The British skinhead subculture emerged in the late 1960s, rooted in working-class youth culture and characterised by a distinctive style, music preference, and and association with football terrace culture. By the 1970s and 1980s, skinheads became a prominent and often controversial part of British society, blending their identity with football fandom, music, and fashion.
Music played a central role in shaping the skinhead identity. Initially, skinheads were heavily influenced by Jamaican ska and reggae, reflecting the multicultural environment of working-class communities. Bands like The Skatalites and Desmond Dekker were popular among early skinheads, who embraced the upbeat rhythms and social messages of these genres.
By the late 1970s and early 1980s, the musical landscape for skinheads began to shift. The emergence of Oi!, a subgenre of punk rock, became the soundtrack for a new generation of skinheads. Bands like Cockney Rejects, Madness, The Specials, Sham 69, and The 4-Skins provided raw, anthemic music that resonated with the working-class anger and disillusionment that many skinheads felt. The lyrics often focused on themes of unemployment, working-class pride, and defiance against authority, making Oi! music a perfect fit for the skinhead movement of the time.
During the 1970s and 1980s, skinheads became closely associated with football terrace culture, the passionate and sometimes volatile atmosphere in British football stadiums. Football hooliganism was on the rise, and skinheads were often at the forefront of these groups. They formed “firms” or gangs that supported their local football clubs and engaged in violent clashes with rival fans. The terrace culture was marked by chants, aggressive behaviour, and a sense of tribal loyalty, which resonated with the skinhead ethos of working-class pride and toughness.
The connection between skinheads and football terrace culture was more than just about violence; it was about identity and belonging. Football provided a sense of community and a stage for expressing skinhead values, making the terrace a natural extension of the subculture.
The skinhead look was both a statement of identity and a symbol of rebellion. Key elements of the skinhead wardrobe included Doc Martens boots, often worn with steel toes for both style and functionality. These were paired with Levi’s 501 jeans or Sta-Prest trousers, which were usually rolled up to showcase the boots.
Ben Sherman and Fred Perry shirts were also staples, offering a smart, clean look that contrasted with the rougher image of other youth subcultures. Over these, skinheads often wore Harrington jackets or bomber jackets, and in colder weather, they opted for sheepskin coats or Parka jackets. The cropped hairstyle, which gave skinheads their name, was both practical and symbolic—a rejection of the long-haired styles associated with the counterculture movements of the 1960s.
Some skinheads also embraced specific brands and styles associated with British pride, such as Tonic suits and braces, which added a sharper edge to their look, especially when attending football matches or concerts.
The British skinhead subculture of the 1970s and 1980s was a complex and multifaceted movement, deeply intertwined with football terrace culture, music, and fashion. While often associated with violence and far-right politics in the public imagination, the original skinhead movement was rooted in working-class identity and multicultural influences. Music and fashion were central to the skinhead identity, providing a sense of belonging and a means of expressing their values in a rapidly changing society.
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The Shed Terrace, 1980£100.00 – £150.00 -
The Shed End, 1982£130.00 – £175.00 -
Donna, CFC Skinhead£130.00 – £175.00
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