10 Unmissable Highlights from #BlitzClubExhibition

This poster for Liza Minnelli’s Oscar-winning Cabaret represents one of the Blitz Kids’ key inspirations. The film’s Weimar-era aesthetic—sequins, powdered faces, monocles and opera gloves—shaped the looks they created for the club. Yet Cabaret’s darker backdrop, Berlin on the cusp of fascism, also struck a chord in late-1970s Britain, when far-right groups were on the rise. For the Blitz Kids, it symbolised both flamboyant escapism and a warning from history.

1972

This suit, was designed by Chris Sullivan and worn by Chris Sullivan, and offers an exaggerated take on a 1950s zoot suit. But it wasn't just a flamboyant fashion statement. It was really a well-thought-out commentary on class, on distinction and on social status. It's worth noting as well that Chris would subsequently wear this suit when he was photographed for the front cover of the Face magazine alongside Christos Tolera, another musician who was with Chris in a band called Blue Rondo à la Turk. So, the suit was immortalized in photography, and we're very happy to have it on display here.

1981

The wall of photography captures the atmosphere, style and energy of the Blitz. From vivid posed portraits to candid shots of the dance floor, they reveal how inventive the crowd was, and how vital self-presentation was to the club experience. Photography not only documented the Blitz but helped shape its legacy, carrying its ephemeral looks from fleeting Tuesday nights to the pages of i-D and The Face.

1979-1980

At the heart of the exhibition is a creative re-interpretation of the Blitz, complete with bar and dancefloor. Created in collaboration with Guildhall School of Music and Drama, it combines a realistic ‘club’ set with cutting-edge digital technology, including newly remastered archival footage of one of Spandau Ballet’s earliest performances. The only band to play live at the Blitz night before going on to global stardom, Spandau were part of the club’s creative ecosystem, with other ‘Blitz Kids’ producing their stagewear and lighting design (Simon Withers) and their promotional graphics (Graham Smith).

Produced by the architectural collective Narrative Architecture Today, led by Blitz regular Nigel Coates, NATO channelled the experimental spirit of subcultural London. Its zine-like graphics and playful layouts echoed the theatrical self-expression of the Blitz Kids, translating fashion’s reinvention into speculative design. The magazine’s original paste-up boards, show how making the magazine was itself a process of creative expression. Cut, glued and assembled by hand, it mirrors the inventive DIY ethos that defined the era.

1985

Designer and Blitz regular Melissa Caplan created bold, gender-fluid looks under her label Pallium Products. Inspired by ancient dress, her work used leather panels, metal poppers and hand-painted motifs that echoed Roman armour. This black cotton and leather coat, painted in gold, shows her distinctive fusion of history and experimentation. Worn by musicians including Spandau Ballet and Toyah Willcox, Caplan’s designs became icons of the era, setting her apart as one of the most original designers of the Blitz era.

About 1980

This early hat design by Stephen Jones was worn, memorably, by a young Boy George to a party hosted on London’s Circle Line. It’s a wonderful example of Jones’ design ethos, which combines historical detail with whimsy and humour. The hat takes the shape of a classical Roman helmet, formed in silver lamé, with enormous ostrich plumes gathered at the top. Classical and ancient motifs were revived by many of the Blitz Kid designers, as with Graham Smith’s album art for Spandau Ballet and Melissa Caplan’s hand-painted clothing.

1981

On display we have a wide range of ephemera from early 1980s club nights that were organised by Blitz kids. From promotional flyers and weekly agendas, to membership cards and Christmas cards each has a unique aesthetic which often connects to the theme or style of the club night. A standout from this display is a letter from Club for Heroes. The letter is addressed to guests and announces Rusty and Steve's sudden departure as club hosts, reflecting the unstable and sometimes chaotic nature of running a club night.

Early 1980s

The Yamaha CS-10 represents a moment when technology empowered a generation of musicians to experiment, innovate, and define the sound of the 1980s. Portable and relatively affordable, it allowed aspiring musicians to explore sounds that were previously confined to expensive, studio-bound equipment. Gary Kemp of Spandau Ballet used this very instrument to compose and perform the tracks for their debut album Journeys to Glory, shaping the band’s distinctive early sound.

Late 1970s

The Blitz scene started off as a niche underground phenomenon, but it soon exploded in the media. One of the individuals who quickly rose to prominence was Boy George, originally George O'Dowd, who would become the lead singer of Culture Club in 1981.

Boy George was both praised and mocked for his androgynous style. He was able to capitalise on the fame which his avant-garde looks had brought him, with merchandise like this book. It’s a step-by-step manual for reproducing some of the singer's most recognizable makeup looks, as well as sewing patterns to reproduce some of the garments that he wore.

1984