In this week’s issue of the magazine (the Style Issue), Pari Dukovic’s Portfolio of the emerging punk culture in Burma follows Calvin Tomkins’s piece about the upcoming exhibition at the Met’s Costume Institute “Punk: Chaos to Couture.” As the introduction to Dukovic’s photographs explains,

Punk in nineteen-seventies New York tended to be more concerned with aesthetics than with politics. It was spare, nervy music created in reaction to the embarrassing excesses of arena rock. Often, the “establishment” it railed against was your mom, or your school principal. (The final scene of the Ramones’ movie “Rock ’n’ Roll High School” is Vince Lombardi High exploding in flames.) Decades later, a punk diaspora thrives around the world. In Myanmar, a small punk community that stayed underground through decades of military rule is beginning to emerge.

Dukovic said that his experience documenting this growing movement in Yangon, as well as and in Jakarta and Banda Aceh, in Indonesia, was eye-opening: “The punks I met were beyond just wearing the fashion—they truly had an ideology and something that they strongly believed in,” he told me. “It’s about what they believe in, rather than how they look, that is the most important thing.”

Here’s a look.