In the early 80’s, about 80-81, the vocalist and frontman of Culture Club, Boy George, was employed at an alternative fashion shop called the Foundry. The shop was owned by a man called Peter Small, who was supportive of George’s creative vision. George had gotten the job complaining about Small’s window designs, insisting he could do a better job at it (note that the shop who’s windows were criticized was not the Foundry, but the Street Theatre. Small owned several clothing shops).
A co-worker at the Foundry was designer Sue Clowes. Both she and George was fascinated with different cultures and ancient symbolism, which came trough in her designs. David stars, a one-nation ideal, and the use of the hebrew phrase “Adonai” – roughly translatable to “the Lord”, are examples of what Clowes would use in her designs (making T-shirts with the print Adonai was, to be precise, an idea of Jon Moss. The shirts caused quite a ruckus, and had to be destroyed).
The Foundry enjoyed a relaxed atmosphere. Showing up late – or showing up on the wrong day – wouldn’t get you in trouble. Small encouraged creativity – and would pay you even for the designs that would never get used. Before long, Clowes multicultural designs flooded the shop. Customers would walk in, inquiring wether the fashion shop was a jewish or political one.
The fashion developed at the Foundry was to become the fashion of Culture Club; David Stars, yellows, whites and camouflage, an overall multicultural impression taking inspiration from Judaism and rastafari. An early photoshoot of Culture Club shows off the style.
Sue Clowes had a part in creating the early look of Culture Club – but Culture Club was to go trough many looks. As George puts it, Culture Club’s look got progressively more camp troughout the years. Waking up with the house on fire, the third album released in 84, showed off a George rather far from the George of Kissing to be clever, 82. The multicultural impression had been deserted for a (gorgeous-looking) drag queen. Rather than working with Sue Clowes, George brought in queer friend & makeup artist Stevie Hughes, who shot the album cover and did George’s makeup. (Hughes let his creativity run free with Mikey, you could say).
Clowes disappearance wouldn’t only influence the fashion of Boy George – all of the band got a new look with the years. What was earlier a put-together and united multicultural look was later on a disparate and ununiform one-man show, where each member had their own style. George has stated he sometimes misses the Clowes era, thinking they didn’t look the part of a band when the member’s fashion went separate ways.
It’s worth to mention George himself had a certain say when it concerned the fashion of the band. This is true especially for the early years. He’d dictate what the band wore, and play dress up with his fellow band members. The hats of Mikey Craig as well as the dreadlocks of Roy Hay can be attributed to Boy George.
This post is not a comprehensive guide to the fashion of the band, but strives to point out the role of Sue Clowes in shaping the fashion of Culture Club. Mistakes may have occured.
