All language subtitles for BBC.Oh.You.Pretty.Things.The.Story.of.Music.and.Fashion.1of3.Tribes.576p.HDTV.x264.AAC.MVGroup.org

This programme contains some
strong language

British rock and pop music
is our great gift to the world...

..at the heart of the irrepressible
creative brilliance of Britain.

But it's never just been about
the music,

it's been about the style
that goes with it.

For me they always go together.

The look has to match the music.

The sounds fused with dazzling
visions.

The costumes and the music
was quite an onslaught.

Our rock and pop idols

have joined forces with the most
creative minds in fashion

to astonish us.

You've got this '70s thing of
the huge collar.

It's laughable now.

They came up with looks of
effortless cool...

It had this gentrified look

with a bit of anarchy.

Red socks, red jumper, Hush Puppies -

mod. Done.

..and eye-catching craziness.

Ended up with me being caught
in a bulldozer in a beehive hat.

# I'm on another planet with you... #

There was a review that said that
I looked like a demented spider.

Through the love affair between
our music and our fashion,

we've expressed ourselves.

I did wear knickers underneath,

I mightn't have worn a bra.

# I'm on another world with you... #

You zip up the suit, you start
to change into Suzi Quatro.

# I'm on another planet with you... #

We've shocked each other...

The butterfly isn't a butterfly,

it's actually an ejaculating penis.

# Another girl, another planet... #

It's allowed us to believe
in something...

What we were trying to portray
was that black and white people

can be in the same band and really
get along together.

..and to belong to something.

We looked hard, and it fitted with
everything that we want to be.

Music to fall in love to...

clothes to get in trouble in.

At some time in our lives,

we've all delved into this fabulous
dressing up box.

British music and fashion have come
together

to build a thriving industry,

to show us at our most outlandish...

..give us a sense of proud identity

and send a thrilling message

of what it means to be British.

A glorious summer day on the streets
of Great Britain.

The perfect time to indulge
in a little style spotting.

# Oh, you pretty things... #

But look closer and you'll find
sartorial traces

of the tribes of our musical past.

# Oh, you pretty things... #

A nod to mod.

A snarl of the punk.

Rockers and rude boys.

The shadow of Goth.

But to understand why this golden
past still matters,

we have to go back to where
this all began -

to the wonder years of our pop
and rock story -

the mid-'60s.

These are the years
when exhilarating new music

was first entwined with fresh,
shocking fashion...

..and shops that brought style
to hungry, young consumers.

But it's a story that starts with
a long-forgotten movie.

There he is!

Dateline Diamonds was a cops and
robbers caper

that was never going to trouble
the Oscar judges.

But, it had two things going
for it...

And now... The Small Faces!

AUDIENCE SCREAMS

There was some great music,

and some great clothes.

SCREAMING DROWNS OUT VOCALS

The Small Faces were still
an up-and-coming band,

and Dateline Diamonds a promotional
ploy for their second single -

I've Got Mine.

# ..hurt deep inside me

# But no-one knows it cos
I got mine, baby... #

Yeah, I remember this.

It's incredible.

We were all so young then.

The Small Faces' appearance on
the big screen

marked them out from many bands
doing the rounds

of television pop shows.

The Small Faces were figureheads

of the coolest scene on Britain's
streets -

mods.

They showed off the clothes
of a sharp, aspirational,

working-class style movement -

..three button mohair jackets...

..tightly cut trousers...

..button-down shirts...

..desert boots

and refined leather shoes.

Kenney Jones was the drummer
in Britain's best-dressed band.

That's a grey Caravelle.

I used to have a Caravelle in every
different colour I could get hold of.

That's a turquoise green suede
jacket that I had made.

Lots of tailors where you can have
things made,

which is why I had this jacket made.

So it was red socks, red jumper -
boom - Hush Puppies. Mod.

Done.

Signed, sealed and delivered.

ORIGINAL VOICE-OVER:
The Small Faces...

a group who've recently risen
to the top,

and have to work long hours
to stay there.

The Small Faces were managed by
a man called Don Arden.

He had the looks of Tony Soprano

and, let's say,
a reputation to match.

If I've ever exploited anybody,

it's for their own benefit.

Because they want to be exploited.

I've never exploit anybody that
doesn't want to be exploited.

With his eye on the bottom line,
Arden came up with an idea.

He would pay The Small Faces
not in cash,

but in clothes.

It was an offer the band
couldn't refuse.

We weren't getting paid any money,
so every morning I'd wake up and go,

"Right, I'm driving up to Carnaby
Street," and I'll have about

three or four suits
and buy as many shoes as I can.

In the back of car and that was it.
I didn't need them, just...

You know, it was the only way we
could get any money from Don Arden.

When it came to style, the man
who the band entrusted to deliver

maximum mod smart was Warren Gold.

Don't nick all his money.
He's a hard-working man.

Thank you very much.
He'll look after you.

£139.95.

He was a typical, you know,
Jewish...sort of rag trader guy...

We knowingly undercut
the likes of John Lewis...

..and he's still...buzzing,
like he normally does, yeah.

Put that on my bill, Melvin.
Its complimentary.

Back in the '60s,
Warren ran the boutique Lord John.

Right in the heart
of Carnaby Street,

it was a haven for the biggest
stars of the day.

Ben Sherman, Bill Wyman...
John Lennon used to come in.

There's a cape I made for him.
Sadly, he didn't ever pick it up.

He died rather abruptly.

This amazing footage captures Kenney

and the band
filling their boots in Lord John.

Yeah, the Small Faces used to
come in every day.

We loved it.

We did some nice business with them
and enjoyed taking their money.

They were quite creative guys -

not only with their music,
but also their clothes.

The Small Faces were pioneers of
the bond between music and fashion,

and they saw it catch the
imagination of a youthful Britain.

It was like a fusion of style
and sound that came together.

Whenever we arrived at a gig,
everyone was wearing our clothes.

The music was good
but the look was everything.

I was pretty obsessed by the
Small Faces' wardrobe, if you like.

John Hellier was a fanatical mod
who went to extraordinary lengths

to copy the style of his idols,
the Small Faces.

You know, I'd buy,
sort of, the girlie mags of the day,

things like Fab 208 and Jackie,
just for a picture of whatever

Steve and Ronnie were wearing,

then I'd get on the train up west,
trying to buy a shirt or a jacket.

This shirt is a particular favourite
of mine and it's an Italian shirt.

The edging on the collar,
very, very mod.

That sort of pointed look, you know.

That's a fad but it's typical
'60s collar.

I mean, to me, that's
a thing of beauty, you know.

If I wasn't wearing it,
you could hang that on the wall.

John had grown up in the austerity
of post-war Romford, where mod

was a wondrous release.

And like all the young mods,
obsessed with clothes

and shopping, he was embracing
a new male narcissism,

a passionate desire to team the
right music with the right clothes.

It was all to do with attention
to detail, matching the colour

of your belt with the colour
of your shoes and things like that.

Things that most people
wouldn't even dream about.

I remember, on several occasions,
standing up in an empty

railway carriage just so as not to
spoil the crease in my trouser.

Wearing white jeans and colourful
tops like this, you know,

you've got to be used to
getting a few wolf whistles

from the building sites
and things like that.

You know, it just was all
part and parcel,

but in fact, if you got wolf
whistles from the building site,

you knew you looked good.

Cut.

# This is a modern world

# This is a modern world... #

Mod is one of the most
iconic of British music looks...

# What kind of a fool
do you think I am? #

..revisited constantly,

shaped and adapted by generations
of designers and musicians.

But the marriage of music
and fashion

wasn't just for the cool boys.

The girls were
finding their own style.

# When we walk down the street... #

It would transform the lifestyles
of millions, and show

the inspirational power of the
nation's new pop culture princesses.

And now, this year's
Royal Variety Performance...

The Royal Variety Performance, 1964.

This was the highlight
of the light entertainment year,

when the stars of showbiz
did a turn at Her Majesty's behest.

The usual suspects were there -
Morecambe and Wise...

and Gracie Fields.

But waiting backstage
was a 21-year-old girl.

She knew that what she wore that
night was every bit as important

as the song she was about to sing.

This was to be
the biggest performance of her life.

# You're my world
You're every breath I take... #

'Oh, I'm very nervous.'

You can tell by the vibrato
in my voice.

# ..your hand

# Resting in mine... #

'Cilla Black's floor-length dress
with its loose fit and long sleeves

'seemed inoffensive enough.

'But it was, in fact,
a daring style statement...'

..because it came from a designer
known more for high-street fashion

rather than haute couture.

# End of my world... #

'I loved that dress,

'because it epitomises, really,
what the '60s were all about.

'It was instant fashion.
Throwaway fashion.'

And for those in the know,

Cilla's sassy little number
could only have come from one place.

'She's one of London's
top fashion designers,

'and an influential arbiter
of style.'

Barbara Hulanicki
and her assistant, Rosie,

ran the fashion label Biba.

You know, Biba clothes
are so rare now.

I've got a few sort of left over,
'30s-inspired. Very, very shiny.

And this here is the leopard skin
that kept going and going

until the end. The shoulder pads.
Oh, yes.

As designer, it was Barbara who was
tasked with creating Cilla's dress.

Cilla came in and, gosh,
do you know, I was so nervous?

I never knew that.

I never knew Barbara was
nervous at doing the dress at all!

Honour is a private matter within.
It's an idea,

and every man has his own version
of it.

No wonder she was nervous - her
inspiration was medieval menswear.

It was definitely inspired by
something that Richard Burton wore.

New little invention.

It's for pronging meat
and carrying it to the mouth.

The biopic of the 12th-century saint
Thomas Becket

was a smash hit of 1964.

And what fired Barbara's imagination
was a dashing Richard Burton

in fetching velvet.

For my barons...

They all wore that sort of shape
and that ornament...

Down the centre. Yes. Yeah.
Sort of Y-shape.

My Lord, this is a stupendous honour,
for which I may not be worthy.

BARBARA GIGGLES

Actually, it looks much better
than I remember it.

For Cilla, it sealed
her love affair with Biba.

Well, this is a Biba dress.

Can you believe I wore this?

And what size is it?

Oh, size six! Oh! Gosh.

I couldn't even get me leg
in there now.

And it's see-through, as well!

What was I thinking of?!

Could I get away with it today? No.

No!

I did wear knickers underneath.

I mightn't have worn a bra.

SHE CHUCKLES

Onstage and off-stage,
Biba and Cilla were a perfect match.

And Biba adorned our pop darlings
and models.

But by bringing out new designs
every week and selling them

at affordable prices, this wasn't
high fashion for the few,

but high-street
fashion for everyone.

There was nowhere
to shop for your own age group,

and there was all this huge market
that was coming in to London

who had jobs and they had cash to
buy clothes, and they had sort of...

They were only sort of like
£9 a week,

and £3 went on the bedsit,

£3 a week went on food,
and £3 went on Biba.

What Biba with tapping into
was a demographic explosion -

the female side of the post-war
baby boom generation.

There were half a million more
young women in Britain than there

had been in the '50s...

..and most of them were in work

and spending their wages
on the high street.

Biba's signature was cool,
cute clothes for skinny girls,

often in rich,
autumnal colours and soft fabrics.

And there were miniskirts.
Lots of miniskirts.

Jackie Jackson-Smith was one
of those bitten by the Biba bug.

She'd grown-up in Cambridge
and in 1966,

she made her first pilgrimage down
to that mythic place.

We went down by train to this
fantastic boutique, which was

dark when you went inside

and just felt like a forbidden
nightclub sort of atmosphere there.

Wonderful.

And for a girl like Jackie, what
she found at Biba was a revelation.

Until then, we made
most of our clothes ourselves.

My first date,
I looked like a deckchair,

and that was the way we were.

And then, when we came on this sort
of thing, suddenly you were actually

able to have the most fantastic
clothes that were affordable

and yet were very in, very with-it.

But of all the clothes
she bought at Biba,

one outfit holds a special place
in her heart.

This is typical Biba.

Lovely, big, flowing sleeves.

Bare midriff,

fantastic trousers...

..that kind of swirl out.

This is what Jackie chose
to be married in.

It was not at all typical.

I'm not sure who else would have got
married in something like this.

Certainly it shocked - once again,
quite pleasingly, probably, for me -

shocked the grandparents, who...

Particularly my grandmother on my
mother's side, I remember, said,

it made me look like "one of those".

I don't know what "one of those" was.

SHE LAUGHS

For Jackie, this outfit
was her own personal statement

of the freedoms afforded
to her during the '60s.

We were the baby boomers, weren't we?

We were the ones
that actually became teenagers

and we didn't have to
straightway be little adults.

We could be ourselves,
we could dress for ourselves.

We could shock if we wanted to.
We had independence.

We have a little bit of money.

You know, I suppose our parents
couldn't do that -

they were in the war, but my father
was very happy to see us.

You know, he said that's what
he fought the war for,

is that we should be able to
have our freedom, wear short skirts,

wear long hair, have the clothes
like the Biba clothes that we wore.

And he was proud to see us being
such with-it, happy teenagers.

He loved it.

This moment stitched together
for ever music and fashion,

and the sheer joyful pleasure of
going out shopping for something

to wear to that party or that club.

But in 1968, the innocent exuberance
of the Biba years was

disturbed by a voice...

from the dark side.

I am the god of hellfire
and I bring you...

# Fire

# I'll take you to burn... #

That summer, the god of hellfire
himself reached number one

in the charts...

..and was beamed into millions of
homes across the land.

Who is that?

# '..gonna burn!' #

With his burning helmet
and ghoulish face paint,

this was about as far away
from Cilla Black as you could get.

Our appearance was quite shocking.

I had quite a few people coming
and saying,

"My parents locked me in the bedroom
after the first verse."

This terrifying vision came from
the crazy mind of one Arthur Brown.

These days, Arthur has swapped
the gates of hell for a yurt

somewhere in the Sussex countryside.

Though many years have passed,

he can still recall
how his creation took shape.

I was playing in a club in France.

One morning, I came out of my rather
seedy hotel and there was a trunk.

There was a crown with candles
in it,

so I wore it down at the club and
I realised that that was quite a...

Oh, the audience really loved it.

# I put a spell on you... #

But the crown
was just the beginning.

He embellished his appearance,
taking inspiration

from African tribal masks

and Native American headdresses.

All this imagery came
to bear on the god of hellfire.

There was a spirit of that age
which was...opening the mind,

opening the consciousness
to all kinds of ideas,

all kinds of artistic expression,

and there was a large number of
people who were receptive to that.

What Arthur had tapped into
was the age of psychedelia.

In its woozy wake,

psych brought the experimental
music of bands like Pink Floyd.

But every bit as important as the
sound was a stunning new aesthetic.

Now, you see, these posters
at the time were very daring.

It said right away,
this was totally different.

This is a lot more open-minded.
This is an alternative.

Designed to entice like-minded
spirits

to partake of Arthur's music...

..these artworks were riddled with
hidden imagery

that suggested
a loosening of morals.

If you look at it carefully it's
absolutely obscene because

the butterfly isn't a butterfly.

It's actually an ejaculating penis.

HE LAUGHS

Nigel Waymouth helped come up
with these designs.

It was great fun to do,
I have to say.

HE LAUGHS

There we are.

From a shop at the far
end of the King's Road, Nigel helped

conjure up the visual aesthetic
of the '60s psychedelic scene.

Today the shop deals in tasteful
lighting.

But in the late '60s it was the
go-to venue

if you were after a tripped out
look.

It was the legendary boutique
Granny Takes A Trip.

Those who entered found a young
Nigel amid beautiful ornaments

and drapery which recalled
the decadence of the Victorian Age.

The most iconic item, really,
was this jacket.

This is not conventional
in the Savile Row sense.

The collar has a slight 17th century
feel about it in a way.

That tight fitting, high collar.

It was based on the idea
we had of using furnishing fabric.

So it was fun.
It was a lot of fun doing that.

Stellar musicians
like George Harrison floated down to

Granny's for floral flamboyance.

And even the Small Faces
abandoned mod

and embraced dandyish extravagance.

The clothes very much leant
themselves to showbiz and performers.

Because they were ostentatious,
they were flamboyant

and they were new
and they were a la mode, you know?

But for many who bought
into the Granny's look, it wasn't

just about showing off.

For them, these clothes held
a deeper significance...

..that only a few could ever
understand.

Well, in this box is a jacket that
I wore back in... Probably '67.

It's a Granny Takes A Trip...
There it is.

..jacket.
And there is the Granny's label.

Nigel Lesmoir-Gordon and his wife

Jenny dared to wear Granny's
clothes.

We really dressed in quite
an extraordinary way which

really upset people.

I mean, this jacket kind of expressed
what one felt like inside

and walking down Oxford Street
wearing this created quite a stir.

Nigel and Jenny saw
themselves as different.

Part of a curious generation seeking
new ways to understand the world.

And from a far off land
came their key to enlightenment.

In 1965 LSD arrived in London.

The LSD we had then came straight
from the Sandoz Laboratory in

Switzerland where Hofmann discovered
it and thence to 101 Cromwell Road.

MUSIC: Purple Haze
by Dion

At the time LSD had not yet
been made illegal.

And with access to such a new

and highly prized drug, their home
became a hangout

for the scenesters from music,
fashion and the movies.

Excuse me while I kiss the sky.

# Purple haze

# Running through my brain... #

As an aspiring film maker,
Nigel captured their adventures

on his home movie camera.

# I'm acting funny and find... #

This extraordinary footage was
filmed as they tripped out.

Becoming one with nature.

# Excuse me while I kiss the sky

# Purple haze. #

Here's Jenny speaking to a tree.

It opened a door to another world,
really.

There was much more to life than was
apparent.

And it was here,

deep in the English countryside that
their clothes came into their own.

This fabric echoed back to us

the kind of things that we were
seeing on LSD.

The patterns in nature.

So to wear that reflected,
in a way, our mental state.

For Nigel and Jenny these clothes
represented a time in their lives...

..of youthful ideals, of curiosity.

And for just a moment, the sense
of deeper knowledge of themselves

and the world around them.

Suddenly the dream, the bubble burst
and we entered the '70s.

The psychedelic set awoke from their
collective daydream to find

that all was not well.

Echoing through inner city Britain
were the incendiary

words of Enoch Powell's
Rivers of Blood speech.

A provocative
prediction of racial strife.

But amidst the tension came
one of those moments when music

and fashion embrace...

The date, Sunday evening.
April 26th, 1970.

..and chase away the clouds of doom.

The place, Wembley, London.

The event, the Reggae Festival.

MUSIC: Israelites
by Desmond Dekker

# Get up in the morning

# Slaving for bread, sir

# So that every mouth can be fed

# Poor me, the Israelite, ah. #

The Reggae Festival of 1970 was
an extraordinary

spectacle of Jamaican music
and culture.

# The Israelites, ah. #

And centre stage was Desmond Dekker.

Oh, my God.
It's my Desmond all right.

HE LAUGHS

Thousands flocked to see Desmond
steal the show with his

number one hit, Israelites.

# The Israelites, he! #

This was a Wembley show.
Desmond ripped that place apart.

Of all the people that was there,
Desmond was the one that they

came to see and when you start
Israelites the place just erupts.

He was the master. He was the king.

I want to hear you.

# Everybody! #

But what captivated the crowd was
not just his striking performance

but his sharp sense of style.

This was a suited
and booted Desmond.

Is that a bow tie he's got there?

HE LAUGHS

Desmond had first announced his
style on Top Of The Pops in 1967.

That is his style. It's funny.

And what made his look unique
was his very short trousers.

With the short length trousers
he was able to do the footwork

just right.

You could swiftly move your foot
forward and backwards.

My dad used to show me
some of his moves.

He said with that kind of trousers
it was very easy to manoeuvre.

Desmond's tight look was
known as rude boy.

Direct from the streets of Kingston,
it struck a chord with

British Jamaicans.

These were the children of the first
wave of Caribbean immigrants.

And the rude boy look was a way for
them

to express their Jamaican
heritage.

But no-one could have guessed who
else had their eye on this

razor-sharp look.

How do you like it? Number 2.

Cut a parting in as well, please.
Certainly.

The skinheads were the latest tribe
to emerge from the fertile

sartorial breeding ground of working
class British youth.

And this latest group fascinated
the chattering classes.

In accepting reggae, the skinheads
have rejected their middle class

with its existential, mystical,
hippy style music,

which is unable to cater to the
social needs of the skinheads.

Through the medium of the reggae the
black youth does this extremely well.

Tony was one of the first skinheads
to walk the streets of London.

We thought Jamaicans were
naturally cool.

The way they walked, the way
they moved, the way they danced

and relaxed. The way they talked.
We wanted a little bit of it.

And the way they got it was
through clothes.

Tony and his mates were meticulous
in their attempts to adapt

the rude boy look.

Not the blue.
Nice lining on that one.

And once they found it
they were willing to pay.

All the money we had
went on the fashion. And the music.

The shoes were like £8 a pair which
was more than a week's

wages as an apprentice
plumber in the '60s.

So, yeah.

It did cost a lot of money.

There's one of me in black
and white with my early girlfriend.

There's me with a pair of tonic
mohair trousers on.

2-3 inches off the shoe.

I've got a checked shirt on.

A tailored jacket.

Hanky in the pocket, and again,
you can see the parting in the hair.

The essentials of skinhead
style are enduring.

Mohair tonic suits...

..checked button-down shirts,

rolled-up slim cut jeans,

loafers, brogues and
Doc Marten boots.

Through their love of a sharp style,
white skins

and black rude boys had
found common ground.

And it wasn't long before this
moment of cultural harmony

was given a soundtrack
all of its own.

# We've got three million miles to
reach the moon

# Yeah, yeah, yeah, yeah, yeah... #

Skinhead Moonstomp was a defining
track of the era.

You know, it was
massive in the clubs.

It had such a good sound to it and it
was sort of an anthem, in a way.

You know, it was something people
could actually dance together to,

get involved in.

And to see like 300-plus skinheads
all doing this stamping dance,

it was very exciting for us.

# Now remember, I'm your boss
skinhead speaking

# My name is Caleb... #

Moonstomp was a home-grown
reggae hit written

and produced exclusively
for skinheads.

It was a special skinhead dance.
One jump and one nudge. Yeah.

It was a nice little dance.

# Yeah, yeah, yeah, yeah, yeah,
ye-ah... #

From the headquarters of his
international business empire,

Frank Pitter still remembers the
glory days.

# Ready? Yeah!
Yeah, yeah, yeah, yeah, yeah... #

As the drummer the band Symarip,

he helped put the stomp in
moonstomping.

Yeah, this is Skinhead Moonstomp.

We're the skinhead boys on the
front. And us on the back. You know.

If you can look at the top here,
that's me.

I think we were the first band to
record something targeting

skinheads, something for them,
you know.

And we did a Skinhead Moonstomp,
you know,

and we put our thing
into the national charts.

This sold about four million copies.

The music, fashion,
they go together.

You're doing the music, you haven't
got the clothes to go with it.

The fashion style. Yet, you know,
it's half the job done.
It's like the full job.

So you've got to have the clothes
with the music and then,

you are fully there.

# Skinhead girl was mine,
skinhead girl... #

This was a glorious
moment in post-war Britain.

Two cultures brought together
through music and fashion.

But it wasn't to last.

Right! Skinheads stick together.
Listen.

We're all white, OK?
So stop fighting and stick together.

Across the '70s, many skinheads
would be corrupted by far-right
politics.

Out went the moonstomp
and in came the bovver boot.

And these skinheads became
like an army, marching on bigotry

and violence.

But at the tail end of the '70s,
the rude boy look would make return.

# Last night when I told you... #

This is a check shirt,
button down the back, little collar,

and was bought for £5 in C&A,
I think. When there was one!

Pauline Black was the lead
singer of The Selecter

and at the forefront of the ska
revival, known as 2-Tone.

Our whole ethos, I guess, was very
dynamic, very anger-fuelled.

There was a lot to be angry about.

People were racist on the street
and at shows sometimes

and you'd got the National Front
marching on the streets

so obviously, if you were a young
black woman at that time

or a young black man, there was
plenty to be angry about.

For Pauline, here whole style was
a frustrated, impassioned plea

for a return to the cultural harmony
that had been lost across the '70s.

Obviously, black-and-white check is
quite iconic and what

we were trying to portray was that
black and white people could be in

the same band and really get along
together and make music together.

Certainly, I feel as though it's
one of the more meaningful things

in terms of an anti-racist stance.

That was a very, very potent thing

for young people to see
at that time.

But not everyone in Britain
wanted their music

and style to hang heavy with
politics and protest.

Welcome to the 499th
Top Of The Pops.

They wanted to belong to something
devoted to no-nonsense good times.

Right, getting us
out of the way of the studio,

we have Status Quo and Caroline.

In 1973, Status Quo took to our
screens with their first top-five
hit.

# If you want to turn me
on to anything you really want to

# Turn me on to your love,
your love... #

We all looked like criminals.

# Any time is the right time
Any time of yours is my time... #

Parfitt's got a denim jacket on.

I'll always remember that look,
that all-denim look.

Everybody was in denim.

# You're my sweet Caroline... #

Though such an effortless
style statement,

Quo's denim look would have
a powerful impact.

# Take my hand,
together we can rock'n'roll. #

It would help them
amass an army of devoted fans

and help establish denim
as a uniform of our everyday lives.

Today, the grand old man of boogie
rock can be found

preparing for yet another
moneyspinning tour.

Lovely job. Lovely.

Though they've travelled
a long road,

the boys can still recall the days
before denim.

Cor, look at that!
Fucking hell! Yeah!

That was that period where we'd just
got our foot in the door and we were

groomed and told to look like this
and all wear these frilly shirts.

# Pictures of matchstick men... #

Quo emerged in 1968, frolicking
around as a psychedelic pop act.

# All I ever see is them and you... #

I don't think any of us
liked it, did we?

But just to have a hit and then
when somebody gives you the call,

"You're going on Top Of The Pops..."
- "I'm going on Top Of The Pops!"

I mean, it was amazing.

But no sooner had
they donned their flowery jackets

and foppish hair,
the sun set on psychedelia.

They were one-hit wonders and soon
forgotten.

Can I swear on this?

We thought, "Fuck this!"
No, you fucking can't, can you!

"Wearing these frilly shirts."
And we didn't like it.

We didn't like it at all,
so we completely changed our image.

The band looked deep within
themselves and discovered they

were just normal blokes

who liked cars, motorbikes,

and a beer or two.

And living as they did on the long
tail of the rock'n'roll rebellion,

in came long hair and denim,

T-shirts and denim

and denim shirts and more denim.

To get into the jeans, you know,

and get out of those bell-bottoms
and wear a denim jacket -

it looked hard and it fitted with
everything that we wanted to be.

With their new image,
Quo began to gain a small

but dedicated following.

Despite the best
efforts of psychedelia,

the '70s was a time
when men were still men.

Over 30% of our workforce
still worked in manufacturing.

# I didn't want any ties... #

They took one look at Quo and
thought, "That's the band for me."

# Well, everybody has to sometimes
break the rules... #

The whole thing about Quo was
the link with the audience.

It became that the audiences were
looking the same as the band,

the band the same as the audience,
which was great.

They always treated the audience as
if they were just one of them,
you know.

For one young man in '70s Britain,
Quo were more than just a band.

They were a salvation.

Alan Walsh grew up on this council
estate in Halifax.

I've got some good memories here.

And it shaped...it shaped who I was,
really.

# I ain't going to work
I ain't going to work no more... #

'In some of the Yorkshire textile
towns,'

unemployment had risen, especially

in Halifax, as high as 180%.

Back in the 1970s,
Halifax was a tough place to live.

Built on cotton and beer,
its industries were on the wane.

Safe to say, this wasn't
a place for sartorial showiness.

Unfortunately for Alan,
he loved Marc Bolan.

# Waaaah! Yeah, yeah! #

I got into quite a few
altercations around this area.

I used to have an Afghan coat

and I used to wear, um,

you know the desert, suede desert
boots, Jesus sandals?

That weren't a good idea, either.

But in 1976, the boys in blue came
to Alan's rescue.

I got Blue For You, actually

and I used to go to Manchester
United all the time on the coach.

I remember passing the album around,
going to this football match

and everybody was opening the sleeve
and looking at it and...

And it was kind of acceptable.

I felt like...

part of something.

I'll show you
a photograph of that time.

I'm wearing a denim jacket there
but it's like a suit jacket

and I've got a cheesecloth shirt
on with the Quo shirt

and that's how I would go
out into town in Halifax.

You felt hard-edged
and you felt, yeah,

get your head down,
you know, it's Quo.

# Here we go

# Rockin' all over the world... #

Once an outsider in a tough area,
Alan had found belonging.

And he did it by finding Quo

and enlisting in the ranks
of their denim army.

You had to be wise to this area.

It made you mentally
and emotionally tougher

because if you weren't
emotionally tough

and you weren't mentally strong
around here, you would just get...

buried underneath all the rubbish.

With their undeniable bloke appeal,

Quo soon found themselves poster
boys for a legendary fashion house.

There were 6,000 Levi's outlets
in the UK and this poster was

the one that was in all the shops
and there we go, look at that.

God, look at them.

You'd hardly call that male model
stuff, would you?

Quo's chart-topping popularity
was perfect for Levi's

as they fought for denim supremacy
against Lee and Wrangler.

But the deal was less obviously
lucrative for the boys in the band.

We got a roll of denim. Each.

I think at the end of the day,

we'd have probably preferred a
couple of million quid for doing it,

but you know, that's the way
it was at the time.

Quo style was
resolutely down-to-earth

but it created an other-worldly
counter-reaction.

MUSIC: Ladytron
by Roxy Music

It was 1972 when something odd

landed on the stage of
the BBC's Old Grey Whistle Test.

# You've got me, girl,
on the run around, run around

# Got me all around town

# You've got me, girl,
on the run around

# And it's getting me down,
getting me down... #

We were reacting against
a drab society.

In rock'n'roll, people wore jeans
and played the blues.

And so, if we can,
let's liven this up.

I remember it vividly.

It was like a band that had
fallen from another planet

and just landed on the stage.

It was very scratchy,
that green outfit.

It didn't have any lining,
it was very strange to wear.

Roxy Music were an alluring
synthesis of futuristic music

and sophisticated visual impact.

Bryan Ferry's creation were more
than just another band.

They were a blend of '60s pop art
and '70s pop music.

MUSIC: All I Want Is You
by Roxy Music

Now, this is an outfit
that was made for me.

This is a Jim O'Connor
and Pamela Motown suit.

They were very much pop art
designers.

They were very influenced
by the Bay City Rollers, strangely,

because the Bay City Rollers
were never ever cool.

This strange little...

I don't know what you would call it,
it must be a lady's cocktail

thing made out of feathers,
it's what Eno wore.

It's probably going to fall to bits

later this afternoon
by the look of it.

Our look was very eclectic.

You know, you'd have
a bit of Art Deco here

and a little bit of '50s retro there
and, musically, I think

we did the same thing so, yeah,
I guess that the look

and the music at that time
did have some link.

To create their special
collision of sound and vision,

Roxy Music went further
than any band before.

They brought a designer into the
fold and asked him to create

a look that would add vivacious
glamour to their songwriting.

They wanted to make sure that
it looked as good as it sounded

so that's when they thought,
"We need someone here to help."

I remember the night when the
headphones were clamped on my head.

"What do you think?" I thought,

"Well, this is really
quite unusual." And he said,

"Do you want to work with me?"
And I said, "Well, of course."

MUSIC: Prairie Rose
by Roxy Music

Roxy turned to Antony Price,

a rising star of the British
fashion scene, who had made his name

designing clothes for cult
London label Stirling Cooper.

They knew what they wanted.

You didn't just stand there
and shove something on them,

you know, they would have
a very strong idea.

Everything they had done to get them

where they were were their own
decisions.

I would suggest things, draw things,
and we would find a compromise.

# You're tantalising me... #

From this creative collaboration
came some stunning pieces

displayed to millions
on Top Of The Pops.

# Make me a deal
and make it straight... #

This is an ancient piece
from about 1972.

It was modelled,
basically, on a rocker jacket.

You've got this '70s thing
of the huge collar that

looks like a pigeon
has landed on you.

It's laughable now
but, at the time, it was right.

The thing about these garments is
it's who wore it and when.

It was a moment in history and
this was in it so, for that reason,

it stands out.

# I never thought
I'd see you again... #

I think the word is layering.

They...they layered their music,
they layered their clothes,

the image was total layering.

Steve Harrington is a hairdresser
who has a deep affinity with

Roxy Music.

It's the same with hair -
if you layer properly, it's perfect.

It's all to do with textures
and the way something is put across

and no-one put
anything across like that.

MUSIC: Editions Of You
by Roxy Music

Steve saw Roxy on the
Old Grey Whistle Test in 1972

and was instantly compelled
to get to the look.

# Well, I'm here looking through
an old picture frame

# Just waiting for
the perfect view... #

When I first started
wearing the Roxy look,

I was at the comprehensive school.

I looked a bit Ferry,
I looked a bit Andy Mackay.

The Roxy sort of shirt
with the Roxy Music badge,

playing the saxophone,
and I thought, "I want to be this."

MUSIC: Beauty Queen
by Roxy Music

There weren't an awful lot of people
dressing the way I dressed

but I wasn't going to let
that put me off.

# Ooh, the way you look

# Makes my starry eyes shiver... #

Though Steve's Roxy look was a way
of standing out from the crowd,

it would in fact have a much more
profound influence on his life.

This is the house I was born in.

It's a picture of my mother
standing at the front door.

Next to the picture was actually
a public house called

The Coalminer's Arms.

Steve grew up in the very heart
of the Derbyshire coal fields

and was destined to
follow his father down the mines.

# A fast mover like you

# And your dreams
will all come true... #

But when the vision of Roxy Music
was beamed into the family home,

Steve realised that his life
could be very different.

When I first saw Roxy Music
onscreen,

I looked and I thought,
"I can do something. I'm not stuck.

"I can sort of climb out of this."
It gave me hope.

I'm proud of what influenced me.

Who else had got the panache,
the style to do what Roxy Music did?

Find me someone. Find me someone
from then, find me someone from now.

You'll struggle.

In just a few years,
the intoxicating mix of great tunes

and brilliant style
had changed us fundamentally.

We became a nation of music lovers,
veracious shoppers and show-offs.

# How does it feel?

# Running around round round... #

Britain had found a new
cultural self-confidence.

This was the place where the
magic of music and fashion happened.

Next time, British fashion designers
unite with musicians to create

wild, larger-than-life characters
that mesmerise and shock the nation.

MUSIC: How Does It Feel
by Slade