0:00:02 > 0:00:04This programme contains some strong language.
0:00:04 > 0:00:07British rock and pop music is our great gift to the world,
0:00:09 > 0:00:13at the heart of the irrepressible creative brilliance of Britain.
0:00:13 > 0:00:17But it's never just been about the music,
0:00:17 > 0:00:20it's been about the style that goes with it.
0:00:20 > 0:00:22To me, they always go together.
0:00:22 > 0:00:24The look has to match the music.
0:00:26 > 0:00:29The sounds fused with dazzling visions.
0:00:30 > 0:00:34The costumes and the music was quite an onslaught.
0:00:35 > 0:00:37Our rock and pop idols
0:00:37 > 0:00:41have joined forces with the most creative minds in fashion
0:00:41 > 0:00:43to astonish us.
0:00:43 > 0:00:46You've got this '70s thing of the huge collar.
0:00:46 > 0:00:48It's laughable now.
0:00:48 > 0:00:52They came up with looks of effortless cool...
0:00:52 > 0:00:54It had this gentrified look
0:00:54 > 0:00:56with a bit of anarchy.
0:00:56 > 0:00:58Red socks, red jumper, Hush Puppies -
0:00:58 > 0:01:00mod. Done.
0:01:00 > 0:01:02..and eye-catching craziness.
0:01:02 > 0:01:07Ended up with me being caught in a bulldozer in a beehive hat.
0:01:07 > 0:01:10# I'm on another planet with you... #
0:01:10 > 0:01:13There was a review that said that I looked like a demented spider.
0:01:16 > 0:01:20Through the love affair between our music and our fashion,
0:01:20 > 0:01:22we've expressed ourselves.
0:01:22 > 0:01:25I did wear knickers underneath,
0:01:25 > 0:01:27I mightn't have worn a bra.
0:01:27 > 0:01:29# I'm on another world with you... #
0:01:29 > 0:01:32You zip up the suit, you start to change into Suzi Quatro.
0:01:32 > 0:01:34# I'm on another planet with you... #
0:01:34 > 0:01:37We've shocked each other...
0:01:37 > 0:01:39The butterfly isn't a butterfly,
0:01:39 > 0:01:42it's actually an ejaculating penis.
0:01:42 > 0:01:43# Another girl, another planet... #
0:01:43 > 0:01:46It's allowed us to believe in something...
0:01:46 > 0:01:49What we were trying to portray was that black and white people
0:01:49 > 0:01:51can be in the same band and really get along together.
0:01:51 > 0:01:54..and to belong to something.
0:01:54 > 0:01:58We looked hard, and it fitted with everything that we want to be.
0:02:00 > 0:02:03Music to fall in love to.
0:02:03 > 0:02:06Clothes to get in trouble in.
0:02:07 > 0:02:09At some time in our lives,
0:02:09 > 0:02:12we've all delved into this fabulous dressing-up box.
0:02:13 > 0:02:16British music and fashion have come together
0:02:16 > 0:02:19to build a thriving industry,
0:02:19 > 0:02:22to show us at our most outlandish,
0:02:24 > 0:02:27give us a sense of proud identity
0:02:27 > 0:02:29and send a thrilling message
0:02:29 > 0:02:32of what it means to be British.
0:02:41 > 0:02:45A glorious summer day on the streets of Great Britain.
0:02:47 > 0:02:51The perfect time to indulge in a little style spotting.
0:02:53 > 0:02:57# Oh! You pretty things... #
0:02:57 > 0:03:01But look closer and you'll find sartorial traces
0:03:01 > 0:03:05of the tribes of our musical past.
0:03:05 > 0:03:08# Oh! You pretty things... #
0:03:08 > 0:03:10A nod to mod.
0:03:11 > 0:03:13A snarl of the punk.
0:03:13 > 0:03:16Rockers and rude boys.
0:03:17 > 0:03:19The shadow of goth.
0:03:23 > 0:03:27But to understand why this golden past still matters,
0:03:27 > 0:03:31we have to go back to where this all began -
0:03:31 > 0:03:33to the wonder years of our pop and rock story -
0:03:33 > 0:03:36the mid-'60s.
0:03:39 > 0:03:42These are the years when exhilarating new music
0:03:42 > 0:03:46was first entwined with fresh, shocking fashion,
0:03:48 > 0:03:52and shops that brought style to hungry young consumers.
0:03:56 > 0:04:01But it's a story that starts with a long-forgotten movie.
0:04:01 > 0:04:02There he is!
0:04:04 > 0:04:07Dateline Diamonds was a cops and robbers caper
0:04:07 > 0:04:10that was never going to trouble the Oscar judges.
0:04:10 > 0:04:14But, it had two things going for it.
0:04:14 > 0:04:15And now... The Small Faces!
0:04:15 > 0:04:17AUDIENCE SCREAMS
0:04:17 > 0:04:20There was some great music,
0:04:20 > 0:04:22and some great clothes.
0:04:26 > 0:04:27# I just sit here every day
0:04:27 > 0:04:29SCREAMING
0:04:29 > 0:04:31# Thinking what she'll have to say
0:04:31 > 0:04:34# When she reads this letter... #
0:04:34 > 0:04:37The Small Faces were still an up-and-coming band,
0:04:37 > 0:04:42and Dateline Diamonds a promotional ploy for their second single -
0:04:42 > 0:04:44I've Got Mine.
0:04:44 > 0:04:47# ...This hurt deep inside, baby
0:04:47 > 0:04:51# But no-one knows it cos I got mine, baby... #
0:04:54 > 0:04:55Yeah, I remember this.
0:04:55 > 0:04:56It's incredible.
0:04:56 > 0:04:58We were all so young then.
0:05:01 > 0:05:03The Small Faces' appearance on the big screen
0:05:03 > 0:05:05marked them out from many bands doing the rounds
0:05:05 > 0:05:07of television pop shows.
0:05:15 > 0:05:17The Small Faces were figureheads
0:05:17 > 0:05:20of the coolest scene on Britain's streets -
0:05:20 > 0:05:22mod.
0:05:22 > 0:05:25They showed off the clothes of a sharp, aspirational,
0:05:25 > 0:05:27working-class style movement -
0:05:28 > 0:05:30three-button mohair jackets...
0:05:32 > 0:05:34..tightly cut trousers...
0:05:36 > 0:05:38..button-down shirts...
0:05:38 > 0:05:40..desert boots
0:05:40 > 0:05:42and refined leather shoes.
0:05:46 > 0:05:49Kenney Jones was the drummer in Britain's best-dressed band.
0:05:51 > 0:05:52That's a grey Caravelle.
0:05:54 > 0:05:58I used to have a Caravelle in every different colour I could get hold of.
0:05:58 > 0:06:02That's a turquoise green suede jacket that I had made.
0:06:02 > 0:06:04Lots of tailors where you can have things made,
0:06:04 > 0:06:06which is why I had this jacket made.
0:06:08 > 0:06:11So it was red socks, red jumper - boom - Hush Puppies. Mod.
0:06:11 > 0:06:13Done.
0:06:13 > 0:06:14Signed, sealed and delivered.
0:06:17 > 0:06:19ORIGINAL VOICE-OVER: The Small Faces...
0:06:19 > 0:06:21a group who've recently risen to the top,
0:06:21 > 0:06:24and have to work long hours to stay there.
0:06:25 > 0:06:30The Small Faces were managed by a man called Don Arden.
0:06:30 > 0:06:33He had the looks of Tony Soprano
0:06:33 > 0:06:36and, let's say, a reputation to match.
0:06:37 > 0:06:39If I've ever exploited anybody,
0:06:39 > 0:06:41it's for their own benefit.
0:06:41 > 0:06:43Because they want to be exploited.
0:06:43 > 0:06:46I never exploit anybody that doesn't want to be exploited.
0:06:48 > 0:06:52With his eye on the bottom line, Arden came up with an idea.
0:06:52 > 0:06:55He would pay The Small Faces not in cash,
0:06:55 > 0:06:57but in clothes.
0:06:57 > 0:07:02It was an offer the band couldn't refuse.
0:07:03 > 0:07:06We weren't getting paid any money, so every morning I'd wake up and go,
0:07:06 > 0:07:09"Right, I'm driving up to Carnaby Street," and I'd have about
0:07:09 > 0:07:11three or four suits and I'd buy as many shoes as I can.
0:07:11 > 0:07:14In the back of car and that was it. I didn't need them, just...
0:07:14 > 0:07:18You know, it was the only way we could get any money from Don Arden.
0:07:20 > 0:07:23When it came to style, the man who the band entrusted to deliver
0:07:23 > 0:07:26maximum mod smart was Warren Gold.
0:07:27 > 0:07:31Don't nick all his money. He's a hard-working man.
0:07:31 > 0:07:33- Thank you very much. - He'll look after you.
0:07:33 > 0:07:35£139.95.
0:07:35 > 0:07:40He was a typical, you know, Jewish...sort of rag trader guy...
0:07:40 > 0:07:44We knowingly undercut the likes of John Lewis...
0:07:44 > 0:07:48..and he's still...buzzing, like he normally does, yeah.
0:07:48 > 0:07:52Put that on my bill, Melvin. It's complimentary.
0:07:52 > 0:07:56Back in the '60s, Warren ran the boutique Lord John.
0:07:58 > 0:08:01Right in the heart of Carnaby Street,
0:08:01 > 0:08:03it was a haven for the biggest stars of the day.
0:08:04 > 0:08:10Ben Sherman, Bill Wyman... John Lennon used to come in.
0:08:10 > 0:08:15There's a cape I made for him. Sadly, he didn't ever pick it up.
0:08:17 > 0:08:21He died rather abruptly.
0:08:21 > 0:08:23MUSIC: Here Come The Nice by The Small Faces
0:08:23 > 0:08:26# Here come the nice looking so good
0:08:26 > 0:08:30# He makes me feel like no-one else could... #
0:08:30 > 0:08:33This amazing footage captures Kenney
0:08:33 > 0:08:36and the band filling their boots in Lord John.
0:08:36 > 0:08:40Yeah, The Small Faces used to come in every day.
0:08:40 > 0:08:42We loved it.
0:08:44 > 0:08:49We did some nice business with them and enjoyed taking their money.
0:08:53 > 0:08:56They were quite creative guys -
0:08:56 > 0:08:59not only with their music, but also their clothes.
0:09:00 > 0:09:05The Small Faces were pioneers of the bond between music and fashion,
0:09:05 > 0:09:10and they saw it catch the imagination of a youthful Britain.
0:09:10 > 0:09:15It was like a fusion of style and sound that came together.
0:09:15 > 0:09:19Whenever we arrived at a gig, everyone was wearing our clothes.
0:09:19 > 0:09:21MUSIC: Tin Soldier by The Small Faces
0:09:22 > 0:09:25The music was good but the look was everything.
0:09:27 > 0:09:31I was pretty obsessed by The Small Faces' wardrobe, if you like.
0:09:33 > 0:09:37John Hellier was a fanatical mod who went to extraordinary lengths
0:09:37 > 0:09:40to copy the style of his idols, The Small Faces.
0:09:42 > 0:09:46You know, I'd buy, sort of, the girlie mags of the day,
0:09:46 > 0:09:49things like Fab 208 and Jackie, just for a picture of whatever
0:09:49 > 0:09:51Steve and Ronnie were wearing,
0:09:51 > 0:09:55then I'd get on the train up west, trying to buy a shirt or a jacket.
0:09:55 > 0:09:59This shirt is a particular favourite of mine and it's an Italian shirt.
0:09:59 > 0:10:02The edging on the collar, very, very mod.
0:10:02 > 0:10:04That sort of pointed look, you know.
0:10:04 > 0:10:07That's a fad but it's typical '60s collar.
0:10:07 > 0:10:09I mean, to me, that's a thing of beauty, you know.
0:10:09 > 0:10:12If I wasn't wearing it, you could hang that on the wall.
0:10:17 > 0:10:21John had grown up in the austerity of post-war Romford, where mod
0:10:21 > 0:10:23was a wondrous release.
0:10:25 > 0:10:28And like all the young mods, obsessed with clothes
0:10:28 > 0:10:33and shopping, he was embracing a new male narcissism,
0:10:33 > 0:10:37a passionate desire to team the right music with the right clothes.
0:10:38 > 0:10:42It was all to do with attention to detail, matching the colour
0:10:42 > 0:10:45of your belt with the colour of your shoes and things like that.
0:10:45 > 0:10:49Things that most people wouldn't even dream about.
0:10:50 > 0:10:54I remember, on several occasions, standing up in an empty
0:10:54 > 0:10:59railway carriage just so as not to spoil the crease in my trouser.
0:11:01 > 0:11:05Wearing white jeans and colourful tops like this, you know,
0:11:05 > 0:11:07you've got to be used to getting a few wolf whistles
0:11:07 > 0:11:10from the building sites and things like that.
0:11:10 > 0:11:12You know, it just was all part and parcel.
0:11:12 > 0:11:15In fact, if you got wolf whistles from the building site,
0:11:15 > 0:11:17you knew you looked good.
0:11:17 > 0:11:18Cut.
0:11:21 > 0:11:22# This is a modern world
0:11:24 > 0:11:26# This is the modern world... #
0:11:26 > 0:11:29Mod is one of the most iconic of British music looks...
0:11:29 > 0:11:32# What kind of a fool do you think I am...? #
0:11:32 > 0:11:33..revisited constantly,
0:11:33 > 0:11:38shaped and adapted by generations of designers and musicians.
0:11:40 > 0:11:43But the marriage of music and fashion
0:11:43 > 0:11:45wasn't just for the cool boys.
0:11:45 > 0:11:47The girls were finding their own style.
0:11:47 > 0:11:52# When we walk down the street... #
0:11:52 > 0:11:56It would transform the lifestyles of millions, and show
0:11:56 > 0:12:00the inspirational power of the nation's new pop culture princesses.
0:12:05 > 0:12:07And now, this year's Royal Variety Performance...
0:12:08 > 0:12:12The Royal Variety Performance, 1964.
0:12:12 > 0:12:15This was the highlight of the light entertainment year,
0:12:15 > 0:12:19when the stars of showbiz did a turn at Her Majesty's behest.
0:12:21 > 0:12:25The usual suspects were there - Morecambe and Wise
0:12:25 > 0:12:27and Gracie Fields.
0:12:29 > 0:12:34But waiting backstage was a 21-year-old girl.
0:12:34 > 0:12:38She knew that what she wore that night was every bit as important
0:12:38 > 0:12:40as the song she was about to sing.
0:12:43 > 0:12:46This was to be the biggest performance of her life.
0:12:46 > 0:12:52# You're my world You're every breath I take... #
0:12:52 > 0:12:55'Oh, I'm very nervous.'
0:12:55 > 0:13:02You can tell by the vibrato in my voice.
0:13:02 > 0:13:05# With your hand
0:13:05 > 0:13:09# Resting in mine... #
0:13:09 > 0:13:14Cilla Black's floor-length dress with its loose fit and long sleeves
0:13:14 > 0:13:16seemed inoffensive enough.
0:13:18 > 0:13:21But it was, in fact, a daring style statement...
0:13:24 > 0:13:28..because it came from a designer known more for high-street fashion
0:13:28 > 0:13:30rather than haute couture.
0:13:30 > 0:13:33# End of my world... #
0:13:33 > 0:13:35'I loved that dress,
0:13:35 > 0:13:41'because it epitomises, really, what the '60s were all about.
0:13:41 > 0:13:45'It was instant fashion. Throwaway fashion.'
0:13:48 > 0:13:50And for those in the know,
0:13:50 > 0:13:54Cilla's sassy little number could only have come from one place.
0:13:55 > 0:13:58'She's one of London's top fashion designers,
0:13:58 > 0:14:01'and an influential arbiter of style.'
0:14:01 > 0:14:04Barbara Hulanicki and her assistant, Rosie,
0:14:04 > 0:14:06ran the fashion label Biba.
0:14:06 > 0:14:08# Hey, how have you been?
0:14:08 > 0:14:11# Long time, no see
0:14:11 > 0:14:14# Say, you're looking good... #
0:14:14 > 0:14:17You know, Biba clothes are so rare now.
0:14:17 > 0:14:24I've got a few sort of left over, '30s-inspired. Very, very shiny.
0:14:24 > 0:14:28And this here is the leopard skin that kept going and going
0:14:28 > 0:14:32- until the end. The shoulder pads. - Oh, yes.
0:14:33 > 0:14:38As designer, it was Barbara who was tasked with creating Cilla's dress.
0:14:40 > 0:14:45Cilla came in and, gosh, do you know, I was so nervous?
0:14:46 > 0:14:48I never knew that.
0:14:48 > 0:14:53I never knew Barbara was nervous at doing the dress at all!
0:14:54 > 0:14:57Honour is a private matter within. It's an idea,
0:14:57 > 0:14:59and every man has his own version of it.
0:14:59 > 0:15:04No wonder she was nervous - her inspiration was medieval menswear.
0:15:04 > 0:15:08It was definitely inspired by something that Richard Burton wore.
0:15:08 > 0:15:09New little invention.
0:15:09 > 0:15:12It's for pronging meat and carrying it to the mouth.
0:15:12 > 0:15:16The biopic of the 12th-century saint Thomas Becket
0:15:16 > 0:15:18was a smash hit of 1964.
0:15:19 > 0:15:24And what fired Barbara's imagination was a dashing Richard Burton
0:15:24 > 0:15:25in fetching velvet.
0:15:26 > 0:15:27For my barons...
0:15:27 > 0:15:32They all wore that sort of shape and that ornament...
0:15:32 > 0:15:37- Down the centre.- Yes. Yeah. Sort of Y-shape.
0:15:38 > 0:15:42My Lord, this is a stupendous honour, for which I may not be worthy.
0:15:45 > 0:15:47BARBARA GIGGLES
0:15:47 > 0:15:50Actually, it looks much better than I remember it.
0:15:52 > 0:15:56For Cilla, it sealed her love affair with Biba.
0:15:57 > 0:16:00Well, this is a Biba dress.
0:16:00 > 0:16:03Can you believe I wore this?
0:16:03 > 0:16:05And what size is it?
0:16:05 > 0:16:10Oh, size six! Oh! Gosh.
0:16:10 > 0:16:13I couldn't even get me leg in there now.
0:16:13 > 0:16:16And it's see-through, as well!
0:16:16 > 0:16:18What was I thinking of?!
0:16:26 > 0:16:30Could I get away with it today? No.
0:16:30 > 0:16:32No!
0:16:32 > 0:16:35I did wear knickers underneath.
0:16:35 > 0:16:37I mightn't have worn a bra.
0:16:37 > 0:16:38SHE CHUCKLES
0:16:40 > 0:16:45Onstage and off-stage, Biba and Cilla were a perfect match.
0:16:48 > 0:16:51And Biba adorned our pop darlings and models.
0:16:54 > 0:16:57But by bringing out new designs every week and selling them
0:16:57 > 0:17:02at affordable prices, this wasn't high fashion for the few,
0:17:02 > 0:17:05but high-street fashion for everyone.
0:17:05 > 0:17:08# Step inside, love
0:17:08 > 0:17:11# Step inside, love... #
0:17:11 > 0:17:14There was nowhere to shop for your own age group,
0:17:14 > 0:17:18and there was all this huge market that was coming in to London
0:17:18 > 0:17:25who had jobs and they had cash to buy clothes, and they had sort of...
0:17:25 > 0:17:28They were only sort of like £9 a week,
0:17:28 > 0:17:30and £3 went on the bedsit,
0:17:30 > 0:17:35£3 a week went on food, and £3 went on Biba.
0:17:36 > 0:17:40What Biba with tapping into was a demographic explosion -
0:17:40 > 0:17:44the female side of the post-war baby boom generation.
0:17:47 > 0:17:50There were half a million more young women in Britain than there
0:17:50 > 0:17:53had been in the '50s...
0:17:53 > 0:17:55..and most of them were in work
0:17:55 > 0:17:58and spending their wages on the high street.
0:18:01 > 0:18:05Biba's signature was cool, cute clothes for skinny girls,
0:18:05 > 0:18:09often in rich, autumnal colours and soft fabrics.
0:18:10 > 0:18:14And there were miniskirts. Lots of miniskirts.
0:18:26 > 0:18:31Jackie Jackson-Smith was one of those bitten by the Biba bug.
0:18:33 > 0:18:37She'd grown-up in Cambridge, and in 1966
0:18:37 > 0:18:41she made her first pilgrimage down to that mythic place.
0:18:43 > 0:18:47We went down by train to this fantastic boutique, which was
0:18:47 > 0:18:49dark when you went inside
0:18:49 > 0:18:54and just felt like a forbidden nightclub sort of atmosphere there.
0:18:54 > 0:18:56Wonderful.
0:18:56 > 0:19:01And for a girl like Jackie, what she found at Biba was a revelation.
0:19:02 > 0:19:05Until then, we made most of our clothes ourselves.
0:19:07 > 0:19:10My first date, I looked like a deckchair,
0:19:10 > 0:19:11and that was the way we were.
0:19:11 > 0:19:15And then, when we came on this sort of thing, suddenly you were actually
0:19:15 > 0:19:18able to have the most fantastic clothes that were affordable
0:19:18 > 0:19:21and yet were very in, very with-it.
0:19:22 > 0:19:24But of all the clothes she bought at Biba,
0:19:24 > 0:19:28one outfit holds a special place in her heart.
0:19:28 > 0:19:30This is typical Biba.
0:19:30 > 0:19:33Lovely, big, flowing sleeves.
0:19:35 > 0:19:37Bare midriff,
0:19:37 > 0:19:38fantastic trousers...
0:19:40 > 0:19:42..that kind of swirl out.
0:19:43 > 0:19:47This is what Jackie chose to be married in.
0:19:50 > 0:19:52It was not at all typical.
0:19:52 > 0:19:55I'm not sure who else would have got married in something like this.
0:19:55 > 0:19:58Certainly it shocked - once again, quite pleasingly, probably, for me -
0:19:58 > 0:20:01shocked the grandparents, who...
0:20:01 > 0:20:04Particularly my grandmother on my mother's side, I remember, said,
0:20:04 > 0:20:06it made me look like "one of those".
0:20:06 > 0:20:09I don't know what "one of those" was.
0:20:09 > 0:20:11SHE LAUGHS
0:20:11 > 0:20:15For Jackie, this outfit was her own personal statement
0:20:15 > 0:20:18of the freedoms afforded to her during the '60s.
0:20:20 > 0:20:22We were the baby boomers, weren't we?
0:20:22 > 0:20:26We were the ones that actually became teenagers
0:20:26 > 0:20:28and we didn't have to straightway be little adults.
0:20:28 > 0:20:31We could be ourselves, we could dress for ourselves.
0:20:31 > 0:20:34We could shock if we wanted to. We had independence.
0:20:34 > 0:20:35We have a little bit of money.
0:20:35 > 0:20:38You know, I suppose our parents couldn't do that -
0:20:38 > 0:20:42they were in the war, but my father was very happy to see us.
0:20:42 > 0:20:44You know, he said that's what he fought the war for,
0:20:44 > 0:20:47is that we should be able to have our freedom, wear short skirts,
0:20:47 > 0:20:52wear long hair, have the clothes like the Biba clothes that we wore.
0:20:52 > 0:20:59And he was proud to see us being such with-it, happy teenagers.
0:20:59 > 0:21:00He loved it.
0:21:04 > 0:21:08# Why don't you stop and look me over?
0:21:08 > 0:21:13# Am I the same girl you used to know...? #
0:21:13 > 0:21:18This moment stitched together for ever music and fashion,
0:21:18 > 0:21:23and the sheer joyful pleasure of going out shopping for something
0:21:23 > 0:21:25to wear to that party or that club.
0:21:27 > 0:21:32But in 1968, the innocent exuberance of the Biba years was
0:21:32 > 0:21:35disturbed by a voice
0:21:35 > 0:21:37from the dark side.
0:21:37 > 0:21:40I am the god of hellfire and I bring you...
0:21:40 > 0:21:43# Fire
0:21:43 > 0:21:45# I'll take you to burn... #
0:21:45 > 0:21:49That summer, the god of hellfire himself reached number one
0:21:49 > 0:21:50in the charts...
0:21:54 > 0:21:58..and was beamed into millions of homes across the land.
0:21:59 > 0:22:01Who is that?
0:22:03 > 0:22:05# You're gonna burn! #
0:22:05 > 0:22:08With his burning helmet and ghoulish face paint,
0:22:08 > 0:22:12this was about as far away from Cilla Black as you could get.
0:22:15 > 0:22:17Our appearance was quite shocking.
0:22:18 > 0:22:21I had quite a few people coming and saying,
0:22:21 > 0:22:24"My parents locked me in the bedroom after the first verse."
0:22:26 > 0:22:32This terrifying vision came from the crazy mind of one, Arthur Brown.
0:22:37 > 0:22:41These days, Arthur has swapped the gates of hell for a yurt
0:22:41 > 0:22:43somewhere in the Sussex countryside.
0:22:48 > 0:22:49Though many years have passed,
0:22:49 > 0:22:52he can still recall how his creation took shape.
0:22:55 > 0:22:59I was playing in a club in France.
0:22:59 > 0:23:05One morning, I came out of my rather seedy hotel and there was a trunk.
0:23:05 > 0:23:08There was a crown with candles in it,
0:23:08 > 0:23:13so I wore it down at the club and I realised that that was quite a...
0:23:13 > 0:23:15Oh, the audience really loved it.
0:23:15 > 0:23:18- # I put a spell on you...- #
0:23:18 > 0:23:22But the crown was just the beginning.
0:23:22 > 0:23:25He embellished his appearance, taking inspiration
0:23:25 > 0:23:27from African tribal masks
0:23:27 > 0:23:30and Native American headdresses.
0:23:35 > 0:23:38All this imagery came to bear on the god of hellfire.
0:23:42 > 0:23:47There was a spirit of that age which was...opening the mind,
0:23:47 > 0:23:50opening the consciousness to all kinds of ideas,
0:23:50 > 0:23:53all kinds of artistic expression,
0:23:53 > 0:23:57and there was a large number of people who were receptive to that.
0:24:00 > 0:24:06What Arthur had tapped into was the age of psychedelia.
0:24:06 > 0:24:10MUSIC: Set the Controls for the Heart of the Sun by The Pink Floyd.
0:24:10 > 0:24:12In its woozy wake,
0:24:12 > 0:24:17psych brought the experimental music of bands like Pink Floyd.
0:24:17 > 0:24:22But every bit as important as the sound was a stunning new aesthetic.
0:24:29 > 0:24:33Now, you see, these posters at the time were very daring.
0:24:33 > 0:24:37It said right away, this was totally different.
0:24:37 > 0:24:42This is a lot more open-minded. This is an alternative.
0:24:43 > 0:24:45Designed to entice like-minded spirits
0:24:45 > 0:24:49to partake of Arthur's music,
0:24:49 > 0:24:52these artworks were riddled with hidden imagery
0:24:52 > 0:24:54that suggested a loosening of morals.
0:24:56 > 0:24:59If you look at it carefully it's absolutely obscene because
0:24:59 > 0:25:02the butterfly isn't a butterfly.
0:25:02 > 0:25:05It's actually an ejaculating penis.
0:25:05 > 0:25:06HE LAUGHS
0:25:08 > 0:25:12Nigel Waymouth helped come up with these designs.
0:25:12 > 0:25:14It was great fun to do, I have to say.
0:25:14 > 0:25:16HE LAUGHS
0:25:16 > 0:25:18There we are.
0:25:22 > 0:25:25From a shop at the far end of the King's Road, Nigel helped
0:25:25 > 0:25:29conjure up the visual aesthetic of the '60s psychedelic scene.
0:25:30 > 0:25:33Today the shop deals in tasteful lighting.
0:25:34 > 0:25:36But in the late '60s it was the go-to venue
0:25:36 > 0:25:39if you were after a tripped out look.
0:25:39 > 0:25:43It was the legendary boutique Granny Takes A Trip.
0:25:47 > 0:25:51Those who entered found a young Nigel amid beautiful ornaments
0:25:51 > 0:25:54and drapery which recalled the decadence of the Victorian Age.
0:25:56 > 0:26:02The most iconic item, really, was this jacket.
0:26:03 > 0:26:06This is not conventional in the Savile Row sense.
0:26:06 > 0:26:10The collar has a slight 17th-century feel about it in a way.
0:26:10 > 0:26:12That tight fitting, high collar.
0:26:13 > 0:26:19It was based on the idea we had of using furnishing fabric.
0:26:20 > 0:26:23So it was fun. It was a lot of fun doing that.
0:26:25 > 0:26:28Stellar musicians like George Harrison floated down to
0:26:28 > 0:26:31Granny's for floral flamboyance.
0:26:34 > 0:26:37And even The Small Faces abandoned mod
0:26:37 > 0:26:39and embraced dandyish extravagance.
0:26:41 > 0:26:45The clothes very much lent themselves to showbiz and performers.
0:26:45 > 0:26:47Because they were ostentatious, they were flamboyant
0:26:47 > 0:26:51and they were new and they were a la mode, you know?
0:26:54 > 0:26:57But for many who bought into the Granny's look, it wasn't
0:26:57 > 0:26:58just about showing off.
0:27:01 > 0:27:04For them, these clothes held a deeper significance...
0:27:06 > 0:27:08..that only a few could ever understand.
0:27:10 > 0:27:17- Well, in this box is a jacket that I wore back in...- Probably '67.
0:27:17 > 0:27:21- It's a Granny Takes A Trip... - There it is.
0:27:22 > 0:27:25..jacket. And there is the Granny's label.
0:27:27 > 0:27:29Nigel Lesmoir-Gordon and his wife
0:27:29 > 0:27:31Jenny dared to wear Granny's clothes.
0:27:33 > 0:27:36We really dressed in quite an extraordinary way which
0:27:36 > 0:27:38really upset people.
0:27:38 > 0:27:41I mean, this jacket kind of expressed what one felt like inside
0:27:41 > 0:27:45and walking down Oxford Street wearing this created quite a stir.
0:27:52 > 0:27:55Nigel and Jenny saw themselves as different.
0:27:55 > 0:28:00Part of a curious generation seeking new ways to understand the world.
0:28:02 > 0:28:06And from a far-off land came their key to enlightenment.
0:28:08 > 0:28:12In 1965 LSD arrived in London.
0:28:12 > 0:28:17The LSD we had then came straight from the Sandoz Laboratory in
0:28:17 > 0:28:23Switzerland where Hofmann discovered it and thence to 101 Cromwell Road.
0:28:25 > 0:28:28MUSIC: Purple Haze by Dion
0:28:28 > 0:28:32At the time LSD had not yet been made illegal.
0:28:34 > 0:28:35And with access to such a new
0:28:35 > 0:28:41and highly prized drug, their home became a hang-out
0:28:41 > 0:28:44for the scenesters from music, fashion and the movies.
0:28:51 > 0:28:53Excuse me while I kiss the sky.
0:28:54 > 0:28:56# Purple haze
0:28:56 > 0:28:59# Running through my brain... #
0:28:59 > 0:29:03As an aspiring film maker, Nigel captured their adventures
0:29:03 > 0:29:04on his home movie camera.
0:29:06 > 0:29:08# I'm acting funny and find... #
0:29:10 > 0:29:13This extraordinary footage was filmed as they tripped out,
0:29:13 > 0:29:15becoming one with nature.
0:29:15 > 0:29:19# Excuse me while I kiss the sky
0:29:20 > 0:29:21# Purple haze... #
0:29:21 > 0:29:23Here's Jenny speaking to a tree.
0:29:29 > 0:29:33It opened a door to another world, really.
0:29:33 > 0:29:36There was much more to life than was apparent.
0:29:38 > 0:29:40And it was here,
0:29:40 > 0:29:45deep in the English countryside that their clothes came into their own.
0:29:49 > 0:29:52This fabric echoed back to us
0:29:52 > 0:29:56the kind of things that we were seeing on LSD.
0:29:56 > 0:29:58The patterns in nature.
0:29:59 > 0:30:04So to wear that reflected, in a way, our mental state.
0:30:09 > 0:30:13For Nigel and Jenny these clothes represented a time in their lives...
0:30:16 > 0:30:20..of youthful ideals, of curiosity.
0:30:20 > 0:30:24And for just a moment, the sense of deeper knowledge of themselves
0:30:24 > 0:30:26and the world around them.
0:30:29 > 0:30:36Suddenly the dream, the bubble burst and we entered the '70s.
0:30:42 > 0:30:46The psychedelic set awoke from their collective daydream to find
0:30:46 > 0:30:47that all was not well.
0:30:52 > 0:30:55Echoing through inner-city Britain were the incendiary
0:30:55 > 0:30:58words of Enoch Powell's Rivers of Blood speech.
0:30:59 > 0:31:02A provocative prediction of racial strife.
0:31:05 > 0:31:09But amidst the tension came one of those moments when music
0:31:09 > 0:31:11and fashion embrace...
0:31:11 > 0:31:16- NEWSREEL:- The date, Sunday evening. April 26th, 1970.
0:31:16 > 0:31:19..and chase away the clouds of doom.
0:31:19 > 0:31:21The place, Wembley, London.
0:31:21 > 0:31:25The event, the Reggae Festival.
0:31:25 > 0:31:27MUSIC: Israelites by Desmond Dekker
0:31:27 > 0:31:28# Get up in the morning
0:31:28 > 0:31:30# Slaving for bread, sir
0:31:30 > 0:31:33# So that every mouth can be fed
0:31:35 > 0:31:36# Poor me, the Israelite, ah. #
0:31:40 > 0:31:44The Reggae Festival of 1970 was an extraordinary
0:31:44 > 0:31:46spectacle of Jamaican music and culture.
0:31:46 > 0:31:49# The Israelites, ah. #
0:31:50 > 0:31:53And centre stage was Desmond Dekker.
0:31:55 > 0:32:00Oh, my God. It's my Desmond, all right.
0:32:00 > 0:32:02HE LAUGHS
0:32:03 > 0:32:06Thousands flocked to see Desmond steal the show with his
0:32:06 > 0:32:08number-one hit, Israelites.
0:32:10 > 0:32:15# The Israelites, he! #
0:32:15 > 0:32:19This was a Wembley show. Desmond ripped that place apart.
0:32:19 > 0:32:23Of all the people that was there, Desmond was the one that they
0:32:23 > 0:32:27came to see and when you start Israelites the place just erupts.
0:32:28 > 0:32:32He was the master. He was the king.
0:32:32 > 0:32:34I want to hear you.
0:32:34 > 0:32:37- # Everybody...!- #
0:32:37 > 0:32:41But what captivated the crowd was not just his striking performance
0:32:41 > 0:32:43but his sharp sense of style.
0:32:46 > 0:32:50This was a suited and booted Desmond.
0:32:50 > 0:32:52Is that a bow tie he's got there?
0:32:52 > 0:32:54HE LAUGHS
0:32:54 > 0:32:59Desmond had first announced his style on Top Of The Pops in 1967.
0:33:00 > 0:33:04That is his style. It's funny.
0:33:06 > 0:33:10And what made his look unique was his very short trousers.
0:33:12 > 0:33:17With the short-length trousers he was able to do the footwork
0:33:17 > 0:33:19just right.
0:33:19 > 0:33:23You could swiftly move your foot forward and backwards.
0:33:23 > 0:33:26My dad used to show me some of his moves.
0:33:26 > 0:33:32He said with that kind of trousers it was very easy to manoeuvre.
0:33:36 > 0:33:39Desmond's tight look was known as rude boy.
0:33:41 > 0:33:45Direct from the streets of Kingston, it struck a chord with
0:33:45 > 0:33:46British Jamaicans.
0:33:49 > 0:33:53These were the children of the first wave of Caribbean immigrants.
0:33:55 > 0:33:57And the rude boy look was a way for them
0:33:57 > 0:33:59to express their Jamaican heritage.
0:34:01 > 0:34:05But no-one could have guessed who else had their eye on this
0:34:05 > 0:34:06razor-sharp look.
0:34:08 > 0:34:11- How do you like it?- Number 2.
0:34:11 > 0:34:14- Cut a parting in as well, please. - Certainly.
0:34:21 > 0:34:24The skinheads were the latest tribe to emerge from the fertile
0:34:24 > 0:34:28sartorial breeding ground of working-class British youth.
0:34:31 > 0:34:35And this latest group fascinated the chattering classes.
0:34:37 > 0:34:39NEWSREEL: In accepting reggae,
0:34:39 > 0:34:41the skinheads have rejected their middle class
0:34:41 > 0:34:45with its existential, mystical, hippy-style music,
0:34:45 > 0:34:49which is unable to cater to the social needs of the skinheads.
0:34:49 > 0:34:53Through the medium of the reggae the black youth does this extremely well.
0:34:55 > 0:34:59Tony was one of the first skinheads to walk the streets of London.
0:35:02 > 0:35:04We thought Jamaicans were naturally cool.
0:35:04 > 0:35:08The way they walked, the way they moved, the way they danced
0:35:08 > 0:35:11and relaxed. The way they talked. We wanted a little bit of it.
0:35:12 > 0:35:15And the way they got it was through clothes.
0:35:19 > 0:35:23Tony and his mates were meticulous in their attempts to adapt
0:35:23 > 0:35:24the rude boy look.
0:35:27 > 0:35:31Not the blue. Nice lining on that one.
0:35:32 > 0:35:36And once they found it, they were willing to pay.
0:35:36 > 0:35:40All the money we had went on the fashion. And the music.
0:35:40 > 0:35:43The shoes were like £8 a pair which was more than a week's
0:35:43 > 0:35:46wages as an apprentice plumber in the '60s.
0:35:46 > 0:35:48So, yeah.
0:35:48 > 0:35:49It did cost a lot of money.
0:35:51 > 0:35:55There's one of me in black and white with my early girlfriend.
0:35:55 > 0:35:58There's me with a pair of tonic mohair trousers on.
0:35:58 > 0:36:012-3 inches off the shoe.
0:36:01 > 0:36:03I've got a checked shirt on.
0:36:03 > 0:36:04A tailored jacket.
0:36:04 > 0:36:07Hanky in the pocket, and again, you can see the parting in the hair.
0:36:10 > 0:36:13The essentials of skinhead style are enduring.
0:36:15 > 0:36:17Mohair tonic suits...
0:36:19 > 0:36:22..checked button-down shirts,
0:36:22 > 0:36:25rolled-up slim cut jeans,
0:36:25 > 0:36:28loafers, brogues and Doc Marten boots.
0:36:32 > 0:36:35Through their love of a sharp style, white skins
0:36:35 > 0:36:38and black rude boys had found common ground.
0:36:40 > 0:36:43And it wasn't long before this moment of cultural harmony
0:36:43 > 0:36:46was given a soundtrack all of its own.
0:36:49 > 0:36:54# We've got three million miles to reach the moon
0:36:54 > 0:36:57# Yeah, yeah, yeah, yeah, yeah... #
0:37:00 > 0:37:03Skinhead Moonstomp was a defining track of the era.
0:37:06 > 0:37:08You know, it was massive in the clubs.
0:37:08 > 0:37:14It had such a good sound to it and it was sort of an anthem, in a way.
0:37:14 > 0:37:17You know, it was something people could actually dance together to,
0:37:17 > 0:37:19get involved in.
0:37:19 > 0:37:24And to see like 300-plus skinheads all doing this stamping dance,
0:37:24 > 0:37:26it was very exciting for us.
0:37:27 > 0:37:31# Now, remember, I'm your boss skinhead speaking
0:37:31 > 0:37:33# My name is Caleb... #
0:37:35 > 0:37:39Moonstomp was a home-grown reggae hit written
0:37:39 > 0:37:41and produced exclusively for skinheads.
0:37:43 > 0:37:49It was a special skinhead dance. One jump and one nudge. Yeah.
0:37:49 > 0:37:51It was a nice little dance.
0:37:52 > 0:37:56# Yeah, yeah, yeah, yeah, yeah, ye-ah... #
0:37:57 > 0:38:00From the headquarters of his international business empire,
0:38:00 > 0:38:03Frank Pitter still remembers the glory days.
0:38:05 > 0:38:08# Ready? Yeah! Yeah, yeah, yeah, yeah, yeah... #
0:38:08 > 0:38:10As the drummer in the band Symarip,
0:38:10 > 0:38:14he helped put the stomp in moonstomping.
0:38:15 > 0:38:17Yeah, this is Skinhead Moonstomp.
0:38:17 > 0:38:23We're the skinhead boys on the front. And us on the back. You know.
0:38:23 > 0:38:25If you can look at the top here, that's me.
0:38:27 > 0:38:32I think we were the first band to record something targeting
0:38:32 > 0:38:35skinheads, something for them, you know.
0:38:35 > 0:38:38And we did a Skinhead Moonstomp, you know,
0:38:38 > 0:38:40and we put our thing into the national charts.
0:38:42 > 0:38:44This sold about four million copies.
0:38:48 > 0:38:52The music, fashion, they go together.
0:38:55 > 0:38:58You're doing the music, you haven't got the clothes to go with it.
0:38:58 > 0:39:00The fashion style. Yet, you know,
0:39:00 > 0:39:02it's half the job done. It's like the full job.
0:39:02 > 0:39:07So you've got to have the clothes with the music and then,
0:39:07 > 0:39:08you are fully there.
0:39:09 > 0:39:14# Skinhead girl was mine, skinhead girl... #
0:39:14 > 0:39:17This was a glorious moment in post-war Britain.
0:39:17 > 0:39:21Two cultures brought together through music and fashion.
0:39:23 > 0:39:24But it wasn't to last.
0:39:24 > 0:39:27Right! Skinheads stick together. Listen.
0:39:27 > 0:39:32We're all white, OK? So stop fighting and stick together.
0:39:32 > 0:39:33Across the '70s, many skinheads
0:39:33 > 0:39:36would be corrupted by far-right politics.
0:39:38 > 0:39:42Out went the moonstomp and in came the bovver boot.
0:39:45 > 0:39:51And these skinheads became like an army, marching on bigotry
0:39:51 > 0:39:53and violence.
0:39:58 > 0:40:02But at the tail end of the '70s, the rude boy look would make return.
0:40:04 > 0:40:07# Last night when I told you... #
0:40:07 > 0:40:11This is a check shirt, button down the back, little collar,
0:40:11 > 0:40:17and was bought for £5 in C&A, I think. When there was one!
0:40:19 > 0:40:23Pauline Black was the lead singer of the Selecter
0:40:23 > 0:40:27and at the forefront of the ska revival known as 2-Tone.
0:40:27 > 0:40:35Our whole ethos, I guess, was very dynamic, very anger-fuelled.
0:40:35 > 0:40:37There was a lot to be angry about.
0:40:37 > 0:40:41People were racist on the street and at shows sometimes
0:40:41 > 0:40:45and you'd got the National Front marching on the streets
0:40:45 > 0:40:48so obviously, if you were a young black woman at that time
0:40:48 > 0:40:50or a young black man, there was plenty to be angry about.
0:40:52 > 0:40:56For Pauline, here whole style was a frustrated, impassioned plea
0:40:56 > 0:41:00for a return to the cultural harmony that had been lost across the '70s.
0:41:05 > 0:41:09Obviously, black-and-white check is quite iconic and what
0:41:09 > 0:41:12we were trying to portray was that black and white people could be in
0:41:12 > 0:41:16the same band and really get along together and make music together.
0:41:17 > 0:41:21Certainly, I feel as though it's one of the more meaningful things
0:41:21 > 0:41:25in terms of an anti-racist stance.
0:41:25 > 0:41:27That was a very, very potent thing
0:41:27 > 0:41:30for young people to see at that time.
0:41:33 > 0:41:35But not everyone in Britain wanted their music
0:41:35 > 0:41:38and style to hang heavy with politics and protest.
0:41:40 > 0:41:43Welcome to the 499th Top Of The Pops.
0:41:43 > 0:41:48They wanted to belong to something devoted to no-nonsense good times.
0:41:48 > 0:41:50Right, getting us out of the way of the studio,
0:41:50 > 0:41:53we have Status Quo and Caroline.
0:41:56 > 0:41:59In 1973, Status Quo took to our screens
0:41:59 > 0:42:01with their first top-five hit.
0:42:03 > 0:42:09# If you want to turn me on to anything you really want to
0:42:09 > 0:42:15# Turn me on to your love, your love... #
0:42:15 > 0:42:18We all looked like criminals.
0:42:18 > 0:42:22# Any time is the right time Any time of yours is my time... #
0:42:22 > 0:42:24Parfitt's got a denim jacket on.
0:42:24 > 0:42:27I'll always remember that look, that all-denim look.
0:42:27 > 0:42:31Everybody was in denim.
0:42:31 > 0:42:34# You're my sweet Caroline... #
0:42:34 > 0:42:37Though such an effortless style statement,
0:42:37 > 0:42:40Quo's denim look would have a powerful impact.
0:42:40 > 0:42:45# Take my hand, together we can rock'n'roll. #
0:42:45 > 0:42:48It would help them amass an army of devoted fans
0:42:48 > 0:42:52and help establish denim as a uniform of our everyday lives.
0:42:57 > 0:43:00Today, the grand old men of boogie rock can be found
0:43:00 > 0:43:05preparing for yet another moneyspinning tour.
0:43:05 > 0:43:06Lovely job. Lovely.
0:43:06 > 0:43:08Though they've travelled a long road,
0:43:08 > 0:43:13the boys can still recall the days before denim.
0:43:13 > 0:43:16- Cor, look at that! Fucking hell!- Yeah!
0:43:16 > 0:43:20That was that period where we'd just got our foot in the door and we were
0:43:20 > 0:43:24groomed and told to look like this and all wear these frilly shirts.
0:43:29 > 0:43:33# Pictures of matchstick men... #
0:43:33 > 0:43:38Quo emerged in 1968, frolicking around as a psychedelic pop act.
0:43:40 > 0:43:45# All I ever see is them and you... #
0:43:45 > 0:43:47I don't think any of us liked it, did we?
0:43:47 > 0:43:49But just to have a hit and then when somebody gives you the call,
0:43:49 > 0:43:53"You're going on Top Of The Pops..." - "I'm going on Top Of The Pops?"
0:43:53 > 0:43:54I mean, it was amazing.
0:43:56 > 0:43:59But no sooner had they donned their flowery jackets
0:43:59 > 0:44:04and foppish hair, the sun set on psychedelia.
0:44:04 > 0:44:09They were one-hit wonders and soon forgotten.
0:44:09 > 0:44:11Can I swear on this?
0:44:11 > 0:44:13- We thought, "Fuck this!" - No, you fucking can't, can you?
0:44:13 > 0:44:16"Wearing these frilly shirts." And we didn't like it.
0:44:16 > 0:44:20We didn't like it at all, so we completely changed our image.
0:44:20 > 0:44:21THEY PLAY BOOGIE
0:44:31 > 0:44:35The band looked deep within themselves and discovered they
0:44:35 > 0:44:38were just normal blokes
0:44:38 > 0:44:41who liked cars, motorbikes,
0:44:41 > 0:44:43and a beer or two.
0:44:45 > 0:44:50And living as they did on the long tail of the rock'n'roll rebellion,
0:44:50 > 0:44:53in came long hair and denim,
0:44:53 > 0:44:56T-shirts and denim
0:44:56 > 0:44:58and denim shirts and more denim.
0:45:01 > 0:45:03To get into the jeans, you know,
0:45:03 > 0:45:06and get out of those bell-bottoms and wear a denim jacket -
0:45:06 > 0:45:10it looked hard and it fitted with everything that we wanted to be.
0:45:12 > 0:45:15With their new image, Quo began to gain a small
0:45:15 > 0:45:18but dedicated following.
0:45:20 > 0:45:24Despite the best efforts of psychedelia,
0:45:24 > 0:45:29the '70s was a time when men were still men.
0:45:29 > 0:45:33Over 30% of our workforce still worked in manufacturing.
0:45:36 > 0:45:38# I didn't want any ties... #
0:45:38 > 0:45:42They took one look at Quo and thought, "That's the band for me."
0:45:44 > 0:45:48# Well, everybody has to sometimes break the rules... #
0:45:48 > 0:45:52The whole thing about Quo was the link with the audience.
0:45:52 > 0:45:55It became that the audiences were looking the same as the band,
0:45:55 > 0:45:58the band the same as the audience, which was great.
0:45:58 > 0:46:00They always treated the audience
0:46:00 > 0:46:02as if they were just one of them, you know.
0:46:04 > 0:46:08For one young man in '70s Britain, Quo were more than just a band.
0:46:10 > 0:46:12They were a salvation.
0:46:23 > 0:46:26Alan Walsh grew up on this council estate in Halifax.
0:46:29 > 0:46:32I've got some good memories here.
0:46:32 > 0:46:36And it shaped...it shaped who I was, really.
0:46:36 > 0:46:41# I ain't going to work I ain't going to work no more... #
0:46:41 > 0:46:43In some of the Yorkshire textile towns,
0:46:43 > 0:46:45unemployment had risen, especially
0:46:45 > 0:46:48in Halifax, as high as 180%.
0:46:48 > 0:46:51Back in the 1970s, Halifax was a tough place to live.
0:46:52 > 0:46:56Built on cotton and beer, its industries were on the wane.
0:46:58 > 0:47:02Safe to say, this wasn't a place for sartorial showiness.
0:47:03 > 0:47:07Unfortunately for Alan, he loved Marc Bolan.
0:47:09 > 0:47:15# Waaaah! Yeah, yeah...! #
0:47:15 > 0:47:18I got into quite a few altercations around this area.
0:47:18 > 0:47:20# Metal Guru... #
0:47:20 > 0:47:22I used to have an Afghan coat
0:47:22 > 0:47:24and I used to wear, um,
0:47:24 > 0:47:27you know the desert, suede desert boots, Jesus sandals?
0:47:27 > 0:47:29That weren't a good idea, either.
0:47:35 > 0:47:40But in 1976, the boys in blue came to Alan's rescue.
0:47:40 > 0:47:42I got Blue For You, actually
0:47:42 > 0:47:45and I used to go to Manchester United all the time on the coach.
0:47:45 > 0:47:48I remember passing the album around, going to this football match
0:47:48 > 0:47:51and everybody was opening the sleeve and looking at it and...
0:47:53 > 0:47:54And it was kind of acceptable.
0:47:54 > 0:47:57I felt like...
0:47:57 > 0:47:58part of something.
0:48:02 > 0:48:04I'll show you a photograph of that time.
0:48:04 > 0:48:10I'm wearing a denim jacket there but it's like a suit jacket
0:48:10 > 0:48:13and I've got a cheesecloth shirt on with the Quo shirt
0:48:13 > 0:48:17and that's how I would go out into town in Halifax.
0:48:17 > 0:48:20You felt hard-edged and you felt, yeah,
0:48:20 > 0:48:23get your head down, you know, it's Quo.
0:48:23 > 0:48:24# Here we go
0:48:24 > 0:48:27# Rockin' all over the world... #
0:48:28 > 0:48:34Once an outsider in a tough area, Alan had found belonging.
0:48:34 > 0:48:36And he did it by finding Quo
0:48:36 > 0:48:39and enlisting in the ranks of their denim army.
0:48:41 > 0:48:44You had to be wise to this area.
0:48:44 > 0:48:47It made you mentally and emotionally tougher
0:48:47 > 0:48:49because if you weren't emotionally tough
0:48:49 > 0:48:53and you weren't mentally strong around here, you would just get...
0:48:53 > 0:48:57..buried underneath all the rubbish.
0:48:58 > 0:49:00With their undeniable bloke appeal,
0:49:00 > 0:49:05Quo soon found themselves poster boys for a legendary fashion house.
0:49:09 > 0:49:14There were 6,000 Levi's outlets in the UK and this poster was
0:49:14 > 0:49:20the one that was in all the shops and there we go, look at that.
0:49:20 > 0:49:23God, look at them.
0:49:23 > 0:49:25You'd hardly call that male model stuff, would you?
0:49:27 > 0:49:31Quo's chart-topping popularity was perfect for Levi's
0:49:31 > 0:49:35as they fought for denim supremacy against Lee and Wrangler.
0:49:36 > 0:49:41But the deal was less obviously lucrative for the boys in the band.
0:49:43 > 0:49:46- We got a roll of denim.- Each.
0:49:46 > 0:49:47I think at the end of the day,
0:49:47 > 0:49:51we'd have probably preferred a couple of million quid for doing it,
0:49:51 > 0:49:54but you know, that's the way it was at the time.
0:49:56 > 0:50:00Quo style was resolutely down-to-earth
0:50:00 > 0:50:04but it created an other-worldly counter-reaction.
0:50:09 > 0:50:13MUSIC: Ladytron by Roxy Music
0:50:21 > 0:50:25It was 1972 when something odd
0:50:25 > 0:50:30landed on the stage of the BBC's Old Grey Whistle Test.
0:50:34 > 0:50:36# You've got me, girl, on the run around, run around
0:50:36 > 0:50:39# Got me all around town
0:50:39 > 0:50:42# You've got me, girl, on the run around
0:50:42 > 0:50:47# And it's getting me down, getting me down... #
0:50:50 > 0:50:52We were reacting against a drab society.
0:50:53 > 0:50:57In rock'n'roll, people wore jeans and played the blues.
0:50:57 > 0:50:59And so, if we can, let's liven this up.
0:51:07 > 0:51:09I remember it vividly.
0:51:09 > 0:51:12It was like a band that had fallen from another planet
0:51:12 > 0:51:15and just landed on the stage.
0:51:23 > 0:51:25It was very scratchy, that green outfit.
0:51:25 > 0:51:29It didn't have any lining, it was very strange to wear.
0:51:34 > 0:51:38Roxy Music were an alluring synthesis of futuristic music
0:51:38 > 0:51:41and sophisticated visual impact.
0:51:44 > 0:51:49Bryan Ferry's creation were more than just another band.
0:51:49 > 0:51:53They were a blend of '60s pop art and '70s pop music.
0:51:53 > 0:51:56MUSIC: All I Want Is You by Roxy Music
0:51:56 > 0:51:58Now, this is an outfit that was made for me.
0:51:58 > 0:52:02This is a Jim O'Connor and Pamla Motown suit.
0:52:02 > 0:52:04They were very much pop art designers.
0:52:06 > 0:52:09They were very influenced by the Bay City Rollers, strangely,
0:52:09 > 0:52:12because the Bay City Rollers were never ever cool.
0:52:14 > 0:52:17This strange little...
0:52:17 > 0:52:20I don't know what you would call it, it must be a lady's cocktail
0:52:20 > 0:52:22thing made out of feathers, it's what Eno wore.
0:52:24 > 0:52:26It's probably going to fall to bits
0:52:26 > 0:52:28later this afternoon by the look of it.
0:52:30 > 0:52:32Our look was very eclectic.
0:52:32 > 0:52:34You know, you'd have a bit of Art Deco here
0:52:34 > 0:52:40and a little bit of '50s retro there and, musically, I think
0:52:40 > 0:52:43we did the same thing so, yeah, I guess that the look
0:52:43 > 0:52:46and the music at that time did have some link.
0:52:48 > 0:52:52To create their special collision of sound and vision,
0:52:52 > 0:52:55Roxy Music went further than any band before.
0:52:57 > 0:53:01They brought a designer into the fold and asked him to create
0:53:01 > 0:53:05a look that would add vivacious glamour to their songwriting.
0:53:05 > 0:53:10They wanted to make sure that it looked as good as it sounded
0:53:10 > 0:53:13so that's when they thought, "We need someone here to help."
0:53:16 > 0:53:19I remember the night when the headphones were clamped on my head.
0:53:19 > 0:53:20"What do you think?" I thought,
0:53:20 > 0:53:23"Well, this is really quite unusual." And he said,
0:53:23 > 0:53:28"Do you want to work with me?" And I said, "Well, of course."
0:53:28 > 0:53:31MUSIC: Prairie Rose by Roxy Music
0:53:31 > 0:53:33Roxy turned to Antony Price,
0:53:33 > 0:53:37a rising star of the British fashion scene, who had made his name
0:53:37 > 0:53:41designing clothes for cult London label Stirling Cooper.
0:53:44 > 0:53:45They knew what they wanted.
0:53:45 > 0:53:48You didn't just stand there and shove something on them,
0:53:48 > 0:53:51you know, they would have a very strong idea.
0:53:51 > 0:53:53Everything they had done to get them
0:53:53 > 0:53:55where they were was their own decisions.
0:53:56 > 0:54:02I would suggest things, draw things, and we would find a compromise.
0:54:02 > 0:54:05# You're tantalising me... #
0:54:05 > 0:54:09From this creative collaboration came some stunning pieces
0:54:09 > 0:54:12displayed to millions on Top Of The Pops.
0:54:12 > 0:54:16# Make me a deal and make it straight... #
0:54:16 > 0:54:21This is an ancient piece from about 1972.
0:54:21 > 0:54:24It was modelled, basically, on a rocker jacket.
0:54:26 > 0:54:29You've got this '70s thing of the huge collar that
0:54:29 > 0:54:32looks like a pigeon has landed on you.
0:54:32 > 0:54:37It's laughable now but, at the time, it was right.
0:54:38 > 0:54:42The thing about these garments is it's who wore it and when.
0:54:43 > 0:54:49It was a moment in history and this was in it so, for that reason,
0:54:49 > 0:54:52it stands out.
0:54:55 > 0:55:02# I never thought I'd see you again... #
0:55:02 > 0:55:06I think the word is "layering".
0:55:06 > 0:55:10They...they layered their music, they layered their clothes,
0:55:10 > 0:55:14the image was total layering.
0:55:17 > 0:55:21Steve Harrington is a hairdresser who has a deep affinity with
0:55:21 > 0:55:22Roxy Music.
0:55:22 > 0:55:26It's the same with hair - if you layer properly, it's perfect.
0:55:26 > 0:55:31It's all to do with textures and the way something is put across
0:55:31 > 0:55:34and no-one put anything across like that.
0:55:34 > 0:55:37MUSIC: Editions Of You by Roxy Music
0:55:37 > 0:55:41Steve saw Roxy on The Old Grey Whistle Test in 1972
0:55:41 > 0:55:44and was instantly compelled to get the look.
0:55:46 > 0:55:50# Well, I'm here looking through an old picture frame
0:55:50 > 0:55:53# Just waiting for the perfect view... #
0:55:53 > 0:55:55When I first started wearing the Roxy look,
0:55:55 > 0:55:59I was at the comprehensive school.
0:55:59 > 0:56:03I looked a bit Ferry, I looked a bit Andy Mackay.
0:56:03 > 0:56:06The Roxy sort of shirt with the Roxy Music badge,
0:56:06 > 0:56:14playing the saxophone, and I thought, "I want to be this."
0:56:14 > 0:56:18MUSIC: Beauty Queen by Roxy Music
0:56:18 > 0:56:21There weren't an awful lot of people dressing the way I dressed
0:56:21 > 0:56:25but I wasn't going to let that put me off.
0:56:25 > 0:56:28# Ooh, the way you look
0:56:30 > 0:56:35# Makes my starry eyes shiver... #
0:56:35 > 0:56:40Though Steve's Roxy look was a way of standing out from the crowd,
0:56:40 > 0:56:44it would in fact have a much more profound influence on his life.
0:56:49 > 0:56:51This is the house I was born in.
0:56:51 > 0:56:55It's a picture of my mother standing at the front door.
0:56:55 > 0:56:58Next to the picture was actually a public house called
0:56:58 > 0:56:59The Coalminer's Arms.
0:57:00 > 0:57:05Steve grew up in the very heart of the Derbyshire coal fields
0:57:05 > 0:57:09and was destined to follow his father down the mines.
0:57:09 > 0:57:12# A fast mover like you
0:57:12 > 0:57:16# And your dreams will all come true... #
0:57:18 > 0:57:22But when the vision of Roxy Music was beamed into the family home,
0:57:22 > 0:57:26Steve realised that his life could be very different.
0:57:27 > 0:57:30When I first saw Roxy Music on-screen,
0:57:30 > 0:57:36I looked and I thought, "I can do something. I'm not stuck.
0:57:36 > 0:57:41"I can sort of climb out of this." It gave me hope.
0:57:48 > 0:57:51I'm proud of what influenced me.
0:57:51 > 0:57:58Who else had got the panache, the style to do what Roxy Music did?
0:57:58 > 0:58:03Find me someone. Find me someone from then, find me someone from now.
0:58:03 > 0:58:05You'll struggle.
0:58:08 > 0:58:12In just a few years, the intoxicating mix of great tunes
0:58:12 > 0:58:17and brilliant style had changed us fundamentally.
0:58:17 > 0:58:22We became a nation of music lovers, voracious shoppers and show-offs.
0:58:22 > 0:58:25# How does it feel?
0:58:25 > 0:58:30# Running around, round, round... #
0:58:30 > 0:58:34Britain had found a new cultural self-confidence.
0:58:34 > 0:58:39This was the place where the magic of music and fashion happened.
0:58:42 > 0:58:48Next time, British fashion designers unite with musicians to create
0:58:48 > 0:58:56wild, larger-than-life characters that mesmerise and shock the nation.
0:58:56 > 0:59:00MUSIC: How Does It Feel by Slade