Madchester , also known as Baggy or the Second Summer of Love , denotes a broad musical and cultural phenomenon originating in Manchester, England in 1987. The scene emerged as a manifestation of an emerging music driven youth culture within the city, gaining prominence from the late- 1980s and peaking into the early- 1990s . Madchester has a wide range of associations, including 1960s pop culture and psychedelia , baggy and casual fashion (typified by the bucket hat), a vast range of musical genres such as indie rock , post-punk , acid house , dance and electronica, as well as a vibrant hedonistic nightlife which emerged as part of the developing rave scene. The movement achieved widespread recognition through the British music press in 1989-90 after various Mancunian musical acts achieved mainstream success.

Key musical groups associated with the Madchester scene include the Stone Roses, Happy Mondays, Inspiral Carpets, The Charlatans, James, and 808 State. The prevalence of drug use (notably MDMA), and the seminal Haçienda nightclub significantly shaped the scene. The Haçienda was opened in 1982, owned by Factory Records and New Order; it became the focal point of the Mancunian music scene during its tenure, with Madchester acts, as well as pre-Madchester bands (such as the Smiths) performing there on various occasions. The club's manager, Tony Wilson, coined the term 'Madchester'. The Stone Roses' Spike Island gig in May 1990 was also regarded as a key moment for Madchester, referred to as "Woodstock for the E generation". This was followed by a period of domination by Manchester acts in the British music charts during the summer, making 1990 the peak of Madchester.

The movement's momentum slowly dissipated following the inactivity of central groups such as the Stone Roses and Happy Mondays. James, the Inspiral Carpets, the Charlatans, and 808 State continued to record with varying degrees of success throughout the 1990s, but they were no longer seen as part of a localized Manchester movement. Happy Mondays and the Stone Roses released follow-up albums in 1992 and 1994 respectively, but both were troubled and didn't live up to expectations. The Haçienda also experienced decline and financial strain, closing in temporarily in 1991 and permanently 1997. Going into the mid-1990s, bands who were influenced by the Madchester scene with similar indie-rock roots came to be regarded as Britpop and other guitar-driven genres as the zeitgeist shifted. More dance-orientated parts of the movement became absorbed by the broader rave and techno scenes, as well as the more working class 'Casuals' who continued with football hooliganism and ' Lad Culture '.

The music scene preceding Madchester was largely shaped by bands such as The Smiths and Joy Division/New Order, all of whom became influential to the emerging Manchester scene. The opening of The Haçienda nightclub in May 1982 by Factory Records and New Order was a pivotal event in the development of this underground scene. During its early years, the club primarily featured club-oriented pop music, hosting gigs by local bands including the previously mentioned local acts the Smiths and New Order, as well as international acts such as Madonna, cementing the club's important reputation. In 1986, the Haçienda became one of the first British clubs to begin playing house music, broadening the club's appeal and playing a large part in the popularisation of Acid House in the UK and the development of the Second Summer of Love . In 1987, the club's increased popularity and esteemed reputation was reflected in the fact it went from making a consistent loss to being full every night of the week; it hosted performances by American house artists such as Frankie Knuckles and Adonis during the same year.

From 1989-91, the Haçienda was massively popular, becoming the epicentre of the boundary pushing musical innovations that were happening within Manchester, fusing dance, electronica, and rock. However, On 14 July 1989, the UK's first ecstasy-related death occurred at the nightclub; this catalysed a series police clampdowns on the club, exacerbated by future financial struggles caused by a lack of alcohol sales due to clubbers' preference for drugs, meaning the Haçienda rarely made a profit. The resulting problems caused the club to close for a short period in early 1991, before reopening with increased security later the same year. However, the momentum for Madchester had halted as a result of this, as well as the inactivity of many Madchester groups. In culmination, the Haçienda went bankrupt and closed in 1997, being demolished by 2002.

Warehouse parties and raves organized also played a crucial role in the scene's development. The Stone Roses' warehouse parties  were particularly significant. DJ Dave Booth often supported The Stone Roses' live performances at these events, including the notable "Warehouse 1, The Flower Show" on July 20, 1985, which helped build the band's following and the burgeoning music scene in Manchester. Booth himself was an influential figure in Manchester's music scene, serving as a resident DJ at several key venues that formed the network of Manchester's alternative club scene. Emerging bands frequented these clubs and drew inspiration from the diverse music played by DJs.  The Impromptu and often illegal nature of these warehouse parties emphasised the DIY and working class ethos Madchester embodied, helping to develop the intense nightlife which typified the movement.

Madchester bands emerged to the mainstream in the late-1980s, initially receiving minor success in the British charts. The Happy Mondays' debut album went to number four on the UK Independent Albums Charts, and the Stone Roses' breakout single, 'Sally Cinnamon', went to number three on the UK Indie Singles Charts in 1987. In October 1988, the Stone Roses released "Elephant Stone" as a single. Around the same time, the Happy Mondays released the single "Wrote for Luck," followed by the "Bummed" album. In November, A Guy Called Gerald (an early member of 808 State) released his first solo single, "Voodoo Ray." By 1989, a sense had begun to emerge in the British music press that something was happening in the city.

The Stone Roses built a growing fanbase as they toured across the country and released the single "Made of Stone" in February 1989. Although the track did not chart, excitement around the band in the music press surged with the release of their self-titled debut album in May. Almost immediately following the release of the album, it received universal acclaim and praise, heralded as one of the greatest albums and debut albums of all time. The Stone Roses peaked at number nineteen in the UK Albums Chart, cementing the band as an influential and rising force in music and being integral to the mainstream success of Madchester.

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The Madchester scene had a distinctive fashion that reflected the era's music and cultural influences. The style conveyed a confident Northern identity, drawing on earlier working-class street styles such as Scallies and Perry Boys, which were prevalent among North West football crowds and part of the Casual subculture.

Baggy clothing was a key feature, facilitating the loose-limbed movements of dancers. Comfort was prioritized, with both girls and boys often wearing similar clothing, creating a seemingly egalitarian and almost non-gendered look. The cut of the clothes defined the look, sound, attitude, and lifestyle. The most distinguishing feature of the "baggy" style was flared jeans. The black drainpipes of C86/shoegaze gave way to extra-wide flares, reminiscent of the Northern Soul scene and the 1967 Summer of Love.

The Manchester flare revival began in 1982/83 when former patrons of the Northern Soul club, the Twisted Wheel, sourced deadstock for their clothing businesses. Flares became popular, with early wearers including the nascent Happy Mondays. By 1985, flare fashion had declined, and "baggies" – baggy all the way down to the hems – emerged. The Happy Mondays were again early adopters, with John Squire of the Stone Roses also embracing the style. However, a small group remained dedicated to flares. In 1987 and 1988, they gained attention from i-D, described as a "surreal youth cult roaming the Hacienda," wearing 25-inch flares, outdoor jackets, and Reebok trainers.

The Stone Roses initially came late to flares, with early photos showing members in baggies or straight-leg jeans. However, by 1989, flares gained wider acceptance, with Ian Brown of the Stone Roses wearing them "for that slight swish" and to provoke a reaction. The width of the flares varied, with 18, 21, 24, and 25-inch bottoms holding subcultural cachet at different times. Ian Brown in 21-inch green Wrangler cords and the 'banknotes' t-shirt became an iconic look.

Baggy t-shirts, often bootlegged, were essential, featuring designs on the front, back, and sleeves. The "AND ON THE SIXTH DAY GOD CREATED MANchester" t-shirt was popular, even worn by Madonna and Jean-Paul Gaultier. Other regionally focused designs were also produced. Kagoules, practical in Manchester's climate, became fashion accessories. Madchester hairstyles included Shaun Ryder's centre-parted "curtains" and Bez's short crop.

When the Stone Roses and Happy Mondays appeared on Top Of The Pops in November 1989, Ian Brown and Happy Mondays' drummer Gaz Whelan wore the same Jean Paul Gaultier jacket. While such designer clothes were often unaffordable for fans, they could improvise, obtaining gear from shops like Stolen From Ivor and Joe Bloggs, whose affordability provided an alternative to designer brands. Regional variations existed in London, Liverpool, and Brighton, where football tops were popular, but flares were less common. The Farm, for example, favored Paul Smith gear and saw themselves as "neo- mods ," with a more understated style.

The Madchester fashion scene saw the rise of cut-off denim, logo tees with baggy sweaters, edgy looks, loose clothes, and bucket hats. The Britpop influence of the 90s, led by Oasis, further influenced clothing, styles, and trends, with polo shirts, khaki jackets, and sportswear becoming associated with the Madchester movement. The baggy outfits with bucket hats remain a recognizable aesthetic.

The Madchester brand itself has seen a modern resurgence, with the MDCR label being worn by Manchester City players and staff, including Pep Guardiola. This has created renewed interest in the Madchester aesthetic. The core of the look remained loose fitting clothing, allowing for movement on the dance floor, and a sense of artful, imaginative expression. Some individuals, however, did not follow the main trend, and instead preferred glam metal and grunge fashions.