STUDIO: Promo Rough Script v1

Words	Pictures	Timings
	Est shot – HIGH STREET SHOP, a well-dressed mannequin stands front and centre of the window.	00:03
	Two YOUNG PEOPLE walking down the street, passing the shop.	00:06
	They pause as they notice the mannequin.	00:08
	Sharing a sly smile, the pair enter the HIGH STREET SHOP.	00:11
	The mannequin is dragged from the window and the YOUNG PEOPLE run laughing from the store, carrying the mannequin between them.	00:19
	FADE TO:
	Two YOUNG PEOPLE walk confidently down a street. One of them now wearing the mannequin’s clothes.	00:23
“A brand new fashion show. ‘Steal the Style’		00:26
	They pass another shop window with a mannequin wearing a dress. The well-dressed YOUNG PERSON smiles widely at the other.	00:29
‘Coming Soon’		00:30

STUDIO: Drag research (UK/US drag)

The drag scene: new york vs london by amrou al-kadhi

https://i-d.vice.com/en_uk/article/3kqybj/the-drag-scene-new-york-vs-london 

• "self-referential theatricality that performs and deconstructs gender tropes rather than imitating them, giving the art form, I think, a comic and necessary politics. This is something at the foundation of the London drag scene"
• "Whilst London drag is inherently about performance, many New York queens take centre-stage in the city's glamorous nightclubs. 
• "A major element of the New York queer scene echoes structures of dominant culture you might think it would reject: VIP areas for the most famous queens and club kids, a self-governing queer paparazzi, and a genuine club A-list including figures such as Amanda Lepore (who still makes a living through nightclub appearances) .... The hierarchical format of Capitalist Celebrity Culture isn't abandoned, but intimately replicated just through a queer lens."
• "For decades, the New York queer scene has been intertwined with mainstream culture. Back in the 60s, ... Andy Warhol was determined to create spaces within mainstream culture where queer people could operate. He borrowed the language of American Capitalism and re-wrote it through a queer framework, giving New York queers a chance at mainstream ideals of success - their "15 minutes of fame". His legendary Factory - bang in the middle of midtown Manhattan - was a playground for queer "celebrities," who took starring roles in Andy's films and television programmes (that often infiltrated mainstream networks). His trademark Marilyn screen prints could also be seen to operate on this logic; in effect, Warhol stole a mainstream cultural image designed for straight male pleasure, and colourfully distorted it. Andy's Marilyn was as much drag queen as she was screen siren."
• "Although parody is involved, what seeps through is an overwhelming desire to simulate hetero-normative images of success, as a way to claim that those at the ball are also eligible."
• "although I was excited by the astounding production value of the New York scene I experienced, what I missed was irreverence, and the sense of an alternative cultural model to Capitalist success. Though this partially exists in New York, it forms the basis of London drag."
• "Coming out of a tradition of theatre - from Pantomime to Shakespeare - our drag queens love the stage. We hold dear that sense of irreverent theatricality that is at the core of Absolutely Fabulous. "
• Hence our prized drag establishments are not nightclubs, but venues with stages; The Royal Vauxhall Tavern, Molly Mogs, The Glory, The Bethnal Green Working Men's Club, The Admiral Duncan and the posthumous Madame Jojo's & Black Cap. And I see less of a trend towards "realness" and a perfectly polished image, as I see looks that lack "finesse" in a celebratory, political, and ultimately, theatrical way (Jonny Woo, Scottee, Jon Sizzle Etc…)

Alan Carr: Chatty Man,  S14-Ep11: British Queens vs American Queens (W/ Ru Paul)

http://www.channel4.com/programmes/alan-carr-chatty-man/videos/all/s14-ep11-british-queens-vs-american-queens/4268267005001

British:
"more nudge-nudge, wink-wink"
Takes the piss

American:

Sexier names
Glam

Studio: Steal the Style research ( Peaky Blinders)

Source: http://www.asos.com/men/fashion-feed/2017_11_12-sun/style-lessons-from-peaky-blinders/?channelref=paid%20search&affid=16833&_cclid=v3_e1a92137-417f-5510-b1cb-8b45a5ff4ed9&gclid=Cj0KCQiAzMDTBRDDARIsABX4AWx-5cbXqrNif0OJ7HSV9QEDj00Wfef-GbbTXXVLQ6vUy7VkAP_XhdUaAiu2EALw_wcB
https://clothesonfilm.com/peaky-blinders-qa-with-costume-designer-stephanie-collie/33288/

• Similar to Mad Men in influence on men's fashion

• Three piece suits, flat caps (and chain smoking?)

• Have a signature item. Find what you love and own it. - EG Flatcap

• 'Air tie'. A contemporary way to wear a suit without a tie and not look like a preachy politician, 'the ‘air tie’, which is to say buttoning your shirt up to the top even though you’re not wearing one.' Formal, grandad or even oxford shits will give you a 'peaky' look. 

• Accessorise. Sparingly. Thomas: Three piece suit, overcoat and pocket watch with visible brass chain. Arthur: bow-tie, straight pocket square.

• 'The Cut' - Another clearly influential part of peaky blinders style: short at the sides and long on top to compliment Cilian Murphy's bone structure. It wouldn't, however, suit a fuller or more rounded face.

• Colour. Peaky Blinders exists in the post-war grey of industrial Birmingham. With monochromatic suits of navy, browns and greys you can ass a spark of colour through your socks or pocket square etc. Arthur uses his tie, Thomas often uses his shirts. 

• An easy and less showy way to mix things up is to experiment with pattern and cloth. 

• Classics are classics for a reason.

• Costume designer Stephanie Collie (Lock, Stock and Two Smoking Barrels, The Look of Love)

• recreating the era in a "heightened way" - Hollywoodised version of 1919

• Accurate but contemporised for accessibility

• 'Crooks Like Us' by Peter Doyle - used for haircuts 

• Arthur's bow tie makes him stand out so you think he's leader

• can’t go wrong with a tweed suit”.

• "It’s all about wearing a good suit with confidence and not being afraid to be individual, to add little touches. For the Peaky Blinders, the clothes were about them showing their worth. They would go without to have that fantastic suit because for them it is all about status. It shows where they stand in their neighbourhood."