Social:Internet aesthetic

From HandWiki
Short description: Visual styles and subcultures associated with the Internet
Vaporwave is one of the most prominent and notable early Internet-centric aesthetics that emerged in the 2010s

An Internet aesthetic is a visual style, subculture or thematic trend that originated and proliferated primarily through the Internet.[1] Originally emerging out of the early online blogosphere among Millennials in the late 2000s and gaining significant cultural traction throughout the 2010s and 2020s amongst Gen Z. Internet aesthetics encompass a wide range of niche communities and visual identities associated with contemporary youth subcultures defined by their digital circulation, curated imagery, and symbolic references to technology, nostalgia, and alternative culture, typically blending elements of fashion, music, visual art, and memes.[2][3][4]

These aesthetics were originally often associated with early blog-based platforms such as Tumblr. By the late 2010s and early 2020s, they evolved to encompass social media platforms like TikTok and Instagram, with the COVID-19 lockdowns being linked to the wider proliferation of these aesthetics online.[5] Notable internet aesthetics include Seapunk, Vaporwave, Cottagecore, Goblincore, Gorpcore, E-girls and E-boys,[6][7] Dark academia, and 2020 Alt.[8]

Although internet aesthetics have been influential to wider fashion,[9] visual art and music,[10][11] they have also been linked to the decline of monoculture and traditional youth subcultures, with writers often citing the fractured nature of the internet and the proliferation of microgenres as factors that are redefining the concept of counterculture in the 21st century.[12][13][14][15]

History

1980s

See also: Philosophy:Cyberpunk, Steampunk, and Philosophy:Cyberpunk derivatives
Photograph of a lobby design which was heavily influenced by the Cyberpunk sci-fi genre

The use of aesthetic suffixes, particularly -punk, has its origins in the 1980s. Cyberpunk was a literary subgenre in science fiction that evolved into a visual aesthetic depicting dystopian futures shaped by advanced technology and cybernetics. Minnesota writer Bruce Bethke coined the term in 1983 for his short story "Cyberpunk", which was published in an issue of Amazing Science Fiction Stories. The aesthetic grew in popularity during the 1980s influencing films like Blade Runner, Tron, Videodrome, The Terminator and RoboCop.[16][17] The cyberpunk genre later developed into its own subculture which was sometimes associated with early hacker culture, as well as an early online community, which included a dedicated Usenet newsgroup.[18][19] Usenet is widely regarded as an early precursor to modern Internet forums, discussion boards, and social media platforms.[20][21] By the early 1990s, some trends in fashion and music were also labeled as cyberpunk, with the aesthetic also appearing prominently in anime and manga (Japanese cyberpunk), with Akira, Ghost in the Shell and Cowboy Bebop.[22][23][24][25]

In 1988, the term 'Cybergoth' was coined by Games Workshop, for their roleplaying game Dark Future, which developed into a fashion style and subculture the following decade.[26]

By the mid-to-late 1980s, steampunk was coined by science fiction author K. W. Jeter as a tongue-in-cheek variant of "cyberpunk", to define a retrofuturist aesthetic blending Victorian era design with steam-powered machinery.[27][28] These terms and early derivatives laid the groundwork for later aesthetic naming conventions in internet subcultures such as seapunk and slimepunk.[29][30] Suffixes such as -core deriving from hardcore punk, -gaze deriving from shoegaze, -wave deriving from new wave, and -punk deriving from punk rock have been used to describe internet visual aesthetics. The term sleaze (as in indie sleaze) and corecore arose in response to the over usage of -core to refer to visual aesthetic trends.[31] Internet aesthetics have also been influenced by and linked to the post-Internet contemporary art movement of the mid-2000s to early 2010s.[32][33]

1990s–2000s

An example of a 2000s era scene kid

During the late 1990s and 2000s, mall goth emerged as a subculture to describe a style of goth fashion centered around nu metal, industrial metal, emo and the Hot Topic store chain.[34][35] Due to the term emerging as a pejorative, equal to the use of poseur,[36][37] it was largely considered a separate subculture simply influenced by goth.[38][39] With the increased usage of the Internet and social media in the mid-to-late 2000s,[40][41] mall goths became frequent users of sites such as MySpace[42] and Pure Volume.[43] Other early internet subcultures included scene kids[44][45] who emerged in the mid-late 2000s,[46] drawing influence from metalcore, crunkcore, deathcore, electronic music, and pop punk,[47][48] as well as gaining popularity through the early social media website MySpace.[49] The fashion style of metalcore band Eighteen Visions, which was labelled "fashioncore", also helped originate the visual style and aesthetic of the scene subculture.[45] Additionally, the visual and fashion style of many 2000s indie music scenes, later labelled as indie sleaze, led to the emergence of the soft grunge aesthetic, which i-D magazine called one of the earliest internet aesthetics.[50]

By the late 2000s, several internet aesthetics would emerge amongst Millennials, with the rise of online microgenres during the blogosphere era.[51] One of the earliest examples of a purely internet-driven music microgenre was chillwave, which was coined by the ironic music blog Hipster Runoff around 2009 as an internet meme. Although microgenres and scenes coined online like shitgaze,[52][53] bloghouse,[54] blog rap and blog rock[55][56] predated it, chillwave became the first musical genre to develop primarily through the internet.[57] Though it was strictly a musical genre, chillwave went on to be influential on future online aesthetic developments like vaporwave.[58]

2010s

See also: Social:Seapunk and Vaporwave
Example of seapunk aesthetic

The first widely recognized internet aesthetic was seapunk coined by DJ Lil Internet in 2011, in a humorous tweet: "Seapunk leather jacket with barnacles where the studs used to be."[59] The term quickly spread on Tumblr to describe a distinctive blend of 1990s web iconography, ocean motifs, and cyberpunk visuals. In 2012, seapunk gained mainstream attention when rapper Azealia Banks used seapunk imagery in her "Atlantis" music video,[60] while singer Rihanna's "Diamonds" performance on Saturday Night Live drew visual aesthetic influences from the movement.[60][61] Seapunk was notable for its intentional embrace of kitsch and digital surrealism, marking the development of aesthetics as cohesive visual subcultures born entirely online, the aesthetic also developed into its own musical style, pioneered by musician and producer, Ultrademon.[62] This era saw the creation of similarly themed aesthetics like Health Goth, Whimsigoth and Witch house.[63][64][65] The first -core related fashion trend was normcore in 2013, a term coined by trend forecasting group K-HOLE to refer to a style of plain clothing.[66][67][68][69][70][71]

Example of Vaporwave aesthetic

At this time, several internet aesthetics began to emerge online with the most prominent and influential from this period being Vaporwave, derived from the term vaporware, was an internet music microgenre, aesthetic and subculture that originally grew out of hypnagogic pop and chillwave in the late 2000s to early 2010s. The visual aesthetic was defined by retro style imagery and early internet iconography, 1990s Web design, glitch art, and cyberpunk tropes, as well as anime, Greco-Roman statues, VHS degradation and 3D-rendered objects.[72][73] These aesthetics would also influence wider online culture, with internet rapper Yung Lean taking influence from vaporwave aesthetics.[74] The vaporwave era would prove to be a pivotal influence to later internet aesthetics, with many of its traits such as early internet nostalgia becoming a key inspiration in the late 2010s to early 2020s as seen with the revival of the Y2K aesthetic[75][76] and Frutiger Aero.[77]

2020s

See also: Social:Cottagecore and Dark academia
An E-girl with typical fashion, makeup and gestures

By the late 2010s to early 2020s, platforms like Tumblr[78][79] declined in popularity giving way to TikTok and Instagram, where online aesthetics were now beginning to emerge from Generation Z. The popularity and proliferation of internet aesthetics in the early 2020s has been linked to the COVID-19 lockdowns.[5] Aesthetics such as Cottagecore[80] and Dark academia[81] rose to prominence as lifestyle-centered communities. These were often tied to broader socio-cultural movements, such as a growing rejection of hustle culture and urban living.[82][32] Other aesthetics such as Gorpcore,[83] VSCO girl, Weirdcore,[84] Kidcore, Webcore,[75] 2020 Alt, and Goblincore also emerged in the 2020s. The indie sleaze aesthetic was coined in 2021 to describe a visual fashion style that was popular during the 2000s to early 2010s.[85] Internet aesthetics have also been associated with wider fashion trends, such as the controversial Bimbocore.[86][87] Some aesthetics such as the Backrooms, were coined on 4chan, and led to the emergence of the liminal space aesthetic.[88]

Many of these styles were catalogued and discussed on community-curated platforms such as the Aesthetics Wiki, defined as a central hub for documenting 21st century internet-based visual aesthetics, fashion, styles, music and subcultures, it has been described by the Atlantic as "a huge mall, a place to go shopping for a new set of characteristics and a firmer self-definition".[89][90][91][92]

Additionally, internet aesthetics have been influential to the outgrowth of 21st century alternative music, digital art and youth subculture, influencing early 2020s online musical microgenres.[93][94] Rolling Stone described the 2020s underground rap scene as "extremely online",[94][95] while the influential fashion styles of artists associated with Playboi Carti's Opium record label[96] who drew from punk and alternative fashion,[96] have been described as "opiumcore",[97][98] with the underground rap scene's internet-driven aesthetics being noted as influential to streetwear and high fashion.[95][99][100][101][102]

Seapunk

Main article: Social:Seapunk

Seapunk is a niche internet aesthetic that surfaced in the early 2010s, mixing aquatic themes like ocean waves, dolphins, and neon greens/blues with 90s cyber and rave culture elements. It influenced digital art, music visuals, and fashion, with the aesthetic being used by Azealia Banks and Rihanna briefly before fading in mainstream popularity.[60][62]

Vaporwave

Main article: Philosophy:Vaporwave

Vaporwave is an internet aesthetic and microgenre that emerged in the early 2010s, characterized by nostalgic 1980s and 1990s visuals, glitch art, pastel colors, and slowed-down, chopped-and-screwed samples of elevator music and smooth jazz. It critiques consumer capitalism and digital culture. Artists like Vektroid and Oneohtrix Point Never (Daniel Lopatin) and later rapper Yung Lean helped popularize the genre and aesthetic.[73][74]

E-girls and e-boys

E-girl and E-boy refer to internet youth subcultures and aesthetics popularized on TikTok and Instagram in the late 2010s, blending emo, goth, anime, and gamer culture. Characterized by dyed hair, heavy eyeliner, striped shirts, and digital iconography like hearts and teardrops.

Weirdcore

Weirdcore (as well as its subsection dreamcore) is an internet aesthetic emerging in the late 2010s characterized by early internet nostalgia blended with surreal, unsettling, and dreamlike visuals. It commonly features distorted VHS-style glitches and eerie landscapes as well as taking influence from the liminal space aesthetic. The style gained popularity through platforms like TikTok.[75][103]

Cottagecore

Main article: Social:Cottagecore

Cottagecore is an internet aesthetic celebrating a romanticized, rural, pastoral lifestyle with soft, natural colors, floral patterns, and handmade crafts. It gained prominence on platforms like Tumblr and TikTok in the late 2010s and early 2020s, emphasizing sustainability and escapism from urban life.

Goblincore

Main article: Social:Goblincore

Goblincore is an internet aesthetic and subculture inspired by the folklore of goblins, centered on the celebration of natural ecosystems usually considered less beautiful by conventional norms, such as soil, animals, and second-hand objects.[104][105][106]

Dark Academia

Main article: Social:Dark academia

Dark Academia is an internet aesthetic emerging in the mid-to-late 2010s, inspired by classic literature, academic settings, and Gothic architecture. It features muted earth tones, vintage fashion, and themes of intellectualism, melancholy, and existentialism. Popularized through social media platforms like Tumblr and TikTok during the 2010s.[5][81]

Kidcore

Kidcore is an internet aesthetic inspired by 1990s and early 2000s childhood nostalgia, featuring bright primary colors, pixel art, and references to toys, cartoons, and playground culture. It became popular on Tumblr and TikTok, emphasizing innocence and whimsy.[107][108]

See also

References

  1. ↑ "Internet aesthetic | EBSCO Research Starters" (in en). https://www.ebsco.com/research-starters/social-sciences-and-humanities/internet-aesthetic. 
  2. ↑ "How the Internet is categorized with Aesthetics | Monopol" (in de). https://www.monopol-magazin.de/how-internet-categorized-aesthetics. 
  3. ↑ Team, Editorial (2024-01-28). "Is aesthetics formed on the Internet? Bored generations and web hypnosis" (in en-US). https://lampoonmagazine.com/article/2024/01/28/internet-aesthetics-web-hypnosis-traumacore-weirdcore-vaporwave-dreamcore-backrooms/. 
  4. ↑ Dazed (2023-12-05). "Are we living through a great subcultural renaissance?" (in en). https://www.dazeddigital.com/life-culture/article/61507/1/are-we-living-through-a-great-subcultural-renaissance. 
  5. ↑ 5.0 5.1 5.2 "TikTok's Dark Academia trend criticised for 'whiteness'" (in en). 2021-02-10. http://www.theguardian.com/fashion/2021/feb/10/tik-toks-dark-academia-trend-criticised-for-whiteness. 
  6. ↑ Dazed (2019-07-15). "E-girls and boys' style is the antidote to the homogenised IG aesthetic" (in en). https://www.dazeddigital.com/fashion/article/45266/1/e-girls-e-boys-tiktok-instagram-fashion-eve-fraser-luis-abad-gen-z-style. 
  7. ↑ "Introducing: The E-Boy" (in en-US). 2019-07-26. https://www.vice.com/en/article/what-is-an-e-boy/. 
  8. ↑ Judkis, Maura (September 13, 2021). "Cottagecore, cluttercore, goblincore — deep down, it's about who we think we are". The Washington Post. https://www.washingtonpost.com/lifestyle/style/cottagecore-goblincore-cluttercore/2021/09/09/4656e958-09b6-11ec-aea1-42a8138f132a_story.html. 
  9. ↑ Dazed (2022-10-04). "Memes, minions and meta-irony: The rise of post-internet fashion" (in en). https://www.dazeddigital.com/fashion/article/56877/1/memes-minions-and-meta-irony-the-rise-of-post-internet-fashion-praying-ogbff. 
  10. ↑ Giolo, Guilherme; Berghman, Michaël (2023-03-13). "The aesthetics of the self: The meaning-making of Internet aesthetics" (in en). First Monday. doi:10.5210/fm.v28i3.12723. ISSN 1396-0466. https://firstmonday.org/ojs/index.php/fm/article/view/12723. 
  11. ↑ Spellings, Sarah (2021-05-25). "Do I Have an Aesthetic?" (in en-US). https://www.vogue.com/article/do-i-have-an-aesthetic. 
  12. ↑ Jennings, Rebecca (2020-05-07). "Stuck in 2020, pretending it’s 2014" (in en-US). https://www.vox.com/the-goods/2020/5/7/21247938/tumblr-aesthetic-2014-nostalgia-tiktok-indie-pop. 
  13. ↑ Koc, Alican (2025-01-01). ""Is The Scene Still Alive?": Post-Hipster Affect, Memetic Aesthetics, and the Crisis of Subcultural Authenticity". Cultural Critique. doi:10.1353/CUL.2025.A951012. https://www.academia.edu/127716066/_Is_The_Scene_Still_Alive_Post_Hipster_Affect_Memetic_Aesthetics_and_the_Crisis_of_Subcultural_Authenticity. 
  14. ↑ Viney, Steven (2015-04-07). "Hey Internet, Thanks for Ruining Subcultures Too" (in en-US). https://www.vice.com/en/article/hey-internet-thanks-for-ruining-subcultures-too/. 
  15. ↑ Chambers, Katie. "All style, no substance: the problem of aesthetics in 2023" (in en). https://www.prospectmagazine.co.uk/culture/63526/all-style-no-substance-the-aesthetics-wiki. 
  16. ↑ Walker-Emig, Paul (2018-10-16). "Neon and corporate dystopias: why does cyberpunk refuse to move on?" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/games/2018/oct/16/neon-corporate-dystopias-why-does-cyberpunk-refuse-move-on. 
  17. ↑ "Cyberpunk - a short story by Bruce Bethke". http://www.infinityplus.co.uk/stories/cpunk.htm. 
  18. ↑ Melichová, Silvia (2006). "Cyberpunk as Subculture" (in en) (PDF). http://cyberpunk2021.free.fr/cp_pdf.php?txt=216&lng=fr. 
  19. ↑ Intercon (1990). "Cyberpunk (1990) – Documentary" (MP4). https://archive.org/details/cyberpunk_201410. 
  20. ↑ Torres, Luc (2016-12-24). "Looking back: Social media" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/news/2016/dec/24/looking-back-social-media. 
  21. ↑ "Usenet News: alt.* Newsgroups". https://abacus.bates.edu/resources/usenet/h_alt.html. 
  22. ↑ Chaudhuri, Shohini (2005). Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh University Press. p. 104. ISBN 978-0-7486-1799-9. https://books.google.com/books?id=qOXoeyesZOIC&pg=PA104. 
  23. ↑ Walsh, Joseph (2017-04-03). "Digital love: why cinema can't get enough of cyberpunk" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/film/filmblog/2017/apr/03/digital-love-why-cinema-cant-get-enough-of-cyberpunk. 
  24. ↑ Felt, Lindsey Dolich (2019-04-01). "Cyberpunk's Other Hackers: The Girls Who Were Plugged In" (in en). Catalyst: Feminism, Theory, Technoscience 5 (1): 1–34. doi:10.28968/cftt.v5i1.29615. ISSN 2380-3312. https://catalystjournal.org/index.php/catalyst/article/view/29615. 
  25. ↑ Virtue, Graeme (2021-11-19). "Cowboy Bebop review – a slick and spirited slice of TV cyberpunk" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/tv-and-radio/2021/nov/19/cowboy-bebop-review-a-slick-and-spirited-slice-of-tv-cyberpunk. 
  26. ↑ Andrew Mayer (1988). "What the Hell is Cybergoth? A Look at Cyberpunk's Bastard Children". http://www.streettech.com/bcp/BCPgraf/Manifestos/cybergoth.htm. 
  27. ↑ "What The Hell Is Steampunk?" (in en-GB). HuffPost UK. Oct 17, 2011. http://www.huffingtonpost.co.uk/william-higham/steampunk-what-the-hell-is-it_b_1015192.html. 
  28. ↑ Duggan, Anne; Haase, Donald; Callow, Helen J. (2016). Folktales and Fairy Tales: Traditions and Texts from around the World, 2nd Edition [4 volumes]: Traditions and Texts from around the World. Santa Barbara, CA: ABC-CLIO. pp. 835. ISBN 978-1-61069-253-3. 
  29. ↑ Stehlik, Lucy (2012-12-14). "Seapunk: scenester in-joke or underground art movement?" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/music/2012/dec/14/seapunk-has-now-gone-pop. 
  30. ↑ Detrick, Ben (2012-03-02). "Little Mermaid Goes Punk" (in en-US). The New York Times. ISSN 0362-4331. https://www.nytimes.com/2012/03/04/fashion/Seapunk-a-Web-Joke-With-Music-Has-Its-Moment.html. 
  31. ↑ Madden, Aemilia (December 30, 2022). "These TikTok Fashion Trends Are Poised to Go Viral in 2023". Harpers Bazaar. https://www.harpersbazaar.com/fashion/trends/g42329991/2023-tiktok-viral-fashion-trends/. 
  32. ↑ 32.0 32.1 Gat, Orit (2023-11-07). "The Digital Culture Odyssey of Post-Internet Art" (in en). Frieze (239). ISSN 0962-0672. https://www.frieze.com/article/post-internet-art-239. 
  33. ↑ "Peter De Potter: deconstructive art and post-internet aesthetics" (in en). https://hero-magazine.com//article/174863/peter-de-potter. 
  34. ↑ Zaphyria, Angelina. "Voguish: a guide to goth". https://www.adolescent.net/a/voguish-a-guide-to-goth. 
  35. ↑ Rasmussen, Tom (11 March 2019). "The IG documenting the Hot Topic mallgoths of the 90s and 00s". https://www.dazeddigital.com/fashion/article/43658/1/instagram-hot-topic-mallgoth-1990smallgoth-nu-metal-marilyn-manson-subculture. 
  36. ↑ Ladouceur, Liisa. Encyclopedia Gothica. 
  37. ↑ Nancy Kilpatrick. Goth Bible: A Compendium for the Darkly Inclined. St. Martin's Griffin, 2004, p. 24
  38. ↑ Christie, Heather (28 October 2019). "It's Officially Spooky Season. Here's How To Dress For It Like An Adult.". https://www.elle.com/fashion/a29580707/goth-trend-resort-2020/. 
  39. ↑ Dubick, Stephanie (4 April 2017). "Elder Goths: When Growing Up Doesn't Mean Abandoning Your Favorite Youth Culture". https://www.vice.com/en/article/elder-goths-when-growing-up-doesnt-mean-abandoning-your-favorite-youth-culture/. 
  40. ↑ "The rise and fall of MySpace". Financial Times. December 4, 2009. https://www.ft.com/content/fd9ffd9c-dee5-11de-adff-00144feab49a. 
  41. ↑ "These are 13 of the most popular social networks a decade ago that have died or faded into obscurity". Business Insider. December 23, 2019. https://www.businessinsider.com/aim-myspace-club-penguin-social-apps-popular-2010-decade-2019-11. 
  42. ↑ Stewart, Jess (15 December 2016). "Beauty Bar: Glam Goth". https://www.collegefashionista.com/beauty-bar-glam-goth/. 
  43. ↑ "50 Things Millennials Know That Gen-Xers Don't". Rolling Stone. https://www.rollingstone.com/culture/culture-lists/50-things-millennials-know-that-gen-xers-dont-11233/pinterest-212953/. 
  44. ↑ "The cringe things you'll remember if you were a scene kid in the mid-2000s". July 5, 2017. https://thetab.com/uk/2017/07/05/cringe-things-youll-remember-scene-kid-mid-2000s-42342. 
  45. ↑ 45.0 45.1 Stewart, Ethan (25 May 2021). "From Hardcore to Harajuku: the Origins of Scene Subculture". https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku. 
  46. ↑ "Voices on being scene even when you're not a kid". thekindland.com. http://www.thekindland.com/culture/voices-on-being-scene-even-when-youre-not-a-kid-1576. 
  47. ↑ "A Final Pilgrimage To Warped Tour, As Told By A Former Scene Kid". August 2, 2018. https://www.stereogum.com/2008387/warped-tour-final-year-scene-report/franchises/sounding-board/. 
  48. ↑ "A History of Counterculture: Emo and Scene". November 14, 2018. https://www.collegefashion.net/inspiration/history-of-subculture-emo-scene/. 
  49. ↑ Irizarry, Katy. "16 Bands Who Got Their Start on MySpace". https://loudwire.com/bands-who-got-start-on-myspace/. 
  50. ↑ Li, Jasmine. "Arctic Monkeys' AM sold us an aspirational dark fantasy of adulthood". https://i-d.co/article/arctic-monkeys-soft-grunge-am-tumblr/. 
  51. ↑ Zhou, Maggie. "Indie Sleaze, Tumblr Girl & Twee: The Resurrection Of 2014 Internet Aesthetics Is Here" (in en-GB). https://www.refinery29.com/en-gb/tumblr-girl-internet-aesthetic. 
  52. ↑ Sherburne, Philip (2021-10-07). "25 Microgenres That (Briefly) Defined the Last 25 Years" (in en-US). https://pitchfork.com/features/lists-and-guides/microgenres-25th-anniversary/. 
  53. ↑ "I Miss Shitgaze, Man" (in en). https://floodmagazine.com/141620/i-miss-shitgaze-man/. 
  54. ↑ "What Is Bloghouse? - PAPER Magazine" (in en). https://www.papermag.com/bloghouse. 
  55. ↑ Cohen, Ian (2015-06-23). "Blog Rock Revisited: Musing the Clap Your Hands Say Yeah 10th Anniversary Tour" (in en-US). https://pitchfork.com/thepitch/811-blog-rock-revisited-musing-the-clap-your-hands-say-yeah-10th-anniversary-tour/. 
  56. ↑ Jonze, Tim (2011-06-13). "Blog rock is born" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/music/2011/jun/14/blog-rock-is-born. 
  57. ↑ Scherer, James (2016-10-26). "Great artists steal: An interview with Neon Indian's Alan Palomo -" (in en-US). https://www.smilepolitely.com/music/great_artists_steal_an_interview_with_neon_indians_alan_palomo/. 
  58. ↑ Friedlander, Emilie (2019-08-21). "Chillwave: a momentary microgenre that ushered in the age of nostalgia" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/music/2019/aug/21/chillwave-microgenre-nostalgia-pop. 
  59. ↑ Detrick, Ben (March 2, 2012). "Little Mermaid Goes Punk: Seapunk, a Web Joke With Music, Has Its Moment". The New York Times. https://www.nytimes.com/2012/03/04/fashion/Seapunk-a-Web-Joke-With-Music-Has-Its-Moment.html. 
  60. ↑ 60.0 60.1 60.2 Martins, Chris (November 14, 2012). "Seapunks Salty Over Rihanna and Azealia Banks' 'Net Aesthetics". http://www.spin.com/2012/11/azealia-banks-rihanna-seapunk-beef-saturday-night-live-video/. 
  61. ↑ Harwood, Nick (November 30, 2012). "You Never Thought Seapunk Would Take It This Far". Respect. http://respect-mag.com/you-never-thought-seapunk-would-take-it-this-far-zombelle-talks-azealia-banks-rihanna-the-week-the-second-internet-exploded. 
  62. ↑ 62.0 62.1 Thump, VICE (2014-07-18). "Seapunk No More: The Strange, Supernatural World of Ultrademon" (in en-US). https://www.vice.com/en/article/seapunk-no-more-the-strange-supernatural-world-of-ultrademon/. 
  63. ↑ Fitzmaurice, Larry (8 October 2010). "Salem: King Night". Pitchfork. http://pitchfork.com/reviews/albums/14718-king-night/. 
  64. ↑ "Pitchfork Backtracks on 'Rape Gaze' Because Creep Said So". The Daily Swarm. 12 October 2010. http://www.thedailyswarm.com/headlines/pitchfork-backtracks-rape-gaze-because-creep-said-so/. 
  65. ↑ Spiders, Marcel Mensah | Eat More (2022-07-18). "Introduction to Internet Aesthetics and Cultural Movements" (in en). https://www.lonerofficial.com/post/introduction-to-internet-aesthetics-and-cultural-movements. 
  66. ↑ Williams, Alex (April 2, 2014). "The New Normal", The New York Times. Retrieved June 7, 2014.
  67. ↑ Duncan, Fiona (February 26, 2014). "Normcore: Fashion for Those Who Realize They're One in 7 Billion" , New York. Retrieved June 7, 2014.
  68. ↑ Cochrane, Lauren (February 27, 2014). "Normcore: The Next Big Fashion Movement?" , The Guardian. Retrieved June 7, 2014.
  69. ↑ Frank, Thomas (April 27, 2014). "Hipsters, They're Just Like Us! 'Normcore,' Sarah Palin, and the GOP's Big Red State Lie" , Salon. Retrieved June 7, 2014.
  70. ↑ Benson, Richard (17 December 2014). "Normcore: how a spoof marketing term grew into a fashion phenomenon". https://www.theguardian.com/fashion/2014/dec/17/normcore-spoof-marketing-term-fashion-phenomenon. Retrieved 18 December 2014. 
  71. ↑ Tschorn, Adam (May 18, 2014). "Normcore Is (or Is It?) a Fashion Trend (or Non-Trend or Anti-Trend)" , Los Angeles Times. Retrieved January 4, 2015.
  72. ↑ Lhooq, Michelle (December 27, 2013). "Is Vaporwave The Next Seapunk?". https://www.vice.com/en/article/is-vaporwave-the-next-seapunk/. 
  73. ↑ 73.0 73.1 Jurgens, Genista (July 29, 2016). "Why Won't Vaporwave Die?". https://www.format.com/magazine/features/art/vaporwave. 
  74. ↑ 74.0 74.1 Winkle, Luke (November 1, 2018). "Nintendo 64 Has Inspired A New Wave Of Surprisingly Sad Music". https://kotaku.com/nintendo-64-has-inspired-a-new-wave-of-surprisingly-sad-1830140957. 
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  76. ↑ Hess, Liam (2021-07-17). "The 101 Of Y2K 2.0: How Fashion Got The Millennium Bug All Over Again" (in en-GB). https://www.vogue.co.uk/fashion/article/noughties-revival-trend. 
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  78. ↑ Minkel, Elizabeth. "Tumblr Is Always Dying" (in en-US). Wired. ISSN 1059-1028. https://www.wired.com/story/end-of-the-tumblr-era/. 
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  80. ↑ Jennings, Rebecca (August 3, 2020). "Cottagecore, Taylor Swift, and our endless desire to be soothed" (in en). https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing. 
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  82. ↑ "Dark Academia: The Impact Of Internet Aesthetics" (in en). 2023-02-28. https://epigram.org.uk/dark-academia-the-impact-of-internet-aesthetics/. 
  83. ↑ "You May Be Guilty Of 'Gorpcore' And Frankly, We Don't Blame You" (in en-GB). 2021-05-08. https://www.vogue.co.uk/fashion/article/what-is-gorpcore-trend. 
  84. ↑ Dazed (2024-03-22). "Meet the anonymous artist behind Aphex Twin's insane visuals" (in en). https://www.dazeddigital.com/music/article/37384/1/weirdcore-aphex-twin-mia-visuals-interview. 
  85. ↑ George, Cassidy (June 2, 2022). "Revisiting Indie Sleaze, as It Happened". https://www.vogue.com/article/the-cobrasnake-y2ks-archive-mark-hunter-book-indie-sleaze. 
  86. ↑ "Ranking 2023's Internet Aesthetic Trends - PAPER Magazine" (in en). https://www.papermag.com/tiktok-aesthetics-ranked-2023. 
  87. ↑ Badham, Van (2023-05-27). "Why the bimbocore aesthetic is the path to weaponising the social performance of the ageing woman" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/commentisfree/2023/may/28/why-the-bimbocore-aesthetic-is-the-path-to-weaponising-the-social-performance-of-the-ageing-woman. 
  88. ↑ Rogers, Reece. "How to 'No-Clip' Reality and Arrive in the Backrooms" (in en-US). Wired. ISSN 1059-1028. https://www.wired.com/story/what-are-the-backrooms/. 
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  91. ↑ Weekman, Kelsey (March 11, 2022). "Suffixes Have Been Slang-ified". BuzzFeed News. https://www.buzzfeednews.com/article/kelseyweekman/suffixes-slang-trend. 
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  97. ↑ Ng, Vanessa (2023-11-23). "Meet the Opiumcore Boys of KL" (in en-US). https://www.mens-folio.com/style/meet-the-opiumcore-boys-of-kl/. 
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  102. ↑ "Get Ready for the Summer of Ken Car$on" (in en). 2021-06-25. https://www.highsnobiety.com/p/ken-carson-interview-project-x/. 
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Bibliography



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