Luxury Range Of Parka Jackets & Coats For Women

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Stunning range of fur parka coats and jackets now in stock for ladies who like to make an impression :)

As many of you know, we are the guys behind fishtail parkas.com and we’ve been in the parka business for many years. It has always been in our minds to produce a luxury range of parka jackets and coats for the women’s fashion market. We also wished to produce such parka’s under our very own clothing label, Stonetail. It is with pleasure that we now offer these beautiful garments for sale. We admit the parka jackets and coats are not cheap, but they are high end garments and cost a small fortune to produce. Our aim here has been to produce quality that stands out and not some cheap product like most High Street stores.

white fur parka jacketIn order to view the collection please visit either itsamodthing or fishtail parkas.

The jacket lining is faux rabbit fur which is so soft and beautiful to touch. The hugh hood trim is dyed raccoon fur.

womens fox fur parka jacketThe lining of the above multi-coloured parka jacket is fox fur and the hood trimming is also fox fur.

We will be constantly adding to the range so that there are plenty of

 

Female Mod Icons

The music may have been a major part of the mod movement, but it is important to remember that fashion was an integral element to the development and popularity of the movement too. There were a number of key females in mod history and these three female mod icons deserve to be recognised as much as anyone from that era.

Twiggy

twiggy mod icon

Every fashion movement needs a superhero and the mod movement had even better than a superhero, they had a supermodel! You may not be familiar with the name Lesley Lawson but if you say the word Twiggy, people know instantly who you are talking about. While she has been an actress and a singer in her time, Twiggy will forever be recognised as the stunning British model who for many people was the perfect embodiment of the female mod fashion and of the swinging 60s style!

Twiggy’s nickname came about thanks to her thin frame but it was the androgynous look that she provided in her early days that helped to bring female mod fashion to the fore. With large hair and short eyes, Twiggy was a big change from what had been recognised as the top fashion style and by the mid-60s; the world had fallen in love with her, and her look. She was recognised as the “Face of 1966” and was hailed as the British Woman of the Year in the same year. 1967 brought magazine covers in Vogue and Tatler while there were fashion shoots in Asia, America and Europe to go alongside the high demand that she still held in Britain.

As fashion styles move on, Twiggy had the good sense and grace to take a different path, following her acting ambitions, and leaving the new fashion movements to find their own face rather than hoping she could stick around. It is testimony to her hard work and natural beauty that Twiggy is still involved in the fashion industry these days, working with Marks & Spencer’s in the design room and in front of the camera. She may no longer be synonymous with just mod fashion but for a few years, Twiggy was the perfect embodiment of female mod fashion and she was the name on everyone’s lips.

Cathy McGowan

cathy mcgowan mod icon

While Twiggy was found in fashion magazines and newspapers, it could be argued that Cathy McGowan had the bigger impact on mod fashion as she was found on TV every week alongside many of the best bands of the day. Cathy was the presenter of TV show Ready Steady Go! and she was a huge part of the appeal for male and female viewers. Given that Cathy was in her early twenties at the time, she was seen as a role model for young women and her fashion sense was copied by a great number of viewers. With Twiggy citing McGowan as a massive inspiration and interviews suggesting that Anna Wintour, who would later be the editor of American Vogue, McGowan was the celebrity that would inspire future celebrities.

McGowan was regularly seen in a miniskirt, which not only boosted her popularity and the popularity of the miniskirt, it helped to bring Mary Quant to a wider audience, with Quant being the major proponent of this style of skirt in the UK. She wasn’t only known for wearing miniskirts, McGowan was also regularly seen in shift dresses but given the shocking nature of miniskirts to many people at the time, it was easy to see why that garment captured the imagination.

The fact that McGowan had her own fashion range on offer at British home Stores and a make-up kit available across the country, allowed many girls and women to imitate her fashion style with ease.

Mary Quant

mary quant mod icon

While many mods could have walked by Mary Quant in the street and failed to recognise her, she was an instrumental part of the fashion movement of the times. Mary is the key designer credited with the emergence of miniskirts and hot pants, making her an integral name in the development of mod fashion. Mary was a major promoter of these items in the early 60s, making her name instantly recognisable when it comes to female mod fashion and in loosening up some of the boundaries which had been imposed on female fashion to this point.

With a store on the King’s Road, Quant was in the right place at the right time but to limit her achievements to just the miniskirt would be a great disservice. Quant was also a major backer of the androgynous style that was favoured by many female mods, with one of her successful items being cardigans initially made for men that were worn as dresses.

Women’s Mod Clothing

The Action Had The Mod Look

The Action Had The Mod Look

the action mod groupLike many mod groups, the origins of The Action can actually be found in another band. In Kentish town, in the North of London, there was a group called The Boys. This band consisted of Alan king who was the lead guitarist, Mike Evans who was the bassist, Roger Powell played drums, and the vocalist was Reg King. The Boys formed in 1963, playing a number of popular mod clubs in the capital and in 1964, they found themselves as the support act to The High Numbers.

Much in the way that The High Numbers would quickly change their name to The Who, The Boys would soon realise that a name change was in order, christening themselves as The Action. The name change came after the line-up was expanded by the arrival of Pete Weston, who played the rhythm guitar.

Over the next couple of years, the group developed a reputation for being a blistering live act. Some of the shows the band performed at the Marquee Club were raved about, but the material consisted of mainly American soul tracks. This was something that would potentially come to hold the group back as their original material was not deemed as strong against the material they would play in their live show.

In 1967, the band attempted to update their sound from the pop art mod style to the increasingly psychedelic mod sound. This didn’t go down too well with the bands existing fan base, and it failed to win over any new followers. The group split up in mid 1967.

However, thanks to the various mod revivals that took place in the intervening years, the high points of The Action were held in high regard and the band were cited for their fashion influence. The group reformed in 1998, playing a few times between then and 2004. Sadly, in 2010 Mike Evans and Reg King passed away.

The fashion brought acclaim to The Action

One of the things that The Action had in their favour was their fashion. This is not to say that the band didn’t have talent, they clearly had enough about them to be noticed and to make some inroads into the musical business. However, it was the overall package that seemed to bring many people to The Action. There was a sense that these bunch of lads were genuine mods and into the scene whereas some bands would give the impression that they were happy to mime mod culture until the next big musical genre or happening came along.

It was said that The Action was the perfect embodiment of what London mod life was like in the mid to late 1960s. They had a classic style that was as subtle as it was elegant. Whether the act was wearing tailored suits, fitted shirts or patterned sweaters, they had a style that seemed effortless, and this was a factor why so many people loved them at the time. They had the same Pop Art style as The Who but even then, The Action seemed more at ease and less showy than what The Who offered. The Who were genuine at the time, but there was still an element of showmanship about their look and image, the band knew that they were a band with an image. With The Action, it was if the lads in the group would have dressed the same even if they never played a note of music in their life.

While the group were well loved within the mod community, their inability to break through to mainstream and commercial success surprised many and even angered a few. It seemed as though everything was in place for the group to make it to the big time. They had the backing of a leading record label who worked hard to push them to a wider audience. The group also had the luxury of being produced by George Martin. In the mid to late 1960s, producer George Martin was a more famous name than many acts due to his work with The Beatles and EMI at Abbey Road Studios but not even he could push The Action to a higher level of success or popularity.

Classic M-1951 Fishtail Parka

Classic M-1951 Fishtail Parka With Coyote Fur Trimmed Hood

Model shots of our classic M-1951 fishtail parka.

The model is a UK size 8 / 10 in women’s clothes and is 5ft 11 inches 179cm’s in height. The olive drab fishtail parka worn is size XS.

Each parka coat comes complete with a detachable quilted lining. The wool-lined coyote fur trimmed hood can also be removed, thus giving the plain green parka hood style as shown in cult British film Quadrophenia.

model wearing M-1951 fishtail parkareal fur hooded fishtail parkaThis fishtail parka is available from Its A Mod Thing

 

The Jam Were True Mod Leaders

The Jam Were True Mod Leaders

the jam

Although their recorded career only lasted from April 1977 to the tail end of 1982, The Jam have left a legacy that bands with much lengthier careers would be jealous of. The genesis of the group can be traced back to 1972 and of course, Paul Weller is still one of the biggest touring acts in the United Kingdom, but for many people, it was this brief spell that meant the most. It would be fair to say that the group were not always a mod act; in fact, you could say that like all good mods, they encapsulated a lot of different sounds and styles.

Much in the way that The Who can be classified as many different styles; there is something about The Jam that makes them the quintessential mod band. In its truest sense, being a mod was not about a hairstyle or the right clothes, it was about being modern, fresh and of the moment. There is no denying that at every point of The Jam’s career, the band were at the forefront of what was happening in the UK popular music scene.

Crashing into prominence as punk culture was starting to come to the fore, The Jam were the right band at the right time. They were boys playing loud and angry music who had something to say. This was a perfect embodiment of the punk movement even if the Conservative views held by Weller at the time would have been in opposition to the anti-establishment stance held by many of the punk bands.

The music and look spurred the mod revival

The debut album from the group ‘In The City’ sat perfectly beside the breaking punk bands, but it also tipped a nod to The Who’s early singles and the ferocious live shows of many of the original mod acts. With the release of the Quadrophenia movie, there was a powerful mod revival in the late 1970s with many people citing the success of The Jam as a major point of this. The band had the sound, but they also had the look that would influence youngsters around the country to bring the mod look back to the fore. While punk was popular, it was a step too far for many people. Whether people didn’t have the courage to go full on with their outfits or they decided that it never spoke to them properly, the return of the mod style presented a much more palatable fashion and music experience for many youngsters.

When evaluating The Jam and their development, it would be wrong to place all of the focus on Weller. As the principal songwriter, singer and public face of the group, it is inevitable that most people would view him as the focal point of the group. However, the development of skill and style of Rick Buckler on drums and Bruce Foxton on bass underpinned much of the band’s progress. If only the song writing skills of Weller improved while the playing style of the band didn’t move forward, the band would have run the risk of being cast aside like so many also ran’s of the punk era. The fact that The Jam, similar to The Clash, were able to evolve and move away from the genre that collapsed in on itself indicated the talent and vision of the group. The Clash maintained their anti-establishment theme but brought in dub and reggae elements while also becoming “stadium rock” huge in America thanks to their catchy rock tunes that dominated the airwaves.

The Jam went off in a slightly different direction. Weller still had plenty to say about the state of modern Britain, but he did it in a softer and more subtle way. Like so many of the mod genres and movements before him, he looked to America and the soul influence would be a significant factor in the latter years of the band.

No matter when you look at The Jam, there is a strong mod influence at every point. The sound of the group may have changed considerably between 1977 and 1982, but the country around them had changed significantly too. There may have been some fans who wavered along the way but looking at the full catalogue with the benefit of hindsight, the development and progression of The Jam remains one of the most exciting stories in mod culture.

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The Creation Were A Genuine Pop Art Act

the creationWith any musical movement, there will be bands of all different levels and qualities. The top bands are the ones that become synonymous with the genre, but if it is only one or two bands playing this sort of music or mining this sort of sound, is it truly a genre or movement? There is a need for a lot of bands to play this style of music, and in the mod movement, some of the most loved bands were the ones that failed to get much commercial success at the time but who have developed critical success and a cult following over recent years.

Of all the mod bands who were much loved but fell short in going over the top in a commercial sense, The Creation can be listed as one of the very best. The origins of the band can be traced back to 1963 and The Mark Four would become the fledgling group that would soon become The Creation. The act lost a bass player, John Dalton, who made his way to the Kinks but with Tony Cooke replacing him, the group progressed and released singles in 1965 and 1966. In three years, The Mark Four would release non charting singles on Mercury Records, Decca Records and Fontana.

A change of manager in 1966 provided the impetus for the group to progress. Tony Stratton-Smith signed the band up and recommended dropping Cooke and replacing him with Bob Garner, who had previously played with Tony Sheridan. Stratton-Smith also suggested a change of name, with The Creation supposedly coming from a book of Russian poetry. This resulted in The Creation lining up with Kenny Pickett as the singer, Eddie Phillips played lead guitar, Mick Thompson was the rhythm guitarist, Jack Jones played the drums and Garner was on bass.

Live fast and die young was an apt summation of The Creations’ career

The band achieved moderate chart success at this time and was likened to The Who at around the time of the ‘The Who Sell Out’.

The lyrics and spirit of ‘Painter Man’, one of the bands best loved songs and their biggest charting single, fitted perfectly with the ethos and outlook of many in the mod lifestyle. The idea that working hard and getting a degree would provide a fruitful and exciting life was quickly shown to be a lie or a gross exaggeration for many within the mod culture. There was a serious disillusion with the fact that life never lived up to the expectations and possibilities that were promised when growing up.

The lyrics also tapped into the pop art culture that was prevalent at the time, especially in mod circles. The popularity and progression of mod culture dovetailed with the development of the pop art movement and the fact that seemingly every day objects could be the inspiration for the famous art pieces of the day. The lyrics state that classic art has had its day sat remarkably comfortably with those that believe the mod movement was all about the modern, the here and now.

The song also allowed the band to show their true pop art credentials. Singer Pickett would spray paint a canvas during their shows, which was later set alight by a roadie. However, the band would initially move Pickett out of the group and went through a number of changes and semi-reunions in 1967 and 1968. The band actually split up twice during 1968, and this was to be the end until a reformation in the mid-1980s.

The importance and influence of the band was exceedingly brought to the fore when Alan McGee named his independent record label after the group. The band was a towering influence on McGee and on many of the acts who would sign to the label. Ride covered ‘How Does It Feel to Feel?’ by the group on their ‘Carnival of Light’ album.

The Creation may not be the first name you think of when asked to name a mod band, but there is no denying that they remain one of the integral bands of this era. The guitar sounds offered up by the band fitted in perfectly alongside the finest mod movement acts at a time when genres were blending and crossing over. The psychedelic influence was a significant component of some mod acts, and it was this side of their output that The Creation have most been remembered for.

Were The Beatles Mod?

the beatles

The Beatles were at the forefront of British popular music in 1960’s Britain and went on to become the biggest band of modern times. They were clearly innovators and pioneers. Their overgrown ‘mop top’ hairstyles and clean cut suits made them stand out from other bands so that they were easily recognised. This was of course mostly in part to Brian Epstein’s vision of how his band should be portrayed to the media and fans.

A debate often risen over the years is whether or not the Beatles are to be considered mod?

By mod, we obviously refer to the mod youth sub-culture movement which formed in Britain during the late 1950’s / early 1960’s. Ringo Starr himself famously coined the phrase ‘I am a mocker’, putting the band somewhere between the mod and rocker movements, but without tying them down to a specific movement / genre. Typical light hearted response you would expect from a Beatle.

In America, the Beatles are seen has being a hugh part of the mod movement within Britain and very much apart of the swinging London 60’s scene. Although both are strongly linked due to the times, I personally see the swinging London 60’s scene and the mod movement has significantly different. Do American’s understand what a mod and their culture ultimately is?

These days many mods look back to their youth and follow the scene as they remember it i.e. Scooters, fishtail parka’s, mohair suits, monkey jackets, Small Faces, the Who etc, etc. However, the term mod is short for ‘modernism’. The very concept of this word means to move forward and embrace things ‘modern’. It could be argued that a person who follows the latest trends is ultimately a true mod.

The authors personal viewpoint is that the Beatles are not mods and never were. Yes they were a big part of the golden era of sixties Britain and their styling was clearly evident of the time. Furthermore, they were musical geniuses who pioneered many new sounds. However, the original mod movement began it’s life in Soho, London and the Beatles were of course from Liverpool. The Beatles began life as a skiffle group and were influenced by 50’s rock. Skiffle music is a folk-country-blues hybrid. Early mods listened to modern jazz and early motown followed prior to the explosion of Rhythm & Blues.

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Early Motown And Mod Culture

motown uk tourOne of the best and most interesting things about the development of mod culture is the fact that it drew from so many different interests and sources. There were plenty of different American musical genres to choose from but it was the music being created by the Motown record label that struck a chord with mods and this music was very quickly assimilated into mod culture.

There was a fresh and upbeat nature to this music, providing the perfect music for the dance floor and for mods to live their life by. This was a time to take control of life and this style of music fitted perfectly, even though it was being created by artists and musicians across the Atlantic and from a very different background.

Motown Records was the second record label started by Berry Gordy, in Detroit in 1959. The initial label Tamla Records had achieved chart success and acclaim but it was with the introduction of Motown Records that the world started to take notice of what was going on in Detroit.

The Miracles MotownSome of the initial Motown artists included Eddie Holland, Mable John and Mary Wells. The first major chart success that the label achieved was with ‘Shop Around’. This song was the first ever R&B number 1 for the Miracles and it even reached number two in the Billboard Hot 100 chart. In April 1960, Tamla and Motown merged to become the Motown Record Corporation, bringing the cream of both labels together. Before too long, the label became a massive player in the record industry with songwriters such as Lamont Dozier, Brian Holland and Norman Whitfield becoming as well known and as celebrated as many of the artists on the label.

Mod groups were heavily influenced by Motown acts

One of the biggest factors in the importance of Motown on mod culture was in the influence it had on so many of the major mod groups. Even if the casual mod in Britain was unaware of the records that were coming from Detroit, the music played by the top British mod groups was bringing the influence of Motown directly to them. The fact The Who and The Action both undertook a number of Motown covers was a great indicator of the importance of this sound.

There is also a great story about when Steve Marriott and Ronnie Lane of the Small Faces first met each other in a record store. The two quickly bonded over a shared admiration of Motown music, which led to them forming a band. The rest was history as they say with the Small Faces going on to become one of the most important groups of the mod era.

The relationship worked both ways

One of the great things about the link between the early Motown sound and mod culture is that it was not just a one-way relationship. The influence that early Motown records had on popular mod culture is evident but when the original popularity of Motown started to fade, it was mod culture that remained supportive of the label and the acts that were signed to it. As many mods moved onto Northern Soul, the enthusiasm for the label remained. The early Motown records would become a staple part of the Northern Soul sound in the North of England, ensuring that there was always a market for record sales and live performances from groups of this era. Anyone not convinced by the link between mods and Northern soul fans only have to consider the shared love and admiration for early Motown records to see the connection.

Over the years the Motown label has acknowledged mod culture and the importance their label had on the era and the members of this youth culture. When the first mod revival kicked in during the late 1970s, Motown were swift to package a number of compilation albums aimed solely at celebrating their music that left a mark on mod culture. Anyone looking for a quick and easy introduction into the early Motown sound that left such an indelible mark on mod culture would be advised to check out these compilation albums.

When many people think of the Motown label, it is easy to focus on the superstars of the 1960s and 70s. This was one of the biggest and most loved record labels of all time but for many mods, it was that distinctive early Motown sound that was the best era for the label.

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Northern Soul And It’s Relation To The Mod Scene

northern soulWhen trying to define a youth culture or look for a starting point, it can be very difficult. This is down to the fact that there is often a fluid movement from one group to another. While some groups or cultural movements may start in opposition or as a reaction to something, providing a clearer distance between the issues that started the movement, in other cases it can be more difficult. The mod culture is a great example of this with many people citing the modernist jazz culture in London in the late 1950s and early 1960s as being the starting point of mod culture.

Clearly what is regarded as mod culture today is removed from that scene but the initial trends and themes of what would become mod culture can be linked to that era. The same can be said for the trends and cultures that grew from mod culture.

While the fashion and attitude element of mod culture was an overlying link for most members, there was quickly a divergence in the musical trends. The musical landscape in the mid to late 1960s was a very exciting one with many different paths being taken. With even the top mod groups of the time like The Small Faces and The Who taking different paths, it is no surprise to find that many mods went in different directions when the major wave of the mod movement faded away.

Youth culture movements flow from one to another

There are many different youth movements that can be traced back to mod culture and one of the most popular and enduring is the Northern Soul scene. Today, Northern Soul culture is viewed as being as vibrant and as individual as youth cultures like the mod scene or even the punk movement but looking at the emergence of this group, it is easy to see the line of development from the mod movement.

It would be fair to say that the main Northern Soul scene emerged in the late 1960s, most commonly associated with Northern England and that there was a distinct line taken from music that was popular with the mods. The quick tempo and strong bass of many of the Tamla Motown records of this time provided the impetus for Northern Soul dancers, cementing the link between the two groups.

One of the strongest links between mod culture and Northern culture lies in the Twisted Wheel venue in Manchester. Although first used as a beatnik populated coffee bar called the Left Wing, the venue was reinvented as a music venue called The Twisted Wheel in 1963. With all night parties playing American R&B, the venue became known as the place to be for mods in Manchester.

Amphetamine use was common in both groups

As the musical policy changed, the drug use remained the same and again, the link of amphetamine use between mods and Northern Soul culture was apparent too. The known use of substance abuse in the club would eventually saw the club closed down in 1971, but the link between mod culture and Northern Soul was already cemented by this point.

northern soul logoAs the movement gathered speed and popularity, there was a shift away from the popular Motown sound, differentiating from the music that was loved by mods and from a similar scene that was taking place in the south of England. The Northern Soul scene placed a greater emphasis on music that was outside of the mainstream and which originated in the mid-1960s. Even as the Northern Soul clubs in the late 60s and early 70s became more popular, the playlists of the clubs were firmly rooted in this era. This led to many formerly underground hits becoming standard songs of this movement and there was an increasing need to uncover additional underground hits from this period.

This eventually led to a split in the Northern Soul movement with some clubs and many followers deciding to allow more contemporary songs with the same spirit and feels to be included in Northern Soul sets. This was opposed by some that were of the opinion that true Northern Soul music only came from the earlier era. In many ways, this can be compared to the way that many mods feel about the mod revival movements. There are many that appreciate the fact that the scene remains alive and the range of music on offer can be added to, whereas there are some who are only interested in the first offerings of the genre.

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Bask In The Afterglow Of The Small Faces

The name of the group alone should indicate exactly what they were and still rings true today. The line-up was all rather diminutive in size, although certainly not in stature or talent. This accounts for the first half of the name and the second half of the name is simply down to the fact that they were all “faces” on the mod scene.

In interviews that have surfaced from the band members in more recent years, a truism comes to light. It would be correct to say that the Small Faces were mods before the majority of people knew what mods were. They were in the right place at the right time and the group was massively influential in the combining of music, fashion and lifestyle choices in creating what is considered to be mainstream mod culture. There is always an argument that the influence of modernist jazz fans in London in the late 1950s, early 1960s needs to be acknowledged but the Small Faces more than played their part.

The band’s manager Don Arden had an office on Carnaby Street even before the sterling reputation of this street took off. At the time, there were only three main outlets for fashion on the street. Topper’s was the place to shop if you were looking for shoes while Lord John and John Stephens were the choices for the main clothing options. The fact that the John Stephens store was located directly below the offices of Don Arden made it a natural choice.

It was all or nothing with the Small Faces

With stories abound that the group were being paid in clothes as much as they were in cash, the fashion sensibilities of the group are understandable. This was a band wearing the finest of mod gear before it was known about and it is only right that their influence on the emerging mod culture was acknowledged.

It would be wrong to bypass the musical output of the group though. At times dismissed as being a mere pop act (albeit at a time when pop acts were deemed important), the overall importance of the band’s music is much stronger than the one or two tracks that are continuously rolled out on soundtracks and adverts today.

here comes the niceEarly single ‘Here Come The Nice’ was an obvious paean to drugs and the drug culture that was growing at the time. The BBC censors failed to pick up on the not so subtle message of the song but for kids listening up and down the country, it was clear that this was a band that was tuned into what was happening. Mod culture has always been closely linked to stimulants, providing the impetus to party into the small hours and making the most of the free time that was available to people.

Very quickly, the band grew in confidence and their musical output expanded largely. As well as being a mod fashion band, the group were one of the main parties in the mod psychedelic movement that came around in the late 1960s. The band’s masterpiece, Ogden’s Nut Gone Flake stands today has one of the best albums from the psychedelic era, although it possibly pushed the band to their limits. Being unable to replicate the album in the live arena had a huge impact on the confidence of Steve Marriott, who was the most concerned about being bogged down with a pop tag.

It was Marriott who sensationally quit the band on New Year’s Eve in 1968 although singles and a posthumous album were to follow in 1969.

The universal appeal of the group lives on today

The band was also cited as a large and regular influence on the Britpop movement of the mid-90s. No matter what your opinion of this musical movement was, the influence of mod culture was central to many bands of the time and a whole new wave of mods came to the scene from this genre. A lot of the new converts moved away over time but many of the mods who came to the scene at this time are still around today and are as committed to the mod scene and culture as any of their older members of the scene.

The role that the Small Faces had on mod culture and music should never be overlooked or underestimated. In a short few years, the group managed to create a legacy that lives on to this today and is sure to be around for many more years to come.

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Mod knitwear inspired by the sensational Small Faces