If you noticed, I wear high-water pants and white socks, which is inspired by the mod '60s, like the Beatles, the Beach Boys, Jimi Hendrix, what have you. That style of dress during that time is really, really dope to me.
Presumptuously, I speak for all Who fans when I say being a fan of the Who has incalculably enriched my life. What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to.
England in the '60s and the '70s was everything that history has said; it was phenomenally exciting, musically.
I'm really inspired by British style, like Kate Moss and Sienna Miller.
When I joined Small Faces, we occasionally would bump into The Who. And Keith Moon and I became firm pals.
For me, my entry point, when I was old enough, was the skinhead/suedehead thing, sort of like '70/'71. People didn't have much money - they would save up, or whatever - but everyone always dressed up. You'd go to a dance at the football club on a Thursday night and all of us kids - all of us from maybe like 12 to 16 - were all dressed up.
You could say I'm a mod, but with a small 'm'; I don't wear a parka, but I do question what I wear and what I listen to, which is what it's all about.
The Who, England's most self-conscious band, have released 'Quadrophenia,' which in turn freezes in time our image of the mid-Sixties Mod sensibility.
L.A. Woman is amazing, but when I was growing up I was into the Who.
The Who on record were dynamic. Roger Daltrey's delivery allowed vulnerability without weakness; doubt and confusion, but no plea for sympathy.
Style has always been very important to us. We grew up in the '70s. Music was glam rock, punk rock and a very stylish movement.
Music is a huge inspiration to my style. I first got into it when I was 10: the new wave mod scene.
I was a mod when I was a kid. I'd be in Italian pencil-leg trousers with those bowling shoes you wear outside and a Fred Perry polo shirt with a V-neck sweater. It was like an Essex uniform - a very specific look.
I was a bit of a loner at school because I was into what I was into, that sort of scene; that is where the whole mod thing started, when I was 14-15.
I love the Sixties and all those iconic women, Bridget Bardot and things like that, so I tend to lean towards those sorts of things.
I wore out the Broadway 'Tommy' recording. I just loved it.
I think when I was a kid, and I was in England and it was all about The Stones, The Who, The Kinks and The Beatles and that's what my dad was into.
I was a big Who fan when I was 15, 16 years old, and I used to go watch them play at the Marquee Club in London as often as I could.
I felt that The Who had ended because we'd lost touch with our original Shepherd's Bush audience.
When I was a kid in the mid-'60s, I was what's known as a moddie boy, a prototype skinhead. You all had your hair like a crew cut, cropped, with suits or Levis with red suspenders, sometimes Doc Martens. It was a thriving soul music, Motown and ska scene; we used to dance to Prince Buster and the Skatalites.
When I was a kid in Woking, every week you went to the football dance, and every week the top kids would be wearing something different. You were constantly trying to catch up with them - which you could never do because, by the time you'd saved up enough to buy the item, they'd moved on to something else. That's the whole Mod thing, I suppose.
Ready, Steady, Go!' was the show of the '60s in London, where the Beatles, the Stones and the DC5, and every other major act started.
When I was a teenager, you were either a punk, a skinhead or a mod, or you weren't on the scene. Me and my mates were skinheads.
It's like the mod thing is happening again.
Being a mod is more of a sensibility than a style.
