Whereas previous research was concerned with the relation between subcultures and social class in postwar Britain, Hebdige saw youth cultures in terms of a dialogue between black and white youth. He argues that punk emerged as a mainly white style when black youth became more separatist in the 1970s in response to discrimination in British society. Previous research described a homology between the different aspects of a subcultural style (dress, hairstyle, music, drugs), while Hebdige argues that punk in London in 1976-77 borrowed from all previous subcultures and its only homology was chaos. In making this argument, he draws on the early work of Julia Kristeva who also found such subversion of meaning in French poets such as Mallarmé and Lautréamont.