Category Archives: New Romantics

2020 ➤ “Every hat is opening night” – Stephen Jones 40 years on

Culture, Vogue, millinery, Stephen Jones,Fashion, London, Social trends ,

Stephen Jones: 40 years as fashion’s head master

The decorated British milliner Stephen Jones has created headgear for everyone from Princess Diana to Rihanna, collaborated with some of fashion’s greatest houses and contributed to exhibitions around the world. This week he talks to Liam Freeman for Vogue about his glittering career. . .

Vogue, millinery, Stephen Jones,Fashion, Rihanna, Social trends ,

Rihanna sports Jones at the 2018 Met Ball (Getty)

It’s 40 years since Stephen Jones – one of the fashion industry’s most prolific and inventive milliners – entered the hat game. Does it feel like yesterday? “No it doesn’t,” the 62-year-old replies. “It definitely feels like I’ve had a career doing this. But the thrill and the terror of making a hat is just the same as when I started.” Why the terror? “You’re dealing with a piece of white paper, you’re working with a [insert: often world-famous] client, a high-profile designer, and you do learn how [to do it], but in a way you don’t because every hat is opening night… / Continued at Vogue online

➢ Previously at Shapers of the 80s: Britain’s top hatter, Stephen Jones OBE, celebrates 30 years of Jonesmanship

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➤ Second time unlucky as fire ravages former Camden Palace nightspot

Koko, Camden Theatre, Camden Palace, nightclubbing, music venue, fire, architecture, Music Machine,

Koko nightclub ablaze last night: 60 firefighters extinguished the flames within five hours

TWICE IN 40 YEARS Camden Town’s most renowned theatre has been set ablaze. Last night the 119-year-old former Royal Camden Theatre, currently known as the nightclub Koko, burst into flames at about 9pm during the course of renovation work. Video footage showed giant flames devouring its historic copper dome. London Fire Brigade reported 30% of the roof to be alight and despatched eight fire engines and 60 firefighters to tackle the inferno.

The venue was also damaged by fire during its last gasp as the post-punk Music Machine, soon after a Theatre of Hate gig in December 1980. Subsequent restoration saw it reopen in 1982 renamed the Camden Palace as Steve Strange and Rusty Egan made this the flagship for their New Romantic movement when they took it mainstream. Madonna played her first London date there by Rusty’s invitation.

Click any pic below to enlarge all in a slideshow

The rave scene saw Camden Palace through its second decade until it closed in 2004. Koko emerged after major refurbishment of its richly ornate interior by new owners who established a cool reputation for live music and with clubbing capacity for 1,500 people. However during further refurbishment in September 2018 surveyors deemed the building unsafe so the venue was forced to close.

Theatre historian Matthew Lloyd reports: “As of 2017 the theatre was to undergo a full restoration, including the replacement of the cupola on the roof. The Hope and Anchor at the back of the theatre was projected to become a boutique hotel at the same time, and would be a part of the whole complex, including a restaurant on the roof.” This £40-million state-of-the-art redevelopment was scheduled to finish in April this year but the latest fire is likely to impose a delay.

Opened in 1900 by the celebrated actress Ellen Terry, the theatre has enjoyed a dozen or so reincarnations as playhouse, music-hall and until 1940 as the Hippodrome and Gaumont cinemas. In 1945 the BBC revived the Camden Theatre name as its studio for recording variety shows and most famously The Goon Show (1951-60), starring Spike Milligan, Harry Secombe and Peter Sellers. Their Last Goon Show of All was recorded for radio and television at the studio in 1972, the year the building was awarded a Grade II listing. It had lain empty for several years and faced demolition, so the listing at least postponed that fate. English Heritage drew attention to the original architecture by W.G.R. Sprague, celebrated for his many West End theatres: a pillared façade “in baroque pastiche style”, and cantilevered dress circle and balcony with plaster work by Waring & Gillow in a mixture of baroque and rococo ornament.

Let’s hope Koko’s owners can wave a wand to revive the lustre of this iconic play-place.

➢ More about the Camden Theatre at Matthew Lloyd’s wide-raging history site named after his great grand-father Arthur Lloyd

POSTSCRIPT IN THE TIMES

➢ Another iconic building wrecked by fire during renovations – Richard Morrison in The Times’s arts column writes on 10 Jan 2020:
It’s striking how often historic buildings go up in smoke when there is renovation work happening, as there was at Koko… Recent examples are the 2018 fire that ripped through Charles Rennie Mackintosh’s superb Glasgow School of Art building as a £36-million restoration was being completed after a fire in 2014. Incredulous MSPs of all parties asked a series of questions that mostly cannot be answered… And the fire that devastated Note-Dame in Paris… rebuilding doesn’t appear to be going smoothly either… / Continued online

Koko, Camden Theatre, Camden Palace, nightclubbing, music venue, fire, architecture, Music Machine,

Steve Strange in 1982: invariably being filmed at Camden Palace

➢ Previously at Shapers of the 80s:
1983, Posing with a purpose at the Camden Palace

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1979 ➤ Spandau’s manager Steve Dagger tells of two offers to sign his band at their debut

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Spandau Ballet’s debut beneath festive bunting: left, Steve Strange in PX frills introduces the new band at the Blitz Christmas party in December 1979… Tony Hadley supercool in collar, tie, waistcoat and overcoat, Martin Kemp in jaunty trilby with Steve Norman beyond. Dagger’s blog seems unaware of these photos and after seeing them here at Shapersofthe80s, Gary Kemp recalls “being terrified while playing the little Yamaha CS-10, that we wouldn’t get away with it. Apart from many of the songs that made up our first album we also played Iggy Pop’s Fun Time and On Her Majesty’s Secret Service”

On the 40th anniversary of Spandau Ballet’s debut
performance at London’s Blitz club spearheading
the post-punk new wave, the band’s manager
Steve Dagger publishes his eye-witness account…

❏ On the 5th of December 1979, Spandau Ballet was born. After a year in metamorphosis and following a successful preview show two weeks before at Halligan’s rehearsal studios, when they were named by journalist and broadcaster to be, Robert Elms, Spandau Ballet emerged onto the stage and into the world at the Blitz on the occasion of Steve Strange and Rusty Egan’s Christmas party in 1980 [1979 surely – Ed].

Much has been written about the Blitz and its extraordinary position as a cultural funnel at the beginning of the 80s. But Spandau Ballet’s two performances there and subsequent meteoric rise to success did much to drive this tiny club and its spectacular cliental [clientele? – Ed] into the headlines and its ethos into popular culture and serve as the template to the 80s.

What happened that night?

No band had played before at a Steve Strange/Rusty Egan event, so the audience was not used to seeing live music in this context. Music was normally provided by Rusty Egan’s DJing, an extraordinary montage of epic electronica which seemed to give a tantalizing glimpse of a future we were all going to take part in.

How would “Spandau Ballet” be received? The preview show had gone incredibly well, so a handful of our friends and key faces on the scene had seen the band already, liked them and spread the word. But it was an impossibly cool crowd. Whether they were fashion students, artists, embryonic designers, wannabe writers, film directors or just London’s coolest of the cool night people, they all had an opinion of themselves and everything else.

The usual crowd was supplemented by a sprinkling of older cognoscenti, a Chelsea crowd who had become aware of the Blitz scene. The likes of Keith Wainwright, uber-cool hairdresser of Smile; artist Dougie Fields to name but a few, plus some musicians who had been drawn to the Blitz. Richard Burgess of Landscape (Spandau Ballet producer to be), Midge Ure of Ultravox and Billy Idol, Steve Severin of Siouxsie and the Banshees and Marco Pirroni of Adam & The Ants.

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Spandau Ballet’s second Blitz date, January 1980, despite Dagger’s belief on his blog that this pic shows the band’s debut. Most are sporting bow ties – Gary Kemp on synth at left, Tony Hadley as vocalist, with Steve Norman and Martin Kemp on guitars held high in their anti-rock stance. Churchill gazes out from his photo on the rear wall

So the battle lines were drawn and into the valley [of] death… Actually, the band were much less nervous than they had been for the preview show and also excited about playing in “their” club. When Rusty’s music stopped and they got onto the tiny stage there was a degree of anticipation and curiosity. I think the band realised collectively it was now or never and they seized the moment and started to play confidently and with a bit of swagger. Some of the audience danced, some applauded but almost everyone watched.

Tony sang brilliantly. The set which included most of the songs on “Journeys to Glory” fitted the club. Spandau Ballet fitted the club. “To Cut a Long Story” sounded like a massive hit.

Halfway through the set I was feeling quietly confident and was standing by the mixing desk next to the sound engineer when I became aware of a man standing next to me. He spoke to me.
“Who is this band?”
“It’s Spandau Ballet,” I said.
The new name sounded f*cking great.
“Which record label are they signed to?”
“They aren’t signed.”
“Who is their manager.”
“I am,” I said proudly.
“Well I am Chris Blackwell and I own Island Records, and I would like to sign them.”

First gig as Spandau Ballet… 5-0 up. Another man approached me. He was Danny Goodwin from Peninsula Music Publishing. He wanted to sign them too.

Spandau Ballet, Blitz Club, New Romantics, Steve Strange, London, Heritage award,The band finished their set. I could not wait to go backstage into the tiny dressing room to talk to them. We had all worked very hard for this moment. They were about to become a very important band. The only band that could play in the Blitz. The most important club in the world at that time. Everyone in the Blitz that night was hugely complimentary and positive about them.

We owned the space, we had claimed it. We were about to go through the looking glass and our lives were never going to be the same. The next day, I spoke to Chris Blackwell on the phone and arranged to meet him in a pub. He was softly spoken, charming and very cool. He owned the coolest record label in the world – Bob Marley, Roxy Music, Traffic, Free, Spencer Davis – and he wanted to sign Spandau Ballet. Now. He even gave me a list of lawyers he recommended to act for the band.

It all felt a little strange but somehow like it was all supposed to happen like this. I felt unbelievably relaxed and comfortable, empowered, and the band very confident, entitled energised. Uncrowned Princes of pop culture all of a sudden. We turned him down. But that is another story.

© Steve Dagger
First published today at Spandau Ballet’s website

➢ Previously at Shapers of the 80s:
1980, Strange days, strange nights, strange people

Spandau Ballet,Evening Standard, Blitz Club, New Romantics, Steve Strange

Steve Strange’s first interview with the Evening Standard, 24 Jan 1980, telling us of Spandau Ballet’s second performance that day

RARE VIDEO OF THE BLITZ A-BUZZ:


❏ You won’t find much authentic filmed footage inside the Blitz Club because so little exists and many posts claiming to show the Blitz at YouTube do not. The brief but glorious clip we see above captures the visual excess of its dancefloor in Spandau Ballet’s 2014 biopic Soul Boys of the Western World. The interiors come from Lyndall Hobbs’ short doc about London tribes called Steppin’ Out, shot in the summer of 1979. The first half-minute here comes from a TV report showing Blitz Kids gathering outside Sloane Square underground station to celebrate Steve Strange’s 21st birthday on a Circle Line train on 28 May 1980. We hear Martin Kemp voicing the sequence which zooms in on him at 23 seconds. The black-and-white stills collaged into the segment are Shapersofthe80s originals, and the closing seconds are from LWT’s 20th-Century Box.

Spandau Ballet, Blitz Club, New Romantics, Heritage award,

Heritage award from the Performing Rights Society: In September 2014 Spandau Ballet returned to the site of the Blitz Club to see a plaque installed remembering their debut. The club’s original neon sign was also present for the photoshoot

SPANDAU RECALL THE BLITZ IN 2014:

➢ Previously… 1980, The Invisible Hand of Shapersofthe80s
draws a selective timeline for the unprecedented
rise and rise of Spandau Ballet

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2019 ➤ The nerve of Neil Matthews! Offering bunny ears to those oh-so cool Eighties pop stars

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Take That,

Take That in 1993: cheering to camera for a Smash Hits shoot by Neil Matthews

ANOTHER FAB BOOK OF PHOTOS capturing mainly the 80s pop scene came out this week and it’s a bit of curio. We who were there know how British music and fashion utterly transformed youth culture during the decade from 1980 onwards and among the 110+ new acts who dominated the sales charts in the first four years probably the majority achieved international fame and fortune. But Neil Mackenzie Matthews, in his beautifully printed 192-page book, titled Snap: Music Photography, also reminds us of the names of many acts we have forgotten and who had limited success.

It has become a truism that soon after the Beat Route’s Friday club-night opened in Soho and Spandau Ballet entered the singles chart, both in November 1980, virtually every young guy you met in the club was “putting a band together”, usually managed by another young guy of his own age. For every 110 new-wave acts across the UK who won the standard one-album-and-two-singles deal from a grateful record industry which had lost its way, there were probably 1,000 more who didn’t – yet they too were a vital part of the great collaborative force that was helping to reshape entertainment and media in the Eighties.

At Thursday’s book launch in Shoreditch’s Jealous gallery, Neil described how his own good luck was in attending the same Islington school as the Spandau Ballet posse, Dame Alice Owen’s, and at the very moment he missed getting a first job at the BBC, Spandau invited him to St Tropez on their first foreign booking so he took a camera along and taught himself how to shoot.

Photography, Nick Heyward ,book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery,

Neil Matthews and Nick Heyward photo-bombed by Neal Whitmore of Sigue Sigue Sputnik. Just in shot at left, Heyward pictured in his woolly leggings period with Haircut One Hundred. (Photo by Shapersofthe80s)

Click any pic below to enlarge all in a slideshow

As luck had it, within months Tim Lott and Barry Cain’s chirpy new music magazine Flexipop decided its irreverent role was to prick the egos of their mates, the newly jumped-up pop stars, and Neil as its photographer was expected to rewrite the rules of the game. This appealed to his own wild ways and because he was invariably working against the clock, he injected a note of spontaneity into popstar shoots by inventing a box of larky props with which to confront his celebrity models and expect them to respond on camera. Result: pix of Toyah Willcox all smiles in floppy bunny ears, and Ian McCulloch contemptuously prodding the matching bunch of carrots after he declined to wear the bunny ears. There’s also Edwin Collins canoodling a rubber chicken and Jaz Coleman delivering a blunt message in a book to his rivals.

Impromptu set-ups catch Suggs at a fruit and veg stall on the street, Tim Burgess atop a packing case in Tesco’s, and Malcolm McLaren doing business on the phone. The book features several candid snaps following the rise of Spandau Ballet and the New Romantics including an exclusive of Steve Norman sporting speedos at home in the lounge between his fishtanks and Harry Dog. Neil offers very few live performance pix but the two best capture Little Richard bantering atop his piano and a fleeting glimpse of Nick Heyward closing his eyes in an Albert Hall performance.

Some of Neil’s best straight portraits take a traditional approach and yet clearly capture a shared moment of trust between subject and lensman: we see sexy candid shots of Madonna relaxed, of Betty Boo sultry in leopardskin and of Beyoncé Knowles as a very come-hither 17-year-old before she dropped the surname. For me the two cracking shots in this book show Take That snarling something worse than “Cheese!” at the camera (top), and Jay Aston of Bucks Fizz seated on the loo in her hotel (below). If that doesn’t testify to trust what does?

PS: Sorry, Neil, I have to reveal that I scooped you with the “first” kiss between Jon Moss and Boy George wearing Westwood a full year before Culture Club and your own shot where they both wear Sue Clowes.

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Jay Aston

Jay Aston 1984: caught at her hotel by Neil Matthews

➢ Neil MacKenzie Matthews’ career went on to embrace fashion, international celebrity and advertising, but his book Snap: Music Photography (Red Planet, £30 in hardback) focusses essentially on the music scene

➢ Neil Mackenzie Matthews’ prints are visible online and for sale at the Jealous Gallery, 37 Curtain Road, EC2A 3PT

➢ View Neil’s wider portfolio at his own website

HEYWARD THE LEGEND BACK ON THE ROAD

Nick Heyward, live, Gibson Sunburst

Nick with his Gibson Sunburst 330, 1967

❏ One incidental pleasure at the gallery was to catch up with Nick Heyward for the first time since I snapped him with his sidekick Les as Wag club regulars a lifetime ago. Today he features in a daffy trio of Neil’s pix of Haircut One Hundred from 1982 and he’s as friendly and talkative as his ever-present smile suggests. He has been on the road this year with his UK Acoustic Tour, a series of intimate dates where audiences were treated to hits from his breezy and escapist seventh solo album, Woodland Echoes, plus others from his entire career. The album is a distinctly musical treat which Pop Matters reviewed as “a timeless, infectious gem”, adding: “He looks like that cool college professor all the students want to hang out with – and he seems to be at peace with his status as a 50-something indie pop legend”. More news at Nick’s own website .

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2019 ➤ This would have been Steve Strange’s 60th birthday

1978, when Steve Strange teamed up with Rusty Egan (Photo © Fin Costello/Redferns)

➢ Remember Steve through the tributes paid
after his death in 2015 by 30 original Blitz Kids
here at Shapers of the 80s

Evening Standard, On The Line, Steve Strange, Evening Standard

First published in the Evening Standard, Jan 24, 1980

➢ Our first report on Steve Strange, 1980. . . He was eager to announce a Thursday cabaret night at the Blitz, showcasing a new band with the weird name of “Spandau Ballet”

Steve Strange, New Romantics, Blitz Kids, nightclubbing, London

First published in the Evening Standard, Oct 16, 1980

➢ By the autumn of 1980 there was a whole new underground scene to report. . . In one week, a dozen prodigies were setting the town ablaze, none of them over 22

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