This document summarizes a research paper on the role and meaning of decorated denim jackets, known as "battle jackets," in heavy metal subculture and personal identity formation. It provides background on battle jackets and the experiences involved in their design, including observing others' jackets, desiring one's own, shopping for patches, selecting designs, and wearing the finished jacket. Interviews with metal fans found that designing a battle jacket allows them to creatively express themselves while also feeling a sense of belonging within the subculture. The summary concludes that through the process of customizing a battle jacket, individuals can personalize their identity within metal music and join the distinctive battle jacket subculture community.

1. Denim Rebels:
The role of the adorned
denim ‘Battle Jacket’ in heavy
metal subculture and
personal identity
Amanda Barnett
a.s.barnett@liverpool.ac.uk
MA Studies in Popular Music

2. “A battle jacket is a jacket associated with heavy metal subculture that is normally adorned in
some way with personal alterations. Basically, the idea is to begin with a fairly plain denim or
leather jacket, and customize it with items locatable within heavy metal dress codes, including
but not limited to patches, buttons (badges), pins, studs, paint, embroidery, safety pins,
autographs, or ink drawings”.

3. The Battle Jacket Experience
1) Observing
2) Desiring
3) Shopping
4) Selecting
5) Designing
6) Wearing as Sharing
*After visiting the six steps, a connection to personal
identity forming practices and belonging to a battle
jacket subculture is more apparent.

4. Existing Literature
In Heavy Metal…
• Weinstein, D. (2000) Sociologist
• Christe, I. (2003)Writer
• Anson, M. (2015) Graphic Design Studio
Manager
In Biker Subculture…
• Ballard, L. (1997) FolkloreAcademic
• Thompson, H. S. (1966) Rolling Stone
• Downey, L. (2007) Historian
• Little, D. (2007) Writer

5. Participant Data
11
1
7
Interview Method
In Person
Skype
Video Call
Online
Survey
4
11
3
1
Affiliation with Researcher
The 70’s and 80’s
Rock and Metal
Community
University of
Liverpool Rock
Society
Personal Friend of
Researcher
Rock Society friend
Referral

6. Participant Data
• Ages from 20-52.
• Youth Aged 20-25 = 15
• Adults Aged 50-52 = 4
• 18 participants British,
UK or English origin
Age Male Female Total
20 2 4 6
21 5 0 5
23 1 0 1
24 0 1 1
25 2 0 2
50 1 0 1
52 3 0 3
Total 14 5 19

7. Participant Data
3
3
22
1
1
1
1
1
1
1
1
0
Favorite Subgenre
Classic Rock/Metal Hard Rock
Progress Rock/Metal Thrash Metal
Alternative Folk Rock/Metal
Grindcore Grunge
Metalcore NWOBHM
Sludge Metal Pirate Metal
10
6
3
0
Favorite Music Genre
Heavy Metal Rock Alternative

8. Participant Data
How do you feel about designing clothing with
patches (badges), pins, or studs?
• 6 =Yes, I have made something other than a
jacket this way
• 5 = No, I have never done this and do not plan
to do it in the future
• 4 = No, I have never done this but would like to
in the future
• 3 =Yes, I have made a denim jacket this way
What survey participants completed:
• 9 = Participants Identified as Designer
• 5 = Participants Identified as Non-Designer
• 4 = Participants Identified as Future Designer
Battle Jacket Survey Results

9. Introduction to the Battle Jacket
Experience

10. “
”
We can now look more closely at the relationship
between experience, expression, and signification in
subculture; at the whole question of style and our
reading of style
(Hebdige, 1979, pp. 61)
• Battle Jackets as design experience, self-expression, and stylistically of heavy metal
subculture
• Due to the personal nature of adorning jackets, it is not only apparent but also encouraged
that participants add their own twist.

11. The Battle Jacket Experience

12. The Battle Jacket Experience:
1) OBSERVING
• “I've wanted one for a few years. Many fans and indeed bands where them and the idea of something
mainly for gigging appealed. I loved the idea of the personalization to embrace the bands I love.”
RICK

13. The Battle Jacket Experience:
1) OBSERVING
Will:
Peter and his denim jackets. He’s always wearing the
jackets with band patches on them.
George:
Peter always has his jackets…Peter has changed a lot.
He wasn't into the denim thing when I first met him.
Used to wear just t-shirts.
Harry:
Peter and his denim jacket.
Lauren:
Peter has got his denim.
Researcher:
Is there anyone or multiple people whose style stands out
more than others?

14. The Battle Jacket Experience:
1) OBSERVING

15. The Battle Jacket Experience:
1) OBSERVING
Peter: …I sewed more [patches] and was thinking
I wanted to make my own design…I found
‘tshirtslayer.com’, a website where metal-heads
share patches, creations, vinyl, etc.The biggest
section is people sharing the jackets.
Bill:
You might want to join
the ‘Denim and Metal’
[Facebook] group as there
are loads of [pictures] on
there of current and old
jackets/cut offs and
plenty of great stories
too.

16. “
”
In consuming popular music, the individual is free to
choose not only between various musical styles and
attendant visual images, but also how such choices
are lived out and what they are made to stand for
(Bennett, 2006, pp. 112).
•This is the ultimate sentiment, as it indicates the most desirable quality of power - to not
only make choices but also decide upon their meaning.
•With choosing patches for a jacket, for example, one can decide if the patches stand for
•Youth are empowered and can form their own battle jacket subculture.
The Battle Jacket Experience:
2) Desiring

17. “
”
The dissociation of one group is the association with
another
(Willis, 1978, pp. 46).
•Many fans battle with “…feelings of loneliness and find validation by seeking out others with
the same experiences and feelings” (Cavicchi, pp. 158).
•Fans may feel as if they are leaving a side they do not belong on for one they do.
•Any fan can feel a sense of belonging by listening to heavy metal, but a personal act such as
designing a jacket shows a much deeper awareness and connection to the community.
The Battle Jacket Experience:
2) Desiring

18. The Battle Jacket Experience:
2) Desiring
•There is a desire to creatively express oneself in a way that is reflexive of
personal identity.
•Even those who do not listen to heavy metal will identify someone in a
battle jacket as a powerful member of the metal community. And a metal
fan will be able to read the band logos and determine immediately what
type of metal the wearer likes.
•In conversations sparked by the jacket, recalling the story of why a certain
patch was selected or a compliment of sewing an advanced embroidery
pattern could connect music to understanding oneself.

19. The Battle Jacket Experience:
3) Shopping
Sophie:
All current patches I own
are from Hellfest.
David:
Stalls, especially at festivals.They
have all these pins and jackets and
badges as well.
Louie:
You can always find [patches] at
festivals. Usually there are entire stalls
dedicated to them.
Charlie:
The two [patches] that I
have are from Sonisphere.

20. The Battle Jacket Experience:
3) Shopping
Merchandise Examples from ‘Panic Posters’
Affleck’s Palace – Manchester, UK

21. The Battle Jacket Experience:
3) Shopping
Charlie:There’s this one that was a circular patch of a storm trooper helmet.
Sophie thought it'd still look metal and not ruin the theme. I would like to put that
on my upper arm. It wouldn't ruin it if it were on the sleeves.
‘Extreme Loudness’ Merchandise – Affleck’s Palace, Manchester UK

22. The Battle Jacket Experience:
3) Shopping
Other Shopping Methods:
•Online Shopping
•Free patch with the purchase of a CD or other item
FinalThoughts:
•What we can determine from the shopping section, is that shopping in person at
festivals, local shops, and alternative shopping centers goes more hand in hand with
the idea of making a battle jacket as an experience, because of the excitement and
options available at hand.
•However, for a designer who has a very clear idea of what accessories they want,
they may get frustrated going from shop to shop, when they can search online and
find exactly what they need.

23. The Battle Jacket Experience:
4) Selecting
or
Anthony:
If it was sleeveless it wouldn't serve a purpose. It'd definitely be long sleeved.

24. The Battle Jacket Experience:
4) Selecting
Peter:
That Def Leppard patch is
not nice enough.You
need to look for ones that
are better quality.

25. The Battle Jacket Experience:
4) Selecting
Sophie:
That's another thing, if there were any bands I wouldn't have: bands with
known fascist views or anything. I wouldn't want to show support for
that kind of thing. Or even bands that could cause confusion, a band
called ISIS, is really good, really like them but I wouldn't want to wear an
ISIS badge for obvious reasons.

26. The Battle Jacket Experience:
5) Designing
Sewing
• 12 participants already know how to sew
• They were taught by various methods
• asking a family member
• taking a textiles or similar class in school
• or being in a program like scouts or cadets where sewing is mandatory
• Sewing is not considered a feminine activity to any participant:
• Ruby:That's wrong. I know plenty more men who can sew more than me…I don't really find
sewing to be that feminine. It doesn't bother me if they're sewing. I'd prefer it if they were
sewing and they could sew my jacket for me.

27. The Battle Jacket Experience:
5) Designing
Organization Options:
•pattern
•symmetry
•patch shape
•subgenre
•color
•haphazard/no organization
Peter’s jacket is organized by color.

28. The Battle Jacket Experience:
5) Designing
Charlie: I quite like this idea of putting my
name above [the back patch], in the font of
the band [logo].
The most important part of design is adding personalization
to the jacket. It is the element that separates one jacket,
from a sea of denim at a metal festival.

29. The Battle Jacket Experience:
6)Wearing as Sharing
Grant’s Jacket

30. Identity and Subculture Conclusions
with Battle Jackets
• The idea that identity forming ends with entering the heavy metal
subculture is inaccurate.
• Participant Anthony confessed that a jacket would not be his identity, but
‘part of his identity’.
• Anthony loves pop music and noise music as much as heavy metal which
creates the partial identity.

31. “
”
Using music in this way as a mirror for self-
perception…is a common practice of identity work in
daily life.Additionally, different styles of music can
be used by the same person to articulate different
identities
(DeNora, 2006, pp. 146).
•Allowing the battle jacket experience, as a process for identity forming, does not limit the
designer to only be identified in this way.
•Each designer is free to make more personalized items or simply change clothing to reflect
these different stylistic personalities.
Identity and Subculture Conclusions
with Battle Jackets

32. “
”
…the first indicator of subcultural substance comprises the
existence of a set of shared tastes and values which is
distinctive from those of other groups and reasonably
consistent, from one participant to the next, one place to
the next and one year to the next
(Hodkinson, 2002, pp. 30).
•Battle jacket subculture members would see their adapted jackets to still be representative of
the group battle jacket experience.
•The battle jacket subculture exists because its participants are designers who value belonging
and individual status in the heavy metal community.
•Battle jackets offer the wearer a connection to their identity through personal alterations, but
still encourage group identity because of their popularity within the heavy metal community.
Identity and Subculture Conclusions
with Battle Jackets

33. Identity and Subculture Conclusions
with Battle Jackets
In conclusion, this is why through the experience of battle jacket design
anyone is free to personalize his or her identity within heavy metal and
belong to the distinctive battle jacket subculture.Through the battle
jacket experience, one is observing, desiring, shopping, selecting,
designing, and wearing as sharing subcultural status while expressing
personal identity.

34. Appendix A: Ethnography Bibliography
Adam. 2015. Denim Rebels: Adam. Interviewed by ...Researcher. [on-line] Survey and 16 September 2015.
Anthony. 2015. Denim Rebels: Anthony. Interviewed by ...Researcher. [in-person] Sydney Jones Library and 19
September 2015.
Bill. 2015. Denim Rebels: Bill. Interviewed by ...Researcher. [on-line] Survey and 13 September 2015.
Brian. 2015. Denim Rebels: Brian. Interviewed by ...Researcher. [in-person] Harold Cohen Library and 17 September 2015.
Charlotte. 2015. Denim Rebels:Charlotte. Interviewed by ...Researcher. [in-person] Liverpool Guild of Students and 18
September 2015.
Charlie. 2015. Denim Rebels: Charlie. Interviewed by ...Researcher. [in-person] Kensington and 13 September 2015.
Chris. Denim Rebels: Chris. Interviewed by ...Researcher. [on-line] Survey and 13 September 2015.
David. 2015. Denim Rebels: David. Interviewed by ...Researcher. [in-person] Kensington and 18 September 2015.
Evie. 2015. Denim Rebels: Evie. Interviewed by ...Researcher. [in-person] Harold Cohen Library and 17 September 2015.
George. 2015. Image & Dress Code in University of Liverpool’s Rock Society: George. Interviewed by ...Researcher. [in-person]
Sydney Jones Library and 7 May 2015.
Grant. Denim Rebels: Grant. Interviewed by ...Researcher. [on-line] Survey and 29 September 2015.
Harry. 2015. Image & Dress Code in University of Liverpool’s Rock Society: Harry. Interviewed by ...Researcher. [in-person]
Sydney Jones Library and 11 May 2015.
Jessica. 2015. Denim Rebels:Jessica. Interviewed by ...Researcher. [in-person] Kensington and 20 September 2015.
Lauren. 2015. Image & Dress Code in University of Liverpool’s Rock Society: Lauren. Interviewed by ...Researcher. [in-person]
Crown Place and 13 May 2015.
Louie. 2015. Denim Rebels: Louie. Interviewed by ...Researcher. [video call] Skype and 15 September 2015.

35. Appendix A: Ethnography Bibliography
Morgan. Denim Rebels: Morgan. Interviewed by ...Researcher. [on-line] Survey and 17 September 2015.
Oliver. 2015. Denim Rebels: Oliver. Interviewed by ...Researcher. [in-person] Sydney Jones Library and 19
September 2015.
Peter. 2015. Denim Rebels: Peter. Interviewed by ...Researcher. [in-person] Kensington and 3 September 2015.
Rick. Denim Rebels: Rick. Interviewed by ...Researcher. [on-line] Survey and 25 September 2015.
Richard. Denim Rebels: Richard. Interviewed by ...Researcher. [on-line] Survey and 15 September 2015.
Ruby. 2015. Denim Rebels: Ruby. Interviewed by ...Researcher. [in-person] Kensington and 20 September 2015.
Sophie. 2015. Denim Rebels: Charlie. Interviewed by ...Researcher. [in-person] Kensington and 13 September 2015.
Will. 2015. Image & Dress Code in University of Liverpool’s Rock Society: Will. Interviewed by ...Researcher. [in-person]
Vine Court and 30 April 2015.
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36. Bibliography (Continued):
Cavicchi, D., (1998).Tramps Like Us: Music and Meaning Among Springsteen Fans. New York: Oxford
University Press.
Christe, I., 2003. Sound of the Beast:The Headbanging History of Heavy Metal. NewYork, NY: HarperCollins Publishers.
‘Denim and Metal’ Facebook Group (2015). “Discussion”. Available at: < https://www .facebook.com/groups1403472
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Hebdige, D., (1979). “Style as Homology and Signifying Practice”. On Record: Rock, Pop, and theWritten Word. (eds S. Frith
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