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These are the user uploaded subtitles that are being translated: 1 00:00:04,550 --> 00:00:08,950 Behind the scenes at one the biggest events of the British summer. 2 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 5 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 7 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. 9 00:00:42,790 --> 00:00:46,990 MUSIC: "House" by Josh Record 10 00:00:46,990 --> 00:00:48,910 'I have been styled by Burberry today. 11 00:00:48,910 --> 00:00:52,750 'And, yeah, to have a brand like Burberry' 12 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. 20 00:01:19,510 --> 00:01:22,790 # Soon they'll find their own place to hide... # 21 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, 41 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. 45 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 59 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 61 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... # 64 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, 78 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. 116 00:07:33,150 --> 00:07:37,030 Maybe like lumberjack check shirts, you know, thick belts. 117 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, 154 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." 171 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. 239 00:14:55,070 --> 00:14:57,550 One minute 40. 240 00:14:57,550 --> 00:15:00,390 # We fade to grey... # 241 00:15:00,390 --> 00:15:05,870 And became the first top ten smash for electro pioneers Visage. 242 00:15:08,470 --> 00:15:14,150 Its success was down to a throbbing beat combined with a stunning video. 243 00:15:15,950 --> 00:15:20,230 I wasn't going to do a video which was just based on a band 244 00:15:20,230 --> 00:15:22,030 playing to camera. 245 00:15:22,030 --> 00:15:25,110 I actually wanted this to be a theatrical mini-movie. 246 00:15:25,110 --> 00:15:26,550 # We fade to grey... # 247 00:15:26,550 --> 00:15:31,750 I think the Fade To Grey video is ground-breaking and pioneering. 248 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. 250 00:15:40,950 --> 00:15:43,590 While Rusty supplied beats, 251 00:15:43,590 --> 00:15:46,830 it was Steve who took control of their style and image. 252 00:15:48,830 --> 00:15:53,550 Steve, I'll give him his due, he knows what to do with the fashion. 253 00:15:55,790 --> 00:15:59,190 The video was a showcase of '80s avant-garde style. 254 00:16:00,270 --> 00:16:04,350 Boiler suits, gilded tunics, military-style hats 255 00:16:04,350 --> 00:16:07,830 and make-up, bucket-loads of make-up. 256 00:16:07,830 --> 00:16:11,190 All put to together on a shoestring. 257 00:16:11,190 --> 00:16:14,190 # Like an English summer... # 258 00:16:14,190 --> 00:16:18,030 It still holds up as a pretty amazing video, 259 00:16:18,030 --> 00:16:23,430 and everybody worked for sweet FA because they believed in me. 260 00:16:26,550 --> 00:16:31,070 We were lucky, we were just indulged by each other. 261 00:16:31,070 --> 00:16:33,590 # Oh, we fade to grey... # 262 00:16:33,590 --> 00:16:37,750 Melissa Caplan was the designer who believed in Steve Strange. 263 00:16:39,030 --> 00:16:42,550 And it's her clothes that adorn him in the Fade To Grey video. 264 00:16:45,030 --> 00:16:48,590 I probably started off with things like this, which... 265 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 267 00:16:53,830 --> 00:16:56,630 that I made for Steve Strange. 268 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, 271 00:17:12,790 --> 00:17:16,750 which is rife for being copied. 272 00:17:16,750 --> 00:17:20,470 I mean, I don't think I'd studied them at school even, 273 00:17:20,470 --> 00:17:24,350 but there I was finding out about ancient civilisations 274 00:17:24,350 --> 00:17:28,470 because they had designs that I thought would look good on clothes. 275 00:17:31,870 --> 00:17:35,630 Melissa's designs, Steve's vision and Rusty's tunes 276 00:17:35,630 --> 00:17:38,910 all came together in the Fade To Grey video. 277 00:17:38,910 --> 00:17:42,390 And this extraordinary meeting of music and fashion 278 00:17:42,390 --> 00:17:46,070 had its origins in a single legendary place. 279 00:17:46,070 --> 00:17:52,030 We are in what was originally known as the Blitz in Covent Garden. 280 00:17:58,550 --> 00:18:03,950 The Blitz club was London's most exclusive underground hangout. 281 00:18:03,950 --> 00:18:06,430 Sandwiched between two London fashion schools, 282 00:18:06,430 --> 00:18:10,030 it was as much a catwalk as a nightclub. 283 00:18:10,030 --> 00:18:14,030 That's what the club's about, it's about fashion, it's about looks. 284 00:18:14,030 --> 00:18:16,310 I mean, the men dress outrageous, 285 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. 287 00:18:24,950 --> 00:18:27,070 And with it came a soundtrack 288 00:18:27,070 --> 00:18:29,950 from one of the most influential DJs of his day. 289 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, 291 00:18:37,310 --> 00:18:41,070 not where the silver booth is now, but it was literally in the corner. 292 00:18:42,750 --> 00:18:47,030 That DJ was who else but Rusty Egan. 293 00:18:48,390 --> 00:18:54,070 I started to find odd records that I started to play. 294 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. 297 00:19:07,870 --> 00:19:11,870 Shirley Bassey, Vince Clarke and then you had Ultravox... 298 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, 305 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 308 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... 316 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 324 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, 344 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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