Category Archives: Fashion

1983 ➤ Video gem unearthed from the Blue Rondo vaults

◼ AIRED TODAY AT YOUTUBE: A long-lost live performance by London’s Latin jazz-soul band Blue Rondo à la Turk on German TV in 1983 complete with classic dance breaks from Moses and Sullivan in Aubrey Beardsley hair-do. The line-up dates from about 1982–3: Chris Sullivan and Christos Tolera (vocals), Moses Mount Bassie (sax), Art Collins (sax), Peter Tsegona (trumpet), Geraldo Darbilly (percussion), Greg Parker (guitar), Robin Jones (congas/percussion), Kito Poncioni (bass) and Daniel White (keyboards).

At this time Sullivan says: “Mark Reilly had left to form Matt Bianco. Kito carried on for a few months as he needed the money.” Then he and Daniel White left to join Matt Bianco which enjoyed several UK hits. By the time Blue Rondo released its second album album, Bees Knees and Chicken Elbows in 1984, the band had sadly disintegrated. Their first album Chewing the Fat was easily the best new album of 1981 in terms of musicality and attitude. Sullivan of course went on to run Soho’s Wag Club for 19 years and make it a legendary showbiz rendezvous.

24 NOV UPDATE FROM THE VAULT ♫ CHANGE ♫

➢ Previously at Shapersofthe80s: How Blue Rondo à la Turk created a buzz in clubland

Blue Rondo à la Turk ,Chris Sullivan ,Chewing the Fat ,jazz,soul,double-CD ,Cherry Red Records,Swinging 80s,Christos Tolera ,
➢ In June 2014 a double-CD entitled Chewing the Fat was issued by Cherry Red Records (CDBRED621) – They include 29 tracks, which are all of the group’s recordings on the original album, and various bonus tracks, 7in and 12in specials, plus remixes.

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➤ Is the sun setting on Westwood’s Worlds End?

Worlds End , shop, fashion, London

430 King’s Road: the crazy Worlds End clock slips from sight

◼ IF I WERE THE V&A, I’d be eyeing up that fairytale frontage at 430 King’s Road and hoping to buy it up for our national collection, along with its crazy 13-hour clock that turns time backwards. Today the nursery-rhyme cottage façade with slate roofing and wonky door frame vanished behind a builder’s hoardings. For 34 years the Worlds End shop has played home to savages, witches, pirates and other Vivienne Westwood fantasies, but can demolition be imminent?

The shop has stood empty for weeks, “closed for refurbishment until further notice”, according to its blog, which adds that more space has been acquired in the basement of the listed 19th-century building. Viv’s son Ben has given one deadline after another, promising that Worlds End would reopen in October, then “further into November”, and last week “the beginning of December”. A council notice on the hoarding validates it until 30 Jan 2015, so this could mean all promises are off until February.

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Viv’s Mayfair flagship store heads her chain of 12 UK retail outlets with Ben supervising Worlds End and devising between them clever ways to reinvent mum’s vast repertoire of silhouettes from squiggle shirts to mountain hats. Following her former partner Malcolm McLaren’s death in 2010, Viv asserted her rights to the various shop names and retail trademarks from their 13 years together and has adroitly capitalised on their sales potential since.

Ben has wittily related the freaky tale his father Malcolm told him about how he acquired 430 King’s Road, when the owner gave him the keys one day in 1971 and never came back.

A dynasty of subversive shops have mythologised this Chelsea address which is today one of Britain’s youth-cultural tourist magnets. The hippie boutique Hung on You of 1967 was followed by Mr Freedom, Paradise Garage, and in 1971 Let It Rock, the first of five retail ventures pursued by McLaren and Westwood, after meeting at Harrow School of Art. Next came Too Fast to Live Too Young to Die, then the most notorious, Sex, the home in 1975 of punk and the Sex Pistols, Malcolm’s creation wearing his Svengali hat. Here too Jordan (née Pamela Rooke) became the female face of punk as both sales assistant and living mood board who single-handedly turned the safety pin into a fashion statement.

Simon Barker, Six, Punks Dead, Jordan, photography, exhibition, London, Berlin

Reunited at the 2012 Punk’s Dead exhibition: a plonker from Six for Jordan at London’s Divus Gallery. Photograph © Shapersofthe80s

This week from Berlin Jordan expressed concern about the rumours surrounding the shop: “Really shocked, has it closed or is it being redesigned? Surely Vivienne hasn’t closed it, it is iconic!” Jordan was in Berlin, coincidentally, for the latest leg of the Punk’s Dead touring exhibition of Simon Barker’s photos of the movement’s earliest flowering. Simon, of course, aka Six, was one of punk’s feted Bromley Contingent who himself went on to front the Worlds End shop for many years. He piped up: “The problem is it is lined with asbestos. Plus Malcolm wouldn’t have cared about Worlds End being redeveloped – a ‘dance in the ruins’.”

Time for a check-call to the Westwood HQ. A spokeperson there purred soothingly: “What’s happening is a major renovation. To remove what’s in the walls and floors will take one or two months. Worlds End is definitely not in danger of being closed.” Sorry, Malcy: your dance has been postponed.

Punk’s Dead,exhibition, books,photography, Simon Barker , Siouxsie Sioux

In the Punk’s Dead show: Siouxsie Sioux at the St James hotel in 1977. Photographed by Six

➢ Previously at Shapersofthe80s: 2012, Punk’s Dead – Fresh pix from the “14 months” of punk

➢ Previously at Shapersofthe80s: 1983, The day Vivienne and Malcolm realised the end was nigh

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➤ Soul Boys Spandau rise like a phoenix from the flames of their film premiere

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau Ballet: smart-casual on the red carpet

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau live at the Albert Hall: All six members of the band reunited, the sixth being manager Steve Dagger in the wings

Spandau Ballet, Soul Boys of the Western World, premiere

Royal Albert Hall: full house for Spandau’s premiere

◼︎ 6,000 PEOPLE WERE UP FOR an emotional roller-coaster ride at London’s Royal Albert Hall on Tuesday – hundreds more watched simulcasts in cinemas across the land. Today Rolling Stone has called it “the biggest home-movie party in British pop history”. We sped through yards of breathlessly cut vintage footage even the band hadn’t seen before, showing how five glammed-up school friends adopted the preposterous name Spandau Ballet and effectively rewrote the rules of a moribund pop industry to rocket into the charts and become one of Britain’s six supergroups of the New Romantic 80s…

We saw how their friendships turned nasty and imploded in a law court… and how they’ve agreed to make this film 20 years later in which each tells his own version “warts and all”, soul boys baring their souls in a cathartic process of reconciliation and redemption. Why, they’d even titled their home movie, Soul Boys of the Western World, ironically referencing one of theatre’s tragic morality tales about human failings, the greater irony being that the band themselves were actually shocked to hear each other’s words at the first screening. They were the film’s only narrators, recorded separately talking one-to-one with the director and telling the tale with more “crashing and burning” than tact.

Tuesday’s audience picked up these cues in pantomime tradition. We were bearing witness just as the penitent members of Spandau Ballet were hoping. We oohed and aahed at some really tear-jerky best bits. We howled at odd Spinal Tap daftness. We heckled the cocky Cockney TV presenter. We laughed at our quaint mullets and hilarious teenage pretensions four decades ago. Then when the screen froze in a silent moment of grim truth, the whole Albert Hall groaned “Ohhhh no!” One hero had been damned, but a succession of jaw-dropping out-takes from pop-idol interviews hanged the others in turn. Icicles formed in the air, Steve Norman’s voice told us “You can see on our faces Spandau Ballet has just come to an end” and we shared their pain. At times the spoken bluntness came too near the knuckle and between last spring’s hair-shirt trailer and this autumn premiere a couple of killer icicles have been chopped.

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Apart from that, Mrs Lincoln, the yarn rattled along as a fascinating piece of social history, to a soundtrack deftly clipped from 22 Spandau numbers and a host of others that shaped the 80s. Tuesday’s melodrama came in three acts and we confessors gave the film a standing ovation, took a quick break to share our own shock at the band’s courage, and then rose to our feet again as the 6,000 to welcome onstage the happy smiling band of brothers, plus their equally glamorous film director, George Hencken, who had brought a woman’s instincts to handling the boys’ emotional baggage.

Spandau Ballet, Soul Boys of the Western World,

Soul Boys oWW reviewed by NME

Act 2 heard the team answer those burning questions live onstage, among them Gary Kemp saying “Yes, I’m the baddie”, and his brother Martin admitting disappointment in himself when young, while Tony Hadley said all the bitterness had weighed heavy on their families. There was plenty of humour too. When asked what he’d missed most since the great days, John Keeble said “the cheeseboard” (a reference to a backstage luxury specified in the band’s touring contract). Drummers, eh?

Act 3 was the equal of all that had come before. We rose to greet Spandau’s live set of six copper-bottomed hits, kicking off with their hymn of defiance, Through the Barricades, then sprinting into To Cut a Long Story Short. By Chant No 1 all six tiers of the Albert Hall were on their feet and cheering the dancefloor anthem that just missed being the chart No 1 in the riotous summer of 1981. Martin looked reassuringly relaxed powering its funky bassline, and Steve’s sax breaks were definitely dirtier than of old. In Only When You Leave Tony’s big balladeering vowels confirmed what a magnificent bel canto baritone he has become. And of course the last two classics, True and Gold, were inevitably hijacked by the choir filling the hall.

In words of the Eurovision winner, Spandau Ballet have risen from their ashes like a phoenix (fortunately without beards or frocks). We turn to our philosopher-drummer Keeble for the last word: “The film is a three-act play: guys have success, the wheels come off, then there’s some redemption. This now feels like fun and games – with love in it.” Gulp.

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau film premiere: Rock god Keeble photographed by Dave Hogan

WHAT THE CRITICS SAY ABOUT SBWW

Spandau Ballet, Soul Boys of the Western World, premiere

Soul Boys oWW reviewed by Empire magazine

“More than a typical rock doc … the biggest home-movie party in British pop history” – David Fricke, Rolling Stone

“I found it gripping. Despite having never understood the appeal of the New Romantics, I enjoyed the hell out of Soul Boys of the Western World” – Observer film critic Mark Kermode on BBC-tv … “The mark of a really good rock documentary is that it makes you care about a band who played music that you were never a fan of” – Kermode again, on BBC News channel, picking his DVD of the week 24 Oct

“A funny, absorbing, trivia-filled portrait of friendship, the 80s music biz and bad hair” – Ian Freer, Empire Online

“The muscular musicianship of the band suggested that this latest stage of their reunion is more than just a nostalgia-wallow” – James Hall, Daily Telegraph

➢ Soul Boys of the Western World goes on general release 3 October, plus w/b Oct 20 screenings at Rome Film Festival and cinemas across Italy, Belgium’s Film Fest Gent… from Oct 27 Barcelona, Madrid, Bilbao, Pamplona… Plus, Nov 15 Spandau’s first public appearance in New York since 1983.

➢ Oct 20: tickets on sale today! Auckland NZ Nov 2, Melbourne Nov 5 and Sydney Nov 7 for special Q&A screenings of SBWW – Spandau Ballet are heading Down Under where the Melbourne screening will include a 20-minute live performance by the band.

➢ Plus Oct 24: Spandau’s first European tour dates announced: Amsterdam 21 March, Luxembourg live 22 March and a five-date Italian tour 24–30 March

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➤ After Anna’s drenching, Gaultier leads the world’s fashionistas for more ice-bucket madness

ALS charity,ANNA WINTOUR, VIDEO,Ice Bucket Challenge,Dominic West,  Roger Federer,Vogue,

There goes her bob: editor Anna Wintour gets dowsed. Click pic to view video at Vogue

◼ WHO WOULD HAVE PREDICTED the stern-faced Vogue editor-in-chief Anna Wintour would have played ball with the #icebucketchallenge sweeping America to raise funds for the ALS charity? Well, having been dared to get freezing-wet by her daughter Bee Shaffer, here’s the proof that Anna and her immaculately coiffed bob are good sports. The big question: Will the wet look make it to the September issue?

➢ Click to see Anna Wintour accept the
ALS Ice Bucket Challenge

Following the rules of the challenge, La Wintour obligingly nominated Roger Federer, tennis champion, and Dominic West, star of the TV drama series The Wire, to get themselves dowsed within 24 hours.

However, before either of them could muster enough supermarket ice-cubes, zat crazee Froggy, Jean Paul Gaultier, led the charge for the international brigade of couturiers. (So far fashion had been represented only by models such as Cara Delevingne and Suki Waterhouse.) Here is JP being given the big freeze by some handpicked hunk in speedos…

MEANWHILE BACK ON THE FASHION RUNWAY

❏ Fabulous fashion footnote: You have until Monday 25 August to catch the extraordinary and witty retrospective of JPG’s madcap couture creations in The Fashion World of Jean Paul Gaultier at London’s Barbican Art Gallery: 165 cutting-edge garments that boggle the imagination, up close and theatrically displayed in a touring exhibition from the Montreal Museum of Fine Arts.

➢ Previously at Shapers of the 80s: Gaultier celebration trumps all else in London this summer

Fashion , Jean Paul Gaultier, Sidewalk to the Catwalk London, Barbican Art Gallery, exhibition, Eurotrash, reviews,

No, not JPG himself sporting a mink Marinière, and greeting us in English and French. This is one of many custom-made mannequins at London’s Barbican exhibition, brought flirtatiously to audio-visual life by the UBU/Compagnie de création of Montreal and Jolicoeur International of Quebec. Photographed by Shapersofthe80s

➢ Jean Paul Gaultier’s take on Sade’s style

Iain R Webb,fanzine,Jean Paul Gaultier, fashion,

Fan and hero: Iain R Webb and JP Gaultier

➢ British fashion guru Iain R Webb recently gave a guided tour of the Gaultier show in London – To prepare for the talk, he constructed a scrapbook of his friendship with JP Gaultier preferring to call it a fanzine. You can view it at his blog Hopeandglitter.

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1978–87 ➤ British nightlife snapped by Ridgers as it came out of the closet

London, New Romantics, Blitz Kids,  Derek Ridgers, publishing, photography, V&A, talks, youth culture, nightlife, fashion style,

Underground publicity: Derek Ridgers with lavish poster treatment for his photo-book published jointly by Damiani and Transport for London. (Pic by Shapersofthe80s)

❚ THIS FRIDAY AT THE V&A MUSEUM, London photographer Derek Ridgers will try to explain the power of his touching yet confrontational images of London youth taken in the transformational decade of the 1980s. His newly published book 78–87 London Youth can be viewed online. He is best known for these documentary portraits taken on the streets and in the clubs by night, though he has also snapped celebs from James Brown to The Spice Girls, Clint Eastwood to Johnny Depp, as well as Tony Blair, gangster ‘Mad’ Frankie Fraser, artist Julian Schnabel, writer Martin Amis, fashion designer Vivienne Westwood and more.

The recessionary 70s had precipitated a drone age of rocketing unemployment in the UK, threatening no jobs for school-leavers, ever. Yet from this black hole burst a passionately tribal youth culture that was to create the Swinging 80s, an era of optimism, marked by hedonistic good times and a flair for exhibitionism that played up to Derek’s camera. Ambition and self-improvement were the ultimate goals of the young then, in sharp contrast to the cynical narcissism of today’s lost children.

➢ Derek Ridgers talks on photographing the 80s at the V&A’s late evening, 6.30pm Friday July 18, with yours truly in the chair. Derek will be signing his book afterwards

London,Sacrosanct,  Billie Madley , Twinkle Bunty, Derek Ridgers, publishing, photography, V&A, talks, youth culture, nightlife, fashion style,

Twinkle Bunty comments on this Sacrosanct club pic by Ridgers posted at Facebook: “Just trotted over to Foyles and bought Derek Ridgers’ fab new book. Thrilled to find this pic from 1985 of me and Billie Madley proving that the 80s were ALL about the eyebrows. Mine were jet black Rimmel and Billie’s were red BIRO.” Another from ‪Laura Whitcomb: “When you shaved that eyebrow it was epic… That Westwood shirt and suit and of course those ear muffs your obsession – and the inimitable final touch of a Fosters with a baby blue straw.” Plastic bath cap: Billie’s own.

❚ IN OCTOBER 1982, I INTERVIEWED DEREK RIDGERS while writing the massive survey of London’s newly exploding nightlife phenomenon which became The Face’s cover story, The making of UK club culture in February 1983. Direct from my original notes, here is Derek’s perceptive analysis which helped inform my thinking about the turmoil that was transforming British youth culture…

Derek talking: “The depression of the late 70s made the future oh so inevitable. But from the Blitz club period onward [1979], the feeling has been different. A reaction of ambisexual kitsch. It’s an honesty with the way you look and what you want to do. There’s an enthusiasm to investigate the possibilities. There’s no sense of inevitability.

“As a photographer, I go as the casual observer and stand in the shadows. When I first went to those Tuesday nights at Billy’s [1978] it was like walking into a Hieronymous Bosch painting – furtive but lively, very decadent reflecting what they were into, and yet with a sense of oneness, a dedication that’s never been equalled since.”

In 1980 the Blitz leaders had moved on to another Covent Garden club called Hell which Derek said “was similar but more decadent because they tried to keep it to themselves. In its final weeks, only out-of-towners were going to the Blitz, because by then the media had blown away the furtiveness”.

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In 1982 Steve Strange and Rusty Egan began fronting the 1,600-capacity Camden Palace and the Pose Age went public. Ridgers said then: “At the Palace poses are adopted, yet it’s probably more interesting than the Blitz or Billy’s because it’s more honest… 90% are regulars, 9% out-of-towners, and 1% could be any type of person who’ll choose to go clubbing there, but go nowhere else except their own pub. Sometimes they’re out of their depth and try to dress as they think is expected – they bring with them an unconsidered primitiveness.

“Men are wearing dresses now but not pretending to be women. They are proud to be men – that’s fairly modern.” In autumn 1982 Boy George was in the charts with Culture Club’s first single. “George wants to look pretty, rather than handsome. He asks me whether I find him attractive and I have to pretend he’s a girl and give him an appraisal – which I don’t mind. I don’t feel threatened.”

“What’s important at the Palace is feeling special, being noticed – in a sea of other people. A good club has become a place to go for the right social reasons, rather than just to hang out.”

➢ View more Ridgers portfolio at his website

ESSENTIAL READS

➢ Blitz kids and the birth of the New Romantics – my overview for the Observer Music Magazine

➢ 69 Dean Street and the making of UK club culture
– for The Face magazine, here at Shapersofthe80s

Derek Ridgers, publishing, photography, V&A, talks, youth culture, nightlife, fashion style,

Cover star Tuinol Barry photographed by Derek Ridgers in 1983. Sadly, Barry was to die young.

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