1960s were one of the first generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the Carnaby Street and Kings Road districts. Maverick fashion designers emerged, such as Mary Quant, who was known for her increasingly short miniskirt designs, and John Stephen, who sold a line named "His Clothes", and whose clients included bands such as The Small Faces.Two youth subcultures helped pave the way for mod fashion by breaking new ground; the beatniks, with their bohemian image of berets and black turtlenecks, and the Teddy Boys, from which mod fashion inherited its "narcissitic and fastidious [fashion] tendencies" and the immaculate dandy look. The Teddy Boys paved the way for making male interest in fashion socially acceptable, because prior to the Teddy Boys, male interest in fashion in Britain was mostly associated with the underground homosexual subculture's flamboyant dressing style.
Newspaper accounts from the mid-1960s focused on the mod obsession with clothes, often detailing the prices of the expensive suits worn by young mods, and seeking out extreme cases such as a young mod who claimed that he would "go without food to buy clothes". Jobling and Crowley argue that for working class mods, the subculture's focus on fashion and music was a release from the "humdrum of daily existence" at their jobs. Jobling and Crowley note that while the subculture had strong elements of consumerism and shopping, mods were not passive consumers; instead they were very self-conscious and critical, customizing "existing styles, symbols and artefacts" such as the Union flag and the Royal Air Force roundel symbol, and putting them on their jackets in a pop art-style, and putting their personal signatures on their style. The song "Dedicated Follower of Fashion" by The Kinks from 1966 jokes about the fashion obsession of the mod community.
Mod fashion adopted new Italian and French styles in part as a reaction to the rural and small-town rockers, who were seen as trapped in the 1950s, with their leather motorcycle clothes and American greaser look. Male mods adopted a smooth, sophisticated look that emphasized tailor-made Italian suits (sometimes white) with narrow lapels, mohair clothes, thin ties, button-down collar shirts, wool or cashmere sweaters (crewneck or V-neck), pointed-toe leather shoes that were nicknamed winklepickers, and hairstyles that imitated the look of the French Nouvelle Vague cinema actors of the era, such as Jean-Paul Belmondo. A few male mods went against gender norms of the era by enhancing their appearance with eyeshadow, eyepencil or even lipstick. Scooters were chosen over motorbikes because scooters' use of bodypanelling and concealed moving parts made them cleaner and less likely to stain an expensive suit with grease. Scootering led to the wearing of military parkas to protect costly suits and trousers from mud and rain.
Female mods dressed androgynously, with short haircuts, men's trousers or shirts (sometimes their boyfriend's), flat shoes, and little makeup — often just pale foundation, brown eyeshadow, white or pale lipstick and false eyelashes. Female mods pushed the boundaries of parental tolerance with their miniskirts, which got progressively shorter between the early and mid-1960s. As female mod fashion went from an underground style to a more commercialized fashion, the slender model Twiggy began to exemplify the high-fashion mod look. The television programme Ready Steady Go! helped to spread awareness of mod fashions and music to a larger audience.
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