Collaborator Profile- Smutty Smiff

In 1978 Smutty Smiff left London for NYC when his band Levi and the Rockats were booked to play their debut gig opening for The Cramps at Max's Kansas City, which spring-boarded his career as a musician, rockabilly ace-face, art entrepreneur, actor and model. He’s worked with artists Andy Warhol, Mick Rock, Bob Gruen, Janette Beckman, Robert Mapplethorpe and Greg Gorman. He’s appeared in Vogue Italia, German Vogue and on the the runway for Betsey Johnson and Stephen Sprouse and has worn The London Leatherman made accessories since the late 70s. For 14 years he hosted a rockabilly/punk/glam/ska radio show on 97.7FM in Iceland and is now back in London with his shop Wildcat Vintage 59 stocking a curated selection of rockabilly and punk rock clothing alongside his gallery of exclusive Leee Black Childers images and prints.

Question by Bridget Veal Carroll

Smutty photographed by Robert Mapplethorpe wearing a LV4 Wristband.

Q. This summer you opened your shop Wildcat Vintage 59 in London’s Alfie’s Antique Market, stocking rare and vintage clothing, and already coined a hangout for members of The Clash, Siouxsie And The Banshees and fashion industry juggernauts. What can people expect when they visit the shop?

A. What I would like to think is that Wildcat captures an era, a lifestyle and attitude that had such a massive impact on my life and so many others too. A time when strikes and unemployment was rife, youths up and down the country were frustrated and angry, and nothing new was going on in music until punk happened and I don’t think anybody had a clue what punk really had up it’s sleeves, no one expected it to become what it did to be honest. I know because I was thrown in the punk rock deep end by Leee Black Childers, who managed Levi and the Rockats and took us to NYC in 1978.

Wildcat reflects a time when there were Teddy Boys and Skinheads and Mods who dressed up and were proud of their uniforms. A time when I quickly went from Essex Teddy Boy into a new type of Rockabilly movement that also embraced punk. Levi and the Rockats early shows were mainly played to punks.

The shop encapsulates the style and feeling of the Kings Road in the late 1970s, which I believe is missing in today’s world of buying online. With Wildcat you can buy online as well as visit our cool shop and actually try on the clothes.

Q. You’ve collaborated with artist Vince Ray on two T-shirt designs for the shop and available now. Can you tell us about the two designs and how the collaboration came about?

A. I’ve known Vince for many years, mainly through the Rockabilly scene. He was pretty much the main graphics, T-shirt and poster designer for the world’s biggest Rockabilly event in the USA held in Las Vegas called Viva Las Vegas.

Í first asked him to design a Levi and the Rockats T shirt for the anniversary of legendary NYC club Max’s Kansas City which Levi and the Rockats were asked to headline and the T-shirt became a collectors item. We became close friends and more recently I asked him to design a shirt using a very early picture of Debbie Harry taken by Leee, before Blondie made it big. Also I was friends with Debbie and because Debbie loved Leee we were able to get permission to use the image.

Smutty Smiff’s Wildcat 59 collaboration T-shirts with Vince Ray.

Q. At Wildcat Vintage 59 you have a gallery of exclusive Leee Black Childers photographs and prints. You have a great image of Sid Vicious wearing a The London Leatherman LW10 Studded Wristband and Viv Albertine and their friend wearing The London Leatherman LW3 Studded Belts. Can you elaborate on the selection of images you have available in the gallery and how significant Leee’s work is culturally and personally to you?

Photo by Leee Black Childers. Official prints available at Smutty’s Wildcat 59 store.

A. In 1975 Levi Dexter from Southend-on-sea was living at my mum’s house in Basildon Essex, we had met at Rock n Roll shows in London and Essex. Leee discovered Levi when he got up and sang with “Shakin Stevens” and long story short Levi and Leee wanted me in the band. Leee said ‘drums or bass?’

I replied ‘What will get me more girls?’

Leee said ‘Probably bass darling boy Smutty.’ So bass it was.

To me personally Leee was so much more than a manager or photographer. He actually was the pivotal link between NYC punk a la Johnny Thunders & The Heartbreakers and English punk, a la the Sex Pistols. Once Malcolm Mclaren found out that Leee had taken on Johnny’s new band (after the New York Dolls broke up), he personally invited Leee and the Heartbreakers on the now infamous Anarchy in the UK tour.

Leee’s first job as a photographer started at Andy Warhol’s factory. Leee took pictures from 1969 when he first met Andy Warhol until his passing.

I love Leee’s work because it was never so much studio shots, much more candid, he was genuinely a part of the band or subject he was capturing.

I have the biggest and rarest collection of Leee’s work.

Also, I recently found never printed or seen before pictures of David Bowie with the Lindsey Kemp mime troupe at The Rainbow Theatre August 18th 1972, the earliest Ziggy Stardust pictures that I’ve personally ever seen..

Growing up without a father and having Leee discover me changed the course of my life forever. I will always carry the torch to keep his legacy alive and continue to make people aware of his significant place in pop culture history.

Q. Your band The Rockats, how do you describe the band to anyone just discovering them? And what was that first gig at Max’s Kansas City really like?

A. With the Rockats we started out with the intention of bringing back youth rebellion to the predominantly Teddy Boy Rock’n Roll scene. There were of course bands already playing that influenced us at the time like Whirlwind in the UK, The Cramps and Robert Jordan in the USA, but there were very few young Rocking bands. Our aim wasn’t to sound like Gene Vincent or Elvis, but to add punk elements and the make up worn by the New York Dolls.

So that’s what we did, it snowballed so fast after the first show supporting The Cramps that within a year we were selling out Max’s, CBGB’S and the whiskey-a-go-go .As well as being on national prime time TV without a record deal!

Q. You were immersed in the early punk rock scene, hanging out with the Sex Pistols but dressed as a Teddy Boy, how did that work? And did you experience backlash from the Teds?

A. As a real Teddy Boy from Essex I personally was a little uneasy with going with Leee and the boys to see punk bands, but when we’d meet up on Wardour Street and hang out with Joe Strummer, Thunders, Sid and many more, I started to enjoy and embrace the new sub culture called punk rock .

I felt that the Ted’s were kinda stuck in a time zone with old fashioned attitudes and not wanting to accept any changes to the scene.

In turn we could never play to the Teddy Boys because we were punks to them .

Q. You spent time with Sid Vicious, what’s your Sid story?

A. I met Sid many times my most memorable story is when Levi and the Rockats were the house band at the Speakeasy club. Sid would go up to everyone and ask for a pound because he said he was hungry and Malcolm wouldn’t give him any money.

Q. How would you describe your style pre-forming Levi and the Rockats?

A. My personal style was always a mix between Teddy Boy, gypsy, leather rocker and The Wild One, Brando style.

I always loved the fact that the original Ted’s took from the Edwardian style and crossed it with the Mississippi River gambler, western ties and Chantilly lace with flamboyant waistcoats.

Q. You wore loads of leather during your time as a rockabilly ace-face in NYC. What’s your perspective on leather for styling a rockabilly revival look?

A. I always loved leather, going back to my Gene Vincent and Vince Taylor roots. Lots of the Ace Cafe early pictures really inspired me, especially since some of them had big Gene Vincent pictures hand painted on the back of their jackets. My dearest friend who sadly passed away did a great book called Rockers, his name was Johnny Stewart.

Love leather always have.

Q. Was Warhol and The Factory really amazing?

A. Warhol was amazing, definitely amusing and extremely charming. I first met him at the factory in 1978.

We had been invited for lunch and we demolished the food table in minutes. Andy asked, after he’d followed me around for a while ‘Can I take your picture?’

I replied ‘What do you do and what do I get out of it?’

Leee later laughing said ‘Smutty you’re probably the only person ever who’s asked Andy that, and that’s why he likes you so much.’

After that I became a regular hanging out at the factory with all the Andy drag queens and super stars.

Q. In 1981 you were photographed by Robert Mapplethorpe and wore many leather LV4 Wristbands including ones with coffin studs, square studs, round disc studs. How did you come to be photographed by Mapplethorpe and do you remember the leather wristbands?

A. Robert I met partly through Leee and meeting him at NYC nightclubs like Mud Club, Area and Max’s.

He loved my hair and style and I often wore leather. I started out at fifteen in Essex as an apprentice hairdresser and did a good quiff cut and style. I told Robert and he said ‘I want a Teddy Boy haircut’. So I agreed and he invited me to his loft in Soho NYC. After that he said ‘By the way I’m a photographer can I take some pictures of you?’

I agreed and we became good friends.

My leather cock ring wristband I got from a shop in Los Angeles in 1978 called the Pleasure Chest.

Smutty in leather, photographed by Robert Mapplethorpe.

Q. You stock a selection of Pride & Clarke Speedway Caps at Wildcat Vintage 59. What’s your perspective on why they’re such a stylish cap and how do you style yours?

A. I absolutely love my Speedway Cap, the design is flawless the workmanship unsurpassed and timeless. I almost sleep in it!

Q. What are your three favourite pieces of clothing available at Wildcat Vintage 59 right now and why?

  • My Three favorite pieces right now are my vintage customized studded leather.

  • A bright yellow Billy Fury style jacket

  • A custom wool hand made skull and crossbones jumper.

You can shop Smutty’s exclusive Lee Black Childers prints & Vince Ray collaboration T-shirts here: WILDCAT

And visit Wildcat Vintage 59 at Alfies Antique Market, Top Floor, 13-25 Church St, NW8 8DT, London.

PEEL & LIFT X The London Leatherman collaboration

This September 20th to 23rd The London Leatherman & cult streetwear label out of Japan, PEEL & LIFT will be releasing eight collaborative clothing & accessory pieces, exclusively at:

PEEL＆LIFT 新宿POP UP vol.2｜新宿マルイ メン｜マルイ

Shinjuku Marui Men, 1st Floor Event Space

Shinjuku 5-16-4, Shinjukuku-ku, Tokyo, 160-002 JAPAN

Items will include:

T-shirt with Peel & Lift and The London Leatherman fusion logo artwork.

Black leather jean taken from the 1976 The London Leatherman pattern and produced in a premium wax cow hide leather for the perfect subtle shine reminiscent of the leathers worn by the original British punk rockers (made in England), customised with stud detailing by Peel & Lift.

Cotton handkerchief with Peel & Lift and The London Leatherman fusion logo artwork.

An organic tea with Peel & Lift and The London Leatherman fusion packaging.

A set of Peel & Lift and The London Leatherman logo badges.

A limited edition Leather Head Mask evocative of the The London Leatherman masks once worn by David Bowie, Adam Ant and Little Nell in Derek Jarmans 1978 film Jubilee. Crafted in exquisitely soft nappa (made in England).

A completely unique black mohair jumper made by Peel & Lift with red applique of the The London Leatherman LW19 Soft Lip Head Mask. (image coming soon)

The London Leatherman LW4 Leather Neckbands and Wristbands with dome studs (made in England)

For enquiries contact: 

Japan Email: info@peelandlift.com Instagram: PEEL&LIFT (@peelandlift) • Instagram photos and videos

UK Email: office@thelondonleatherman.com Instagram: The London Leatherman (@thelondonleatherman) • Instagram photos and videos

The London Leatherman the clothing and accessories label was founded in circa 1971 to an audience of style connoisseurs, rebels and fetishists, it dressed the glam rock, heavy rock and soul boy scenes of the early 70s, the arrival of disco in 1976 and by 1977 was being worn by all notable punk rockers, the most documented being the Sex Pistols and The Clash.

“I first heard of The London Leatherman while I was working for Malcolm McLaren and Vivienne Westwood at their shop SEX at 430 Kings Road between 1975 and 1976. I would go to the shop in Battersea to collect and place orders with the then-owner Ken. By the way, the shop was as classy as the garments themselves. A very dark and mysterious interior with a big illuminated fish tank in the middle of it. I really admired the workmanship, high quality and simplicity of the pieces. There was a sexual undertone about them mixed with the idea of bringing fetish wear to everyday life. I wore a leather pencil skirt and cape combo as day wear and felt empowered by it. Nowadays the brand name has been carried on by Dave Carroll who obviously cares very passionately about high quality pieces that make a statement, are made to last and are classic. I own several T-shirts and some superb studded and non-studded wristbands and belts that I wear almost constantly. You can smell the quality as well as see it and they get much attention and compliments wherever I go. Dave has on occasion made a special piece for me to my own specifications which is a mark of someone who loves his art.”

- Jordan Mooney (Another Man 2020)

Today The London Leatherman is still made in England, reimagined for the current day, using the very best leather and fittings whilst paying homage to the labels important heritage.

PEEL&LIFT Designer Takeshi Hosoya worked as a shop manager at Undercover before establishing his own brand PEEL & LIFT, in 2005.

PEEL & LIFT is strongly influenced by the counterculture of 1970s British punk rock, expressing a unique world that blends elements of the counterculture of that era with contemporary interpretations of Tokyo street fashion. The collection reflects the rebellious spirit and DIY ethos of punk, while taking a sophisticated approach.

The London Leatherman Accessories styled with Lewis Leathers Jackets

With the recent passing of Lewis Leathers President Derek Harris, we’ve been reflecting on the profound body of work he achieved with the company he officially acquired in 2003. Most impressive was his researching skills, delving into the archives of British leather jacket companies and their relevant sub-cultures, with his expertise and passion being punk rock.

In the 70s it wasn’t unusual to see a punk rocker wearing a Lewis Leathers jacket paired with The London Leatherman accessories, like Paul Simonon (The Clash) in photos by Bob Gruen and Sid Vicious when signing to A&M Records outside Buckingham Palace in 1977 wearing his vintage Lewis Leather ‘Dominator’ jacket with The London Leatherman LW10 Studded Wristband.

And it’s this pre-punk cover of Club International Magazine by photographer David Parkinson that sparked many conversations with the model wearing a vintage Lewis Leather jacket and unlined, studded neckband made by The London Leatherman.

If you’d like to know more about Derek’s research work with Lewis Leathers you can purchase his book here: Lewis Leathers: Wings, Wheels and Rock 'n' Roll

Fantastic Man 40th Anniversary Issue

See the The London Leatherman ‘Special Order’ 1976 Style Leather Jeans in the 40th Anniversary Issue of Fantastic Man Magazine.

Photographed by Matthias Vriens & styled by Gerry O’Kane for the cover story starring Haider Ackermann.

40th Anniversary Issue of @manfantastic with Haider Ackermann @h.a

Styled by @gerryroryokane
Photo by @matthiasvriens
Grooming @liztaw
Production Jordan Kelly @jamiemacrae
Styling assistant @annaswease.y

Talking About The Kit- Dave Barbarossa

Dave Barbarossa the founding drummer for Adam And The Ants and then Bow Wow Wow is famed for his progressive tribal drumming style that directly influenced post-punk, new wave and electronic music of the 90s. Whilst still a musician he’s also a writer and has just released his new novel Mute.

Questions by Dave Carroll

Edited by Bridget Veal

Dave Barbarossa, third from left, with his Bow Wow Wow bandmates Leigh Gorman, Annabella Lwin & Matthew Ashman wearing his The London Leatherman LW10 Cone Stud Wristband Cuff.

Q. Dirk Wears White Sox, your first album with Adam And The Ants encapsulates the punk rock, leather, fetish fusion of the 1970s. What’s a key memory from working on the album your fans may be surprised to discover?

A. There are no surprises. It was simply hard work. Adam was a perfectionist and expected his band to have the same attitude. I found that an easy attitude to adopt, as I wanted to play on the album to the very best of my ability. We rehearsed hard and diligently. The album appears to have stood the test of time. 

Adam fronting Adam & The Ants in 1977 wearing a The London Leatherman LW19 Head Mask.

Q. For the 1977 Adam And The Ants gig at the ICA in London Adam wore The London Leatherman clothing and accessories including the LW19 leather head mask. Do you remember the leather mask and what impact it had on the gig(s)? And what did you wear for this moment in music history?

A. I was not in the band for that gig. I joined the one after. But he did wear masks (rubber and leather) in the early days. The impact was always strong, especially when he took it off. There was an element of theatrical reveal. 

I cannot remember what I wore. I know I had every little money (certainly not enough for fashionable clothes). Adam gave me some cast - offs. I had my trusty leather bikers jacket, of course. 

Q. How would you describe your clothing style whilst in Adam And The Ants, were you self-styled?

A. I think Adam was very into sharpness, tonic strides, crisp shirts. He was not a fan of that ‘dog on a string’ punk look in the slightest. Our look mirrored our sound, contained, sharp, bordering on explosive. 

Q. Cosy Powell used to wear early The London Leatherman wristbands for style and as wrist-strengtheners whilst drumming. Who would you say are the top three best-dressed drummers in history?

A. I really haven’t a clue. I’m more of a ‘form follows function’ sort of person. I want to hear, before I look. 

Q. When you formed the post-punk band Bow Wow Wow you were styled head to toe by Vivienne Westwood and Malcom McLaren. Matthew Ashman the guitarist wore his The London Leatherman LW10 studded wristband cuffs and LW3 belt with these looks and looked amazing. Did you ever wear any studded leather as a punk rocker or post punk?

A. No. I had no accoutrements, I don’t even wear a watch or a ring. Matthew was by far the most concerned with image, he always looked great. I just did as I was told. It was all about the music for me, still is. 

Q. In 2012 you became a published novelist. What was the catalyst that made you start writing?

A. I had a rather depressing episode in a band on a huge tour of The States and decided I’d had enough. My daughters were very young and I’d missed my sons growing up when they were that age because I was on the road a lot. I still had a strong desire to express myself artistically, so as I wasn’t drumming, I began to write. It’s a far less immediate, physical buzz, but it filled that place in me that has something to say. 

Q. Your new novel Mute has just been published, what can your readers expect when they pick up their copy?

A. I guess ‘authenticity' as it’s set in bands and the music industry, and that has been my life. It’s about tyranny (in a band) love, people re-inventing themselves, weakness, redemption and justice. 

Q. Where can readers pick up their copy of Mute?

A. They can buy from local book stores, Amazon or direct from the publisher on the 'Astral Horizon' online shop.

Collaborator Profile- Lloyd Johnson

Responsible for the rocker revival look of 1979, Lloyd Johnson is the Mod who glamourised the leather look of a 1950s rocker with his label La Rocka! He championed this style into the 80s, dressing everyone from The Stray Cats, The Clash, The Pretenders, Johnny Thunders, George Michael and even George Harrison.

A style guru to many, Lloyd’s a pivotal reference when it comes to piecing together Britain’s streetwear history.

Questions by Dave Carroll

Edited by Bridget Veal

Q. Your shop Johnson’s, The Modern Outfitters had a few locations with the 406 Kings Road being particularly electric. What did opening a shop on the Kings Road in the 1970s mean to you?

A. It was very exciting to open in the Kings Road in 1978. I’d wanted a shop there since 1967. I went after several shops but always got gazumped!

Q. You have encyclopedic knowledge when it comes to mid-century men’s fashion in particular British, Americana and continental clothing. Who in your opinion is the best dressed Mod(or Mods) and why?

A. The Italian Mods by a long shot!

Q. You sold and made Mod style clothing at Johnsons. What was the trigger that had you reviving the Mod look for the 70s?

A. I guess it was being asked to make clothes for Quadrophenia. We were already selling original deadstock 60s ‘MOD’ clothes when we were asked by Sandy Gandy who was friends with the Art Director/wardrobe on the film.

Q. Can you elaborate on the clothes you made for the film Quadrophenia (1979)?

A. We made Sting’s suit, Phil Daniel’s outfit, some tonic suits for the main characters and all the Blue Beat hats.

Q. I remember you doing amazing black leather three button jackets for Johnson’s, The Modern Outfitters. Did you produce anything else in leather for the mod side of Johnson’s?

A. We made the 3 button leather blazers in loads of other colours. The Jam bought the red ones, The Jags had several colours including a yellow one.

Q. Seemingly overnight, in 1979 you turned Johnson’s into a shop for rock’n rollers and rockers. With a nod to the 1950s and 60s you came up with high-stylised rockers looks. What was the trigger that made you jump from mod clothing to rockers clothing?

A. We were being called a ‘MOD SHOP’ by then and I thought that was driving me up a one way street SO!…we decided to do a small black leather range. the Original Tab biker jacket, the Zip Leg leather jeans and the short Pirate biker boot. The (La Rocka!) skull buttons and the Pirate look biker boots were a nod to Johnny Kidd & The Pirates who were one of my favourite groups of the early 60s. I saw them often play Hastings Pier Ballroom, great group!

Q. What’s your take on the cross-over between a 1950s rocker and the leatherman look of the 1960s and 70s?

A. I wasn’t aware of The London Leatherman until Dave told me about it and that his Mum worked there. 

Q. Best dressed leather look(s) in history, and why?

A. The 59 Club ton up boys, Marcel in Belle de Jour, The Leather Boys, Gene Vincent…look for photos they speak for themselves… I particularly liked Marcel in Belle de Jour he bought a leather dandy feel to his look.

Q. Top Of The Pops was the catwalk for Johnson’s La Rocka! Who in your opinion wore La Rocka! leathers the best on the show and why?

A. TOTP in the 80s, so many groups/bands wore La Rocka! back then but I have to say ‘The Lords of The New Church’ wore La Rocka! the best and that was because they wore the complete look as it was intended.

Q. The staff that worked at Johnson’s La Rocka! were London scene-sters who looked fantastic in the clothes. Antoine Mills and Trudi Garland were THE poster-boy and poster-girl for the shop. Was this deliberate on your behalf or luck that the fusion was so perfect between them and your styling?

A. The whole Johnsons/La Rocka! look was organic and instinctive and the inspiration for the designs came from things and clothing I remembered from my youth, it grew in a natural way, we seemed to attract physically good looking people that wanted to wear the clothes. The staff got a free outfit each time we did a new range and after that clothes at a discount so they always wore La Rocka!/Johnson out to the clubs and pubs which was obviously a good advert for the shops.

Q. Today La Rocka! boots are of iconic status, your Gladiator boots, Pirate Boots, Zero Boots being particularly striking. What was the inspiration behind these?

A. The Pirate Boots were designed from memories of Johnny Kidd and The Pirates. I called the Gladiator Boots after Nero & The Gladiators who I use to see play on Hastings Pier Ballroom in the early 60s. The Zero Boots were named after the Japanese fighter airplane to fit with the Rock n’ Roll Suicide range which was inspired by WW11 in the Pacific.

Q. Behind every great man is a great woman. The collaboration between you and your wife Jill is legendary. What’s your favourite collection or piece of clothing you designed together and why?

A. The favourite items we did together are the white shirt with frills across the shoulders and down the sleeves Jill designed for Chrissie Hynde and the white waistcoat I designed and Jill made. Jill made both items. Both items appeared on The Pretenders L.P. cover.

Q. Favourite La Rocka! leather jacket you designed and why?

A. The favourite leather jacket I designed is The Original Tab Biker Jacket. It’s my favourite because it was the first one I designed and it was a massive success. It also looked great in loads of different colours of leathers. It worked so well and still does.