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Behind the scenes at one the biggest
events of the British summer.
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00:00:10,510 --> 00:00:13,070
These boys are being
made beautiful
3
00:00:13,070 --> 00:00:17,710
for the Burberry Menswear Show
of 2014.
4
00:00:21,750 --> 00:00:25,630
It's a fabulous day
for fabulous people
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00:00:25,630 --> 00:00:27,870
and some interesting hats.
6
00:00:31,350 --> 00:00:34,030
But this is more than the unveiling
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00:00:34,030 --> 00:00:37,230
of the latest upmarket
British fashion.
8
00:00:37,230 --> 00:00:42,790
Burberry are also showcasing
a new star of British music.
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00:00:42,790 --> 00:00:46,990
MUSIC: "House"
by Josh Record
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00:00:46,990 --> 00:00:48,910
'I have been styled
by Burberry today.
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00:00:48,910 --> 00:00:52,750
'And, yeah, to have a brand
like Burberry'
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00:00:52,750 --> 00:00:54,750
wanting to associate themselves
with you,
13
00:00:54,750 --> 00:00:57,750
it's a total vote of confidence
and a seal of approval.
14
00:00:57,750 --> 00:01:00,590
# They don't see the blind tears... #
15
00:01:02,430 --> 00:01:05,990
Josh Record is the latest talented
young British musician
16
00:01:05,990 --> 00:01:09,430
to be selected and backed
by the Burberry brand.
17
00:01:10,830 --> 00:01:13,110
It's so creative and it's such art
18
00:01:13,110 --> 00:01:16,230
that it's amazing to collaborate
with fashion and music
19
00:01:16,230 --> 00:01:18,270
because you're
both creating something.
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00:01:19,510 --> 00:01:22,790
# Soon they'll find
their own place to hide... #
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00:01:22,790 --> 00:01:27,190
Josh is part modern pop star,
part brand model.
22
00:01:28,430 --> 00:01:33,670
He's a product of an era in British
music when image became everything.
23
00:01:38,710 --> 00:01:43,030
The 1980s was the age
of the music video.
24
00:01:43,030 --> 00:01:48,310
Nothing changed fashion and music
as much as the video.
25
00:01:48,310 --> 00:01:51,350
MUSIC: "Dancing With Myself"
by Billy Idol
26
00:01:51,350 --> 00:01:54,390
It was also the age in which
musicians strived to hit
27
00:01:54,390 --> 00:01:57,470
the perfect style for their music.
28
00:01:57,470 --> 00:02:00,550
I'm an obsessive,
I'm always looking at new looks
29
00:02:00,550 --> 00:02:02,550
and I'm always trying to
improve the music.
30
00:02:06,710 --> 00:02:11,150
And everyone was judged on
the look they were wearing.
31
00:02:11,150 --> 00:02:13,830
"You look idiotic,
you don't look creative at all."
32
00:02:13,830 --> 00:02:17,630
It was the most stupid haircut
in the world.
33
00:02:17,630 --> 00:02:20,910
More than ever,
our music became a catwalk
34
00:02:20,910 --> 00:02:23,510
of carefully constructed images...
35
00:02:23,510 --> 00:02:25,670
from the gritty, to the glamorous,
36
00:02:25,670 --> 00:02:27,550
to the geeky.
37
00:02:27,550 --> 00:02:29,630
Cringeworthy.
38
00:02:29,630 --> 00:02:32,550
HE LAUGHS
Andy with his sweater.
39
00:02:35,710 --> 00:02:41,550
Our '80s music became a battleground
between artifice and authenticity.
40
00:02:41,550 --> 00:02:45,230
Don't you dare call us
a New Romantic band,
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00:02:45,230 --> 00:02:49,310
we are serious and Northern
and intellectual.
42
00:02:50,310 --> 00:02:52,270
And we don't wear frilly shirts.
43
00:02:53,350 --> 00:02:57,070
And the looks that went with it
held a mirror to the nation.
44
00:02:57,070 --> 00:03:00,790
MARGARET THATCHER: You do not
follow the crowd.
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00:03:00,790 --> 00:03:03,070
You decide what to do yourself.
46
00:03:03,070 --> 00:03:05,110
I was called a Thatcherite.
47
00:03:05,110 --> 00:03:09,150
You've got to believe that the way
you're making things look
48
00:03:09,150 --> 00:03:10,990
is better than everybody else.
49
00:03:10,990 --> 00:03:15,110
The tunes we danced to
and the styles we wore
50
00:03:15,110 --> 00:03:18,670
became a vivid reflection
of the country we had been,
51
00:03:18,670 --> 00:03:20,550
the country we were becoming
52
00:03:20,550 --> 00:03:22,990
and the country we now are.
53
00:03:22,990 --> 00:03:27,030
I always knew I looked really good
when my mum used to say,
54
00:03:27,030 --> 00:03:30,470
"Oh, my God! What do you look like?"
55
00:03:42,270 --> 00:03:45,510
MUSIC: "The Winner Takes It All"
by ABBA
56
00:03:49,310 --> 00:03:50,390
1980.
57
00:03:51,950 --> 00:03:55,750
The beginning of a new decade
was in fact the end of an era.
58
00:03:58,750 --> 00:04:00,870
# I don't wanna talk
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00:04:02,430 --> 00:04:06,150
# About things
we've gone through... #
60
00:04:06,150 --> 00:04:09,110
ABBA, whose expertly crafted
Swedish songwriting
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00:04:09,110 --> 00:04:11,750
had lifted our spirits
through the '70s,
62
00:04:11,750 --> 00:04:16,630
were enjoying what would be their
last taste of chart-topping success.
63
00:04:18,670 --> 00:04:21,270
# And that's what
you've done too... #
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00:04:21,270 --> 00:04:24,070
There was nothing more to say,
they were history.
65
00:04:24,070 --> 00:04:25,950
Their euphoric Europop out of tune
66
00:04:25,950 --> 00:04:29,470
with a nation on the verge
of economic calamity.
67
00:04:29,470 --> 00:04:32,470
# The winner takes it all
68
00:04:34,030 --> 00:04:37,190
# The loser standing small... #
69
00:04:37,190 --> 00:04:40,070
Faced with high inflation,
powerful unions
70
00:04:40,070 --> 00:04:41,750
and inefficient industry,
71
00:04:41,750 --> 00:04:45,630
Maggie Thatcher gave Britain
a dose of tough love.
72
00:04:47,270 --> 00:04:49,430
How else are you going to do it?
73
00:04:49,430 --> 00:04:51,350
Now just tell me.
74
00:04:51,350 --> 00:04:54,710
How else are you going
to create jobs?
75
00:04:56,870 --> 00:05:02,110
By May 1980, inflation hit 22%
whilst we suffered the biggest jump
76
00:05:02,110 --> 00:05:04,870
in unemployment
since the Great Depression.
77
00:05:08,990 --> 00:05:11,150
But in that very same month,
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00:05:11,150 --> 00:05:15,110
a new band hit the charts
whose style replicated the looks
79
00:05:15,110 --> 00:05:18,430
of the hard-pressed working man.
80
00:05:18,430 --> 00:05:23,230
# Back in '68 in a sweaty club
81
00:05:23,230 --> 00:05:25,830
# Oh, Geno
82
00:05:25,830 --> 00:05:29,870
# Before Jimmy's Machine
and The Rocksteady Rub
83
00:05:31,310 --> 00:05:33,510
# Oh, Geno
84
00:05:33,510 --> 00:05:38,030
# On a night when flowers
didn't suit my shoes... #
85
00:05:38,030 --> 00:05:40,550
I remember thinking,
"Right, Top Of The Pops,
86
00:05:40,550 --> 00:05:42,150
"we're going to really nail this."
87
00:05:42,150 --> 00:05:45,390
We knew this was the opportunity
to get this look over.
88
00:05:45,390 --> 00:05:48,230
"OK, let's go,
have you got your woolly hat?
89
00:05:48,230 --> 00:05:49,470
"You got your jacket?"
90
00:05:49,470 --> 00:05:53,150
# Academic inspiration... #
91
00:05:53,150 --> 00:05:57,430
Straightaway they were just there.
Looked great, sounded great.
92
00:05:57,430 --> 00:06:01,230
# But you were Michael the lover... #
93
00:06:01,230 --> 00:06:05,710
Dexys Midnight Runners swaggered
onto our screens at number one
94
00:06:05,710 --> 00:06:07,590
in May 1980.
95
00:06:08,670 --> 00:06:12,230
'They look completely like a gang,
a team'
96
00:06:12,230 --> 00:06:16,030
and usually in a line-up like this
with seven or eight people,
97
00:06:16,030 --> 00:06:18,110
someone doesn't quite pull it off,
98
00:06:18,110 --> 00:06:20,750
but I thought it was brilliant,
it blew me away.
99
00:06:24,870 --> 00:06:29,670
Geno was a hymn to hardworking
soul man, Geno Washington.
100
00:06:29,670 --> 00:06:33,390
And with their donkey jackets,
monkey boots and beanie hats,
101
00:06:33,390 --> 00:06:38,430
Dexys channelled the spirit of the
working-class man in a tough job.
102
00:06:38,430 --> 00:06:43,510
# This man was my bombers,
my Dexys, my high
103
00:06:43,510 --> 00:06:44,670
# Oh-oh, Geno... #
104
00:06:44,670 --> 00:06:46,710
Some of the music press thought
105
00:06:46,710 --> 00:06:50,310
that we couldn't afford
any different clothes,
106
00:06:50,310 --> 00:06:51,950
you know, they actually thought that.
107
00:06:53,990 --> 00:06:58,590
# No, I'm not being flash
It's what I'm built to do... #
108
00:06:58,590 --> 00:07:02,870
But Dexys look came not from the
picket line, but from the pictures.
109
00:07:10,150 --> 00:07:13,950
On The Waterfront starred
Marlon Brando as a stevedore
110
00:07:13,950 --> 00:07:15,750
on the New York docks.
111
00:07:16,910 --> 00:07:19,390
On The Waterfront,
that was a big influence.
112
00:07:20,470 --> 00:07:22,950
No Hollywood glamour here,
113
00:07:22,950 --> 00:07:26,230
this was the gritty life
with gritty clothes to match.
114
00:07:27,630 --> 00:07:29,830
They looked great, you know,
those docker guys.
115
00:07:29,830 --> 00:07:33,150
They were wearing like, you know,
peacoats, those woolly hats.
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00:07:33,150 --> 00:07:37,030
Maybe like lumberjack check shirts,
you know, thick belts.
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00:07:37,030 --> 00:07:38,630
It's a great look.
118
00:07:38,630 --> 00:07:41,990
MUSIC: "Dance Stance"
by Dexys Midnight Runners
119
00:07:44,350 --> 00:07:47,470
The docker look was a perfect fit
for the soulful,
120
00:07:47,470 --> 00:07:50,030
sweat-drenched performances
of Kevin and the band.
121
00:07:51,590 --> 00:07:54,870
# I'll only ask you once more... #
122
00:07:54,870 --> 00:07:57,590
To me, they always go together.
123
00:07:57,590 --> 00:08:00,790
The look somehow
has to match the music.
124
00:08:03,830 --> 00:08:06,990
I'm an obsessive,
I'm always looking at new looks
125
00:08:06,990 --> 00:08:08,950
and I'm always trying
to improve the music.
126
00:08:10,030 --> 00:08:12,950
But sometimes, you know,
you catch a moment
127
00:08:12,950 --> 00:08:14,750
and everybody's into it.
128
00:08:26,470 --> 00:08:28,950
And at a moment when
Maggie Thatcher seemed to have
129
00:08:28,950 --> 00:08:30,950
British industry on the run,
130
00:08:30,950 --> 00:08:34,110
Dexys spoke to working-class lads...
131
00:08:34,110 --> 00:08:36,230
looking for working-class heroes.
132
00:08:39,870 --> 00:08:43,230
Neil Sheasby was a school boy
in the early 1980s.
133
00:08:43,230 --> 00:08:47,230
MUSIC: "Keep It"
by Dexys Midnight Runners
134
00:08:47,230 --> 00:08:50,830
He'd grown up in Britain's
industrial heartland,
135
00:08:50,830 --> 00:08:54,470
where unemployment was rising
and tension simmered on the streets.
136
00:08:56,550 --> 00:08:59,910
All this was unfolding
on my doorstep really, in Coventry,
137
00:08:59,910 --> 00:09:03,230
and in Birmingham,
so it felt very real, very real,
138
00:09:03,230 --> 00:09:05,030
and there was a lot of trouble.
139
00:09:08,190 --> 00:09:09,790
It was very tribal.
140
00:09:09,790 --> 00:09:12,550
If you weren't a mod or a rude boy
141
00:09:12,550 --> 00:09:15,990
or a skinhead or a punk, that was
probably the worst thing of all
142
00:09:15,990 --> 00:09:19,670
because they were outcasts, you
know, they were probably picked on.
143
00:09:21,110 --> 00:09:24,990
But with the tough docker look,
Neil was able to survive
144
00:09:24,990 --> 00:09:28,110
the polarised style politics
of the playground.
145
00:09:28,110 --> 00:09:31,470
I used to turn up in school
in a donkey jacket.
146
00:09:31,470 --> 00:09:35,150
I had a three-button fitted
leather jacket as well,
147
00:09:35,150 --> 00:09:38,670
so I could kind of get my identity
coming across at school
148
00:09:38,670 --> 00:09:40,670
in certain ways.
149
00:09:40,670 --> 00:09:44,590
I mean, it was workwear,
council wear, you could buy them.
150
00:09:44,590 --> 00:09:46,710
They were kind of readily available.
151
00:09:49,150 --> 00:09:53,110
But the docker look
did have one drawback.
152
00:09:53,110 --> 00:09:56,390
I'd be walking up
Addison High Street like it
153
00:09:56,390 --> 00:09:58,950
and they probably weren't thinking
On The Waterfront,
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00:09:58,950 --> 00:10:02,670
they would probably think, "He wants
a job at the borough council,"
you know what I mean?
155
00:10:06,190 --> 00:10:09,630
Now you couldn't buy the hats, so I
got my mum, she was into knitting,
156
00:10:09,630 --> 00:10:11,990
so I got her to knit them,
a red and a black one,
157
00:10:11,990 --> 00:10:14,430
and when I started turning up
to school in the hats,
158
00:10:14,430 --> 00:10:17,390
loads of kids would go,
"Oh, where'd you get your hat from?"
159
00:10:17,390 --> 00:10:19,830
So I went,
"Oh, my mum knitted it for me."
160
00:10:19,830 --> 00:10:22,550
"She couldn't make me one, could
she? She couldn't get me one?"
161
00:10:22,550 --> 00:10:25,230
And I thought, "OK, I'll get
a little racket moving here.
162
00:10:25,230 --> 00:10:27,590
"So give me £2,
I'll get you one sorted."
163
00:10:27,590 --> 00:10:31,190
So I was spending the £2 in
the record shops on the way home.
164
00:10:31,190 --> 00:10:32,630
So, yeah, that was crazy,
165
00:10:32,630 --> 00:10:35,550
she was busy knitting
for a few weeks for sure, yeah.
166
00:10:36,710 --> 00:10:39,590
But equally, on the flip side
to that, six or seven kids
167
00:10:39,590 --> 00:10:41,750
would turn up the next week
wearing the hats
168
00:10:41,750 --> 00:10:44,350
and that's when I thought,
"Right, time for me to move on now.
169
00:10:44,350 --> 00:10:46,390
"I need to leave this behind really
170
00:10:46,390 --> 00:10:48,830
"because, you know,
everyone seems to be doing it."
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00:10:50,910 --> 00:10:55,350
Fortunately for Neil, his style
idols were always one step ahead.
172
00:10:56,790 --> 00:11:00,430
MUSIC: "Because Of You"
by Dexys Midnight Runners
173
00:11:05,670 --> 00:11:09,390
We started to bring the strings into
the music more, late '81, early '82.
174
00:11:09,390 --> 00:11:11,630
And we knew we needed
to change the look.
175
00:11:14,990 --> 00:11:18,110
The person Kevin called on
for his brand-new look
176
00:11:18,110 --> 00:11:21,950
is one of our most respected costume
designers - Debbie Williams.
177
00:11:23,790 --> 00:11:27,270
Kevin played me the songs,
but didn't have all the words yet,
178
00:11:27,270 --> 00:11:30,270
but, you know, I could hear
the violins and everything.
179
00:11:30,270 --> 00:11:33,750
And then Kevin asked me
would I come up with a new look
180
00:11:33,750 --> 00:11:35,110
to go with it.
181
00:11:35,110 --> 00:11:38,990
What Debbie conjured up
was one of the most distinctive
182
00:11:38,990 --> 00:11:42,390
style statements
in rock'n'roll history.
183
00:11:42,390 --> 00:11:46,230
So then I just kind of went away
and thought about it and...
184
00:11:46,230 --> 00:11:48,550
MUSIC: "Come On Eileen"
by Dexys Midnight Runners
185
00:11:48,550 --> 00:11:50,790
..then the dungarees happened.
186
00:11:50,790 --> 00:11:52,310
# Come on, Eileen
187
00:11:52,310 --> 00:11:54,310
# Oh, I swear what he means
188
00:11:54,310 --> 00:11:59,550
# At this moment you mean
everything... #
189
00:11:59,550 --> 00:12:01,550
She said,
"Look, why don't you dress down?"
190
00:12:01,550 --> 00:12:03,310
'And she suggested dungarees...'
191
00:12:04,990 --> 00:12:08,150
'..but it wasn't just dungarees,
it was lots of different things.'
192
00:12:10,110 --> 00:12:16,110
'You know, we had scarves, we had
hats, so I was quite into that look.'
193
00:12:16,110 --> 00:12:17,230
# Come on, Eileen... #
194
00:12:19,990 --> 00:12:22,190
Though the dungarees
were a radical style shift,
195
00:12:22,190 --> 00:12:24,670
like the docker look before it,
196
00:12:24,670 --> 00:12:27,150
they cleverly chimed with the times.
197
00:12:30,310 --> 00:12:32,990
I was reading a lot
of John Steinbeck at the time
198
00:12:32,990 --> 00:12:36,590
and there was one book, The Grapes
Of Wrath, about the depression.
199
00:12:36,590 --> 00:12:39,150
We were in the '80s, you know,
Thatcher was around,
200
00:12:39,150 --> 00:12:42,190
and though it wasn't a depression,
it was depressing
201
00:12:42,190 --> 00:12:44,830
and on this cover
of this Grapes Of Wrath,
202
00:12:44,830 --> 00:12:47,990
there was a great illustration
of the Joad family.
203
00:12:47,990 --> 00:12:51,950
When I saw that I just thought,
"Oh, that could be really good."
204
00:12:51,950 --> 00:12:55,670
It just seemed to suit the music,
suit the time.
205
00:12:57,830 --> 00:13:01,870
Amid the gloom of the economic
situation, the dust bowl denim look
206
00:13:01,870 --> 00:13:05,350
reinforced Dexys' image
as a band of the people.
207
00:13:07,110 --> 00:13:09,230
It was a lot to do
with the class system,
208
00:13:09,230 --> 00:13:12,470
the class system when
I was growing up was very rigid.
209
00:13:12,470 --> 00:13:16,910
It was very rigid. So that kind
of did create a lot of tension.
210
00:13:16,910 --> 00:13:20,630
All I know is that I had
a real passion to express myself
211
00:13:20,630 --> 00:13:22,670
in some way.
212
00:13:22,670 --> 00:13:25,070
# Attack, attack
Said attack, attack
213
00:13:25,070 --> 00:13:27,110
# Attack, attack
Said attack, attack
214
00:13:27,110 --> 00:13:29,230
# Attack, attack
Said attack, attack
215
00:13:29,230 --> 00:13:31,710
# Attack, attack
Said attack, attack
216
00:13:31,710 --> 00:13:33,190
# And I know... #
217
00:13:33,190 --> 00:13:37,430
Today, Dexys continue to
experiment with new looks.
218
00:13:37,430 --> 00:13:40,830
Picking and choosing freely
from styles of the past.
219
00:13:42,470 --> 00:13:45,190
'It was obvious that
Kevin was a visionary,
220
00:13:45,190 --> 00:13:46,990
'he would look for the next thing,'
221
00:13:46,990 --> 00:13:49,750
he wasn't going to stay
immersed in one look
222
00:13:49,750 --> 00:13:52,150
or one sound for too long really,
223
00:13:52,150 --> 00:13:54,710
he was always looking to evolve
and adapt.
224
00:13:54,710 --> 00:13:56,510
# I know
225
00:13:56,510 --> 00:13:58,990
# You know what I mean... #
226
00:13:58,990 --> 00:14:01,910
But as Dexys channelled
the collective spirit
227
00:14:01,910 --> 00:14:04,030
of our industrial past,
228
00:14:04,030 --> 00:14:06,110
the early '80s
saw a band with a look
229
00:14:06,110 --> 00:14:09,150
that seemed to reflect
a new kind of Britain.
230
00:14:09,150 --> 00:14:12,030
MUSIC: "Fade To Grey"
by Visage
231
00:14:18,190 --> 00:14:20,070
# Devenir gris
232
00:14:24,390 --> 00:14:28,470
# One man on a lonely platform
233
00:14:28,470 --> 00:14:32,950
# One case sitting by his side
234
00:14:32,950 --> 00:14:37,230
# Two eyes staring cold and silent
235
00:14:37,230 --> 00:14:41,230
# Show fear as he turns to hide... #
236
00:14:46,470 --> 00:14:48,470
One minute 30.
237
00:14:48,470 --> 00:14:51,470
# We fade to grey... #
238
00:14:51,470 --> 00:14:55,070
Fade to Grey hit our screens
in November 1980.
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00:14:55,070 --> 00:14:57,550
One minute 40.
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00:14:57,550 --> 00:15:00,390
# We fade to grey... #
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00:15:00,390 --> 00:15:05,870
And became the first top ten smash
for electro pioneers Visage.
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00:15:08,470 --> 00:15:14,150
Its success was down to a throbbing
beat combined with a stunning video.
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00:15:15,950 --> 00:15:20,230
I wasn't going to do a video
which was just based on a band
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00:15:20,230 --> 00:15:22,030
playing to camera.
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00:15:22,030 --> 00:15:25,110
I actually wanted this to be
a theatrical mini-movie.
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00:15:25,110 --> 00:15:26,550
# We fade to grey... #
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00:15:26,550 --> 00:15:31,750
I think the Fade To Grey video
is ground-breaking and pioneering.
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00:15:33,390 --> 00:15:34,950
Steve Strange and Rusty Egan
249
00:15:34,950 --> 00:15:38,670
were two of the visionaries
behind Visage.
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00:15:40,950 --> 00:15:43,590
While Rusty supplied beats,
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00:15:43,590 --> 00:15:46,830
it was Steve who took control
of their style and image.
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00:15:48,830 --> 00:15:53,550
Steve, I'll give him his due, he
knows what to do with the fashion.
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00:15:55,790 --> 00:15:59,190
The video was a showcase of '80s
avant-garde style.
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00:16:00,270 --> 00:16:04,350
Boiler suits, gilded tunics,
military-style hats
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00:16:04,350 --> 00:16:07,830
and make-up,
bucket-loads of make-up.
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00:16:07,830 --> 00:16:11,190
All put to together
on a shoestring.
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00:16:11,190 --> 00:16:14,190
# Like an English summer... #
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00:16:14,190 --> 00:16:18,030
It still holds up
as a pretty amazing video,
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00:16:18,030 --> 00:16:23,430
and everybody worked for sweet FA
because they believed in me.
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00:16:26,550 --> 00:16:31,070
We were lucky,
we were just indulged by each other.
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00:16:31,070 --> 00:16:33,590
# Oh, we fade to grey... #
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00:16:33,590 --> 00:16:37,750
Melissa Caplan was the designer
who believed in Steve Strange.
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00:16:39,030 --> 00:16:42,550
And it's her clothes that adorn him
in the Fade To Grey video.
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00:16:45,030 --> 00:16:48,590
I probably started off
with things like this, which...
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00:16:48,590 --> 00:16:50,430
I believe that's the back bit
266
00:16:50,430 --> 00:16:53,830
and that's actually
the same design as the outfit
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00:16:53,830 --> 00:16:56,630
that I made for Steve Strange.
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00:16:57,950 --> 00:17:03,430
This is after punk really, so we'd
already had that attitude where...
269
00:17:03,430 --> 00:17:07,070
"Why not?
I want to be a designer, why not?"
270
00:17:07,070 --> 00:17:12,790
The first influence I used
was Egyptian for my prints,
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which is rife for being copied.
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00:17:16,750 --> 00:17:20,470
I mean, I don't think
I'd studied them at school even,
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00:17:20,470 --> 00:17:24,350
but there I was finding out
about ancient civilisations
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00:17:24,350 --> 00:17:28,470
because they had designs that I
thought would look good on clothes.
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00:17:31,870 --> 00:17:35,630
Melissa's designs,
Steve's vision and Rusty's tunes
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00:17:35,630 --> 00:17:38,910
all came together
in the Fade To Grey video.
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00:17:38,910 --> 00:17:42,390
And this extraordinary meeting
of music and fashion
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00:17:42,390 --> 00:17:46,070
had its origins
in a single legendary place.
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00:17:46,070 --> 00:17:52,030
We are in what was originally
known as the Blitz in Covent Garden.
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00:17:58,550 --> 00:18:03,950
The Blitz club was London's
most exclusive underground hangout.
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00:18:03,950 --> 00:18:06,430
Sandwiched between two
London fashion schools,
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00:18:06,430 --> 00:18:10,030
it was as much a catwalk
as a nightclub.
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00:18:10,030 --> 00:18:14,030
That's what the club's about,
it's about fashion, it's about looks.
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00:18:14,030 --> 00:18:16,310
I mean, the men dress outrageous,
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00:18:16,310 --> 00:18:17,710
the women dress outrageous.
286
00:18:20,310 --> 00:18:23,790
The Blitz became a weekly feast
of cutting-edge fashion.
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00:18:24,950 --> 00:18:27,070
And with it came a soundtrack
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00:18:27,070 --> 00:18:29,950
from one of the most
influential DJs of his day.
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00:18:31,190 --> 00:18:34,430
We used to have a DJ
just down there in the corner
290
00:18:34,430 --> 00:18:37,310
and it literally was in the corner,
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00:18:37,310 --> 00:18:41,070
not where the silver booth is now,
but it was literally in the corner.
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00:18:42,750 --> 00:18:47,030
That DJ was who else but Rusty Egan.
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00:18:48,390 --> 00:18:54,070
I started to find odd records
that I started to play.
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00:18:54,070 --> 00:18:57,550
Elli and Jacno,
Mathematiques Modernes,
295
00:18:57,550 --> 00:19:00,870
which was sophisticated music.
296
00:19:03,070 --> 00:19:07,870
And the music he played
was as eclectic as the fashion.
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00:19:07,870 --> 00:19:11,870
Shirley Bassey, Vince Clarke
and then you had Ultravox...
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00:19:11,870 --> 00:19:14,270
# Oh, Vienna! #
299
00:19:14,270 --> 00:19:16,230
You know?
300
00:19:16,230 --> 00:19:18,270
Soft Cell...
301
00:19:19,590 --> 00:19:20,750
# Good time! #
302
00:19:20,750 --> 00:19:23,150
And people came up,
"What is that? What is that?
303
00:19:23,150 --> 00:19:24,550
"Where can I get that record?"
304
00:19:26,910 --> 00:19:31,870
Thanks to Steve and Rusty, the Blitz
became the centre of a new scene,
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00:19:31,870 --> 00:19:35,990
where fashion and music danced
together hand in hand.
306
00:19:35,990 --> 00:19:39,830
And this marriage was given
the ultimate blessing.
307
00:19:41,270 --> 00:19:45,870
In 1980, the greatest icon
of British music and fashion
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00:19:45,870 --> 00:19:48,790
paid the Blitz a special visit.
309
00:19:48,790 --> 00:19:53,230
# There's a brand-new dance
but I don't know its name... #
310
00:19:53,230 --> 00:19:55,630
'And I sort of went, "Oh, fuck."'
311
00:19:55,630 --> 00:19:57,910
I just went into sort of a meltdown.
312
00:19:57,910 --> 00:20:02,350
# That people from bad homes
do again and again... #
313
00:20:02,350 --> 00:20:06,750
For the Blitz gang, Bowie was
a deity and his visit came just as
314
00:20:06,750 --> 00:20:10,350
he was in the midst of yet
another style regeneration.
315
00:20:12,950 --> 00:20:15,710
He looked Steve in the eye
and said...
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00:20:15,710 --> 00:20:18,870
"I just love what you've created.
It's amazing."
317
00:20:18,870 --> 00:20:22,750
He said, "Look at these amazing
people, the music you're playing."
318
00:20:22,750 --> 00:20:25,950
And he said, "Would you be
interested in being in my video?"
319
00:20:25,950 --> 00:20:28,190
# Turn to the left - fashion! #
320
00:20:28,190 --> 00:20:32,870
Even Steve wasn't cool enough to
turn down the Thin White Duke.
321
00:20:32,870 --> 00:20:37,390
The video Bowie wanted Steve to be
in was a ground-breaking experiment
322
00:20:37,390 --> 00:20:39,510
in style and image.
323
00:20:39,510 --> 00:20:42,270
MUSIC: "Ashes To Ashes"
by David Bowie
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00:20:49,030 --> 00:20:52,390
# Do you remember a guy
that's been... #
325
00:20:52,390 --> 00:20:56,310
He said, "You've obviously got
something very special about you,
326
00:20:56,310 --> 00:20:59,510
"would you choose the extras
and dress all the extras?"
327
00:21:00,950 --> 00:21:05,350
As one of Bowie's fantastical
support cast in Ashes To Ashes,
328
00:21:05,350 --> 00:21:08,150
Steve found himself
in the kind of danger
329
00:21:08,150 --> 00:21:10,230
he could never have predicted.
330
00:21:10,230 --> 00:21:13,510
Little did I know the bloody
bulldozer was going to be
331
00:21:13,510 --> 00:21:18,350
pushing us on a beach with me
in a long clergyman's cloak,
332
00:21:18,350 --> 00:21:21,790
being caught in a fucking bulldozer
and beehive hat.
333
00:21:21,790 --> 00:21:25,510
# Ashes to ashes, funk to funky
334
00:21:25,510 --> 00:21:29,990
# We know Major Tom's a junkie... #
335
00:21:29,990 --> 00:21:34,830
Nevertheless, Steve was served up
the ultimate dinner party anecdote
336
00:21:34,830 --> 00:21:39,030
and the Blitz became a rally point
for a new style movement -
337
00:21:39,030 --> 00:21:40,790
The New Romantics.
338
00:21:48,510 --> 00:21:51,790
They were wilful narcissists
who took the shock of punk
339
00:21:51,790 --> 00:21:54,110
and gave it frilly flamboyance.
340
00:21:54,110 --> 00:21:57,630
MUSIC: "Mind Of A Toy"
by Visage
341
00:22:02,790 --> 00:22:04,750
Fiona Deely was an early adopter.
342
00:22:04,750 --> 00:22:06,710
SHE LAUGHS
343
00:22:06,710 --> 00:22:10,950
I always knew I looked really good
when my mum used to say,
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00:22:10,950 --> 00:22:14,670
"Oh, my God, what do you look like?
345
00:22:14,670 --> 00:22:16,910
"Fred, look what she's wearing!"
346
00:22:18,070 --> 00:22:19,750
And I'd think, "Yes!"
347
00:22:24,590 --> 00:22:28,070
Fiona was a student at
fashion college in London
348
00:22:28,070 --> 00:22:31,830
and she went to extraordinary
lengths to stand out from the crowd.
349
00:22:34,670 --> 00:22:38,790
We had huge toolboxes
full of make-up,
350
00:22:38,790 --> 00:22:43,150
so we'd spend a couple of hours
plastering on the make-up.
351
00:22:43,150 --> 00:22:47,590
We all had different looks,
we all had to look individual.
352
00:22:50,950 --> 00:22:56,790
I started wearing a leather queen hat
which I'd wear with diamante earrings
353
00:22:56,790 --> 00:23:00,510
and I started making
these leather dresses,
354
00:23:00,510 --> 00:23:04,550
which would either be
low-cut or backless.
355
00:23:04,550 --> 00:23:07,270
And there's a photograph of me here
356
00:23:07,270 --> 00:23:11,790
and I really loved that look,
and I really loved that hat.
357
00:23:14,510 --> 00:23:19,830
Among Fiona and her friends, it was
always fashion first, fun second.
358
00:23:22,630 --> 00:23:26,630
If you look at all of the photographs
of all of us from then,
359
00:23:26,630 --> 00:23:30,510
none of us are ever laughing
or smiling, are we?
360
00:23:30,510 --> 00:23:32,350
We all look very, very serious.
361
00:23:32,350 --> 00:23:35,710
It was a very serious business,
dressing up.
362
00:23:40,030 --> 00:23:44,430
But in their fierce
and competitive individuality,
363
00:23:44,430 --> 00:23:47,350
Fiona and her group
unwittingly mirrored
364
00:23:47,350 --> 00:23:50,270
the big changes
sweeping British society.
365
00:23:52,350 --> 00:23:55,230
MARGARET THATCHER:
You do not follow the crowd
366
00:23:55,230 --> 00:23:58,510
because you're afraid
of being different.
367
00:23:58,510 --> 00:24:00,430
You decide what to do yourself.
368
00:24:00,430 --> 00:24:03,670
If necessary, you lead the crowd.
369
00:24:03,670 --> 00:24:05,790
But you never just follow.
370
00:24:08,190 --> 00:24:12,030
On a mission to make Britain fit
for the modern world,
371
00:24:12,030 --> 00:24:15,670
Mrs Thatcher dreamed of creating
a nation of competitive
372
00:24:15,670 --> 00:24:18,670
and self-interested individuals.
373
00:24:20,870 --> 00:24:22,870
And though they didn't realise it,
374
00:24:22,870 --> 00:24:25,390
the New Romantics were
very much in line
375
00:24:25,390 --> 00:24:27,630
with this new political zeitgeist.
376
00:24:31,110 --> 00:24:33,150
It was just a competition.
377
00:24:33,150 --> 00:24:37,470
Once the thing that you had worn
was worn by other people,
378
00:24:37,470 --> 00:24:40,630
then it was like, "Mm-mm,
not going to wear that again."
379
00:24:40,630 --> 00:24:45,150
We would get very competitive
about which magazines
380
00:24:45,150 --> 00:24:48,110
our photographs had been in,
I do remember that.
381
00:24:48,110 --> 00:24:51,070
I think the really cool one
was always Italian Vogue.
382
00:24:53,230 --> 00:24:56,910
If you thought somebody had copied
your shade of lipstick or your look
383
00:24:56,910 --> 00:24:59,790
or any thing like that,
384
00:24:59,790 --> 00:25:01,950
that was a heinous crime.
385
00:25:04,790 --> 00:25:06,390
But the biggest crime of all
386
00:25:06,390 --> 00:25:10,190
was trying and getting
the whole thing very wrong.
387
00:25:10,190 --> 00:25:13,950
Because then you could face
the judgment of Steve.
388
00:25:13,950 --> 00:25:17,070
I was the biggest door whore
London ever had!
389
00:25:19,670 --> 00:25:24,110
I would carry a mirror
for the idiots that sort of
390
00:25:24,110 --> 00:25:29,390
thought that they were dressed up
by wearing flippers and a wet suit
391
00:25:29,390 --> 00:25:33,310
and painting their face white
and black and I'd say,
392
00:25:33,310 --> 00:25:36,790
"You look idiotic,
you don't look creative at all."
393
00:25:36,790 --> 00:25:40,230
And I'd hold a mirror up and say,
"The Thames is that way."
394
00:25:42,750 --> 00:25:46,230
In the early '80s, New Romantic
would infect mainstream pop,
395
00:25:46,230 --> 00:25:49,670
where it mutated with sometimes
alarming results.
396
00:25:51,110 --> 00:25:53,310
# Cos you're too shy, shy
397
00:25:53,310 --> 00:25:55,150
# Hush, hush, eye to eye
398
00:25:55,150 --> 00:25:57,830
# Too shy, shy
399
00:25:57,830 --> 00:26:00,270
# Hush, hush, eye to eye... #
400
00:26:00,270 --> 00:26:05,550
Who can forget Kajagoogoo
fronted by the skunk-topped Limahl?
401
00:26:05,550 --> 00:26:08,910
# If I had a photograph of you... #
402
00:26:08,910 --> 00:26:13,510
Or the tonsorial excess of
A Flock Of Seagulls?
403
00:26:13,510 --> 00:26:15,950
'You know, there were people
that really got it wrong.
404
00:26:15,950 --> 00:26:18,630
'You know,
the guy from A Flock Of Seagulls.
405
00:26:18,630 --> 00:26:20,150
'The music was great,'
406
00:26:20,150 --> 00:26:23,030
that was a great song,
but I couldn't play it
407
00:26:23,030 --> 00:26:25,110
because of his bloody haircut.
408
00:26:26,910 --> 00:26:29,470
It was the most stupid haircut
in the world.
409
00:26:29,470 --> 00:26:31,990
# Karma, karma, karma,
karma, karma chameleon... #
410
00:26:31,990 --> 00:26:33,470
For all the great tunes,
411
00:26:33,470 --> 00:26:38,470
many feared '80s British pop
was falling victim to fashion.
412
00:26:38,470 --> 00:26:42,190
But then came
the sound of a counter revolution.
413
00:26:42,190 --> 00:26:44,790
MUSIC: "Enola Gay"
by OMD
414
00:26:58,350 --> 00:27:00,870
# Enola Gay
415
00:27:00,870 --> 00:27:04,470
# You should've stayed
at home yesterday... #
416
00:27:04,470 --> 00:27:06,710
Cringeworthy.
417
00:27:08,310 --> 00:27:09,910
Andy with his sweater...
418
00:27:09,910 --> 00:27:12,390
Sleeveless tank top sweater.
419
00:27:12,390 --> 00:27:14,430
# These games you play
420
00:27:14,430 --> 00:27:17,870
# They're going to end in more
than tears one day
421
00:27:17,870 --> 00:27:21,830
# Oh-oh, Enola Gay... #
422
00:27:21,830 --> 00:27:26,190
Enola Gay was a huge hit for
the most pretentiously-named band
423
00:27:26,190 --> 00:27:27,350
in history...
424
00:27:28,670 --> 00:27:31,390
..Orchestral Manoeuvres In The Dark.
425
00:27:38,710 --> 00:27:42,790
# Enola Gay, is mother proud
of little boy today?
426
00:27:42,790 --> 00:27:45,110
ANDY: 'Oh, what an earnest young man
he was.
427
00:27:45,110 --> 00:27:47,230
'Trying to change the world
with his music.'
428
00:27:47,230 --> 00:27:50,550
# It shouldn't have
to end this way... #
429
00:27:52,790 --> 00:27:55,750
It sold five million copies.
430
00:27:56,990 --> 00:28:00,230
But beneath the uplifting melody
was a darker meaning.
431
00:28:01,790 --> 00:28:03,630
# Enola Gay... #
432
00:28:03,630 --> 00:28:06,870
Everyone's dancing to this pop song
without having a clue
433
00:28:06,870 --> 00:28:11,990
that to some extent it was
a celebration of the atomic bomb.
434
00:28:13,990 --> 00:28:16,550
Enola Gay was the name of
the aeroplane that dropped
435
00:28:16,550 --> 00:28:18,430
the atomic bomb on Hiroshima.
436
00:28:20,670 --> 00:28:24,750
You know, it was like
we're all dancing to death
437
00:28:24,750 --> 00:28:26,510
in a very bizarre way.
438
00:28:27,950 --> 00:28:32,950
To OMD, this song was a deeply
subversive work of art.
439
00:28:32,950 --> 00:28:35,990
And they were determined
that nothing would detract
440
00:28:35,990 --> 00:28:38,070
from this musical masterpiece.
441
00:28:38,070 --> 00:28:40,550
We were pretentious 19-year-olds
442
00:28:40,550 --> 00:28:44,110
and we considered ourselves
to be artists, not pop stars.
443
00:28:47,430 --> 00:28:50,750
There was a rush of wanting
to look like pop stars
444
00:28:50,750 --> 00:28:53,790
with lots of hair and big shoulders.
445
00:28:53,790 --> 00:28:58,830
And, of course, this was just
anathema to us, we were horrified.
446
00:28:58,830 --> 00:29:00,670
And then when people started saying,
447
00:29:00,670 --> 00:29:03,470
"Oh, yes,
you're a New Romantic band."
448
00:29:03,470 --> 00:29:05,470
We were like, "No, we're not,
449
00:29:05,470 --> 00:29:07,710
"don't you dare call us
a New Romantic band,
450
00:29:07,710 --> 00:29:11,790
"we are serious and Northern
and intellectual
451
00:29:11,790 --> 00:29:14,110
"and we don't wear frilly shirts."
452
00:29:17,310 --> 00:29:19,870
We wanted the music
to stand on its own,
453
00:29:19,870 --> 00:29:22,550
so we wanted
to be completely plain
454
00:29:22,550 --> 00:29:26,270
and we thought what is a
completely plain ordinary look?
455
00:29:26,270 --> 00:29:30,030
And we thought, "Bank clerks, that's
what we should be, bank clerks."
456
00:29:32,150 --> 00:29:35,790
See what we can do
with a man and C&A.
457
00:29:37,070 --> 00:29:39,830
A stalwart of the
British high street,
458
00:29:39,830 --> 00:29:44,110
C&A was the store of choice
for the provincial bank clerk.
459
00:29:46,990 --> 00:29:50,070
The nearest clothes shop was C&A
460
00:29:50,070 --> 00:29:53,230
and we would just buy off the shelf,
461
00:29:53,230 --> 00:29:56,710
you know, plain, boring clothes.
462
00:29:58,870 --> 00:30:00,910
So, nerd, we went nerd,
463
00:30:00,910 --> 00:30:04,230
and so we just used to go around
all the shops in Liverpool
464
00:30:04,230 --> 00:30:08,230
looking to find the nerdiest, most
bank-clerky things we could find.
465
00:30:15,150 --> 00:30:19,070
The classic OMD look
was a shock of the dull.
466
00:30:21,030 --> 00:30:22,350
Monochrome shirt...
467
00:30:25,190 --> 00:30:27,750
..a sensible side parting...
468
00:30:30,830 --> 00:30:32,310
..and a nice tie.
469
00:30:34,030 --> 00:30:36,870
That's exactly what
we wanted to look like,
470
00:30:36,870 --> 00:30:41,230
we wanted to have
no definitive style.
471
00:30:43,030 --> 00:30:46,670
But OMD were not content
to look like total bankers.
472
00:30:49,550 --> 00:30:54,390
For the release of their 1981 single
Maid Of Orleans, the band decided
473
00:30:54,390 --> 00:30:57,310
to explore a new range of ordinary.
474
00:31:00,550 --> 00:31:01,830
Christmas jumpers!
475
00:31:03,590 --> 00:31:06,190
# ..had a heart... #
476
00:31:06,190 --> 00:31:12,110
I just happen to have
the very jumper, but it's so dull.
477
00:31:12,110 --> 00:31:16,590
It's spectacularly nondescript. And
that was what we were trying to say.
478
00:31:18,070 --> 00:31:20,750
It's still got my dinner on
from the photo shoot.
479
00:31:23,110 --> 00:31:26,870
For OMD, these were the perfect
clothes in which to present
480
00:31:26,870 --> 00:31:29,710
a new kind of music
for the coming digital age.
481
00:31:32,030 --> 00:31:35,430
MUSIC: "Genetic Engineering"
by OMD
482
00:31:37,470 --> 00:31:42,910
OMD had emerged at the dawn
of the consumer electronics boom.
483
00:31:42,910 --> 00:31:45,910
# Changing, designing,
adapting our mentalities... #
484
00:31:45,910 --> 00:31:48,870
Theirs was a sound
of bold simplicity.
485
00:31:48,870 --> 00:31:53,510
It matched the binary code at
the heart of the digital revolution.
486
00:31:53,510 --> 00:31:56,030
It didn't matter if
you had any technical ability
487
00:31:56,030 --> 00:31:58,870
and Andy and I certainly didn't
have any technical ability,
488
00:31:58,870 --> 00:32:02,230
so it was just... It was very much
two-fingered kind of...
489
00:32:02,230 --> 00:32:05,830
Two-fingered playing and
two fingers up at the establishment.
490
00:32:06,910 --> 00:32:10,670
# The future in our hands
491
00:32:10,670 --> 00:32:12,230
# When all God's children... #
492
00:32:12,230 --> 00:32:15,430
I think we were considered to be
outsiders and intellectuals,
493
00:32:15,430 --> 00:32:16,990
and in some respects,
494
00:32:16,990 --> 00:32:20,510
we were the embodiment
on the Top Of The Pops stage
495
00:32:20,510 --> 00:32:23,350
of the tortured,
lonely, intellectual,
496
00:32:23,350 --> 00:32:26,190
spotty-boy artist in his bedroom,
497
00:32:26,190 --> 00:32:29,710
so I think those are the people
who gravitated towards us.
498
00:32:29,710 --> 00:32:33,030
# ..will ever more be saved. #
499
00:32:33,030 --> 00:32:36,550
There was a certain amount of irony
in the fact that actually
500
00:32:36,550 --> 00:32:38,910
by trying to not look like pop stars
501
00:32:38,910 --> 00:32:42,310
and not create or follow
any particular fashion,
502
00:32:42,310 --> 00:32:46,030
we created one that impressionable
teenage boys followed.
503
00:32:50,310 --> 00:32:54,390
One of those boys, whose bedroom
became a shrine to OMD,
504
00:32:54,390 --> 00:32:55,990
was Neil Taylor.
505
00:32:57,670 --> 00:33:00,870
OMD continually stood out.
506
00:33:00,870 --> 00:33:02,830
They didn't fit into the mould
507
00:33:02,830 --> 00:33:05,830
and I really related to this,
you know.
508
00:33:08,070 --> 00:33:13,310
In the early '80s,
Neil worked on the very frontiers
of computer technology.
509
00:33:13,310 --> 00:33:17,790
At that point of my time, the jobs
I was doing, a very early adopter
510
00:33:17,790 --> 00:33:19,910
of semi-computerised equipment
511
00:33:19,910 --> 00:33:22,470
and this a very geeky job
that I was doing
512
00:33:22,470 --> 00:33:24,350
and I was very proud of doing.
513
00:33:26,230 --> 00:33:29,190
And I quite enjoyed the geeky look.
514
00:33:29,190 --> 00:33:33,150
I'm still a bit of a geek,
even nowadays, so it's carried on.
515
00:33:34,470 --> 00:33:36,830
Very dodgy moustache,
516
00:33:36,830 --> 00:33:39,030
which I somewhat regret now.
517
00:33:40,510 --> 00:33:44,750
For Neil, OMD were the first band
ever to make geek chic.
518
00:33:47,230 --> 00:33:48,470
Erm...
519
00:33:48,470 --> 00:33:53,630
We have some cringeworthy video
from my youth.
520
00:33:56,270 --> 00:33:58,670
Unwatched for over a decade,
521
00:33:58,670 --> 00:34:02,910
these pictures record the night
of Neil's 21st birthday party.
522
00:34:04,110 --> 00:34:06,190
As far as I can recollect,
523
00:34:06,190 --> 00:34:10,750
of my generation, there was only
actually myself who's got a shirt
524
00:34:10,750 --> 00:34:12,270
and the skinny tie.
525
00:34:12,270 --> 00:34:14,710
I'm making a fashion statement,
526
00:34:14,710 --> 00:34:17,910
going, "Look, I'm not a New Romantic.
527
00:34:17,910 --> 00:34:22,110
"I'm cooler. I like
Orchestral Manoeuvres In The Dark."
528
00:34:24,230 --> 00:34:26,470
Though Neil was alone in his look,
529
00:34:26,470 --> 00:34:30,550
his clean-cut image had
some unexpected consequences.
530
00:34:32,630 --> 00:34:35,590
You were dating girls and
531
00:34:35,590 --> 00:34:39,070
you just wanted to be clean-looking,
532
00:34:39,070 --> 00:34:43,150
and if you went in with a sort of
tie on and a buttoned-up shirt,
533
00:34:43,150 --> 00:34:46,230
you got a little bit of respect from
the actual parents as well,
534
00:34:46,230 --> 00:34:48,470
which was quite good
with some of the young ladies
535
00:34:48,470 --> 00:34:50,110
that were about at the time.
536
00:34:51,270 --> 00:34:53,270
It did the job,
let's put in that way.
537
00:34:56,390 --> 00:34:59,550
For Neil, OMD had produced
a sophisticated sound
538
00:34:59,550 --> 00:35:01,270
and style of the future.
539
00:35:02,750 --> 00:35:06,550
But the real floor-filler
at Neil's disco came from a band
540
00:35:06,550 --> 00:35:10,150
who dismissed the pretentions of OMD
541
00:35:10,150 --> 00:35:14,190
and embodied the go-getting
excess of '80s Britain.
542
00:35:15,750 --> 00:35:17,270
It's all very much a time warp.
543
00:35:17,270 --> 00:35:22,870
It's the girls with all their frilly
stuff dancing to Duran Duran.
544
00:35:22,870 --> 00:35:26,070
MUSIC: "Rio"
by Duran Duran
545
00:35:32,990 --> 00:35:38,950
# Moving on the floor now, babe,
you're a bird of paradise... #
546
00:35:38,950 --> 00:35:41,030
Released in November 1983,
547
00:35:41,030 --> 00:35:45,630
Duran Duran's Rio gave us a view of
what '80s success would look like.
548
00:35:46,710 --> 00:35:52,230
Much like a textbook example
of what one could do
549
00:35:52,230 --> 00:35:54,750
with video in the 1980s.
550
00:35:54,750 --> 00:35:57,310
# You know you're
something special... #
551
00:35:57,310 --> 00:36:03,830
Rio was five minutes and three
seconds of '80s glamour on steroids.
552
00:36:05,190 --> 00:36:07,870
It's everything that
the period was about.
553
00:36:09,550 --> 00:36:12,590
I used to think, "One day, I'm
going to go there for a holiday."
554
00:36:12,590 --> 00:36:14,790
It was absolutely amazing views.
555
00:36:16,470 --> 00:36:18,910
But I still haven't been
there to this day.
556
00:36:18,910 --> 00:36:21,710
# And when she shines
she really shows you... #
557
00:36:21,710 --> 00:36:25,510
Glamour on a boat,
it's just completely mad.
558
00:36:27,350 --> 00:36:31,750
As you can imagine, salt water is
not particularly good for silk.
559
00:36:37,030 --> 00:36:40,910
Recently I went out on a day sailing
and the instructor kind of said,
560
00:36:40,910 --> 00:36:44,590
"If any of you want your Rio moment
at the front of the boat, feel free,"
561
00:36:44,590 --> 00:36:46,910
so even today, over 30 years later,
562
00:36:46,910 --> 00:36:49,470
people are still
referencing that video.
563
00:36:49,470 --> 00:36:51,270
# I've seen you on TV... #
564
00:36:51,270 --> 00:36:53,630
With their slick,
pastel-coloured suits,
565
00:36:53,630 --> 00:36:57,390
Duran Duran were yuppies
before yuppies had really arrived.
566
00:36:57,390 --> 00:37:00,790
# It means so much to me... #
567
00:37:00,790 --> 00:37:04,870
You've got to believe that
the way you're making things look
568
00:37:04,870 --> 00:37:07,510
is better than everybody else.
569
00:37:07,510 --> 00:37:11,190
With that sort of cockiness,
you get away with things.
570
00:37:16,830 --> 00:37:20,590
The designer who helped Duran Duran
get away with it on the Rio video
571
00:37:20,590 --> 00:37:21,950
was Antony Price.
572
00:37:24,430 --> 00:37:28,190
One of the country's
most sought-after designers.
573
00:37:30,910 --> 00:37:34,230
Today, Antony is still
is in the glamour game,
574
00:37:34,230 --> 00:37:37,230
making clothes for
a high-end beauty parlour.
575
00:37:38,470 --> 00:37:43,630
I was asked to do the uniforms
for these girls to wear.
576
00:37:43,630 --> 00:37:47,910
They have to look quite stylish
and couture and simple,
577
00:37:47,910 --> 00:37:50,870
but they have to be washed as well.
578
00:37:50,870 --> 00:37:53,230
But it's pretty classic.
579
00:37:53,230 --> 00:37:57,430
It's a work outfit, it's better than
an overall anyway, that's for sure.
580
00:37:57,430 --> 00:37:59,110
Mrs Overall!
581
00:38:01,270 --> 00:38:04,230
When they came along, they said,
582
00:38:04,230 --> 00:38:07,350
"we want you to do our clothes
for this Rio shoot."
583
00:38:07,350 --> 00:38:10,990
We decided to do these
in certain colours for them
584
00:38:10,990 --> 00:38:15,230
and as I had experience of
the Caribbean, we thought, "Well..."
585
00:38:15,230 --> 00:38:16,510
and off we went.
586
00:38:20,190 --> 00:38:25,830
The Rio video really was
just a series of chaotic accidents.
587
00:38:28,030 --> 00:38:29,790
Film crew arrives,
588
00:38:29,790 --> 00:38:32,070
"Well, what are we going to do?"
589
00:38:32,070 --> 00:38:35,470
You know, we've got a boat,
we've got a beach here,
590
00:38:35,470 --> 00:38:41,230
we've got a girl. It just sort of
got made up as we went along.
591
00:38:41,230 --> 00:38:45,310
The one thing we did have, that we
knew we wanted to wear in the video,
592
00:38:45,310 --> 00:38:46,870
was the Antony Price suits.
593
00:38:49,350 --> 00:38:53,910
So here, courtesy of Antony Price,
we have a very fine silk jacket.
594
00:38:53,910 --> 00:38:58,350
My guess is that it's probably
from 1982 by looking at the fabric
595
00:38:58,350 --> 00:38:59,870
and the choice of lining.
596
00:39:01,070 --> 00:39:02,670
Very wide shoulder pads.
597
00:39:02,670 --> 00:39:04,990
Antony was the king of shoulders.
598
00:39:04,990 --> 00:39:08,150
He can take them all the way in,
bring them all the way out,
599
00:39:08,150 --> 00:39:11,550
but at this period, as you can see,
they were quite wide.
600
00:39:11,550 --> 00:39:14,070
And I don't know, I suppose
601
00:39:14,070 --> 00:39:18,950
somehow he had this instinct
for old-school glamour.
602
00:39:18,950 --> 00:39:20,670
MUSIC: "Virginia Plain"
by Roxy Music
603
00:39:20,670 --> 00:39:22,630
# Take me on a rollercoaster... #
604
00:39:22,630 --> 00:39:25,390
Antony had made his name in the '70s
605
00:39:25,390 --> 00:39:28,430
creating a look for
style pioneers Roxy Music.
606
00:39:30,070 --> 00:39:34,390
We'd seen a lot of the things
he'd made for Roxy Music, for sure.
607
00:39:34,390 --> 00:39:39,910
They had a look that
no-one else had ever had before.
608
00:39:39,910 --> 00:39:43,630
So the first thing I actually
really wanted to do was
609
00:39:43,630 --> 00:39:46,230
get something from Antony Price.
610
00:39:51,790 --> 00:39:55,630
Duran Duran were
definitely more interested
611
00:39:55,630 --> 00:39:57,070
in the garment side of it.
612
00:39:58,830 --> 00:40:01,230
They saw it as majorly important
613
00:40:01,230 --> 00:40:04,070
because it had been
that important to them
614
00:40:04,070 --> 00:40:07,110
and that's why they'd gone into
the music business, to do that,
615
00:40:07,110 --> 00:40:10,190
so to come and have
wonderful clothes made
616
00:40:10,190 --> 00:40:12,350
was the first thing
they wanted to do.
617
00:40:12,350 --> 00:40:14,470
MUSIC: "Hungry Like The Wolf"
by Duran Duran
618
00:40:14,470 --> 00:40:17,150
# Blood drumming on your skin,
it's so tight... #
619
00:40:17,150 --> 00:40:19,950
Duran Duran were one of
the first bands to grasp
620
00:40:19,950 --> 00:40:23,550
the importance of style and image
in the age of the video.
621
00:40:28,270 --> 00:40:32,470
While bands like The Beatles
and The Small Faces had made movies
622
00:40:32,470 --> 00:40:36,430
as a way to showcase their music,
the video was something else.
623
00:40:36,430 --> 00:40:38,510
# I'm lost and I'm found... #
624
00:40:38,510 --> 00:40:42,670
Nothing changed fashion and music
as much as the video.
625
00:40:42,670 --> 00:40:46,110
# Straddle the line,
it's discord and rhyme... #
626
00:40:46,110 --> 00:40:49,910
And no band took to
the video like Duran Duran.
627
00:40:49,910 --> 00:40:53,630
# Mouth is alive, all running inside
628
00:40:53,630 --> 00:40:57,550
# And I'm hungry like the wolf. #
629
00:40:59,110 --> 00:41:02,270
On heavy rotation on MTV
and Top Of The Pops,
630
00:41:02,270 --> 00:41:06,030
their high-budget videos
seemed to showcase all the wonders
631
00:41:06,030 --> 00:41:09,390
that aspirational 80's values
might one day bring.
632
00:41:10,710 --> 00:41:14,390
Exotic adventures
in far-flung places,
633
00:41:14,390 --> 00:41:16,350
sun and sex,
634
00:41:16,350 --> 00:41:17,830
material wealth.
635
00:41:19,110 --> 00:41:23,550
And all this had a profound effect
on impressionable young minds.
636
00:41:27,190 --> 00:41:30,430
We thought, "Duran are cool,
they're like number one."
637
00:41:30,430 --> 00:41:32,950
We worshipped the ground
they walked on, didn't we?
638
00:41:32,950 --> 00:41:36,590
They were just like... Yeah.
We lived, ate and breathed Duran.
639
00:41:38,230 --> 00:41:40,510
MUSIC: "Girls On Film"
by Duran Duran
640
00:41:40,510 --> 00:41:45,110
Julie Bird and Lisa Carroll
were school friends in the '80s
641
00:41:45,110 --> 00:41:47,310
and their hearts had been captured
642
00:41:47,310 --> 00:41:50,550
by the sight and sound
of Duran Duran.
643
00:41:52,510 --> 00:41:54,390
When they released Girls On Film,
644
00:41:54,390 --> 00:41:57,470
I saw Duran and their image,
the clothes they were wearing,
645
00:41:57,470 --> 00:41:59,470
it just really appealed to me,
646
00:41:59,470 --> 00:42:02,830
so that was it, really,
I was hooked.
647
00:42:02,830 --> 00:42:05,630
# Heads turning as the lights
flashing out are so bright... #
648
00:42:05,630 --> 00:42:08,790
Just like their heroes,
the girls were obsessed with image.
649
00:42:08,790 --> 00:42:11,830
# Walk right out to the four-line
track, there's a camera rolling... #
650
00:42:11,830 --> 00:42:13,670
If we were going to see Duran Duran,
651
00:42:13,670 --> 00:42:16,310
we always had to dress up
to see them. It was an event.
652
00:42:16,310 --> 00:42:19,070
If we were going to see Simon
to stand outside his house
653
00:42:19,070 --> 00:42:21,590
or if we were going to
Heathrow Airport or whatever,
654
00:42:21,590 --> 00:42:22,870
we had to dress up.
655
00:42:22,870 --> 00:42:26,230
MUSIC: "Is There Something
I Should Know?" by Duran Duran
656
00:42:26,230 --> 00:42:31,110
And every time a new look came out,
it was instantly copied.
657
00:42:31,110 --> 00:42:34,190
# Tried to find
my mountain hideaway... #
658
00:42:34,190 --> 00:42:37,830
When they brought out the Is There
Something I Should Know video,
659
00:42:37,830 --> 00:42:42,390
they wore blue shirts,
white tie and black trousers,
660
00:42:42,390 --> 00:42:43,870
and I can recall thinking,
661
00:42:43,870 --> 00:42:47,190
"Well, that's the new look,
I need to dress like that."
662
00:42:50,270 --> 00:42:54,710
This picture is me recreating
that look, and to get that look,
663
00:42:54,710 --> 00:42:58,470
it was like, "Hey, my Girl Guide
blouse is the right colour."
664
00:42:58,470 --> 00:43:01,230
So ripped off all my badges
and put it on
665
00:43:01,230 --> 00:43:05,790
and even had the little shoulder
epaulettes on it and it was perfect.
666
00:43:05,790 --> 00:43:08,390
And I felt like,
"Wow, this is the part."
667
00:43:08,390 --> 00:43:10,550
# Before I had to say... #
668
00:43:12,870 --> 00:43:15,790
MUSIC: "Ordinary World"
by Duran Duran
669
00:43:17,870 --> 00:43:20,430
Dressing up as the boys
was an attempt to have
670
00:43:20,430 --> 00:43:23,230
a little of the celluloid glamour
for themselves.
671
00:43:24,390 --> 00:43:27,230
They showed us a world
that we'd never seen before,
672
00:43:27,230 --> 00:43:29,350
through the videos.
673
00:43:29,350 --> 00:43:34,310
The Rio video just seemed,
you know, outrageously glamorous.
674
00:43:34,310 --> 00:43:37,750
# Thought I heard you
talking softly... #
675
00:43:37,750 --> 00:43:40,590
You know, you'd want to
have a piece of that life.
676
00:43:43,070 --> 00:43:46,910
I can recall going on holiday
on the Norfolk Broads, boating,
677
00:43:46,910 --> 00:43:50,150
and my sister and I,
we would walk along the boat,
678
00:43:50,150 --> 00:43:54,390
thinking, you know, "Wow, this is
cool, we're like Duran Duran."
679
00:43:54,390 --> 00:43:58,870
For us, that was like having a piece
of that exotic life in the UK.
680
00:44:00,070 --> 00:44:01,310
# Gone away
681
00:44:01,310 --> 00:44:04,910
# But I won't cry for yesterday
682
00:44:04,910 --> 00:44:06,590
# There's an ordinary world... #
683
00:44:06,590 --> 00:44:08,990
Like gold at the end of the rainbow,
684
00:44:08,990 --> 00:44:13,190
many found the glamour
of Duran Duran to be out of reach.
685
00:44:14,430 --> 00:44:17,950
But for others, it gave
the band their lasting allure.
686
00:44:17,950 --> 00:44:19,510
# To the ordinary world
687
00:44:19,510 --> 00:44:23,150
# I will learn to survive. #
688
00:44:27,790 --> 00:44:32,430
The '80s was a decade when music and
fashion seemed to mirror the changes
689
00:44:32,430 --> 00:44:33,790
that we all felt.
690
00:44:35,590 --> 00:44:39,110
The collective spirit of
the working man was under attack.
691
00:44:40,430 --> 00:44:43,190
And the ethos of individualism
was all.
692
00:44:45,110 --> 00:44:47,830
This was the dawn
of the computer age,
693
00:44:47,830 --> 00:44:50,710
when making money became
easier than ever before.
694
00:44:52,150 --> 00:44:53,910
But at the end of the decade
695
00:44:53,910 --> 00:44:57,590
there came a man who was
a prophet of our own times.
696
00:44:58,870 --> 00:45:01,110
# Back to life
697
00:45:01,110 --> 00:45:03,310
# Back to reality
698
00:45:03,310 --> 00:45:05,470
# Back to life
699
00:45:05,470 --> 00:45:08,110
# Back to reality
700
00:45:08,110 --> 00:45:12,710
# Back to the here and now, yeah
701
00:45:12,710 --> 00:45:14,790
# Show me how
702
00:45:14,790 --> 00:45:17,630
# Decide what you want from me
703
00:45:17,630 --> 00:45:21,310
# Tell me maybe
I could be there for you... #
704
00:45:22,990 --> 00:45:24,630
Classic.
705
00:45:24,630 --> 00:45:28,310
# However do you want me,
however do you need me... #
706
00:45:28,310 --> 00:45:31,190
Yeah, this is just
a beautiful period of time.
707
00:45:32,470 --> 00:45:34,310
I remember looking at this
and thinking,
708
00:45:34,310 --> 00:45:35,870
"Who are all these people, man?"
709
00:45:35,870 --> 00:45:39,070
I didn't realise Jazzie knew people
who could play the violin.
710
00:45:40,670 --> 00:45:42,230
# However do you need me... #
711
00:45:42,230 --> 00:45:45,950
This funky group, with vivid
head wraps and African medallions,
712
00:45:45,950 --> 00:45:48,950
were a collective
known as Soul II Soul.
713
00:45:48,950 --> 00:45:51,830
They got the summer of '89 started
714
00:45:51,830 --> 00:45:55,230
with their
seductive number one Back To Life.
715
00:45:56,910 --> 00:46:00,390
I remember this so vividly,
it was just like, "Wow!"
716
00:46:00,390 --> 00:46:04,670
Kind of like, this is...
It was kind of like, this is UK,
717
00:46:04,670 --> 00:46:07,550
this is dance, this is hip-hop,
and this is us.
718
00:46:07,550 --> 00:46:10,790
# Until you're ready... #
719
00:46:10,790 --> 00:46:14,590
This is a sophisticated package
that they've put together here.
720
00:46:14,590 --> 00:46:19,070
That's how smart he is
and how smart he was at that time.
721
00:46:19,070 --> 00:46:22,710
He made it totally work.
The dancers, I mean, it's amazing.
722
00:46:26,070 --> 00:46:30,590
Ah, there's some great styling
in this video, for real.
723
00:46:30,590 --> 00:46:34,390
It was fresh, it was new, vibrant.
724
00:46:34,390 --> 00:46:38,030
We were the first voyagers out there
doing this sort of thing.
725
00:46:40,790 --> 00:46:43,830
Jazzie B was the mind
behind Soul II Soul.
726
00:46:45,990 --> 00:46:49,830
And the clothes he wore
said everything about who he was
727
00:46:49,830 --> 00:46:51,070
and wanted to be.
728
00:46:52,550 --> 00:46:54,310
Let me show you some pieces.
729
00:47:00,230 --> 00:47:04,830
Jazzie's wardrobe is a treasure
trove of items from the '80s -
730
00:47:04,830 --> 00:47:08,270
a strange mix of
the casual and the formal.
731
00:47:08,270 --> 00:47:09,830
Why is it all black?
732
00:47:09,830 --> 00:47:11,510
HE LAUGHS
733
00:47:11,510 --> 00:47:15,630
And it's a style
epitomised in one jacket.
734
00:47:15,630 --> 00:47:18,870
So this is the style that
we were wearing during the '80s
735
00:47:18,870 --> 00:47:20,790
and even into the '90s, actually.
736
00:47:22,470 --> 00:47:25,710
What was so appealing about
this stuff was the fact that
737
00:47:25,710 --> 00:47:29,550
it had this gentrified look,
with a bit of anarchy
738
00:47:29,550 --> 00:47:33,550
and it sort of really symbolised us,
what we were aspiring to.
739
00:47:36,030 --> 00:47:39,510
These adaptations of the classic
business suit were fitting.
740
00:47:41,110 --> 00:47:44,990
Because Jazzie wasn't so much
a pop star, more an entrepreneur.
741
00:47:46,630 --> 00:47:49,510
As aspirational
and astute as they come.
742
00:47:50,870 --> 00:47:53,150
Here we were in the '80s, you know?
743
00:47:53,150 --> 00:47:56,070
Things were changing,
we were carving our way.
744
00:47:56,070 --> 00:48:00,310
The last explosion that probably
happened prior to that was punk
745
00:48:00,310 --> 00:48:02,870
and that really changed the game.
746
00:48:02,870 --> 00:48:07,870
I mean, the whole attitude and, you
know, the idea of the punk thing,
747
00:48:07,870 --> 00:48:10,950
it enabled us,
it slightly empowered us.
748
00:48:10,950 --> 00:48:14,150
MUSIC: "Just Keep Rockin'"
by Double Trouble and Rebel MC
749
00:48:17,910 --> 00:48:21,710
Jazzie made his name as a DJ running
a sound system in North London
750
00:48:21,710 --> 00:48:23,150
called Soul II Soul.
751
00:48:25,670 --> 00:48:28,390
With custom-made
super-strength speakers,
752
00:48:28,390 --> 00:48:32,590
and playing a blend of reggae,
hip-hop, house and funk,
753
00:48:32,590 --> 00:48:36,990
Soul II Soul parties soon gained a
reputation on the underground scene.
754
00:48:40,270 --> 00:48:42,550
And their parties were legendary.
755
00:48:42,550 --> 00:48:44,150
It was a beautiful time.
756
00:48:44,150 --> 00:48:47,950
Obviously certain substances may
have had an affect, shall we say,
757
00:48:47,950 --> 00:48:51,830
on proceedings. But, er, generally,
it was just a wonderful time
758
00:48:51,830 --> 00:48:55,510
and there was a kaleidoscope of
music, and a kaleidoscope of people.
759
00:48:59,910 --> 00:49:01,990
Jazzie's diverse range of music
760
00:49:01,990 --> 00:49:06,230
appealed to a diverse range of
people, and Soul II Soul parties
761
00:49:06,230 --> 00:49:09,230
soon became a byword
for multicultural London.
762
00:49:12,590 --> 00:49:15,270
Aware he was creating
a powerful scene,
763
00:49:15,270 --> 00:49:19,030
Jazzie wanted everyone to know
just who was at the heart of it.
764
00:49:20,190 --> 00:49:21,830
# Dance, let's go crazy... #
765
00:49:21,830 --> 00:49:25,390
Back in the early days as a sound
system, we had to find a way
766
00:49:25,390 --> 00:49:28,070
for the public to identify
who was running the dance.
767
00:49:33,270 --> 00:49:37,950
Jazzie's idea was to come up
a T-shirt for his crew to wear.
768
00:49:37,950 --> 00:49:42,390
And it was emblazoned with a logo
that would become legendary.
769
00:49:42,390 --> 00:49:45,750
This originally was
how you identified us.
770
00:49:45,750 --> 00:49:48,870
The imagery was
designed by Derek Yates.
771
00:49:49,950 --> 00:49:51,910
This is essentially what I drew,
772
00:49:51,910 --> 00:49:54,350
with the bad typography
and all that stuff...
773
00:49:54,350 --> 00:49:57,230
HE LAUGHS
774
00:49:57,230 --> 00:49:59,550
Yeah, so the little goatee beard,
775
00:49:59,550 --> 00:50:03,990
short dreadlocks,
the sort of round glasses.
776
00:50:03,990 --> 00:50:08,590
Obviously Soul II Soul is
plugging music into his ears.
777
00:50:08,590 --> 00:50:14,030
And that was the start, as it were,
of the journey of the Funki Dreds.
778
00:50:16,310 --> 00:50:20,230
I was just a kid drawing a picture
and just thinking, "That looks cool."
779
00:50:21,870 --> 00:50:24,910
REGGAE MUSIC
780
00:50:29,870 --> 00:50:33,950
When this T-shirt came out,
I was just completely blown away
781
00:50:33,950 --> 00:50:37,270
by the reaction to it.
We were going to the Carnival
782
00:50:37,270 --> 00:50:40,270
and seeing loads of people
wearing the T-shirts and thinking,
783
00:50:40,270 --> 00:50:43,910
"Wow," it's like, "That's my
drawing, that's my rubbish drawing!"
784
00:50:47,310 --> 00:50:50,870
With an instinctive understanding
of supply and demand,
785
00:50:50,870 --> 00:50:54,950
Jazzie seized on the popularity
of his T-shirts
786
00:50:54,950 --> 00:50:58,310
and decided to create
an entire fashion label.
787
00:50:59,470 --> 00:51:05,030
We bought our own little place to
make the T-shirts up and everything,
788
00:51:05,030 --> 00:51:07,470
and started to buy the T-shirts,
789
00:51:07,470 --> 00:51:10,390
and so we moved on
from the ideas of this,
790
00:51:10,390 --> 00:51:12,390
we had a market stall in Camden,
791
00:51:12,390 --> 00:51:13,990
which moved onto shops,
792
00:51:13,990 --> 00:51:17,110
and in those shops,
like we used to do in the dances,
793
00:51:17,110 --> 00:51:19,390
we'd sell our merchandise.
794
00:51:19,390 --> 00:51:23,230
We were selling
the music we were playing,
795
00:51:23,230 --> 00:51:26,430
in some cases, some bootlegs
of what we were playing,
796
00:51:26,430 --> 00:51:29,670
and all the other delights,
as it were.
797
00:51:32,110 --> 00:51:36,910
The Soul II Soul Basement Store in
North London was packed with records
798
00:51:36,910 --> 00:51:40,470
and an extensive range
of Jazzie's casual streetwear.
799
00:51:40,470 --> 00:51:41,910
MUSIC: "People" by Soul II Soul
800
00:51:41,910 --> 00:51:45,070
# Walking down the street
watching people go by... #
801
00:51:45,070 --> 00:51:46,710
The shop sign said it all.
802
00:51:48,110 --> 00:51:50,670
"An Amalgamation
of Music and Fashion".
803
00:51:52,510 --> 00:51:55,670
So this is when they had two shops,
one in Camden
804
00:51:55,670 --> 00:51:58,070
and one in Tottenham Court Road.
805
00:51:58,070 --> 00:52:00,510
# Feel the need... #
806
00:52:00,510 --> 00:52:05,310
The classic Soul To Soul look was
baggy tracksuits, big trainers,
807
00:52:05,310 --> 00:52:08,310
and, of course,
the oversized T-shirts,
808
00:52:08,310 --> 00:52:10,230
all bearing the Funki Dred logo.
809
00:52:13,750 --> 00:52:18,790
Jazzie's den of street music and
street fashion became a destination
810
00:52:18,790 --> 00:52:22,070
for those who couldn't get
enough of their casual clothing.
811
00:52:24,070 --> 00:52:26,510
Favourites -
the ones that are on my feet,
812
00:52:26,510 --> 00:52:32,390
the Jordan III, very well executed
sort of version of this shoe.
813
00:52:32,390 --> 00:52:34,510
One of my favourite shoes
of all time.
814
00:52:35,870 --> 00:52:39,310
In the late '80s, Kish Kash was
one of those who made a regular
815
00:52:39,310 --> 00:52:41,830
pilgrimage to Jazzie's shops.
816
00:52:41,830 --> 00:52:43,030
These are rare ones.
817
00:52:44,750 --> 00:52:47,350
I'm from Aylesbury,
which is 40 miles out of London,
818
00:52:47,350 --> 00:52:49,830
so I was coming up on the train,
819
00:52:49,830 --> 00:52:53,190
erm, and, you know, seeing all
the graffiti along the lines,
820
00:52:53,190 --> 00:52:54,750
you know, which was fantastic,
821
00:52:54,750 --> 00:52:56,950
it was just so vivid,
it looked so beautiful.
822
00:52:56,950 --> 00:53:00,710
Every time you came in into London
on the train line, it was wicked.
823
00:53:00,710 --> 00:53:04,510
For Kish Kash, Jazzie's shops
represented the very cutting edge
824
00:53:04,510 --> 00:53:06,270
of British music and fashion.
825
00:53:09,030 --> 00:53:12,230
I think the Soul II Soul shop
was a place to kind of be seen.
826
00:53:12,230 --> 00:53:14,630
Kind of ahead of its time,
actually, because it was
827
00:53:14,630 --> 00:53:17,910
a record store and it was a clothing
store and it was their own brands
828
00:53:17,910 --> 00:53:21,150
as well as other brands in there,
so it was kind of revolutionary.
829
00:53:21,150 --> 00:53:24,990
MUSIC: "Jazzie's Groove"
by Soul II Soul
830
00:53:24,990 --> 00:53:29,110
A sound system, club promotion,
chart-topping records
831
00:53:29,110 --> 00:53:31,470
and now a thriving fashion label -
832
00:53:31,470 --> 00:53:35,070
Soul II Soul became
a multi-faceted brand
833
00:53:35,070 --> 00:53:37,550
with an instantly recognisable logo.
834
00:53:42,670 --> 00:53:44,550
And with his flair for business,
835
00:53:44,550 --> 00:53:48,630
Jazzie B became the most unlikely
poster boy for the Iron Lady.
836
00:53:50,070 --> 00:53:53,670
MARGARET THATCHER: In future,
employment will come from
837
00:53:53,670 --> 00:53:56,910
new small business,
expansion of smaller business,
838
00:53:56,910 --> 00:53:59,630
and all of these things
which we look to
839
00:53:59,630 --> 00:54:02,070
to create the jobs of the future.
840
00:54:02,070 --> 00:54:06,030
The relationship between Jazzie
and Maggie Thatcher is brilliant,
841
00:54:06,030 --> 00:54:09,190
you know, and he still,
much to my horror,
842
00:54:09,190 --> 00:54:13,110
still sort of talks about her
as an important influence.
843
00:54:14,390 --> 00:54:17,110
We were just technically
working-class kids
844
00:54:17,110 --> 00:54:23,190
looking for an opportunity,
and as outrageous as this may seem,
845
00:54:23,190 --> 00:54:27,230
when Margaret Thatcher came into
power, I was called a Thatcherite.
846
00:54:30,110 --> 00:54:33,270
And the entrepreneur in Jazzie
is still alive
847
00:54:33,270 --> 00:54:36,110
and always looking for new markets.
848
00:54:36,110 --> 00:54:39,350
Babygrows for the young
and for the old.
849
00:54:39,350 --> 00:54:41,110
Soul II Soul,
850
00:54:41,110 --> 00:54:45,950
Thinking about
my grandchildren, possibly.
851
00:54:45,950 --> 00:54:47,710
That's an interesting thought.
852
00:54:52,670 --> 00:54:56,630
In Soul II Soul, Jazzie had created
something that was extraordinary
853
00:54:56,630 --> 00:54:59,670
in the story of
British music and fashion.
854
00:54:59,670 --> 00:55:03,670
Because Soul II Soul
was neither music nor fashion,
855
00:55:03,670 --> 00:55:06,030
but a seamless fusion of both.
856
00:55:10,390 --> 00:55:13,430
Fast forward through
the years to Berlin 2014.
857
00:55:17,190 --> 00:55:20,790
Beyond our own shores is
a celebration of everything
858
00:55:20,790 --> 00:55:23,590
that's great about
British music and fashion.
859
00:55:25,670 --> 00:55:27,830
On show are
some priceless artefacts.
860
00:55:29,310 --> 00:55:32,990
It's a very delicate handling
with this kind of object.
861
00:55:32,990 --> 00:55:35,710
They're iconic pieces
of our pop history.
862
00:55:37,230 --> 00:55:41,590
They require a very clean space,
a very quiet space.
863
00:55:43,590 --> 00:55:46,270
They're the clothes
that belong to David Bowie.
864
00:55:49,350 --> 00:55:53,870
Is he a boy? Is he a girl?
Is he from Earth or from outer space?
865
00:55:55,470 --> 00:55:58,950
MUSIC: "Sound and Vision"
by David Bowie
866
00:55:58,950 --> 00:56:01,910
David Bowie's career
has spanned the decades.
867
00:56:04,070 --> 00:56:09,110
And in him, the great pillars of our
pop culture - music and fashion -
868
00:56:09,110 --> 00:56:11,590
have come together as high art.
869
00:56:14,630 --> 00:56:19,070
And as his exhibition tours
the world, it's a showcase of
870
00:56:19,070 --> 00:56:20,950
some uniquely British talents.
871
00:56:22,390 --> 00:56:23,670
Eccentricity...
872
00:56:25,550 --> 00:56:28,830
..the restless search
for reinvention,
873
00:56:28,830 --> 00:56:34,070
and limitless creativity to
knock out a cracking pop tune,
874
00:56:34,070 --> 00:56:36,030
and find a style that matches.
875
00:56:37,790 --> 00:56:41,990
The fashion and the music together
is what is crucial,
876
00:56:41,990 --> 00:56:44,270
sound and vision at the same time.
877
00:56:45,510 --> 00:56:48,350
# Waiting for the gift
of sound and vision... #
878
00:56:48,350 --> 00:56:50,790
But these talents
are not Bowie's alone.
879
00:56:52,190 --> 00:56:55,390
They define the story
of British music and fashion.
880
00:56:55,390 --> 00:56:58,230
MUSIC: "Itchycoo Park"
by The Small Faces
881
00:57:00,350 --> 00:57:03,110
From the pop pioneers of the '60s...
882
00:57:03,110 --> 00:57:05,390
# To rest my eyes
in shades of green... #
883
00:57:05,390 --> 00:57:07,750
..the fantastical creations
of the '70s...
884
00:57:07,750 --> 00:57:09,510
# I got high
885
00:57:09,510 --> 00:57:11,470
# What did you feel there? #
886
00:57:11,470 --> 00:57:14,270
..to the celluloid heroes
of the video age.
887
00:57:15,990 --> 00:57:20,950
But this isn't just a story of
megastars and maverick designers.
888
00:57:20,950 --> 00:57:23,550
It's a story that touches us all.
889
00:57:23,550 --> 00:57:25,430
# It's all too beautiful
890
00:57:25,430 --> 00:57:28,670
# It's all too beautiful... #
891
00:57:28,670 --> 00:57:33,110
Through sound and style,
we expressed ourselves
like never before.
892
00:57:35,190 --> 00:57:37,270
They helped us rebel...
893
00:57:37,270 --> 00:57:40,550
Certainly it shocked
the grandparents!
894
00:57:40,550 --> 00:57:43,270
..explore other worlds...
895
00:57:43,270 --> 00:57:45,270
Excuse me while I kiss the sky!
896
00:57:47,550 --> 00:57:49,670
..spice up our lives...
897
00:57:49,670 --> 00:57:51,630
We'd go to charity shops
898
00:57:51,630 --> 00:57:54,870
and we managed to pick up something
with a bit of glitter on it.
899
00:57:54,870 --> 00:57:57,110
..and rip up the rule book.
900
00:57:57,110 --> 00:58:00,190
It says "Absolute filth".
And I wore that quite a bit.
901
00:58:00,190 --> 00:58:04,990
But most of all, our music
and fashion has given us moments
902
00:58:04,990 --> 00:58:09,830
in our lives when the world
was made a little more colourful
903
00:58:09,830 --> 00:58:13,430
and a little more exciting
than it had been before.
904
00:58:13,430 --> 00:58:16,670
If you got wolf whistles
from the building site, you know,
905
00:58:16,670 --> 00:58:18,110
you knew you looked good.
906
00:58:18,110 --> 00:58:19,950
Cut!
907
00:58:19,950 --> 00:58:24,110
# It's all too beautiful
Beautiful
908
00:58:24,110 --> 00:58:27,190
# It's all too beautiful
Beautiful
909
00:58:29,670 --> 00:58:33,390
# It's all too beautiful
910
00:58:33,390 --> 00:58:37,550
# It's all too beautiful. #
76792
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