0:00:02 > 0:00:04This programme contains some strong language
0:00:04 > 0:00:09Behind the scenes at one the biggest events of the British summer.
0:00:10 > 0:00:13These boys are being made beautiful
0:00:13 > 0:00:17for the Burberry Menswear Show of 2014.
0:00:21 > 0:00:25It's a fabulous day for fabulous people
0:00:25 > 0:00:28and some interesting hats.
0:00:31 > 0:00:34But this is more than the unveiling
0:00:34 > 0:00:37of the latest upmarket British fashion.
0:00:37 > 0:00:42Burberry are also showcasing a new star of British music.
0:00:42 > 0:00:47MUSIC: "House" by Josh Record
0:00:47 > 0:00:49'I have been styled by Burberry today.
0:00:49 > 0:00:52'And, yeah, to have a brand like Burberry'
0:00:52 > 0:00:54wanting to associate themselves with you,
0:00:54 > 0:00:57it's a total vote of confidence and a seal of approval.
0:00:57 > 0:01:00# They don't see the blind tears... #
0:01:02 > 0:01:06Josh Record is the latest talented young British musician
0:01:06 > 0:01:09to be selected and backed by the Burberry brand.
0:01:10 > 0:01:13It's so creative and it's such art
0:01:13 > 0:01:16that it's amazing to collaborate with fashion and music
0:01:16 > 0:01:18because you're both creating something.
0:01:19 > 0:01:22# Soon they'll find their own place to hide... #
0:01:22 > 0:01:27Josh is part modern pop star, part brand model.
0:01:28 > 0:01:33He's a product of an era in British music when image became everything.
0:01:38 > 0:01:43The 1980s was the age of the music video.
0:01:43 > 0:01:48Nothing changed fashion and music as much as the video.
0:01:48 > 0:01:51MUSIC: "Dancing With Myself" by Billy Idol
0:01:51 > 0:01:54It was also the age in which musicians strived to hit
0:01:54 > 0:01:57the perfect style for their music.
0:01:57 > 0:02:00I'm an obsessive, I'm always looking at new looks
0:02:00 > 0:02:02and I'm always trying to improve the music.
0:02:06 > 0:02:11And everyone was judged on the look they were wearing.
0:02:11 > 0:02:13"You look idiotic, you don't look creative at all."
0:02:13 > 0:02:17It was the most stupid haircut in the world.
0:02:17 > 0:02:21More than ever, our music became a catwalk
0:02:21 > 0:02:23of carefully constructed images...
0:02:23 > 0:02:25from the gritty, to the glamorous,
0:02:25 > 0:02:27to the geeky.
0:02:27 > 0:02:29Cringeworthy.
0:02:29 > 0:02:32- HE LAUGHS - Andy with his sweater.
0:02:35 > 0:02:41Our '80s music became a battleground between artifice and authenticity.
0:02:41 > 0:02:45Don't you dare call us a New Romantic band,
0:02:45 > 0:02:49we are serious and Northern and intellectual.
0:02:50 > 0:02:52And we don't wear frilly shirts.
0:02:53 > 0:02:57And the looks that went with it held a mirror to the nation.
0:02:57 > 0:03:00- MARGARET THATCHER:- You do not follow the crowd.
0:03:00 > 0:03:03You decide what to do yourself.
0:03:03 > 0:03:05I was called a Thatcherite.
0:03:05 > 0:03:09You've got to believe that the way you're making things look
0:03:09 > 0:03:11is better than everybody else.
0:03:11 > 0:03:15The tunes we danced to and the styles we wore
0:03:15 > 0:03:18became a vivid reflection of the country we had been,
0:03:18 > 0:03:20the country we were becoming
0:03:20 > 0:03:23and the country we now are.
0:03:23 > 0:03:27I always knew I looked really good when my mum used to say,
0:03:27 > 0:03:30"Oh, my God! What do you look like?"
0:03:42 > 0:03:45MUSIC: "The Winner Takes It All" by ABBA
0:03:49 > 0:03:501980.
0:03:52 > 0:03:55The beginning of a new decade was in fact the end of an era.
0:03:58 > 0:04:01# I don't wanna talk
0:04:02 > 0:04:06# About things we've gone through... #
0:04:06 > 0:04:09ABBA, whose expertly crafted Swedish songwriting
0:04:09 > 0:04:11had lifted our spirits through the '70s,
0:04:11 > 0:04:16were enjoying what would be their last taste of chart-topping success.
0:04:18 > 0:04:21# And that's what you've done too... #
0:04:21 > 0:04:24There was nothing more to say, they were history.
0:04:24 > 0:04:26Their euphoric Europop out of tune
0:04:26 > 0:04:29with a nation on the verge of economic calamity.
0:04:29 > 0:04:32# The winner takes it all
0:04:34 > 0:04:37# The loser standing small... #
0:04:37 > 0:04:40Faced with high inflation, powerful unions
0:04:40 > 0:04:41and inefficient industry,
0:04:41 > 0:04:45Maggie Thatcher gave Britain a dose of tough love.
0:04:47 > 0:04:49How else are you going to do it?
0:04:49 > 0:04:51Now just tell me.
0:04:51 > 0:04:54How else are you going to create jobs?
0:04:57 > 0:05:02By May 1980, inflation hit 22% whilst we suffered the biggest jump
0:05:02 > 0:05:05in unemployment since the Great Depression.
0:05:09 > 0:05:11But in that very same month,
0:05:11 > 0:05:15a new band hit the charts whose style replicated the looks
0:05:15 > 0:05:18of the hard-pressed working man.
0:05:18 > 0:05:23# Back in '68 in a sweaty club
0:05:23 > 0:05:25# Oh, Geno
0:05:25 > 0:05:30# Before Jimmy's Machine and The Rocksteady Rub
0:05:31 > 0:05:33# Oh, Geno
0:05:33 > 0:05:38# On a night when flowers didn't suit my shoes... #
0:05:38 > 0:05:40I remember thinking, "Right, Top Of The Pops,
0:05:40 > 0:05:42"we're going to really nail this."
0:05:42 > 0:05:45We knew this was the opportunity to get this look over.
0:05:45 > 0:05:48"OK, let's go, have you got your woolly hat?
0:05:48 > 0:05:49"You got your jacket?"
0:05:49 > 0:05:53# Academic inspiration... #
0:05:53 > 0:05:57Straightaway they were just there. Looked great, sounded great.
0:05:57 > 0:06:01# But you were Michael the lover... #
0:06:01 > 0:06:05Dexys Midnight Runners swaggered onto our screens at number one
0:06:05 > 0:06:07in May 1980.
0:06:08 > 0:06:12'They look completely like a gang, a team'
0:06:12 > 0:06:16and usually in a line-up like this with seven or eight people,
0:06:16 > 0:06:18someone doesn't quite pull it off,
0:06:18 > 0:06:20but I thought it was brilliant, it blew me away.
0:06:24 > 0:06:29Geno was a hymn to hardworking soul man, Geno Washington.
0:06:29 > 0:06:33And with their donkey jackets, monkey boots and beanie hats,
0:06:33 > 0:06:38Dexys channelled the spirit of the working-class man in a tough job.
0:06:38 > 0:06:43# This man was my bombers, my Dexys, my high
0:06:43 > 0:06:44# Oh-oh, Geno... #
0:06:44 > 0:06:46Some of the music press thought
0:06:46 > 0:06:50that we couldn't afford any different clothes,
0:06:50 > 0:06:52you know, they actually thought that.
0:06:54 > 0:06:58# No, I'm not being flash It's what I'm built to do... #
0:06:58 > 0:07:03But Dexys look came not from the picket line, but from the pictures.
0:07:10 > 0:07:14On The Waterfront starred Marlon Brando as a stevedore
0:07:14 > 0:07:15on the New York docks.
0:07:17 > 0:07:19On The Waterfront, that was a big influence.
0:07:20 > 0:07:23No Hollywood glamour here,
0:07:23 > 0:07:26this was the gritty life with gritty clothes to match.
0:07:27 > 0:07:29They looked great, you know, those docker guys.
0:07:29 > 0:07:33They were wearing like, you know, peacoats, those woolly hats.
0:07:33 > 0:07:37Maybe like lumberjack check shirts, you know, thick belts.
0:07:37 > 0:07:38It's a great look.
0:07:38 > 0:07:42MUSIC: "Dance Stance" by Dexys Midnight Runners
0:07:44 > 0:07:47The docker look was a perfect fit for the soulful,
0:07:47 > 0:07:50sweat-drenched performances of Kevin and the band.
0:07:51 > 0:07:55# I'll only ask you once more... #
0:07:55 > 0:07:57To me, they always go together.
0:07:57 > 0:08:01The look somehow has to match the music.
0:08:03 > 0:08:07I'm an obsessive, I'm always looking at new looks
0:08:07 > 0:08:09and I'm always trying to improve the music.
0:08:10 > 0:08:13But sometimes, you know, you catch a moment
0:08:13 > 0:08:14and everybody's into it.
0:08:26 > 0:08:29And at a moment when Maggie Thatcher seemed to have
0:08:29 > 0:08:31British industry on the run,
0:08:31 > 0:08:34Dexys spoke to working-class lads...
0:08:34 > 0:08:36looking for working-class heroes.
0:08:39 > 0:08:43Neil Sheasby was a school boy in the early 1980s.
0:08:43 > 0:08:47MUSIC: "Keep It" by Dexys Midnight Runners
0:08:47 > 0:08:50He'd grown up in Britain's industrial heartland,
0:08:50 > 0:08:54where unemployment was rising and tension simmered on the streets.
0:08:56 > 0:08:59All this was unfolding on my doorstep really, in Coventry,
0:08:59 > 0:09:03and in Birmingham, so it felt very real, very real,
0:09:03 > 0:09:05and there was a lot of trouble.
0:09:08 > 0:09:09It was very tribal.
0:09:09 > 0:09:12If you weren't a mod or a rude boy
0:09:12 > 0:09:16or a skinhead or a punk, that was probably the worst thing of all
0:09:16 > 0:09:19because they were outcasts, you know, they were probably picked on.
0:09:21 > 0:09:25But with the tough docker look, Neil was able to survive
0:09:25 > 0:09:28the polarised style politics of the playground.
0:09:28 > 0:09:31I used to turn up in school in a donkey jacket.
0:09:31 > 0:09:35I had a three-button fitted leather jacket as well,
0:09:35 > 0:09:38so I could kind of get my identity coming across at school
0:09:38 > 0:09:40in certain ways.
0:09:40 > 0:09:44I mean, it was workwear, council wear, you could buy them.
0:09:44 > 0:09:46They were kind of readily available.
0:09:49 > 0:09:53But the docker look did have one drawback.
0:09:53 > 0:09:56I'd be walking up Addison High Street like it
0:09:56 > 0:09:58and they probably weren't thinking On The Waterfront,
0:09:58 > 0:10:02they would probably think, "He wants a job at the borough council," you know what I mean?
0:10:06 > 0:10:09Now you couldn't buy the hats, so I got my mum, she was into knitting,
0:10:09 > 0:10:12so I got her to knit them, a red and a black one,
0:10:12 > 0:10:14and when I started turning up to school in the hats,
0:10:14 > 0:10:17loads of kids would go, "Oh, where'd you get your hat from?"
0:10:17 > 0:10:19So I went, "Oh, my mum knitted it for me."
0:10:19 > 0:10:22"She couldn't make me one, could she? She couldn't get me one?"
0:10:22 > 0:10:25And I thought, "OK, I'll get a little racket moving here.
0:10:25 > 0:10:27"So give me £2, I'll get you one sorted."
0:10:27 > 0:10:31So I was spending the £2 in the record shops on the way home.
0:10:31 > 0:10:32So, yeah, that was crazy,
0:10:32 > 0:10:35she was busy knitting for a few weeks for sure, yeah.
0:10:36 > 0:10:39But equally, on the flip side to that, six or seven kids
0:10:39 > 0:10:41would turn up the next week wearing the hats
0:10:41 > 0:10:44and that's when I thought, "Right, time for me to move on now.
0:10:44 > 0:10:46"I need to leave this behind really
0:10:46 > 0:10:48"because, you know, everyone seems to be doing it."
0:10:50 > 0:10:55Fortunately for Neil, his style idols were always one step ahead.
0:10:56 > 0:11:00MUSIC: "Because Of You" by Dexys Midnight Runners
0:11:05 > 0:11:09We started to bring the strings into the music more, late '81, early '82.
0:11:09 > 0:11:11And we knew we needed to change the look.
0:11:15 > 0:11:18The person Kevin called on for his brand-new look
0:11:18 > 0:11:22is one of our most respected costume designers - Debbie Williams.
0:11:23 > 0:11:27Kevin played me the songs, but didn't have all the words yet,
0:11:27 > 0:11:30but, you know, I could hear the violins and everything.
0:11:30 > 0:11:33And then Kevin asked me would I come up with a new look
0:11:33 > 0:11:35to go with it.
0:11:35 > 0:11:39What Debbie conjured up was one of the most distinctive
0:11:39 > 0:11:42style statements in rock'n'roll history.
0:11:42 > 0:11:46So then I just kind of went away and thought about it and...
0:11:46 > 0:11:48MUSIC: "Come On Eileen" by Dexys Midnight Runners
0:11:48 > 0:11:50..then the dungarees happened.
0:11:50 > 0:11:52# Come on, Eileen
0:11:52 > 0:11:54# Oh, I swear what he means
0:11:54 > 0:11:59# At this moment you mean everything... #
0:11:59 > 0:12:01She said, "Look, why don't you dress down?"
0:12:01 > 0:12:03'And she suggested dungarees...'
0:12:05 > 0:12:08'..but it wasn't just dungarees, it was lots of different things.'
0:12:10 > 0:12:16'You know, we had scarves, we had hats, so I was quite into that look.'
0:12:16 > 0:12:17# Come on, Eileen... #
0:12:20 > 0:12:22Though the dungarees were a radical style shift,
0:12:22 > 0:12:24like the docker look before it,
0:12:24 > 0:12:27they cleverly chimed with the times.
0:12:30 > 0:12:33I was reading a lot of John Steinbeck at the time
0:12:33 > 0:12:36and there was one book, The Grapes Of Wrath, about the depression.
0:12:36 > 0:12:39We were in the '80s, you know, Thatcher was around,
0:12:39 > 0:12:42and though it wasn't a depression, it was depressing
0:12:42 > 0:12:44and on this cover of this Grapes Of Wrath,
0:12:44 > 0:12:48there was a great illustration of the Joad family.
0:12:48 > 0:12:52When I saw that I just thought, "Oh, that could be really good."
0:12:52 > 0:12:55It just seemed to suit the music, suit the time.
0:12:57 > 0:13:01Amid the gloom of the economic situation, the dust bowl denim look
0:13:01 > 0:13:05reinforced Dexys' image as a band of the people.
0:13:07 > 0:13:09It was a lot to do with the class system,
0:13:09 > 0:13:12the class system when I was growing up was very rigid.
0:13:12 > 0:13:16It was very rigid. So that kind of did create a lot of tension.
0:13:16 > 0:13:20All I know is that I had a real passion to express myself
0:13:20 > 0:13:22in some way.
0:13:22 > 0:13:25# Attack, attack Said attack, attack
0:13:25 > 0:13:27# Attack, attack Said attack, attack
0:13:27 > 0:13:29# Attack, attack Said attack, attack
0:13:29 > 0:13:31# Attack, attack Said attack, attack
0:13:31 > 0:13:33# And I know... #
0:13:33 > 0:13:37Today, Dexys continue to experiment with new looks.
0:13:37 > 0:13:40Picking and choosing freely from styles of the past.
0:13:42 > 0:13:45'It was obvious that Kevin was a visionary,
0:13:45 > 0:13:47'he would look for the next thing,'
0:13:47 > 0:13:49he wasn't going to stay immersed in one look
0:13:49 > 0:13:52or one sound for too long really,
0:13:52 > 0:13:54he was always looking to evolve and adapt.
0:13:54 > 0:13:56# I know
0:13:56 > 0:13:59# You know what I mean... #
0:13:59 > 0:14:01But as Dexys channelled the collective spirit
0:14:01 > 0:14:04of our industrial past,
0:14:04 > 0:14:06the early '80s saw a band with a look
0:14:06 > 0:14:09that seemed to reflect a new kind of Britain.
0:14:09 > 0:14:12MUSIC: "Fade To Grey" by Visage
0:14:18 > 0:14:20# Devenir gris
0:14:24 > 0:14:28# One man on a lonely platform
0:14:28 > 0:14:33# One case sitting by his side
0:14:33 > 0:14:37# Two eyes staring cold and silent
0:14:37 > 0:14:41# Show fear as he turns to hide... #
0:14:46 > 0:14:48One minute 30.
0:14:48 > 0:14:51# We fade to grey... #
0:14:51 > 0:14:55Fade to Grey hit our screens in November 1980.
0:14:55 > 0:14:57One minute 40.
0:14:57 > 0:15:00# We fade to grey... #
0:15:00 > 0:15:06And became the first top ten smash for electro pioneers Visage.
0:15:08 > 0:15:14Its success was down to a throbbing beat combined with a stunning video.
0:15:16 > 0:15:20I wasn't going to do a video which was just based on a band
0:15:20 > 0:15:22playing to camera.
0:15:22 > 0:15:25I actually wanted this to be a theatrical mini-movie.
0:15:25 > 0:15:26# We fade to grey... #
0:15:26 > 0:15:31I think the Fade To Grey video is ground-breaking and pioneering.
0:15:33 > 0:15:35Steve Strange and Rusty Egan
0:15:35 > 0:15:38were two of the visionaries behind Visage.
0:15:41 > 0:15:43While Rusty supplied beats,
0:15:43 > 0:15:46it was Steve who took control of their style and image.
0:15:48 > 0:15:53Steve, I'll give him his due, he knows what to do with the fashion.
0:15:55 > 0:15:59The video was a showcase of '80s avant-garde style.
0:16:00 > 0:16:04Boiler suits, gilded tunics, military-style hats
0:16:04 > 0:16:07and make-up, bucket-loads of make-up.
0:16:07 > 0:16:11All put to together on a shoestring.
0:16:11 > 0:16:14# Like an English summer... #
0:16:14 > 0:16:18It still holds up as a pretty amazing video,
0:16:18 > 0:16:23and everybody worked for sweet FA because they believed in me.
0:16:26 > 0:16:31We were lucky, we were just indulged by each other.
0:16:31 > 0:16:33# Oh, we fade to grey... #
0:16:33 > 0:16:37Melissa Caplan was the designer who believed in Steve Strange.
0:16:39 > 0:16:42And it's her clothes that adorn him in the Fade To Grey video.
0:16:45 > 0:16:48I probably started off with things like this, which...
0:16:48 > 0:16:50I believe that's the back bit
0:16:50 > 0:16:53and that's actually the same design as the outfit
0:16:53 > 0:16:56that I made for Steve Strange.
0:16:58 > 0:17:03This is after punk really, so we'd already had that attitude where...
0:17:03 > 0:17:07"Why not? I want to be a designer, why not?"
0:17:07 > 0:17:12The first influence I used was Egyptian for my prints,
0:17:12 > 0:17:16which is rife for being copied.
0:17:16 > 0:17:20I mean, I don't think I'd studied them at school even,
0:17:20 > 0:17:24but there I was finding out about ancient civilisations
0:17:24 > 0:17:28because they had designs that I thought would look good on clothes.
0:17:31 > 0:17:35Melissa's designs, Steve's vision and Rusty's tunes
0:17:35 > 0:17:38all came together in the Fade To Grey video.
0:17:38 > 0:17:42And this extraordinary meeting of music and fashion
0:17:42 > 0:17:46had its origins in a single legendary place.
0:17:46 > 0:17:52We are in what was originally known as the Blitz in Covent Garden.
0:17:58 > 0:18:04The Blitz club was London's most exclusive underground hangout.
0:18:04 > 0:18:06Sandwiched between two London fashion schools,
0:18:06 > 0:18:10it was as much a catwalk as a nightclub.
0:18:10 > 0:18:14That's what the club's about, it's about fashion, it's about looks.
0:18:14 > 0:18:16I mean, the men dress outrageous,
0:18:16 > 0:18:17the women dress outrageous.
0:18:20 > 0:18:23The Blitz became a weekly feast of cutting-edge fashion.
0:18:25 > 0:18:27And with it came a soundtrack
0:18:27 > 0:18:30from one of the most influential DJs of his day.
0:18:31 > 0:18:34We used to have a DJ just down there in the corner
0:18:34 > 0:18:37and it literally was in the corner,
0:18:37 > 0:18:41not where the silver booth is now, but it was literally in the corner.
0:18:42 > 0:18:47That DJ was who else but Rusty Egan.
0:18:48 > 0:18:54I started to find odd records that I started to play.
0:18:54 > 0:18:57Elli and Jacno, Mathematiques Modernes,
0:18:57 > 0:19:01which was sophisticated music.
0:19:03 > 0:19:07And the music he played was as eclectic as the fashion.
0:19:07 > 0:19:12Shirley Bassey, Vince Clarke and then you had Ultravox...
0:19:12 > 0:19:14# Oh, Vienna! #
0:19:14 > 0:19:16You know?
0:19:16 > 0:19:18Soft Cell...
0:19:19 > 0:19:20# Good time! #
0:19:20 > 0:19:23And people came up, "What is that? What is that?
0:19:23 > 0:19:24"Where can I get that record?"
0:19:26 > 0:19:31Thanks to Steve and Rusty, the Blitz became the centre of a new scene,
0:19:31 > 0:19:36where fashion and music danced together hand in hand.
0:19:36 > 0:19:40And this marriage was given the ultimate blessing.
0:19:41 > 0:19:45In 1980, the greatest icon of British music and fashion
0:19:45 > 0:19:48paid the Blitz a special visit.
0:19:48 > 0:19:53# There's a brand-new dance but I don't know its name... #
0:19:53 > 0:19:55'And I sort of went, "Oh, fuck."'
0:19:55 > 0:19:58I just went into sort of a meltdown.
0:19:58 > 0:20:02# That people from bad homes do again and again... #
0:20:02 > 0:20:06For the Blitz gang, Bowie was a deity and his visit came just as
0:20:06 > 0:20:10he was in the midst of yet another style regeneration.
0:20:13 > 0:20:15He looked Steve in the eye and said...
0:20:15 > 0:20:18"I just love what you've created. It's amazing."
0:20:18 > 0:20:22He said, "Look at these amazing people, the music you're playing."
0:20:22 > 0:20:26And he said, "Would you be interested in being in my video?"
0:20:26 > 0:20:28# Turn to the left - fashion! #
0:20:28 > 0:20:33Even Steve wasn't cool enough to turn down the Thin White Duke.
0:20:33 > 0:20:37The video Bowie wanted Steve to be in was a ground-breaking experiment
0:20:37 > 0:20:39in style and image.
0:20:39 > 0:20:42MUSIC: "Ashes To Ashes" by David Bowie
0:20:49 > 0:20:52# Do you remember a guy that's been... #
0:20:52 > 0:20:56He said, "You've obviously got something very special about you,
0:20:56 > 0:20:59"would you choose the extras and dress all the extras?"
0:21:01 > 0:21:05As one of Bowie's fantastical support cast in Ashes To Ashes,
0:21:05 > 0:21:08Steve found himself in the kind of danger
0:21:08 > 0:21:10he could never have predicted.
0:21:10 > 0:21:13Little did I know the bloody bulldozer was going to be
0:21:13 > 0:21:18pushing us on a beach with me in a long clergyman's cloak,
0:21:18 > 0:21:21being caught in a fucking bulldozer and beehive hat.
0:21:21 > 0:21:25# Ashes to ashes, funk to funky
0:21:25 > 0:21:30# We know Major Tom's a junkie... #
0:21:30 > 0:21:34Nevertheless, Steve was served up the ultimate dinner party anecdote
0:21:34 > 0:21:39and the Blitz became a rally point for a new style movement -
0:21:39 > 0:21:41The New Romantics.
0:21:48 > 0:21:51They were wilful narcissists who took the shock of punk
0:21:51 > 0:21:54and gave it frilly flamboyance.
0:21:54 > 0:21:57MUSIC: "Mind Of A Toy" by Visage
0:22:02 > 0:22:04Fiona Deely was an early adopter.
0:22:04 > 0:22:06SHE LAUGHS
0:22:06 > 0:22:11I always knew I looked really good when my mum used to say,
0:22:11 > 0:22:14"Oh, my God, what do you look like?
0:22:14 > 0:22:17"Fred, look what she's wearing!"
0:22:18 > 0:22:20And I'd think, "Yes!"
0:22:24 > 0:22:28Fiona was a student at fashion college in London
0:22:28 > 0:22:31and she went to extraordinary lengths to stand out from the crowd.
0:22:34 > 0:22:38We had huge toolboxes full of make-up,
0:22:38 > 0:22:43so we'd spend a couple of hours plastering on the make-up.
0:22:43 > 0:22:47We all had different looks, we all had to look individual.
0:22:51 > 0:22:56I started wearing a leather queen hat which I'd wear with diamante earrings
0:22:56 > 0:23:00and I started making these leather dresses,
0:23:00 > 0:23:04which would either be low-cut or backless.
0:23:04 > 0:23:07And there's a photograph of me here
0:23:07 > 0:23:11and I really loved that look, and I really loved that hat.
0:23:14 > 0:23:20Among Fiona and her friends, it was always fashion first, fun second.
0:23:22 > 0:23:26If you look at all of the photographs of all of us from then,
0:23:26 > 0:23:30none of us are ever laughing or smiling, are we?
0:23:30 > 0:23:32We all look very, very serious.
0:23:32 > 0:23:35It was a very serious business, dressing up.
0:23:40 > 0:23:44But in their fierce and competitive individuality,
0:23:44 > 0:23:47Fiona and her group unwittingly mirrored
0:23:47 > 0:23:50the big changes sweeping British society.
0:23:52 > 0:23:55- MARGARET THATCHER: - You do not follow the crowd
0:23:55 > 0:23:58because you're afraid of being different.
0:23:58 > 0:24:00You decide what to do yourself.
0:24:00 > 0:24:03If necessary, you lead the crowd.
0:24:03 > 0:24:05But you never just follow.
0:24:08 > 0:24:12On a mission to make Britain fit for the modern world,
0:24:12 > 0:24:15Mrs Thatcher dreamed of creating a nation of competitive
0:24:15 > 0:24:18and self-interested individuals.
0:24:21 > 0:24:22And though they didn't realise it,
0:24:22 > 0:24:25the New Romantics were very much in line
0:24:25 > 0:24:27with this new political zeitgeist.
0:24:31 > 0:24:33It was just a competition.
0:24:33 > 0:24:37Once the thing that you had worn was worn by other people,
0:24:37 > 0:24:40then it was like, "Mm-mm, not going to wear that again."
0:24:40 > 0:24:45We would get very competitive about which magazines
0:24:45 > 0:24:48our photographs had been in, I do remember that.
0:24:48 > 0:24:51I think the really cool one was always Italian Vogue.
0:24:53 > 0:24:57If you thought somebody had copied your shade of lipstick or your look
0:24:57 > 0:24:59or any thing like that,
0:24:59 > 0:25:02that was a heinous crime.
0:25:04 > 0:25:06But the biggest crime of all
0:25:06 > 0:25:10was trying and getting the whole thing very wrong.
0:25:10 > 0:25:14Because then you could face the judgment of Steve.
0:25:14 > 0:25:17I was the biggest door whore London ever had!
0:25:19 > 0:25:24I would carry a mirror for the idiots that sort of
0:25:24 > 0:25:29thought that they were dressed up by wearing flippers and a wet suit
0:25:29 > 0:25:33and painting their face white and black and I'd say,
0:25:33 > 0:25:36"You look idiotic, you don't look creative at all."
0:25:36 > 0:25:40And I'd hold a mirror up and say, "The Thames is that way."
0:25:42 > 0:25:46In the early '80s, New Romantic would infect mainstream pop,
0:25:46 > 0:25:49where it mutated with sometimes alarming results.
0:25:51 > 0:25:53# Cos you're too shy, shy
0:25:53 > 0:25:55# Hush, hush, eye to eye
0:25:55 > 0:25:58# Too shy, shy
0:25:58 > 0:26:00# Hush, hush, eye to eye... #
0:26:00 > 0:26:05Who can forget Kajagoogoo fronted by the skunk-topped Limahl?
0:26:05 > 0:26:08# If I had a photograph of you... #
0:26:08 > 0:26:13Or the tonsorial excess of A Flock Of Seagulls?
0:26:13 > 0:26:16'You know, there were people that really got it wrong.
0:26:16 > 0:26:18'You know, the guy from A Flock Of Seagulls.
0:26:18 > 0:26:20'The music was great,'
0:26:20 > 0:26:23that was a great song, but I couldn't play it
0:26:23 > 0:26:25because of his bloody haircut.
0:26:27 > 0:26:29It was the most stupid haircut in the world.
0:26:29 > 0:26:32# Karma, karma, karma, karma, karma chameleon... #
0:26:32 > 0:26:33For all the great tunes,
0:26:33 > 0:26:38many feared '80s British pop was falling victim to fashion.
0:26:38 > 0:26:42But then came the sound of a counter revolution.
0:26:42 > 0:26:45MUSIC: "Enola Gay" by OMD
0:26:58 > 0:27:01# Enola Gay
0:27:01 > 0:27:04# You should've stayed at home yesterday... #
0:27:04 > 0:27:06Cringeworthy.
0:27:08 > 0:27:10Andy with his sweater...
0:27:10 > 0:27:12Sleeveless tank top sweater.
0:27:12 > 0:27:14# These games you play
0:27:14 > 0:27:18# They're going to end in more than tears one day
0:27:18 > 0:27:21# Oh-oh, Enola Gay... #
0:27:21 > 0:27:26Enola Gay was a huge hit for the most pretentiously-named band
0:27:26 > 0:27:27in history...
0:27:28 > 0:27:31..Orchestral Manoeuvres In The Dark.
0:27:38 > 0:27:42# Enola Gay, is mother proud of little boy today?
0:27:42 > 0:27:45ANDY: 'Oh, what an earnest young man he was.
0:27:45 > 0:27:47'Trying to change the world with his music.'
0:27:47 > 0:27:50# It shouldn't have to end this way... #
0:27:52 > 0:27:55It sold five million copies.
0:27:57 > 0:28:00But beneath the uplifting melody was a darker meaning.
0:28:01 > 0:28:03# Enola Gay... #
0:28:03 > 0:28:07Everyone's dancing to this pop song without having a clue
0:28:07 > 0:28:12that to some extent it was a celebration of the atomic bomb.
0:28:14 > 0:28:16Enola Gay was the name of the aeroplane that dropped
0:28:16 > 0:28:18the atomic bomb on Hiroshima.
0:28:20 > 0:28:24You know, it was like we're all dancing to death
0:28:24 > 0:28:26in a very bizarre way.
0:28:28 > 0:28:33To OMD, this song was a deeply subversive work of art.
0:28:33 > 0:28:36And they were determined that nothing would detract
0:28:36 > 0:28:38from this musical masterpiece.
0:28:38 > 0:28:40We were pretentious 19-year-olds
0:28:40 > 0:28:44and we considered ourselves to be artists, not pop stars.
0:28:47 > 0:28:50There was a rush of wanting to look like pop stars
0:28:50 > 0:28:53with lots of hair and big shoulders.
0:28:53 > 0:28:58And, of course, this was just anathema to us, we were horrified.
0:28:58 > 0:29:00And then when people started saying,
0:29:00 > 0:29:03"Oh, yes, you're a New Romantic band."
0:29:03 > 0:29:05We were like, "No, we're not,
0:29:05 > 0:29:07"don't you dare call us a New Romantic band,
0:29:07 > 0:29:11"we are serious and Northern and intellectual
0:29:11 > 0:29:14"and we don't wear frilly shirts."
0:29:17 > 0:29:19We wanted the music to stand on its own,
0:29:19 > 0:29:22so we wanted to be completely plain
0:29:22 > 0:29:26and we thought what is a completely plain ordinary look?
0:29:26 > 0:29:30And we thought, "Bank clerks, that's what we should be, bank clerks."
0:29:32 > 0:29:35See what we can do with a man and C&A.
0:29:37 > 0:29:39A stalwart of the British high street,
0:29:39 > 0:29:44C&A was the store of choice for the provincial bank clerk.
0:29:47 > 0:29:50The nearest clothes shop was C&A
0:29:50 > 0:29:53and we would just buy off the shelf,
0:29:53 > 0:29:56you know, plain, boring clothes.
0:29:59 > 0:30:01So, nerd, we went nerd,
0:30:01 > 0:30:04and so we just used to go around all the shops in Liverpool
0:30:04 > 0:30:08looking to find the nerdiest, most bank-clerky things we could find.
0:30:15 > 0:30:19The classic OMD look was a shock of the dull.
0:30:21 > 0:30:22Monochrome shirt...
0:30:25 > 0:30:27..a sensible side parting...
0:30:31 > 0:30:32..and a nice tie.
0:30:34 > 0:30:36That's exactly what we wanted to look like,
0:30:36 > 0:30:41we wanted to have no definitive style.
0:30:43 > 0:30:46But OMD were not content to look like total bankers.
0:30:49 > 0:30:54For the release of their 1981 single Maid Of Orleans, the band decided
0:30:54 > 0:30:57to explore a new range of ordinary.
0:31:00 > 0:31:02Christmas jumpers!
0:31:03 > 0:31:06# ..had a heart... #
0:31:06 > 0:31:12I just happen to have the very jumper, but it's so dull.
0:31:12 > 0:31:16It's spectacularly nondescript. And that was what we were trying to say.
0:31:18 > 0:31:20It's still got my dinner on from the photo shoot.
0:31:23 > 0:31:26For OMD, these were the perfect clothes in which to present
0:31:26 > 0:31:29a new kind of music for the coming digital age.
0:31:32 > 0:31:35MUSIC: "Genetic Engineering" by OMD
0:31:37 > 0:31:42OMD had emerged at the dawn of the consumer electronics boom.
0:31:42 > 0:31:46# Changing, designing, adapting our mentalities... #
0:31:46 > 0:31:49Theirs was a sound of bold simplicity.
0:31:49 > 0:31:53It matched the binary code at the heart of the digital revolution.
0:31:53 > 0:31:56It didn't matter if you had any technical ability
0:31:56 > 0:31:59and Andy and I certainly didn't have any technical ability,
0:31:59 > 0:32:02so it was just... It was very much two-fingered kind of...
0:32:02 > 0:32:06Two-fingered playing and two fingers up at the establishment.
0:32:07 > 0:32:10# The future in our hands
0:32:10 > 0:32:12# When all God's children... #
0:32:12 > 0:32:15I think we were considered to be outsiders and intellectuals,
0:32:15 > 0:32:17and in some respects,
0:32:17 > 0:32:20we were the embodiment on the Top Of The Pops stage
0:32:20 > 0:32:23of the tortured, lonely, intellectual,
0:32:23 > 0:32:26spotty-boy artist in his bedroom,
0:32:26 > 0:32:29so I think those are the people who gravitated towards us.
0:32:29 > 0:32:33# ..will ever more be saved. #
0:32:33 > 0:32:36There was a certain amount of irony in the fact that actually
0:32:36 > 0:32:38by trying to not look like pop stars
0:32:38 > 0:32:42and not create or follow any particular fashion,
0:32:42 > 0:32:46we created one that impressionable teenage boys followed.
0:32:50 > 0:32:54One of those boys, whose bedroom became a shrine to OMD,
0:32:54 > 0:32:56was Neil Taylor.
0:32:57 > 0:33:01OMD continually stood out.
0:33:01 > 0:33:02They didn't fit into the mould
0:33:02 > 0:33:06and I really related to this, you know.
0:33:08 > 0:33:13In the early '80s, Neil worked on the very frontiers of computer technology.
0:33:13 > 0:33:17At that point of my time, the jobs I was doing, a very early adopter
0:33:17 > 0:33:19of semi-computerised equipment
0:33:19 > 0:33:22and this a very geeky job that I was doing
0:33:22 > 0:33:24and I was very proud of doing.
0:33:26 > 0:33:29And I quite enjoyed the geeky look.
0:33:29 > 0:33:33I'm still a bit of a geek, even nowadays, so it's carried on.
0:33:34 > 0:33:36Very dodgy moustache,
0:33:36 > 0:33:39which I somewhat regret now.
0:33:40 > 0:33:44For Neil, OMD were the first band ever to make geek chic.
0:33:47 > 0:33:48Erm...
0:33:48 > 0:33:53We have some cringeworthy video from my youth.
0:33:56 > 0:33:58Unwatched for over a decade,
0:33:58 > 0:34:03these pictures record the night of Neil's 21st birthday party.
0:34:04 > 0:34:06As far as I can recollect,
0:34:06 > 0:34:10of my generation, there was only actually myself who's got a shirt
0:34:10 > 0:34:12and the skinny tie.
0:34:12 > 0:34:14I'm making a fashion statement,
0:34:14 > 0:34:17going, "Look, I'm not a New Romantic.
0:34:17 > 0:34:22"I'm cooler. I like Orchestral Manoeuvres In The Dark."
0:34:24 > 0:34:26Though Neil was alone in his look,
0:34:26 > 0:34:30his clean-cut image had some unexpected consequences.
0:34:32 > 0:34:35You were dating girls and
0:34:35 > 0:34:39you just wanted to be clean-looking,
0:34:39 > 0:34:43and if you went in with a sort of tie on and a buttoned-up shirt,
0:34:43 > 0:34:46you got a little bit of respect from the actual parents as well,
0:34:46 > 0:34:48which was quite good with some of the young ladies
0:34:48 > 0:34:50that were about at the time.
0:34:51 > 0:34:53It did the job, let's put in that way.
0:34:56 > 0:34:59For Neil, OMD had produced a sophisticated sound
0:34:59 > 0:35:01and style of the future.
0:35:02 > 0:35:06But the real floor-filler at Neil's disco came from a band
0:35:06 > 0:35:10who dismissed the pretentions of OMD
0:35:10 > 0:35:14and embodied the go-getting excess of '80s Britain.
0:35:15 > 0:35:17It's all very much a time warp.
0:35:17 > 0:35:22It's the girls with all their frilly stuff dancing to Duran Duran.
0:35:22 > 0:35:26MUSIC: "Rio" by Duran Duran
0:35:33 > 0:35:39# Moving on the floor now, babe, you're a bird of paradise... #
0:35:39 > 0:35:41Released in November 1983,
0:35:41 > 0:35:45Duran Duran's Rio gave us a view of what '80s success would look like.
0:35:46 > 0:35:52Much like a textbook example of what one could do
0:35:52 > 0:35:54with video in the 1980s.
0:35:54 > 0:35:57# You know you're something special... #
0:35:57 > 0:36:04Rio was five minutes and three seconds of '80s glamour on steroids.
0:36:05 > 0:36:08It's everything that the period was about.
0:36:09 > 0:36:12I used to think, "One day, I'm going to go there for a holiday."
0:36:12 > 0:36:14It was absolutely amazing views.
0:36:16 > 0:36:18But I still haven't been there to this day.
0:36:18 > 0:36:21# And when she shines she really shows you... #
0:36:21 > 0:36:25Glamour on a boat, it's just completely mad.
0:36:27 > 0:36:31As you can imagine, salt water is not particularly good for silk.
0:36:37 > 0:36:40Recently I went out on a day sailing and the instructor kind of said,
0:36:40 > 0:36:44"If any of you want your Rio moment at the front of the boat, feel free,"
0:36:44 > 0:36:46so even today, over 30 years later,
0:36:46 > 0:36:49people are still referencing that video.
0:36:49 > 0:36:51# I've seen you on TV... #
0:36:51 > 0:36:53With their slick, pastel-coloured suits,
0:36:53 > 0:36:57Duran Duran were yuppies before yuppies had really arrived.
0:36:57 > 0:37:00# It means so much to me... #
0:37:00 > 0:37:04You've got to believe that the way you're making things look
0:37:04 > 0:37:07is better than everybody else.
0:37:07 > 0:37:11With that sort of cockiness, you get away with things.
0:37:16 > 0:37:20The designer who helped Duran Duran get away with it on the Rio video
0:37:20 > 0:37:22was Antony Price.
0:37:24 > 0:37:28One of the country's most sought-after designers.
0:37:30 > 0:37:34Today, Antony is still is in the glamour game,
0:37:34 > 0:37:37making clothes for a high-end beauty parlour.
0:37:38 > 0:37:43I was asked to do the uniforms for these girls to wear.
0:37:43 > 0:37:48They have to look quite stylish and couture and simple,
0:37:48 > 0:37:51but they have to be washed as well.
0:37:51 > 0:37:53But it's pretty classic.
0:37:53 > 0:37:57It's a work outfit, it's better than an overall anyway, that's for sure.
0:37:57 > 0:37:59Mrs Overall!
0:38:01 > 0:38:04When they came along, they said,
0:38:04 > 0:38:07"we want you to do our clothes for this Rio shoot."
0:38:07 > 0:38:11We decided to do these in certain colours for them
0:38:11 > 0:38:15and as I had experience of the Caribbean, we thought, "Well..."
0:38:15 > 0:38:16and off we went.
0:38:20 > 0:38:26The Rio video really was just a series of chaotic accidents.
0:38:28 > 0:38:29Film crew arrives,
0:38:29 > 0:38:32"Well, what are we going to do?"
0:38:32 > 0:38:35You know, we've got a boat, we've got a beach here,
0:38:35 > 0:38:41we've got a girl. It just sort of got made up as we went along.
0:38:41 > 0:38:45The one thing we did have, that we knew we wanted to wear in the video,
0:38:45 > 0:38:47was the Antony Price suits.
0:38:49 > 0:38:53So here, courtesy of Antony Price, we have a very fine silk jacket.
0:38:53 > 0:38:58My guess is that it's probably from 1982 by looking at the fabric
0:38:58 > 0:39:00and the choice of lining.
0:39:01 > 0:39:02Very wide shoulder pads.
0:39:02 > 0:39:05Antony was the king of shoulders.
0:39:05 > 0:39:08He can take them all the way in, bring them all the way out,
0:39:08 > 0:39:11but at this period, as you can see, they were quite wide.
0:39:11 > 0:39:14And I don't know, I suppose
0:39:14 > 0:39:19somehow he had this instinct for old-school glamour.
0:39:19 > 0:39:20MUSIC: "Virginia Plain" by Roxy Music
0:39:20 > 0:39:22# Take me on a rollercoaster... #
0:39:22 > 0:39:25Antony had made his name in the '70s
0:39:25 > 0:39:28creating a look for style pioneers Roxy Music.
0:39:30 > 0:39:34We'd seen a lot of the things he'd made for Roxy Music, for sure.
0:39:34 > 0:39:40They had a look that no-one else had ever had before.
0:39:40 > 0:39:43So the first thing I actually really wanted to do was
0:39:43 > 0:39:46get something from Antony Price.
0:39:51 > 0:39:55Duran Duran were definitely more interested
0:39:55 > 0:39:57in the garment side of it.
0:39:58 > 0:40:01They saw it as majorly important
0:40:01 > 0:40:04because it had been that important to them
0:40:04 > 0:40:07and that's why they'd gone into the music business, to do that,
0:40:07 > 0:40:10so to come and have wonderful clothes made
0:40:10 > 0:40:12was the first thing they wanted to do.
0:40:12 > 0:40:14MUSIC: "Hungry Like The Wolf" by Duran Duran
0:40:14 > 0:40:17# Blood drumming on your skin, it's so tight... #
0:40:17 > 0:40:20Duran Duran were one of the first bands to grasp
0:40:20 > 0:40:23the importance of style and image in the age of the video.
0:40:28 > 0:40:32While bands like The Beatles and The Small Faces had made movies
0:40:32 > 0:40:36as a way to showcase their music, the video was something else.
0:40:36 > 0:40:38# I'm lost and I'm found... #
0:40:38 > 0:40:42Nothing changed fashion and music as much as the video.
0:40:42 > 0:40:46# Straddle the line, it's discord and rhyme... #
0:40:46 > 0:40:50And no band took to the video like Duran Duran.
0:40:50 > 0:40:53# Mouth is alive, all running inside
0:40:53 > 0:40:57# And I'm hungry like the wolf. #
0:40:59 > 0:41:02On heavy rotation on MTV and Top Of The Pops,
0:41:02 > 0:41:06their high-budget videos seemed to showcase all the wonders
0:41:06 > 0:41:09that aspirational 80's values might one day bring.
0:41:10 > 0:41:14Exotic adventures in far-flung places,
0:41:14 > 0:41:16sun and sex,
0:41:16 > 0:41:18material wealth.
0:41:19 > 0:41:23And all this had a profound effect on impressionable young minds.
0:41:27 > 0:41:30We thought, "Duran are cool, they're like number one."
0:41:30 > 0:41:33We worshipped the ground they walked on, didn't we?
0:41:33 > 0:41:36- They were just like...- Yeah. - We lived, ate and breathed Duran.
0:41:38 > 0:41:40MUSIC: "Girls On Film" by Duran Duran
0:41:40 > 0:41:45Julie Bird and Lisa Carroll were school friends in the '80s
0:41:45 > 0:41:47and their hearts had been captured
0:41:47 > 0:41:50by the sight and sound of Duran Duran.
0:41:52 > 0:41:54When they released Girls On Film,
0:41:54 > 0:41:57I saw Duran and their image, the clothes they were wearing,
0:41:57 > 0:41:59it just really appealed to me,
0:41:59 > 0:42:02so that was it, really, I was hooked.
0:42:02 > 0:42:05# Heads turning as the lights flashing out are so bright... #
0:42:05 > 0:42:08Just like their heroes, the girls were obsessed with image.
0:42:08 > 0:42:11# Walk right out to the four-line track, there's a camera rolling... #
0:42:11 > 0:42:13If we were going to see Duran Duran,
0:42:13 > 0:42:16we always had to dress up to see them. It was an event.
0:42:16 > 0:42:19If we were going to see Simon to stand outside his house
0:42:19 > 0:42:21or if we were going to Heathrow Airport or whatever,
0:42:21 > 0:42:23we had to dress up.
0:42:23 > 0:42:26MUSIC: "Is There Something I Should Know?" by Duran Duran
0:42:26 > 0:42:31And every time a new look came out, it was instantly copied.
0:42:31 > 0:42:34# Tried to find my mountain hideaway... #
0:42:34 > 0:42:37When they brought out the Is There Something I Should Know video,
0:42:37 > 0:42:42they wore blue shirts, white tie and black trousers,
0:42:42 > 0:42:43and I can recall thinking,
0:42:43 > 0:42:47"Well, that's the new look, I need to dress like that."
0:42:50 > 0:42:54This picture is me recreating that look, and to get that look,
0:42:54 > 0:42:58it was like, "Hey, my Girl Guide blouse is the right colour."
0:42:58 > 0:43:01So ripped off all my badges and put it on
0:43:01 > 0:43:05and even had the little shoulder epaulettes on it and it was perfect.
0:43:05 > 0:43:08And I felt like, "Wow, this is the part."
0:43:08 > 0:43:10# Before I had to say... #
0:43:13 > 0:43:16MUSIC: "Ordinary World" by Duran Duran
0:43:17 > 0:43:20Dressing up as the boys was an attempt to have
0:43:20 > 0:43:23a little of the celluloid glamour for themselves.
0:43:24 > 0:43:27They showed us a world that we'd never seen before,
0:43:27 > 0:43:29through the videos.
0:43:29 > 0:43:34The Rio video just seemed, you know, outrageously glamorous.
0:43:34 > 0:43:37# Thought I heard you talking softly... #
0:43:37 > 0:43:40You know, you'd want to have a piece of that life.
0:43:43 > 0:43:47I can recall going on holiday on the Norfolk Broads, boating,
0:43:47 > 0:43:50and my sister and I, we would walk along the boat,
0:43:50 > 0:43:54thinking, you know, "Wow, this is cool, we're like Duran Duran."
0:43:54 > 0:43:59For us, that was like having a piece of that exotic life in the UK.
0:44:00 > 0:44:01# Gone away
0:44:01 > 0:44:05# But I won't cry for yesterday
0:44:05 > 0:44:06# There's an ordinary world... #
0:44:06 > 0:44:09Like gold at the end of the rainbow,
0:44:09 > 0:44:13many found the glamour of Duran Duran to be out of reach.
0:44:14 > 0:44:18But for others, it gave the band their lasting allure.
0:44:18 > 0:44:19# To the ordinary world
0:44:19 > 0:44:23# I will learn to survive. #
0:44:27 > 0:44:32The '80s was a decade when music and fashion seemed to mirror the changes
0:44:32 > 0:44:34that we all felt.
0:44:35 > 0:44:39The collective spirit of the working man was under attack.
0:44:40 > 0:44:43And the ethos of individualism was all.
0:44:45 > 0:44:47This was the dawn of the computer age,
0:44:47 > 0:44:50when making money became easier than ever before.
0:44:52 > 0:44:54But at the end of the decade
0:44:54 > 0:44:57there came a man who was a prophet of our own times.
0:44:59 > 0:45:01# Back to life
0:45:01 > 0:45:03# Back to reality
0:45:03 > 0:45:05# Back to life
0:45:05 > 0:45:08# Back to reality
0:45:08 > 0:45:12# Back to the here and now, yeah
0:45:12 > 0:45:14# Show me how
0:45:14 > 0:45:17# Decide what you want from me
0:45:17 > 0:45:21# Tell me maybe I could be there for you... #
0:45:23 > 0:45:24Classic.
0:45:24 > 0:45:28# However do you want me, however do you need me... #
0:45:28 > 0:45:31Yeah, this is just a beautiful period of time.
0:45:32 > 0:45:34I remember looking at this and thinking,
0:45:34 > 0:45:36"Who are all these people, man?"
0:45:36 > 0:45:39I didn't realise Jazzie knew people who could play the violin.
0:45:40 > 0:45:42# However do you need me... #
0:45:42 > 0:45:46This funky group, with vivid head wraps and African medallions,
0:45:46 > 0:45:49were a collective known as Soul II Soul.
0:45:49 > 0:45:51They got the summer of '89 started
0:45:51 > 0:45:55with their seductive number one Back To Life.
0:45:57 > 0:46:00I remember this so vividly, it was just like, "Wow!"
0:46:00 > 0:46:04Kind of like, this is... It was kind of like, this is UK,
0:46:04 > 0:46:07this is dance, this is hip-hop, and this is us.
0:46:07 > 0:46:10# Until you're ready... #
0:46:10 > 0:46:14This is a sophisticated package that they've put together here.
0:46:14 > 0:46:19That's how smart he is and how smart he was at that time.
0:46:19 > 0:46:22He made it totally work. The dancers, I mean, it's amazing.
0:46:26 > 0:46:30Ah, there's some great styling in this video, for real.
0:46:30 > 0:46:34It was fresh, it was new, vibrant.
0:46:34 > 0:46:38We were the first voyagers out there doing this sort of thing.
0:46:40 > 0:46:44Jazzie B was the mind behind Soul II Soul.
0:46:46 > 0:46:49And the clothes he wore said everything about who he was
0:46:49 > 0:46:51and wanted to be.
0:46:52 > 0:46:54Let me show you some pieces.
0:47:00 > 0:47:04Jazzie's wardrobe is a treasure trove of items from the '80s -
0:47:04 > 0:47:08a strange mix of the casual and the formal.
0:47:08 > 0:47:10Why is it all black?
0:47:10 > 0:47:11HE LAUGHS
0:47:11 > 0:47:15And it's a style epitomised in one jacket.
0:47:15 > 0:47:19So this is the style that we were wearing during the '80s
0:47:19 > 0:47:21and even into the '90s, actually.
0:47:22 > 0:47:25What was so appealing about this stuff was the fact that
0:47:25 > 0:47:29it had this gentrified look, with a bit of anarchy
0:47:29 > 0:47:33and it sort of really symbolised us, what we were aspiring to.
0:47:36 > 0:47:39These adaptations of the classic business suit were fitting.
0:47:41 > 0:47:45Because Jazzie wasn't so much a pop star, more an entrepreneur.
0:47:46 > 0:47:49As aspirational and astute as they come.
0:47:51 > 0:47:53Here we were in the '80s, you know?
0:47:53 > 0:47:56Things were changing, we were carving our way.
0:47:56 > 0:48:00The last explosion that probably happened prior to that was punk
0:48:00 > 0:48:03and that really changed the game.
0:48:03 > 0:48:07I mean, the whole attitude and, you know, the idea of the punk thing,
0:48:07 > 0:48:11it enabled us, it slightly empowered us.
0:48:11 > 0:48:14MUSIC: "Just Keep Rockin'" by Double Trouble and Rebel MC
0:48:18 > 0:48:21Jazzie made his name as a DJ running a sound system in North London
0:48:21 > 0:48:23called Soul II Soul.
0:48:25 > 0:48:28With custom-made super-strength speakers,
0:48:28 > 0:48:32and playing a blend of reggae, hip-hop, house and funk,
0:48:32 > 0:48:37Soul II Soul parties soon gained a reputation on the underground scene.
0:48:40 > 0:48:42And their parties were legendary.
0:48:42 > 0:48:44It was a beautiful time.
0:48:44 > 0:48:48Obviously certain substances may have had an affect, shall we say,
0:48:48 > 0:48:51on proceedings. But, er, generally, it was just a wonderful time
0:48:51 > 0:48:55and there was a kaleidoscope of music, and a kaleidoscope of people.
0:49:00 > 0:49:02Jazzie's diverse range of music
0:49:02 > 0:49:06appealed to a diverse range of people, and Soul II Soul parties
0:49:06 > 0:49:09soon became a byword for multicultural London.
0:49:12 > 0:49:15Aware he was creating a powerful scene,
0:49:15 > 0:49:19Jazzie wanted everyone to know just who was at the heart of it.
0:49:20 > 0:49:21# Dance, let's go crazy... #
0:49:21 > 0:49:25Back in the early days as a sound system, we had to find a way
0:49:25 > 0:49:28for the public to identify who was running the dance.
0:49:33 > 0:49:38Jazzie's idea was to come up a T-shirt for his crew to wear.
0:49:38 > 0:49:42And it was emblazoned with a logo that would become legendary.
0:49:42 > 0:49:45This originally was how you identified us.
0:49:45 > 0:49:49The imagery was designed by Derek Yates.
0:49:50 > 0:49:52This is essentially what I drew,
0:49:52 > 0:49:54with the bad typography and all that stuff...
0:49:54 > 0:49:57HE LAUGHS
0:49:57 > 0:49:59Yeah, so the little goatee beard,
0:49:59 > 0:50:04short dreadlocks, the sort of round glasses.
0:50:04 > 0:50:08Obviously Soul II Soul is plugging music into his ears.
0:50:08 > 0:50:14And that was the start, as it were, of the journey of the Funki Dreds.
0:50:16 > 0:50:20I was just a kid drawing a picture and just thinking, "That looks cool."
0:50:22 > 0:50:25REGGAE MUSIC
0:50:29 > 0:50:34When this T-shirt came out, I was just completely blown away
0:50:34 > 0:50:37by the reaction to it. We were going to the Carnival
0:50:37 > 0:50:40and seeing loads of people wearing the T-shirts and thinking,
0:50:40 > 0:50:44"Wow," it's like, "That's my drawing, that's my rubbish drawing!"
0:50:47 > 0:50:50With an instinctive understanding of supply and demand,
0:50:50 > 0:50:55Jazzie seized on the popularity of his T-shirts
0:50:55 > 0:50:58and decided to create an entire fashion label.
0:50:59 > 0:51:05We bought our own little place to make the T-shirts up and everything,
0:51:05 > 0:51:07and started to buy the T-shirts,
0:51:07 > 0:51:10and so we moved on from the ideas of this,
0:51:10 > 0:51:12we had a market stall in Camden,
0:51:12 > 0:51:14which moved onto shops,
0:51:14 > 0:51:17and in those shops, like we used to do in the dances,
0:51:17 > 0:51:19we'd sell our merchandise.
0:51:19 > 0:51:23We were selling the music we were playing,
0:51:23 > 0:51:26in some cases, some bootlegs of what we were playing,
0:51:26 > 0:51:29and all the other delights, as it were.
0:51:32 > 0:51:36The Soul II Soul Basement Store in North London was packed with records
0:51:36 > 0:51:40and an extensive range of Jazzie's casual streetwear.
0:51:40 > 0:51:41MUSIC: "People" by Soul II Soul
0:51:41 > 0:51:45# Walking down the street watching people go by... #
0:51:45 > 0:51:46The shop sign said it all.
0:51:48 > 0:51:50"An Amalgamation of Music and Fashion".
0:51:52 > 0:51:55So this is when they had two shops, one in Camden
0:51:55 > 0:51:58and one in Tottenham Court Road.
0:51:58 > 0:52:00# Feel the need... #
0:52:00 > 0:52:05The classic Soul To Soul look was baggy tracksuits, big trainers,
0:52:05 > 0:52:08and, of course, the oversized T-shirts,
0:52:08 > 0:52:10all bearing the Funki Dred logo.
0:52:13 > 0:52:18Jazzie's den of street music and street fashion became a destination
0:52:18 > 0:52:22for those who couldn't get enough of their casual clothing.
0:52:24 > 0:52:26Favourites - the ones that are on my feet,
0:52:26 > 0:52:32the Jordan III, very well executed sort of version of this shoe.
0:52:32 > 0:52:34One of my favourite shoes of all time.
0:52:35 > 0:52:39In the late '80s, Kish Kash was one of those who made a regular
0:52:39 > 0:52:41pilgrimage to Jazzie's shops.
0:52:41 > 0:52:43These are rare ones.
0:52:44 > 0:52:47I'm from Aylesbury, which is 40 miles out of London,
0:52:47 > 0:52:49so I was coming up on the train,
0:52:49 > 0:52:53erm, and, you know, seeing all the graffiti along the lines,
0:52:53 > 0:52:54you know, which was fantastic,
0:52:54 > 0:52:57it was just so vivid, it looked so beautiful.
0:52:57 > 0:53:00Every time you came in into London on the train line, it was wicked.
0:53:00 > 0:53:04For Kish Kash, Jazzie's shops represented the very cutting edge
0:53:04 > 0:53:06of British music and fashion.
0:53:09 > 0:53:12I think the Soul II Soul shop was a place to kind of be seen.
0:53:12 > 0:53:14Kind of ahead of its time, actually, because it was
0:53:14 > 0:53:17a record store and it was a clothing store and it was their own brands
0:53:17 > 0:53:21as well as other brands in there, so it was kind of revolutionary.
0:53:21 > 0:53:25MUSIC: "Jazzie's Groove" by Soul II Soul
0:53:25 > 0:53:29A sound system, club promotion, chart-topping records
0:53:29 > 0:53:31and now a thriving fashion label -
0:53:31 > 0:53:35Soul II Soul became a multi-faceted brand
0:53:35 > 0:53:37with an instantly recognisable logo.
0:53:42 > 0:53:44And with his flair for business,
0:53:44 > 0:53:48Jazzie B became the most unlikely poster boy for the Iron Lady.
0:53:50 > 0:53:53- MARGARET THATCHER:- In future, employment will come from
0:53:53 > 0:53:57new small business, expansion of smaller business,
0:53:57 > 0:53:59and all of these things which we look to
0:53:59 > 0:54:02to create the jobs of the future.
0:54:02 > 0:54:06The relationship between Jazzie and Maggie Thatcher is brilliant,
0:54:06 > 0:54:09you know, and he still, much to my horror,
0:54:09 > 0:54:13still sort of talks about her as an important influence.
0:54:14 > 0:54:17We were just technically working-class kids
0:54:17 > 0:54:23looking for an opportunity, and as outrageous as this may seem,
0:54:23 > 0:54:27when Margaret Thatcher came into power, I was called a Thatcherite.
0:54:30 > 0:54:33And the entrepreneur in Jazzie is still alive
0:54:33 > 0:54:36and always looking for new markets.
0:54:36 > 0:54:39Babygrows for the young and for the old.
0:54:39 > 0:54:41Soul II Soul,
0:54:41 > 0:54:46Thinking about my grandchildren, possibly.
0:54:46 > 0:54:47That's an interesting thought.
0:54:52 > 0:54:56In Soul II Soul, Jazzie had created something that was extraordinary
0:54:56 > 0:54:59in the story of British music and fashion.
0:54:59 > 0:55:03Because Soul II Soul was neither music nor fashion,
0:55:03 > 0:55:06but a seamless fusion of both.
0:55:10 > 0:55:13Fast forward through the years to Berlin 2014.
0:55:17 > 0:55:20Beyond our own shores is a celebration of everything
0:55:20 > 0:55:23that's great about British music and fashion.
0:55:25 > 0:55:28On show are some priceless artefacts.
0:55:29 > 0:55:33It's a very delicate handling with this kind of object.
0:55:33 > 0:55:35They're iconic pieces of our pop history.
0:55:37 > 0:55:41They require a very clean space, a very quiet space.
0:55:43 > 0:55:46They're the clothes that belong to David Bowie.
0:55:49 > 0:55:54Is he a boy? Is he a girl? Is he from Earth or from outer space?
0:55:55 > 0:55:59MUSIC: "Sound and Vision" by David Bowie
0:55:59 > 0:56:02David Bowie's career has spanned the decades.
0:56:04 > 0:56:09And in him, the great pillars of our pop culture - music and fashion -
0:56:09 > 0:56:11have come together as high art.
0:56:14 > 0:56:19And as his exhibition tours the world, it's a showcase of
0:56:19 > 0:56:21some uniquely British talents.
0:56:22 > 0:56:23Eccentricity...
0:56:25 > 0:56:28..the restless search for reinvention,
0:56:28 > 0:56:34and limitless creativity to knock out a cracking pop tune,
0:56:34 > 0:56:36and find a style that matches.
0:56:37 > 0:56:42The fashion and the music together is what is crucial,
0:56:42 > 0:56:44sound and vision at the same time.
0:56:45 > 0:56:48# Waiting for the gift of sound and vision... #
0:56:48 > 0:56:50But these talents are not Bowie's alone.
0:56:52 > 0:56:55They define the story of British music and fashion.
0:56:55 > 0:56:58MUSIC: "Itchycoo Park" by The Small Faces
0:57:00 > 0:57:03From the pop pioneers of the '60s...
0:57:03 > 0:57:05# To rest my eyes in shades of green... #
0:57:05 > 0:57:07..the fantastical creations of the '70s...
0:57:07 > 0:57:09# I got high
0:57:09 > 0:57:11# What did you feel there? #
0:57:11 > 0:57:14..to the celluloid heroes of the video age.
0:57:16 > 0:57:21But this isn't just a story of megastars and maverick designers.
0:57:21 > 0:57:23It's a story that touches us all.
0:57:23 > 0:57:25# It's all too beautiful
0:57:25 > 0:57:28# It's all too beautiful... #
0:57:28 > 0:57:33Through sound and style, we expressed ourselves like never before.
0:57:35 > 0:57:37They helped us rebel...
0:57:37 > 0:57:40Certainly it shocked the grandparents!
0:57:40 > 0:57:43..explore other worlds...
0:57:43 > 0:57:45Excuse me while I kiss the sky!
0:57:47 > 0:57:49..spice up our lives...
0:57:49 > 0:57:51We'd go to charity shops
0:57:51 > 0:57:55and we managed to pick up something with a bit of glitter on it.
0:57:55 > 0:57:57..and rip up the rule book.
0:57:57 > 0:58:00It says "Absolute filth". And I wore that quite a bit.
0:58:00 > 0:58:05But most of all, our music and fashion has given us moments
0:58:05 > 0:58:09in our lives when the world was made a little more colourful
0:58:09 > 0:58:13and a little more exciting than it had been before.
0:58:13 > 0:58:16If you got wolf whistles from the building site, you know,
0:58:16 > 0:58:18you knew you looked good.
0:58:18 > 0:58:20Cut!
0:58:20 > 0:58:24- # It's all too beautiful - Beautiful
0:58:24 > 0:58:27- # It's all too beautiful - Beautiful
0:58:29 > 0:58:33# It's all too beautiful
0:58:33 > 0:58:37# It's all too beautiful. #