This new exhibition spotlights the hidden history of women in punk music

An innovative exhibition titled Up Yours! God Save The Queens is set to open at the Museum of Youth Culture in Camden, London, bringing long-overdue recognition to the women who shaped the punk movement. Launching on October 22 and running through November 22, 2026, the show forms the centerpiece of a city-wide festival honoring the groundbreaking influence of Poly Styrene, frontwoman of X-Ray Spex.

Poly Styrene, a pioneering mixed-race artist known for her distinctive style and sharp social commentary, remains a focal point of the exhibit. At just 20 years old in 1978, she challenged prevailing norms by rejecting conventional beauty standards and addressing complex themes like consumerism, genetic engineering, and environmental degradation—topics strikingly resonant today. Despite her forward-thinking lyrics, media coverage of the time fixated largely on her appearance, a pattern her daughter Celeste Bell, the exhibit’s co-curator, underscores as emblematic of the barriers female punk performers faced.

Up Yours! God Save The Queens aims to correct this historical oversight by placing women at the forefront of punk’s narrative. Alongside Bell, the curation team includes Lauren Estelle Jones, co-founder of Art Barter and daughter of The Clash’s Mick Jones, and Vivien Goldman, a respected music journalist often referred to as the “professor of punk.” Together, they have assembled an array of photographs, artwork, and personal memorabilia that illuminate the diverse contributions of female musicians and artists within the scene.

The exhibition presents a rich tapestry of punk-era artifacts, featuring rare portraits of icons such as Siouxsie Sioux, Chrissie Hynde, Ari Up, and Rhoda Dakar. It also showcases original artworks by early punk figures who have since developed their visual art careers, including Caroline Coon and Gina Birch. These pieces are complemented by intimate ephemera, like Tessa Pollitt’s personal belongings from The Slits and boxes of materials sent by Palmolive from the United States, providing visitors with a tangible connection to punk’s grassroots origins.

A distinctive element of the show is its emphasis on punk’s do-it-yourself ethos, a necessity born from the economic hardships of the late 1970s. The era’s widespread recession and social unrest compelled young musicians to self-produce music, fashion, and art, circumventing traditional industry barriers. This spirit permeates the exhibition, which features hand-painted garments by Pauline Murray of Penetration and Sue Webster’s lockdown paintings inspired by Siouxsie Sioux, alongside rare film footage and annotated photographs.

The curators highlight the exhibition’s narrative as a deliberate departure from the male-dominated histories of punk. While male figures appear in supporting roles—primarily as photographers who helped document these women—they do not overshadow the spotlight placed on female artists. This reframing responds to a persistent disparity in recognition and resources that women in punk experienced during the genre’s formative years.

Poly Styrene’s legacy, in particular, serves as a lens through which the exhibition explores punk’s social and cultural context. Her work, especially the album Germfree Adolescents, painted a futuristic dystopia rife with synthetic materials and technological advances, a vision that resonates with contemporary audiences confronting similar environmental and societal issues. Her daughter Bell notes that despite the passage of decades, female musicians still grapple with being valued beyond their image rather than their artistry.

The exhibition also traces how punk fashion has evolved from a stigmatized thrift culture into a celebrated element of youth identity. Jones reflects on how charity shop finds, once dismissed, became pivotal in crafting punk’s visual language. This transformation underscores the genre’s radical approach to repurposing existing materials into bold statements of individuality and rebellion.

In summary, Up Yours! God Save The Queens offers a comprehensive reevaluation of women’s roles in punk, restoring them from the margins to their rightful position as pioneers of the movement. By assembling a diverse collection of personal and artistic artifacts, the exhibition not only honors past innovators like Poly Styrene but also highlights ongoing challenges and influences that continue to shape punk’s legacy. As the show opens in Camden, it marks a significant cultural moment in acknowledging and celebrating the female forces that helped define this enduring musical revolution.