Be cool. That's all I ever wanted when I was a small-town teenager sending off for my too-big winklepickers from Carnaby St and then stuffing the pointy toes with toilet paper.
Cool for me at that time meant Sylvia Plath, Nick Cave, Sartre, Gauloises, Donna Tartt, black stovepipe jeans from Blue Beat, arthouse movies, chalky Shiseido moisture mist foundation, Silhouette Black Death hairspray and cultivating an insouciant, icy dismissive stare.
You tried to squash a lot into that stare. It had to transmit, to others of the genre this impression: "I am startlingly, fully aware of the absurdity of this venture called living and the grievous compromises which must be made to function in so-called society; I am a sensitive snowflake; yes, all modern life is rubbish; I am not at peace with the urge for social dominance so instead I am going to wear a lot of black as a sign I've opted out from the humanity-sapping struggle to earn enough money to buy an aluminium-windowed house in Deanwell; I refuse to co-operate with the powers that be; also I would like to give the impression I've read a lot of Schopenhauer, even if all that is burned on my heart is 'almost all of our sorrows spring out of our relations with other people'."
In reality, my trying-to-be-cool look said: I'm hoping to give the impression I'm better than you, but secretly I fear I'm not as good.
I also thought my face looked more symmetrical and less wonky if it had a snooty deadpan expression, as opposed to crumpling up in a lopsided way when I smiled.