0:00:02 > 0:00:04This programme contains some strong language
0:00:06 > 0:00:08It may seem excessive
0:00:08 > 0:00:12but once I get on stage it will all make sense.
0:00:13 > 0:00:17You see, this routine you have to do it every single time.
0:00:17 > 0:00:18Come rain or shine.
0:00:18 > 0:00:21# Now I'm here... #
0:00:21 > 0:00:25Luke Spiller is lead singer of The Struts.
0:00:26 > 0:00:30He is about to show off a new stage look to the crowds
0:00:30 > 0:00:32at the Isle Of Wight Festival.
0:00:32 > 0:00:33Sweet.
0:00:35 > 0:00:37We make music which is designed for big crowds,
0:00:37 > 0:00:41with people ready to have a good time.
0:00:41 > 0:00:43Life is a pantomime, why not dress for the occasion?
0:00:45 > 0:00:48# Yes, you made me live again... #
0:00:48 > 0:00:52It's a look deeply influenced by a spectacular moment in British
0:00:52 > 0:00:58music and British style, the heyday of the dramatic rock gods, Queen.
0:01:01 > 0:01:04It was larger than life. It's theatre, as well.
0:01:04 > 0:01:08Killer music, great frontman, even better outfits,
0:01:11 > 0:01:15Queen were in the vanguard in an age when our rock and pop stars
0:01:15 > 0:01:19were an other-worldly pageant of outrageous outfits.
0:01:21 > 0:01:25This is a later creation. Getting a bit more fancy in a way,
0:01:25 > 0:01:26a bit more frilly.
0:01:28 > 0:01:32The 1970s was the age of artistic collaboration between great
0:01:32 > 0:01:34musicians and brilliant designers.
0:01:36 > 0:01:39I think anyone going out on the stage wants to really
0:01:39 > 0:01:44project their own magical, original image.
0:01:46 > 0:01:50The stage costumes they created could be inspired by mythology.
0:01:52 > 0:01:54The Arthur Cape was velvet.
0:01:54 > 0:01:58And it had a huge embossed sword on the back,
0:01:58 > 0:01:59which was absolutely beautiful.
0:02:01 > 0:02:03And they could inspire fantasy.
0:02:03 > 0:02:04Of course you're naked under leather,
0:02:04 > 0:02:07there's no room for anything, you just wear like a little
0:02:07 > 0:02:09G-string, that's all you have the room for.
0:02:09 > 0:02:12They could also be acts of provocation.
0:02:12 > 0:02:15I mean, Malcolm always quipped that
0:02:15 > 0:02:17he'd formed a band to sell trousers
0:02:17 > 0:02:20and unless in a band that have the right trousers on it doesn't work.
0:02:20 > 0:02:23This zip goes right round the back up the arse.
0:02:23 > 0:02:25I don't know, I really don't know!
0:02:29 > 0:02:32The sheer theatricality of this collision of music
0:02:32 > 0:02:37and style would help us to express just what we wanted to say
0:02:37 > 0:02:40and just who we wanted be.
0:02:42 > 0:02:46# The light pours out of me... #
0:03:06 > 0:03:08MUSIC: I'm Free by The Who
0:03:10 > 0:03:14By the early '70s, British music stars were tearing open
0:03:14 > 0:03:17the dressing-up box and going a bit wild.
0:03:20 > 0:03:23Top Of The Pops was full of blokes
0:03:23 > 0:03:25wearing more make up than your mum.
0:03:26 > 0:03:29And then there was Bowie,
0:03:29 > 0:03:31the prettiest thing of all -
0:03:31 > 0:03:35a shining pioneer in a decade of anything-goes liberation.
0:03:35 > 0:03:37# I'm free... #
0:03:37 > 0:03:41He turned the everyday rock star into fantastical characters,
0:03:41 > 0:03:44androgynous aliens in cross-dressed finery.
0:03:47 > 0:03:52# And freedom tastes of reality... #
0:03:52 > 0:03:54ARCHIVE: He'd be the first superstar of pop
0:03:54 > 0:03:56to wear shorty dresses on stage.
0:03:58 > 0:04:00But if the boys could dress up like the girls,
0:04:00 > 0:04:04maybe the girls could dress up like boys.
0:04:06 > 0:04:08# Well, you call your mamma Tiger
0:04:08 > 0:04:10# And we all know you ain't lying
0:04:14 > 0:04:15# And your boyfriend's name is Eagle
0:04:15 > 0:04:18# And he lives up in the sky - high high
0:04:21 > 0:04:24# Watch out the tiger don't go claw the eagle's eye
0:04:24 > 0:04:28# But let the eagle take the tiger by surprise
0:04:28 > 0:04:31# Scratch out her eyes
0:04:31 > 0:04:34# So make a stand for your man, honey
0:04:34 > 0:04:36# Try to can the can
0:04:38 > 0:04:40# Put your man in the can... #
0:04:40 > 0:04:41That's memories.
0:04:41 > 0:04:43# ..Get 'em while you can
0:04:46 > 0:04:47# Can the can... #
0:04:49 > 0:04:52I do like the leather jumpsuit, catsuit.
0:04:52 > 0:04:55It's foot-stomping, biker-gang,
0:04:55 > 0:04:59you know, she's like one of the boys.
0:04:59 > 0:05:01# So make a stand for your man, honey
0:05:01 > 0:05:03# Try to can the can... #
0:05:03 > 0:05:05Remember the platform boots.
0:05:05 > 0:05:07That was my concession to glam rock
0:05:07 > 0:05:09and that was the only concession to glam rock.
0:05:09 > 0:05:12# Catch him while you can... #
0:05:12 > 0:05:16Christmas Day 1973, and viewers of the Top Of The Pops special
0:05:16 > 0:05:21were shaken out of their mince pie stupor by a stomping Suzi Quatro.
0:05:24 > 0:05:25# Well can the can... #
0:05:25 > 0:05:31It was an unlikely, but monumental, moment for women's sound and style.
0:05:32 > 0:05:36My look was surprising because it was, er, female, you know,
0:05:36 > 0:05:38a rock'n'roll female, this just wasn't done, I mean,
0:05:38 > 0:05:40look at that, you know, that shocked people,
0:05:40 > 0:05:43with the bass and the guys and the rock'n'roll.
0:05:45 > 0:05:50Suzi's tough girl style heralded something we now call "rock chick".
0:05:52 > 0:05:55The stuff of life as a rock'n'roll mould-breaker is now
0:05:55 > 0:05:59stored in a tiny room at the top of her house.
0:05:59 > 0:06:04This is... It's funny, it's my ego room, it's everything I've
0:06:04 > 0:06:07ever done, and you kind of get lost up here.
0:06:07 > 0:06:13When I first arrived, that's how I looked. Oh, my God, look at that.
0:06:13 > 0:06:17# A one, a two, a one, two three... #
0:06:17 > 0:06:20Suzi brought her rootsy edge with her
0:06:20 > 0:06:26when she came to Britain on her own in 1971 to make her name in music.
0:06:26 > 0:06:29She had in hand a contract with Mickie Most
0:06:29 > 0:06:31renowned star maker and producer.
0:06:33 > 0:06:35It was in Britain that Suzi would
0:06:35 > 0:06:40combine her boogie-based rock'n'roll with her full-on leather look.
0:06:42 > 0:06:45I played this for years and years, I mean, you can hardly lift it.
0:06:45 > 0:06:49It's a professional Les Paul recording bass.
0:06:49 > 0:06:51Anyway, here's my clothes.
0:06:51 > 0:06:54Let's see, first of all the original, which is here.
0:06:55 > 0:06:59That's an old, one of the old suits. I like that detail,
0:06:59 > 0:07:00the zips are good.
0:07:00 > 0:07:05I was a big, big Elvis Presley fan from the age of six, seriously.
0:07:05 > 0:07:06# Everybody let's rock
0:07:08 > 0:07:10# Everybody in the whole cell block.. #
0:07:10 > 0:07:13Then in '68, I saw his come-back special.
0:07:13 > 0:07:15He had leather on.
0:07:16 > 0:07:20And I thought, "Ah, bang, bang, bang, that's what I want to wear."
0:07:20 > 0:07:23That 1968 American TV show
0:07:23 > 0:07:26had brought a raunchy, leather-clad Elvis
0:07:26 > 0:07:29back from the rock'n'roll wilderness.
0:07:29 > 0:07:31And then when Can The Can was ready to come out,
0:07:31 > 0:07:33I had the big meeting with Mickie Most
0:07:33 > 0:07:35and he asked me what I wanted to wear and I said,
0:07:35 > 0:07:38"I'm wearing leather," and he was against it
0:07:38 > 0:07:39and I just wouldn't give in.
0:07:39 > 0:07:43I said, "I'm wearing leather." And then he said, "OK, OK, OK,
0:07:43 > 0:07:45"what about a jump suit?"
0:07:45 > 0:07:48And he came up with the idea of the jump suit but the leather is mine.
0:07:50 > 0:07:54Suzi's leather look was a tribute to her American rock'n'roll roots
0:07:54 > 0:07:59but Mickie Most might have been inspired by '60s It girl
0:07:59 > 0:08:01Marianne Faithful, sleek in leather
0:08:01 > 0:08:04in the cult movie Girl On A Motorcycle.
0:08:06 > 0:08:11But Suzi didn't just go to a greasy biker shop for one of her jumpsuits.
0:08:11 > 0:08:14They were made by a true master of leather.
0:08:16 > 0:08:20Far from the infectious stomp of Can The Can, in a bucolic chateau
0:08:20 > 0:08:24in Normandy, Brenda Knight carries on the work of her husband
0:08:24 > 0:08:29and business partner, the man who crafted Suzi's look - Nigel Preston.
0:08:31 > 0:08:36This is very, very similar to Suzi Quatro's leather jumpsuits.
0:08:36 > 0:08:42It's a skinny, dark brown gloving leather, um, kind of biker
0:08:42 > 0:08:46and fabulous pants, really, really great.
0:08:46 > 0:08:49I think it was a marvellous combination.
0:08:49 > 0:08:52Suzi and Nigel worked really well together
0:08:52 > 0:08:56because her music is very raunchy, very strong.
0:08:56 > 0:08:58MUSIC: 48 Crash by Suzi Quatro
0:09:00 > 0:09:05Nigel manipulated leather, making it a lavish, luxuriant material.
0:09:07 > 0:09:12The way that we stand out as designers is by using
0:09:12 > 0:09:14the very softest gloving leather,
0:09:14 > 0:09:18meaning it moulds and moves to the body.
0:09:18 > 0:09:20People go, "Ah, is it leather?
0:09:20 > 0:09:21"It feels like silk."
0:09:21 > 0:09:25# Well, you got the hands of a man
0:09:25 > 0:09:29# And the face of a little boy blue, ooh
0:09:30 > 0:09:32# And when you stand, you're so grand
0:09:32 > 0:09:35# There's a case just for looking at you... #
0:09:35 > 0:09:37She loves to move on the stage
0:09:37 > 0:09:42and these clothes were very strong, very sexy, very overt, and they
0:09:42 > 0:09:48clung to her body as she moved, so it probably felt and looked amazing.
0:09:48 > 0:09:52I thought the jumpsuit was great, cos you could just leap all over
0:09:52 > 0:09:57the stage, which is what I do, and everything stays in one place.
0:09:57 > 0:10:01Suzi was, literally, completely comfortable in her look.
0:10:01 > 0:10:02She owned it.
0:10:02 > 0:10:08# You got the kind of a mind of a juvenile Romeo, oh... #
0:10:09 > 0:10:13'When I zip up the suit, that's me.
0:10:13 > 0:10:16'I become her, I mean, like I say, I have an ego room,'
0:10:16 > 0:10:19you know, because I like to go out and shut the door.
0:10:19 > 0:10:21It's the same kind of thing, you zip up the suit,
0:10:21 > 0:10:24you start to change into the public side of me, which is Suzi Quatro.
0:10:24 > 0:10:25# You're so young
0:10:25 > 0:10:28# But like a teenage tearaway
0:10:28 > 0:10:30# Soon you'll be torn... #
0:10:30 > 0:10:34The leather jumpsuit was the garb of a stage persona, Suzi Quatro,
0:10:34 > 0:10:37electrifying rock'n'roll heroine.
0:10:37 > 0:10:40For her, the whole look was empowering.
0:10:40 > 0:10:44But, as she discovered, it was also the provocative stuff of fantasy.
0:10:46 > 0:10:49This picture here, I actually nearly didn't go on stage
0:10:49 > 0:10:53that night because it's an artistic drawing of me with big boobs and
0:10:53 > 0:10:57I got very, very upset and I went to the promoter and I said,
0:10:57 > 0:10:59"How dare you do that, I'm not going on stage."
0:10:59 > 0:11:01And when I walked out I'm sure
0:11:01 > 0:11:06I heard the audience go, "Oh," because it's like, I'm not like that.
0:11:06 > 0:11:07Anyway...
0:11:08 > 0:11:11Suzi was treading the fine line encountered by many women
0:11:11 > 0:11:17on stage and in life - am I dressing for me or for them?
0:11:17 > 0:11:19Girls, will you please turn...
0:11:20 > 0:11:22And lovely, there you are, all round.
0:11:22 > 0:11:24And we must preserve...
0:11:24 > 0:11:26RATTLING
0:11:26 > 0:11:29The proceedings have been temporarily suspended.
0:11:29 > 0:11:34In 1970, the many millions watching Bob Hope's classy
0:11:34 > 0:11:38presentation of Miss World had their enjoyment disrupted
0:11:38 > 0:11:40by flour chucking protestors.
0:11:40 > 0:11:42Their message?
0:11:42 > 0:11:44Women aren't sex objects.
0:11:44 > 0:11:48And although Suzi Quatro was a pin up in a leather catsuit,
0:11:48 > 0:11:52she still believes she was making a fundamentally feminist statement.
0:11:52 > 0:11:57I gave women a place in rock'n'roll, an acceptable place in rock'n'roll.
0:11:57 > 0:12:01All my life I wanted to be somebody and here I am!
0:12:01 > 0:12:03MUSIC: The Wild One by Suzi Quatro
0:12:03 > 0:12:07I know what I've got, and there ain't nobody going to take it away from me.
0:12:07 > 0:12:10So let me tell you what I am!
0:12:10 > 0:12:12# I'm a red-hot fox, I can take the knocks
0:12:12 > 0:12:16# I'm a hammer from hell, honey, can't you tell
0:12:16 > 0:12:18# I'm the wild one... #
0:12:18 > 0:12:20'It gave women real balls.'
0:12:20 > 0:12:24That's what it was all about, you know - stand up there and be counted.
0:12:24 > 0:12:27That, that was my message. It's still the same message now.
0:12:27 > 0:12:30# You can't hold me down, I'm the wild one
0:12:30 > 0:12:33# Yes, I'm the wild one
0:12:33 > 0:12:36# Well, it ain't no use
0:12:36 > 0:12:38# Turn me loose
0:12:38 > 0:12:42# More, more, I can't keep score. #
0:12:44 > 0:12:47But it was in an altogether more innocent setting
0:12:47 > 0:12:51that a leather-clad Suzi strode into the life of one young woman.
0:12:51 > 0:12:55In the mid-'70s there was a programme called Happy Days
0:12:55 > 0:12:57and my favourite was the Fonz
0:12:57 > 0:12:58and I absolutely loved it
0:12:58 > 0:13:01and then this girl came on all dressed in leather,
0:13:01 > 0:13:03and it was Suzi Quatro.
0:13:05 > 0:13:07Hubba-hubba-hubba!
0:13:08 > 0:13:12Happy Days was every British kid's window on a romantic
0:13:12 > 0:13:14vision of American teenage life.
0:13:14 > 0:13:16He's so glad to see me.
0:13:16 > 0:13:21And biker-jacketed Suzi appeared as the aptly named Leather Truscadero.
0:13:22 > 0:13:26- What's this music con you're into? - It ain't no con.
0:13:26 > 0:13:30When I first discovered Suzi Quatro, I started growing my hair long.
0:13:30 > 0:13:34I have what I call the Suzi Quatro shake
0:13:34 > 0:13:38and I literally just wash it, shake it and it's more or less done,
0:13:38 > 0:13:40there's no fussing.
0:13:40 > 0:13:45The feeling of empowerment
0:13:45 > 0:13:50when you didn't have to wear thick make-up, long eyelashes,
0:13:50 > 0:13:54short miniskirts, you could wear
0:13:54 > 0:13:59something comfortable and still look good in it, and it was so wonderful.
0:14:00 > 0:14:03Rocker girls, by dressing the same as the men,
0:14:03 > 0:14:05continue the struggle for equality that the middle-aged
0:14:05 > 0:14:08and middle class have apparently given up.
0:14:08 > 0:14:11MUSIC: Motorbikin' by Chris Spedding
0:14:12 > 0:14:15But it was all very well wanting to look like Suzi Q -
0:14:15 > 0:14:18affording it was another matter.
0:14:18 > 0:14:20# Moving on the Queen's highway
0:14:20 > 0:14:22# Looking like a streak of lightning... #
0:14:22 > 0:14:26My first pair of leathers I found in C&A's
0:14:26 > 0:14:29but they weren't real leathers, they were satin, black satin.
0:14:29 > 0:14:33Real leather is a very expensive thing to buy.
0:14:33 > 0:14:36I think it's because of what it is,
0:14:36 > 0:14:39it's very hard to find in ordinary places.
0:14:40 > 0:14:44# It takes your breath away, but I like it... #
0:14:44 > 0:14:46Frances eventually got the leather look.
0:14:48 > 0:14:50And that rock chick style
0:14:50 > 0:14:52has entered the bloodstream of women's fashion.
0:14:56 > 0:15:00MUSIC: Satellite by The Kills
0:15:00 > 0:15:03# Lost her behind the station
0:15:03 > 0:15:05# Lost her behind the moon
0:15:06 > 0:15:10# Operator, operator, dial her back
0:15:10 > 0:15:11# Operator, put me through... #
0:15:11 > 0:15:16And of course it's still just right for musicians with a bit of edge.
0:15:16 > 0:15:18I suppose when I was a kid
0:15:18 > 0:15:20I liked the look of bands that looked like gangs.
0:15:20 > 0:15:24There's a feel about gangs where it's quite a sort of masculine...
0:15:27 > 0:15:29You feel like tough or invincible or something.
0:15:29 > 0:15:31I don't know, it's kind of like a shield.
0:15:33 > 0:15:37- None of this is conscious, none of this is like...- Just attractive.
0:15:37 > 0:15:40"No, I won't wear that because it's woollen, it's not tough."
0:15:40 > 0:15:41It's not really that,
0:15:41 > 0:15:45trying to trace back why you're wearing motorcycle boots.
0:15:47 > 0:15:50I don't think that's conscious either.
0:15:50 > 0:15:53I just think you like certain things and they all come together,
0:15:53 > 0:15:57the sound and look. I have no desire to look like a roadie.
0:15:57 > 0:15:59When I'm on stage, I'm on stage, you know,
0:15:59 > 0:16:02you're supposed to look incredible.
0:16:02 > 0:16:04That's supposed to be inspiring,
0:16:04 > 0:16:07it's not supposed to be anything else but that.
0:16:12 > 0:16:15The Kills are following in a venerable tradition
0:16:15 > 0:16:17of draping rock'n'roll in leather,
0:16:17 > 0:16:20and since Suzi Quatro, it's a style women have aspired to
0:16:20 > 0:16:22and sometimes perfected.
0:16:29 > 0:16:32Whilst many young women in the 1970s
0:16:32 > 0:16:35were fighting to shake off the restrictions of the past,
0:16:35 > 0:16:38for some young men, life was altogether better.
0:16:38 > 0:16:41MUSIC: Dreamer by Supertramp
0:16:41 > 0:16:45# Dreamer, you know you are a dreamer
0:16:46 > 0:16:50# Can you put your hands on your head? Oh, no! #
0:16:51 > 0:16:54For the bright young fellows of middle-class Britain,
0:16:54 > 0:16:56this was a golden era.
0:16:56 > 0:17:00They were the boys of peacetime and educational opportunity
0:17:00 > 0:17:03and could look forward to a life of prosperity.
0:17:06 > 0:17:09But many sought escape from the benign boredom
0:17:09 > 0:17:13of their indulged lives in the mind-expanding musical
0:17:13 > 0:17:17and stylistic fantasies of progressive rock.
0:17:17 > 0:17:19CHEERING
0:17:21 > 0:17:24This is King Arthur and the Myths and Legends of the Knights of the Round Table.
0:17:57 > 0:18:00It brings back wonderful memories. It was absolutely fantastic.
0:18:00 > 0:18:03Three nights we did at the Wembley Empire Pool.
0:18:07 > 0:18:13In May 1975, 30,000 people came to see prog rock maestro Rick Wakeman
0:18:13 > 0:18:19unveil the latest concept to emerge from his fertile imagination -
0:18:19 > 0:18:23a musical version of the Arthurian legend on ice.
0:18:25 > 0:18:29The BBC beamed this extravaganza into our homes.
0:18:29 > 0:18:34I put the orchestra on it, I put the two choirs on it and the band,
0:18:34 > 0:18:36and the skaters skated round us
0:18:36 > 0:18:39so wherever you were, people could see something.
0:18:39 > 0:18:42I shipped everybody in from Eastern Europe.
0:18:42 > 0:18:44Ice skating was not popular at all
0:18:44 > 0:18:48so everybody thought I was barking on every front, really.
0:18:52 > 0:18:55For the stage look to go with his spectacular journey
0:18:55 > 0:18:57into a misty, mythic British past...
0:19:00 > 0:19:03..Rick channelled his inner Merlin.
0:19:07 > 0:19:09There was a review in America
0:19:09 > 0:19:12that said that I looked like a demented spider
0:19:12 > 0:19:14with the legs and arms going everywhere
0:19:14 > 0:19:16because I had pedals up here and arms out,
0:19:16 > 0:19:20so I became very aware of this, I was getting in really weird positions
0:19:20 > 0:19:22to try and reach stuff and touch stuff.
0:19:25 > 0:19:28Then, one day, Rick saw a DJ perform wearing a cape.
0:19:29 > 0:19:31And then it hit me -
0:19:31 > 0:19:33that's the way to stop looking like a demented spider
0:19:33 > 0:19:38because any movements, the cape just moves and everything's great.
0:19:38 > 0:19:40So it became a natural thing.
0:19:40 > 0:19:44I basically had a cape made from 1972 onwards
0:19:44 > 0:19:45for every tour that was done.
0:19:54 > 0:19:56The Arthur Cape was velvet.
0:19:57 > 0:20:01It had a huge embossed sword on the back,
0:20:01 > 0:20:03which was absolutely beautiful.
0:20:03 > 0:20:06I think that was filmed just before the cape fell off.
0:20:11 > 0:20:13It took about three months to make,
0:20:13 > 0:20:16cost a lot of money, they all cost a lot of money,
0:20:16 > 0:20:19but at that time, it didn't really matter
0:20:19 > 0:20:23because it was such an important part of what you were doing.
0:20:33 > 0:20:37I'd been working a lot with the likes of Marc Bolan and David Bowie
0:20:37 > 0:20:40and in their glam rock era, I just thought, "Hold on a minute,
0:20:40 > 0:20:44"they look really good and it makes them into different characters."
0:20:44 > 0:20:48MUSIC: Hang On To Yourself by David Bowie
0:20:48 > 0:20:51Rick longed for the sheer visual impact of Bowie,
0:20:51 > 0:20:54and the look that would carry his audience with him
0:20:54 > 0:20:56on his wondrous musical journeys.
0:20:58 > 0:21:02It was an urge that took Rick and his prog rock peers
0:21:02 > 0:21:04like Emerson, Lake and Palmer,
0:21:04 > 0:21:08and Genesis, into some seriously fantastical stage looks.
0:21:11 > 0:21:15To achieve his on-stage transformations, Rick has for years
0:21:15 > 0:21:18gone to a very special costume shop.
0:21:21 > 0:21:23You're now looking at a little old man,
0:21:23 > 0:21:25but 40-odd years ago,
0:21:25 > 0:21:27that's what I used to look like.
0:21:27 > 0:21:31That's the band I was in when I was a teenager.
0:21:31 > 0:21:34Probably nearly 50 years ago, thinking about it.
0:21:34 > 0:21:37But quite a few celebrities for you to look at.
0:21:39 > 0:21:42From his headquarters in a shed in Rotherham,
0:21:42 > 0:21:47Neil Crossland creates not fashion garments but showbiz costumes.
0:21:47 > 0:21:52I don't serve public, I'm purely and simply showbiz.
0:21:52 > 0:21:55Rick Wakeman is in the company of some illustrious names.
0:21:57 > 0:21:59You've Freddie Starr, Simon Cowell.
0:21:59 > 0:22:02Steps, JLS, Girls Aloud...
0:22:02 > 0:22:04And there's Rick.
0:22:04 > 0:22:06I think that was one of the first jackets I made him,
0:22:06 > 0:22:07the snakeskin one.
0:22:07 > 0:22:10That one was full-length, down to his ankles.
0:22:10 > 0:22:12And he looked fabulous in it.
0:22:16 > 0:22:19This is Rick's file - I've just dug it out. But...
0:22:21 > 0:22:27All I do, I am not an artist, but I just scribble drawings up,
0:22:27 > 0:22:29put the pieces of cloth that it's going to be,
0:22:29 > 0:22:31like a snakeskin one or a polka dot one.
0:22:33 > 0:22:36That's the last cape I did him in the gold glitter.
0:22:36 > 0:22:38It looks good under the spotlights.
0:22:44 > 0:22:50Despite their style partnership, Neil wasn't a '70s prog devotee
0:22:50 > 0:22:51I am the wrong age.
0:22:51 > 0:22:53My music was back in the '50s and '60s.
0:22:53 > 0:22:57And I stopped virtually listening to music in 1967
0:22:57 > 0:22:59when the Beatles went weird, it put me off a bit.
0:23:03 > 0:23:04But for a lot of people,
0:23:04 > 0:23:07the Beatles weren't quite weird enough.
0:23:08 > 0:23:13They wanted prog rock to deliver musically complex epic fantasy.
0:23:19 > 0:23:23And Rick plunged into the past for his inspiration -
0:23:23 > 0:23:25musically and sartorially.
0:23:30 > 0:23:32Most of the time, it's historical
0:23:32 > 0:23:37because most of the great stories and myths and legends are historical
0:23:37 > 0:23:41and it's tailor made, you know, to paint pictures to it.
0:23:41 > 0:23:43Prog rock is painting pictures.
0:23:43 > 0:23:47I'm a great history buff, myths and legends buff,
0:23:47 > 0:23:48always have been.
0:23:49 > 0:23:52I'm in a livery company, Worshipful Company of Glovers,
0:23:52 > 0:23:54I'm a freemason,
0:23:54 > 0:23:56I'm a knight templar, which is fantastic.
0:24:00 > 0:24:04Prog's arcane intellectual leanings and musical dexterity
0:24:04 > 0:24:07won it a loyal, if geeky, following -
0:24:07 > 0:24:09the clever boys of middle-class Britain.
0:24:11 > 0:24:14You'd be walking around school with an album cover under your arm
0:24:14 > 0:24:17and that would be saying a lot about who you were,
0:24:17 > 0:24:21what music you liked - a kind of social identity, really.
0:24:21 > 0:24:25# Once I had a dream Nothing else to do
0:24:25 > 0:24:29# Sat and played my mind in time with all of you... #
0:24:29 > 0:24:34Prog identified us as a particular group or tribe in itself.
0:24:34 > 0:24:38The other sort of music that people liked,
0:24:38 > 0:24:43the sort of tinkly two-minute 45-second singles,
0:24:43 > 0:24:46it was a lot of froth, as far as we were concerned.
0:24:46 > 0:24:49So when you had King Crimson coming on
0:24:49 > 0:24:52and doing 21st Century Schizoid Man -
0:24:52 > 0:24:56"Cat's foot, iron claw, neurosurgeon, scream for more..."
0:24:56 > 0:24:59# Neurosurgeon, scream for more
0:24:59 > 0:25:02# At paranoia's poison door... #
0:25:02 > 0:25:04"21st Century Schizoid man."
0:25:04 > 0:25:08# 21st Century Schizoid man... #
0:25:09 > 0:25:12It's not exactly "Obladi Oblada", is it?
0:25:16 > 0:25:17Indeed not.
0:25:17 > 0:25:18Jonathan Smart spent his youth
0:25:18 > 0:25:22gallivanting about the Sussex countryside with his pals,
0:25:22 > 0:25:24nicknamed the Blossom Crew.
0:25:26 > 0:25:29We were really enjoying ourselves,
0:25:29 > 0:25:32being incredibly silly, skipping around,
0:25:32 > 0:25:33very pretentious as well,
0:25:33 > 0:25:35waving Tolstoy in front of the camera.
0:25:37 > 0:25:40The spirit of prog may have been a bit pretentious,
0:25:40 > 0:25:45but style-wise, a prog rock crowd was pretty predictable.
0:25:51 > 0:25:53Every time you go to a gig,
0:25:53 > 0:25:55you have a cursory look at the audience,
0:25:55 > 0:25:57but you know what it's going to be like
0:25:57 > 0:26:00and they're almost, to a man,
0:26:00 > 0:26:04going to be between 16 and 20
0:26:04 > 0:26:09and the young, white, affluent kids of the particular town you're in.
0:26:10 > 0:26:12They're all going to have long hair,
0:26:12 > 0:26:15they're all going to be wearing slightly tattier clothes
0:26:15 > 0:26:16than they need to wear.
0:26:18 > 0:26:21We would be wearing these outrageous loons,
0:26:21 > 0:26:23flares, for example.
0:26:24 > 0:26:27Army surplus was absolutely de rigueur,
0:26:27 > 0:26:30so everyone had to have a army surplus great coat.
0:26:31 > 0:26:36I had an ex-Polish airman's flying jacket.
0:26:39 > 0:26:42In the school playgrounds and university campuses of Britain,
0:26:42 > 0:26:47platoons of prog rock fans shuffled their scruffy way to lectures -
0:26:47 > 0:26:51a vision in flared denim, cheesecloth shirts
0:26:51 > 0:26:54and coats made for old soldiers.
0:26:54 > 0:26:56It wasn't a look destined to last.
0:26:59 > 0:27:03We've been picked to go on University Challenge tonight.
0:27:05 > 0:27:06To the station!
0:27:08 > 0:27:13The sound and style of prog faded away
0:27:13 > 0:27:16and rock music followers found a different kind of remedy
0:27:16 > 0:27:18to the tyranny of the ordinary.
0:27:19 > 0:27:23A dizzy brew of showmanship, theatrical pomp
0:27:23 > 0:27:25and personal liberation.
0:27:30 > 0:27:32It was November 1974
0:27:32 > 0:27:35and Queen were at the height of their Sheer Heart Attack Tour.
0:27:38 > 0:27:40# Yes, you made me live again... #
0:27:45 > 0:27:47You could be very big in a theatre like that.
0:27:47 > 0:27:50You're very close to your audience.
0:27:50 > 0:27:52The sound and the lights and the smoke and the bombs
0:27:52 > 0:27:56and whatever and the costumes and the music
0:27:56 > 0:27:57was quite an onslaught.
0:27:59 > 0:28:03This was the tour that would launch Freddie Mercury and Brian May
0:28:03 > 0:28:05as rock gods.
0:28:05 > 0:28:08They had the big vocal, the big guitar
0:28:08 > 0:28:09and the big hair.
0:28:09 > 0:28:12And on this tour, they treated thousands
0:28:12 > 0:28:14to a big new look to match.
0:28:14 > 0:28:17# Don't worry, baby I'm safe and sound
0:28:18 > 0:28:21# Down in the dungeon Just peaches and me... #
0:28:21 > 0:28:23I was quite stiff in the early days, you know,
0:28:23 > 0:28:24but the costumes helped me to feel
0:28:24 > 0:28:28that I had a, sort of, physical part to play in the show
0:28:28 > 0:28:29as well as the musical part.
0:28:30 > 0:28:35Freddie Mercury called this fabulous stage costume "the eagle suit"
0:28:35 > 0:28:37and it had flown from the imagination
0:28:37 > 0:28:39of a brilliant British designer.
0:28:40 > 0:28:43Though she wasn't the most obvious choice.
0:28:44 > 0:28:45They phoned me up one day
0:28:45 > 0:28:49and said that they would like for me to design some things for them.
0:28:49 > 0:28:53I had done some jersey tops for Mark Bolan
0:28:53 > 0:28:56but apart from that, I hadn't done anything for men.
0:28:56 > 0:28:57SHE LAUGHS
0:28:57 > 0:28:59I hadn't seen anything of what they did,
0:28:59 > 0:29:02I didn't know anything about what they played.
0:29:03 > 0:29:05Young Zandra Rhodes was at the forefront
0:29:05 > 0:29:08of the London fashion scene in the '70s,
0:29:08 > 0:29:11but she was actually a womenswear designer.
0:29:12 > 0:29:16When Freddy and Brian came I gave them free rein.
0:29:16 > 0:29:19In the beginning, Zandra would just kind of dress us.
0:29:19 > 0:29:21We went in and talked and said "We want to be dramatic,
0:29:21 > 0:29:23"we want things which emphasise our movement on stage",
0:29:23 > 0:29:25and she just kind of did it for us.
0:29:26 > 0:29:30So this is the original piece that Freddy tried on.
0:29:30 > 0:29:34It looks very original. It's come out of a packing case.
0:29:35 > 0:29:39This was actually the top of a wedding dress idea
0:29:39 > 0:29:42that then got put on the front of Vogue magazine
0:29:42 > 0:29:44on Princess Anne.
0:29:44 > 0:29:48I was experimenting with pleated satin
0:29:48 > 0:29:51and how the circles would look when they flowed around.
0:29:55 > 0:29:57The final pieces for Freddy and Brian
0:29:57 > 0:29:59were made of flowing white satin.
0:30:02 > 0:30:04It's quite heavy but when you're in a garment,
0:30:04 > 0:30:09and it's balanced on your body, I think...when you're moving,
0:30:09 > 0:30:12you want something that's got a certain amount of weight to it.
0:30:16 > 0:30:19It was the start of a long creative relationship,
0:30:19 > 0:30:22with Zandra giving Queen a visual flamboyance
0:30:22 > 0:30:25to enhance their extravagant rock.
0:30:25 > 0:30:27I think she what she gave us was very important
0:30:27 > 0:30:31because it helped us define a very dramatic style.
0:30:31 > 0:30:34Parallel to us, there were people doing glam rock,
0:30:34 > 0:30:37but glam rock was really something slightly different.
0:30:37 > 0:30:40Glam rock was sticking together lots of gaudy colours
0:30:40 > 0:30:42and it was a lot of fun,
0:30:42 > 0:30:45whereas we're heading much more towards theatre
0:30:45 > 0:30:47than kind of just dressing up to look flash.
0:30:50 > 0:30:53Designer and artists had come together
0:30:53 > 0:30:56to create vividly attired theatrical personas
0:30:56 > 0:30:58the band could inhabit on stage.
0:31:00 > 0:31:02The clothes were so important to Brian
0:31:02 > 0:31:04that he kept as many as he could
0:31:04 > 0:31:07and they are now neatly catalogued in his attic at home.
0:31:11 > 0:31:15A lot of this is either on or off-stage uniform for Queen,
0:31:15 > 0:31:16if you like, costume.
0:31:16 > 0:31:20This one I had a bit of input to.
0:31:20 > 0:31:23I said I'd like a gold one and a different kind of shape,
0:31:23 > 0:31:25a more bird-like shape to this,
0:31:25 > 0:31:29but the fabric is, of course, all Zandra's own.
0:31:29 > 0:31:32I'm glad that we still have this one because it's my favourite, really.
0:31:33 > 0:31:37This is a later Zandra creation -
0:31:37 > 0:31:40getting a bit more fancy, in a way, and a bit more frilly.
0:31:41 > 0:31:45You know, she's such a creative joy to be around, Zandra,
0:31:45 > 0:31:47and she still is.
0:31:47 > 0:31:50# She keeps Moet et Chardon
0:31:50 > 0:31:52# In her pretty cabinet
0:31:52 > 0:31:54# "Let them eat cake", she says
0:31:54 > 0:31:56# Just like Marie Antoinette
0:31:56 > 0:31:58# A built-in remedy
0:31:58 > 0:32:00# For Khrushchev and Kennedy
0:32:00 > 0:32:03# At any time, an invitation
0:32:03 > 0:32:05# You can't decline... #
0:32:05 > 0:32:09In many ways, for Queen to go to a women's designer like Zandra
0:32:09 > 0:32:12for their clothes made perfect sense.
0:32:12 > 0:32:14# She's a killer queen
0:32:14 > 0:32:17# Gunpowder, gelatine
0:32:17 > 0:32:19# Dynamite with a laser beam
0:32:19 > 0:32:21# Guaranteed to blow your mind... #
0:32:22 > 0:32:25Playing fast and loose with gender identity
0:32:25 > 0:32:27was de rigueur for rock stars of the era.
0:32:30 > 0:32:32Freddie Mercury in particular
0:32:32 > 0:32:35embraced the sexual ambiguity of the moment.
0:32:38 > 0:32:41In 1974, he told Melody Maker,
0:32:41 > 0:32:44"I play on the bisexual thing because it's fun -
0:32:44 > 0:32:48"even to talk about being gay used to be unheard of.
0:32:48 > 0:32:50"But gone are those days."
0:32:50 > 0:32:56# I want you to be a woman... #
0:32:56 > 0:32:59In those days, it wasn't clear that Freddie was gay anyway,
0:32:59 > 0:33:03but nobody cared - that was the nice thing.
0:33:03 > 0:33:07Freddie really represents freedom to a lot of people.
0:33:07 > 0:33:10At that time, that was a fairly new concept.
0:33:10 > 0:33:13I'm kind of proud that we represented that to many people.
0:33:25 > 0:33:28Indeed, for those inspired by Queen, gay or not,
0:33:28 > 0:33:30even a small town in Wales
0:33:30 > 0:33:33could be the stage for stylistic adventures.
0:33:34 > 0:33:36The first time I saw them,
0:33:36 > 0:33:38they were singing Seven Seas of Rhye.
0:33:39 > 0:33:41We were singing it in school
0:33:41 > 0:33:43and we thought, "Oh, the album will be coming out now,
0:33:43 > 0:33:46"we'll, er...we'll go to town and we'll buy it."
0:33:46 > 0:33:48And we'd seen photographs of Freddie Mercury
0:33:48 > 0:33:50with his black nail varnish,
0:33:50 > 0:33:52so we thought, "Oh, we'll do that."
0:34:01 > 0:34:06And we had a few funny looks as we went into town on the bus,
0:34:06 > 0:34:08but, erm...it was just, you know,
0:34:08 > 0:34:10had to do it, had to make an event of it.
0:34:13 > 0:34:18Sadly for Andrew, there wasn't much glam gear in the shops of Glamorgan.
0:34:18 > 0:34:21So he had to scour the bottom of the market
0:34:21 > 0:34:24for clothes that added a little sparkle to daily life.
0:34:26 > 0:34:28We'd go to charity shops -
0:34:28 > 0:34:30there weren't so many of them around in those days
0:34:30 > 0:34:33but you managed to pick up something with a bit of glitter on it.
0:34:35 > 0:34:38You'd buy things that were bright yellow
0:34:38 > 0:34:40or bright purple with a flare.
0:34:40 > 0:34:44So it was just a way of, not so much standing out,
0:34:44 > 0:34:45but copying your idol.
0:34:48 > 0:34:50I've got to admit that I went a little bit too far
0:34:50 > 0:34:54and...had a curly perm to look like Brian.
0:34:56 > 0:34:57And I've got a photograph.
0:35:00 > 0:35:04But Andrew wasn't alone. Queen were and are loved.
0:35:04 > 0:35:07Apparently one in three British families own a copy
0:35:07 > 0:35:09of their greatest hits
0:35:09 > 0:35:12Getting together in a concert where
0:35:12 > 0:35:18I would suggest 80% of people were either wearing glitter,
0:35:18 > 0:35:24make up, wigs, made it more of a community spirit.
0:35:24 > 0:35:27SONG: Bohemian Rhapsody by Queen
0:35:27 > 0:35:31You turn up there and the place is filled to the rafters.
0:35:35 > 0:35:38And you just imagine, "Oh, right, then, there could be people
0:35:38 > 0:35:42"living in a village 20 miles away who you don't know,
0:35:42 > 0:35:47"but they are as unique as you are where they're from."
0:35:50 > 0:35:54Queen were enthralling, and their theatrical, costumed
0:35:54 > 0:35:58stage presence kick-started a style of rock performance that has
0:35:58 > 0:36:00rippled down to today.
0:36:04 > 0:36:06SONG: It Could Have Been Me by The Struts
0:36:07 > 0:36:10# Wanna feel pride and shame
0:36:10 > 0:36:13# I don't wanna take my time
0:36:13 > 0:36:16# Don't wanna waste one line... #
0:36:18 > 0:36:22Luke Spiller, frontman of the Struts, has enlisted the woman
0:36:22 > 0:36:23who made Queen dazzle.
0:36:26 > 0:36:31- I was enjoying that. - Cool. I like this one.
0:36:31 > 0:36:34For the Isle of Wight festival, he wants a bird-like,
0:36:34 > 0:36:37theatrical costume to shimmer under the stage lights.
0:36:37 > 0:36:42- ..and you've got several different looks.- I mean, satin would look good.
0:36:42 > 0:36:45It's good with the light on it, the satin.
0:36:45 > 0:36:47It's got a wonderful sheen
0:36:47 > 0:36:50that I think would catch the light as you're moving.
0:36:50 > 0:36:53And that's what I want to achieve, really. Something like whoosh!
0:36:53 > 0:36:58I'd hand paint all the gold so it would be just little tiny lights
0:36:58 > 0:37:02of gold and we could always glue more glitter on if you want something.
0:37:02 > 0:37:05Yeah, that'd be good. The more glitter the better, really.
0:37:05 > 0:37:08That's what I thought after I'd been speaking to you.
0:37:12 > 0:37:17It's not all about Queen, but you know, admittedly it's a big part.
0:37:17 > 0:37:20You know, working with Zandra, and that's what I explained,
0:37:20 > 0:37:23I wanted something which was reminiscent from that era,
0:37:23 > 0:37:26to create something which is slightly new and exciting.
0:37:33 > 0:37:35A month later, it's ready,
0:37:35 > 0:37:39and Luke prepares to show the Isle of Wight his Zandra-designed outfit.
0:37:41 > 0:37:42Ta-da!
0:37:44 > 0:37:45Looks good, right?
0:37:45 > 0:37:48I can see by the smile on your face that you like it.
0:37:48 > 0:37:51Yeah, so as you can see, she's hand painted all of these on,
0:37:51 > 0:37:53which are great.
0:37:53 > 0:37:55And it's obviously been pleated as well,
0:37:55 > 0:38:00so it gives it that kind of like winged effect.
0:38:00 > 0:38:02This one kind of finishes like that,
0:38:02 > 0:38:06so it's more of a... More of a Zorro kind of effect, you know.
0:38:17 > 0:38:21I'm a showman at the end of the day, and that's what I love to do.
0:38:21 > 0:38:24It's not in me to just sit there and just sing the songs.
0:38:24 > 0:38:27Who likes my outfit, by the way? Do you like it?
0:38:28 > 0:38:30This was made by Zandra Rhodes,
0:38:30 > 0:38:32I want to dedicate this next song to her.
0:38:35 > 0:38:37It's not like, "Oh, what am I going to wear
0:38:37 > 0:38:41"to make this kind of statement?" I'm choosing things to wear
0:38:41 > 0:38:43to enhance the performance.
0:38:55 > 0:38:58There is just nothing like that feeling of actually
0:38:58 > 0:39:01being in tune with the people you're making music with
0:39:01 > 0:39:04and also in tune with the audience and interacting with an audience.
0:39:06 > 0:39:08I think there's a certain mystique about a group, you know,
0:39:08 > 0:39:11you feel that you're a part of the world that they're creating,
0:39:11 > 0:39:15and that can be comforting in a world which is harsh.
0:39:15 > 0:39:17You know, you identify with someone who is spinning
0:39:17 > 0:39:19some kind of magical web.
0:39:23 > 0:39:26# Nothing really matters
0:39:26 > 0:39:30# Anyone can see... #
0:39:30 > 0:39:34Queen's kind of magic was to capture a sense of joyful
0:39:34 > 0:39:36personal liberation.
0:39:37 > 0:39:40But they were also unwittingly responsible for
0:39:40 > 0:39:43another moment when music and fashion came together
0:39:43 > 0:39:45to shocking, energising effect.
0:39:49 > 0:39:53In December 1976, the producers of a London tea-time chat show
0:39:53 > 0:39:56couldn't get the rights to broadcast a Queen video,
0:39:56 > 0:39:59so they asked the record company to book another band
0:39:59 > 0:40:00for the slot instead.
0:40:03 > 0:40:06I remember that day very, very, very strongly.
0:40:06 > 0:40:09I phoned up Malcolm McLaren and I said, "Malcolm, we've got on TV."
0:40:09 > 0:40:13He said, "Great, Top Of The Pops?" I said, "No." "Supersonic?"
0:40:13 > 0:40:15I said, "No." "Well, what the hell is it, Eric?"
0:40:15 > 0:40:18I said, "It's Bill Grundy's Today Show tonight.
0:40:18 > 0:40:21"They'll be doing it tonight." "I don't bloody want to do that."
0:40:21 > 0:40:23I said, "Do me a favour, we've got to do it.
0:40:23 > 0:40:27"It will be the greatest plug." I was bullshitting, really.
0:40:27 > 0:40:29"It will be the greatest plug the boys are going to have.
0:40:29 > 0:40:32"This is a monster, monster plug, sensational,
0:40:32 > 0:40:34"it's going to be marvellous."
0:40:34 > 0:40:38They are punk rockers. They're a group called the Sex Pistols.
0:40:38 > 0:40:39We didn't dress up for it
0:40:39 > 0:40:42because we didn't know we was going to do the TV show.
0:40:42 > 0:40:45We was actually rehearsing for the Anarchy tour at that time,
0:40:45 > 0:40:46and erm...
0:40:46 > 0:40:50and we just, you know, come as you are.
0:40:50 > 0:40:52Well, suppose they turn other people on.
0:40:52 > 0:40:54That's just their tough shit.
0:40:54 > 0:40:57- It's what? - Nothing, a rude word.
0:40:57 > 0:40:59What was the rude word?
0:40:59 > 0:41:01- Shit.- Was it really? Good heavens.
0:41:01 > 0:41:04- You've frightened me to death. - Oh, all right.- What a clever boy.
0:41:04 > 0:41:06What a fucking rotter.
0:41:06 > 0:41:09The exploding expletives might made a few people choke
0:41:09 > 0:41:12on their fish fingers, but that wasn't the only shocker.
0:41:12 > 0:41:16A cry went round the country. What are they wearing?
0:41:16 > 0:41:18Steve's got a pair of leather trousers and a tits T-shirt.
0:41:18 > 0:41:20Siouxsie always had her own kind of look.
0:41:20 > 0:41:22I always wanted to meet you.
0:41:22 > 0:41:23- Did you really? - Yeah.
0:41:23 > 0:41:27John's got his mohair sweater on.
0:41:27 > 0:41:29I've got me red trousers on again.
0:41:29 > 0:41:30We'll meet afterwards, shall we?
0:41:30 > 0:41:32You dirty sod.
0:41:32 > 0:41:36- You dirty old man. - Go on.- You dirty fucker.
0:41:36 > 0:41:38Well, that's it for tonight.
0:41:38 > 0:41:40It was like lighting a blue touch paper.
0:41:40 > 0:41:43The shock waves and the ripples started spreading out very quickly
0:41:43 > 0:41:45because it was all in the national press.
0:41:45 > 0:41:48SONG: Pretty Vacant by The Sex Pistols
0:41:56 > 0:41:59# There's no point in asking, you'll get no reply
0:41:59 > 0:42:02# Oh, just remember I don't decide
0:42:02 > 0:42:06# I got no reason, it's all too much
0:42:06 > 0:42:08# You'll always find us... #
0:42:09 > 0:42:14The Pistols were more than just a spiky new music thing.
0:42:14 > 0:42:15# We're so pretty
0:42:15 > 0:42:17# Oh, so pretty... #
0:42:17 > 0:42:21They were also a style statement, an effervescent extension
0:42:21 > 0:42:24of the avant-garde fashion of Vivienne Westwood
0:42:24 > 0:42:25and Malcolm McLaren.
0:42:27 > 0:42:31We were formed in Malcolm McLaren's shop.
0:42:31 > 0:42:34Not by him, but aided and abetted by him.
0:42:34 > 0:42:37And...I got myself a job there,
0:42:37 > 0:42:39you know, working at Malcolm's, which really stuck out
0:42:39 > 0:42:43like a sore thumb. It was a total antithesis of what was going on
0:42:43 > 0:42:47in the tail end of glam rock Britain.
0:42:47 > 0:42:49Afghan coats and great coats and things.
0:42:52 > 0:42:55McLaren and Westwood had a shop on the Kings Road
0:42:55 > 0:42:57they called Seditionaries.
0:43:00 > 0:43:06The shelves had rows of patent stiletto ankle boots, rubber skirts,
0:43:06 > 0:43:11and T-shirts mixing swastikas and sexually explicit images
0:43:11 > 0:43:14with slogans shouting, "Destroy,"
0:43:14 > 0:43:17"Chaos," and even "Cambridge Rapist."
0:43:20 > 0:43:22Vivienne, a fashion and art graduate,
0:43:22 > 0:43:26was influenced by everything from shortbread tin Highland tartan
0:43:26 > 0:43:29to sadomasochistic bondage gear.
0:43:30 > 0:43:33The trousers all come with a little loincloth on the back..
0:43:33 > 0:43:36Everybody wants to know what that's for. It's just a loincloth,
0:43:36 > 0:43:38it's just a gesture.
0:43:38 > 0:43:41You could always point out that maybe it's got some connection
0:43:41 > 0:43:44with the fact that this zip goes right round the back up the arse
0:43:44 > 0:43:47as well. I don't know, I really don't know!
0:43:49 > 0:43:53For anyone tantalised by the magical mix of clothes and music,
0:43:53 > 0:43:56Westwood and McLaren were visionaries.
0:43:58 > 0:44:00Punk was very, very stylish.
0:44:00 > 0:44:03If you think about it, really what Malcolm and Vivienne did with
0:44:03 > 0:44:05the Sex Pistols was pretty extraordinary.
0:44:10 > 0:44:14What Malcolm and Vivienne did was high style,
0:44:14 > 0:44:16way above everything else that's going on.
0:44:20 > 0:44:22The look was what we sort of picked
0:44:22 > 0:44:25and chose from Malcolm's to suit our personality.
0:44:25 > 0:44:27We weren't clothes horses,
0:44:27 > 0:44:29it just happened to be where we started out from.
0:44:29 > 0:44:33# I am an antichrist
0:44:33 > 0:44:35# I am an anarchist..."
0:44:35 > 0:44:38You all look kind of similar in a band, it's a bit like an army
0:44:38 > 0:44:42wearing its colours. You know, it's a declaration of intent.
0:44:46 > 0:44:52# I wanna be anarchy... #
0:44:52 > 0:44:54I got me anarchy shirt.
0:44:54 > 0:44:58I haven't got it any more cos I used it to wash the car.
0:44:58 > 0:44:59Dunno if it's punk to wash it with the car,
0:44:59 > 0:45:01or punk to not have a car in the first place.
0:45:03 > 0:45:07I mean Malcolm always quipped that he'd form a band to sell trousers,
0:45:07 > 0:45:10and unless you're in a band that have got the right trousers on
0:45:10 > 0:45:12it don't work. So it's a joke, but it's true
0:45:12 > 0:45:17People think of it, I think, as being street fashion -
0:45:17 > 0:45:19ripped clothes with safety pins.
0:45:19 > 0:45:23Yes, of course, but nobody had seen a lot of that before.
0:45:23 > 0:45:24# Ever fallen in love with someone?
0:45:24 > 0:45:26# Ever fallen in love?
0:45:26 > 0:45:27# In love with someone? #
0:45:27 > 0:45:30It didn't take long for punk to become a frequent presence
0:45:30 > 0:45:33on telly and on the streets -
0:45:33 > 0:45:35hungrily devoured by young people
0:45:35 > 0:45:38fed up and frustrated by '70s Britain.
0:45:40 > 0:45:43Mid-70s Britain was a dump.
0:45:43 > 0:45:45There was a real air of despondency.
0:45:45 > 0:45:47And a song like God Save The Queen,
0:45:47 > 0:45:49although the song's exactly the same,
0:45:49 > 0:45:52it was actually originally called No Future.
0:45:52 > 0:45:54It just seemed like there was no future.
0:45:54 > 0:45:57# There is no future
0:45:57 > 0:46:00# In England's dreaming... #
0:46:02 > 0:46:04But to crack the punk aesthetic,
0:46:04 > 0:46:07you needed to be more than disillusioned -
0:46:07 > 0:46:09you needed to be daring.
0:46:12 > 0:46:14Kids who didn't live in London,
0:46:14 > 0:46:16who weren't hip to what was going on down here
0:46:16 > 0:46:18because they just weren't here, they saw it
0:46:18 > 0:46:19and it, kind of, fitted in with the fact
0:46:19 > 0:46:22that they was looking for something. All round the country,
0:46:22 > 0:46:25bands were being formed overnight.
0:46:25 > 0:46:27# I belong to the blank generation
0:46:27 > 0:46:31# And I can take it or leave it each time
0:46:31 > 0:46:34# Well, I belong to the generation
0:46:34 > 0:46:38# But I can take it or leave it each time... #
0:46:38 > 0:46:41I used to read the New Musical Express every week
0:46:41 > 0:46:43from when I was about 12, 13.
0:46:43 > 0:46:46They'd have photographs of the earliest punks
0:46:46 > 0:46:50wearing really outrageous clothes and talking about the music.
0:46:50 > 0:46:52So it was just very, very exciting.
0:46:53 > 0:46:55No wonder!
0:46:55 > 0:46:59There wasn't much else going on in Louise's part of the world.
0:46:59 > 0:47:02SONG: Nessun Dorma
0:47:09 > 0:47:13My parents played opera, so you couldn't have a bigger contrast.
0:47:13 > 0:47:18When they put music on, it would be things like Puccini
0:47:18 > 0:47:19and stuff like that.
0:47:23 > 0:47:27I lived in a quite a middle class suburb of Edinburgh
0:47:27 > 0:47:30and I hated it. There was nothing there.
0:47:30 > 0:47:33It was just all detached houses with nice leafy gardens.
0:47:33 > 0:47:36# Identity... #
0:47:39 > 0:47:42For Louise, that punk moment was an escape
0:47:42 > 0:47:45from her suburban incarceration -
0:47:45 > 0:47:48even if King's Road style was out of her reach.
0:47:48 > 0:47:52Only really wealthy middle class punks who had parents with money
0:47:52 > 0:47:56would actually be able to afford anything from Seditionaries.
0:47:56 > 0:47:58There was that whole kind of ethos of do it yourself,
0:47:58 > 0:48:01so I would be going to the charity shops
0:48:01 > 0:48:03and spending my very meagre pocket money
0:48:03 > 0:48:07on things like grandad shirts that I would paint and customise.
0:48:09 > 0:48:13This was a shirt that I bought from Oxfam or somewhere,
0:48:13 > 0:48:16and probably only paid about 50p for it.
0:48:16 > 0:48:18And then I stencilled slogans all over it.
0:48:18 > 0:48:21So it says "Absolute filth."
0:48:21 > 0:48:23Some of it was lyrics.
0:48:23 > 0:48:24It says here "I am a cliche,"
0:48:24 > 0:48:27which is from one of the X-Ray Spex songs.
0:48:27 > 0:48:29And, "God the save Queen, she ain't no human being."
0:48:29 > 0:48:31That was from the Sex Pistols.
0:48:31 > 0:48:34Then we've got, "love comes in spurts," there,
0:48:34 > 0:48:36which was from Richard Hell and the Voidoids.
0:48:36 > 0:48:39So there was a few bits of lyrics on there.
0:48:39 > 0:48:41# When you look in the mirror
0:48:41 > 0:48:42# Do you see yourself?
0:48:42 > 0:48:45# Do you see yourself on the TV screen?
0:48:45 > 0:48:48# Do you see yourself in the magazine?
0:48:48 > 0:48:51# When you see yourself does it make you scream...? #
0:48:53 > 0:48:55For all its street scruff reputation,
0:48:55 > 0:48:58punk shared some of the spirit of Freddie Mercury in a catsuit
0:48:58 > 0:49:01or Rick Wakeman's in a cape.
0:49:01 > 0:49:04The Punk look was also a fabulous performance.
0:49:04 > 0:49:07There was a real theatricality about how we all dressed.
0:49:07 > 0:49:11I would spend hours getting ready.
0:49:11 > 0:49:13If I was going to go to a gig, I would probably spend about
0:49:13 > 0:49:16half and hour just on my hair, making it spiky.
0:49:19 > 0:49:21But it didn't last long.
0:49:21 > 0:49:24The Grundy appearance sent punk stellar,
0:49:24 > 0:49:26but it also spelled the beginning of the end.
0:49:28 > 0:49:34I think by 1978/79, it had definitely become a uniform.
0:49:34 > 0:49:37In the back of the music papers, you'd get all these adverts
0:49:37 > 0:49:41for bondage trousers and punk T-shirts and things like that,
0:49:41 > 0:49:43so then you could just buy the look
0:49:43 > 0:49:48rather than actually making your own look.
0:49:48 > 0:49:49Not a bad cut.
0:49:50 > 0:49:52I got this for free and I quite like it.
0:49:52 > 0:49:54It's a nice lightweight suit.
0:49:54 > 0:49:56I mean, why do you expect me to be walking around
0:49:56 > 0:49:58in bondage trousers at the age of 57?
0:49:58 > 0:50:00Cos it ain't going to happen.
0:50:03 > 0:50:04Well, that's a shame.
0:50:04 > 0:50:07But what's undeniable is that punk has woven its way
0:50:07 > 0:50:10into the fabric of our fashion heritage.
0:50:10 > 0:50:13Victoria Line, platform number five. Two stops.
0:50:13 > 0:50:15I got to admit today, it's...
0:50:15 > 0:50:18I'm not happy with it, it's not the best.
0:50:18 > 0:50:20Matthew, I'll be down in a minute or so, OK?
0:50:23 > 0:50:25Big gate at the end there, love.
0:50:26 > 0:50:30Greg Cousens is London Underground's legendary punk rock
0:50:30 > 0:50:31customer services assistant.
0:50:31 > 0:50:34That one there, you've got an open journey.
0:50:34 > 0:50:38His bosses had no objections when he decided to gel up his hair
0:50:38 > 0:50:40and dye it red a few years ago.
0:50:42 > 0:50:45His Mohican, even on bad hair days,
0:50:45 > 0:50:48brings him a lot of love at Oxford Circus Tube station.
0:50:48 > 0:50:52Passengers disembarking, do so as quick as you can.
0:50:52 > 0:50:55It seems almost as if I have become almost a bit
0:50:55 > 0:50:58of a tourist attraction on the station.
0:50:58 > 0:51:00'It's just become a bit of an ice breaker, you know?
0:51:00 > 0:51:03'People will come up and say, "Love your hair."'
0:51:06 > 0:51:08And when he goes out with his mates,
0:51:08 > 0:51:11Greg ditches the underground uniform for quite another.
0:51:11 > 0:51:15Got the old bondage trousers, band T-shirts, leather jacket,
0:51:15 > 0:51:17big boots, all the rest of it kicking about at home
0:51:17 > 0:51:20if I wanted to sort of dress up to go out.
0:51:20 > 0:51:23I don't want every customer services assistant to look like me,
0:51:23 > 0:51:25because if everybody looked like me,
0:51:25 > 0:51:29I would probably have to change it and do something else
0:51:29 > 0:51:31to be a bit different.
0:51:31 > 0:51:34For Greg, punk has allowed him to be assertively individual
0:51:34 > 0:51:36whilst dressed in a uniform.
0:51:36 > 0:51:39MUSIC: Oh, Bondage, Up Yours! by X-Ray Spex
0:51:45 > 0:51:49For us, his mohican has become a symbol of British culture itself -
0:51:49 > 0:51:51a message to the world that our country
0:51:51 > 0:51:54is more than royals and rubbish weather.
0:52:02 > 0:52:04But that's not the whole story.
0:52:05 > 0:52:08Do what you want, be different -
0:52:08 > 0:52:11the punk ethos flowed into the best of British fashion and design.
0:52:16 > 0:52:20Music, actually, is the thing that drives me more than anything.
0:52:20 > 0:52:23Punk gave you the freedom to do whatever you wanted to do.
0:52:23 > 0:52:27That's where I felt that I started to be able to express myself.
0:52:27 > 0:52:28It was like a light switched on.
0:52:28 > 0:52:31It was like, "Yes, of course you can do this."
0:52:32 > 0:52:36Pam Hogg, inspired by the energy of punk
0:52:36 > 0:52:39launched her first fashion collection in 1981.
0:52:41 > 0:52:44I just found these this morning,
0:52:44 > 0:52:48and I can't believe it, it's just like...
0:52:48 > 0:52:52It's so innocently made, because I didn't know how to make anything,
0:52:52 > 0:52:54so I was just making it up as I went along.
0:52:54 > 0:52:57To fasten things I used these rivets
0:52:57 > 0:53:00and the sleeve is the shape of an arm!
0:53:00 > 0:53:02Look at that.
0:53:02 > 0:53:03SHE LAUGHS
0:53:03 > 0:53:05This is like punk because it's got the riveting
0:53:05 > 0:53:07and it's got an edge to it.
0:53:07 > 0:53:09The biggest gift you've got is your individuality.
0:53:09 > 0:53:10Use it!
0:53:12 > 0:53:16# Personality changes behind our own smile
0:53:16 > 0:53:18Pam found her musical soul mate in a woman
0:53:18 > 0:53:21who had been one of the year zero punk gang -
0:53:21 > 0:53:24A true style original - Siouxsie Sioux.
0:53:26 > 0:53:29I remember the first time I met her,
0:53:29 > 0:53:31she called me over and started chatting to me,
0:53:31 > 0:53:34and I'm standing looking going, "This is Sioxsie Sioux!"
0:53:35 > 0:53:38I think she just thought "Kindred spirit!"
0:53:38 > 0:53:40# Dear Prudence
0:53:42 > 0:53:45# Won't you come out to play...? #
0:53:45 > 0:53:47And she was.
0:53:47 > 0:53:50Their long collaboration started just as Siouxsie
0:53:50 > 0:53:53was leading punk style to more mysterious,
0:53:53 > 0:53:55and altogether darker places.
0:53:57 > 0:54:00# The sun is up
0:54:00 > 0:54:02# The sky is blue
0:54:02 > 0:54:04# It's beautiful
0:54:04 > 0:54:07# And so are you
0:54:07 > 0:54:09# Dear Prudence... #
0:54:09 > 0:54:12You had the survivors, the sort of Goth contingent -
0:54:12 > 0:54:15Siouxsie and The Cure.
0:54:15 > 0:54:19# Look around, round, round Round, round... #
0:54:19 > 0:54:22It was like a black stallion standing up there.
0:54:22 > 0:54:24It wasn't a guy, it was a woman.
0:54:24 > 0:54:26Oh, my God, she looked incredible!
0:54:26 > 0:54:28And she came on with this, when she's singing away.
0:54:28 > 0:54:31It was her. It wasn't anybody else.
0:54:31 > 0:54:33Love at first sight, you know what I mean?
0:54:33 > 0:54:37# When you think your toys have gone berserk
0:54:37 > 0:54:38# It's an illusion... #
0:54:38 > 0:54:40Who wasn't inspired by Siouxsie Sioux?
0:54:40 > 0:54:43The way she did her eyes.
0:54:43 > 0:54:45- She loves her cats! - SHE LAUGHS
0:54:45 > 0:54:48# You have no choice... #
0:54:48 > 0:54:52Wow, I mean, I remember when I'd see something like the Banshees on TV,
0:54:52 > 0:54:57it would, you know you'd be agog, because you'd see them very rarely.
0:54:57 > 0:55:01There was your nan sat there, obviously horrified
0:55:01 > 0:55:03at what she was seeing.
0:55:03 > 0:55:04"It's the end of the world!"
0:55:06 > 0:55:09# Following the footsteps of a rag doll
0:55:09 > 0:55:10# We are entranced... #
0:55:10 > 0:55:12Captivated by visions of Siouxsie,
0:55:12 > 0:55:16Johnny Melton left his East Anglian village
0:55:16 > 0:55:18and starting hanging out at the Batcave -
0:55:18 > 0:55:22a Soho club full of eyeliner-wearing curiosities.
0:55:23 > 0:55:27On his first night there, he was recruited as the keyboardist
0:55:27 > 0:55:30in a band called Specimen,
0:55:30 > 0:55:32mainly on the basis of his hair.
0:55:32 > 0:55:34I was like, "Well, I can't really play anything."
0:55:34 > 0:55:37They were like, "Oh, it's OK you've got cool hair."
0:55:37 > 0:55:39So, yeah, I was in.
0:55:40 > 0:55:42What am I doing in this picture?
0:55:42 > 0:55:47Well, I'm kind of, I'm kind of hanging over a piece of wood
0:55:47 > 0:55:49with my tail cheekily poking over the top.
0:55:50 > 0:55:56It was just wanting to go somewhere theatrical with a look.
0:55:56 > 0:55:58It's not really a sexual look at all, is it?
0:55:58 > 0:56:01You wouldn't go out and think you're going to get laid
0:56:01 > 0:56:03dressed as a cat or something.
0:56:03 > 0:56:09We were kind of more prone pull a pout than cast a spell.
0:56:13 > 0:56:15For the Batcave brood,
0:56:15 > 0:56:18for Siouxsie and for her design collaborator Pam Hogg,
0:56:18 > 0:56:21it was about startling visual drama -
0:56:21 > 0:56:26about keeping the shock and awe spirit of punk alive.
0:56:26 > 0:56:28I think Siouxsie had fantastic style.
0:56:30 > 0:56:33All that Pam Hogg stuff that she wears -
0:56:33 > 0:56:36I'm a big fan of Pam's. I think she's one of our treasures.
0:56:36 > 0:56:38A really, really unique designer.
0:56:42 > 0:56:45These descents into the dark side of style
0:56:45 > 0:56:49spawned a whole new tribe - legions of the undead,
0:56:49 > 0:56:54who still wander the streets of towns cities across the world -
0:56:54 > 0:56:55Goths.
0:56:57 > 0:56:58She doesn't want to be a Goth.
0:56:58 > 0:57:01She is not a Goth, in her mind, she is not a Goth.
0:57:01 > 0:57:05But these Goth kids, they idolise her.
0:57:05 > 0:57:07But she's individual.
0:57:18 > 0:57:22The '70s saw the pop and rock go theatrical -
0:57:22 > 0:57:26an extravagant, outlandish image move centre stage.
0:57:26 > 0:57:29MUSIC: Public Image by Public Image Limited
0:57:29 > 0:57:31And how we followed them!
0:57:36 > 0:57:39And the designers who crafted these looks of the stars,
0:57:39 > 0:57:43started to become as vital as the musicians who displayed them.
0:57:46 > 0:57:49The embrace between British fashion and British music
0:57:49 > 0:57:51was becoming ever more passionate.
0:57:55 > 0:57:56Next week...
0:57:58 > 0:57:59..the rise of the stylist...
0:58:01 > 0:58:03..the video...
0:58:03 > 0:58:05and the brand...
0:58:05 > 0:58:08give us ever more shocking looks.
0:58:08 > 0:58:11# Behind the image Was ignorance and fear
0:58:11 > 0:58:14# You hide behind his public machine
0:58:14 > 0:58:17# You still follow the same old scheme
0:58:19 > 0:58:23# Public image
0:58:30 > 0:58:33# Public image
0:58:33 > 0:58:34# Goodbye. #