The Teddy Boys were Britain’s first true youth subculture, emerging in London in the early 1950s. Their story begins in the post-war years, when a generation of working-class teenagers sought to escape the drabness of rationing and austerity. Inspired by Edwardian fashions of the early 1900s, originally revived for upper-class gentlemen, these young men took the style for themselves. The Daily Express coined the term “Teddy Boy” in 1953, shortening “Edwardian” to “Teddy.” What started as a fashion statement quickly evolved into a full-blown cultural movement fuelled by style, music and rebellion.
At the heart of Teddy Boy culture was fashion. Their look was sharp, deliberate and designed to stand out. Long drape jackets with narrow lapels and velvet trim were worn in rich shades like deep blue, burgundy, emerald green and even pink. Underneath, brocade waistcoats, high-collared shirts and skinny bootlace ties known as “Slim Jims” completed the look. Trousers were high-waisted and narrow, known as drainpipes, giving a slim, striking silhouette that set them apart from older generations.
Footwear was equally important. The brothel creeper became the Teddy Boy’s signature shoe, with its thick crepe sole and suede or polished leather uppers. Northampton shoemaker George Cox, especially with their Hamilton model, became synonymous with the style. For a dressier option, some chose polished Oxfords or classic leather brogues.
Hair completed the look. The iconic quiff was combed high at the front and slicked back using pomade, Brylcreem or Vaseline for a glossy finish. The back was shaped into what was known as a “duck’s arse” or DA. Some preferred a more controlled version called the Boston.
Many suits were tailor-made, often purchased from independent shops like Kenny’s in London’s Elephant and Castle. Others bought ready-made versions from high-street outfitters like Montague Burton. Young Teds would save up for months, sometimes paying off their suits in instalments, to afford the perfect outfit. Teddy Girls, or “Judies”, created their own version of the style, pairing drape jackets with pencil skirts, rolled-up jeans, flat shoes and headscarves, often accessorised with vintage jewellery and handbags.
Music played a central role in the Teddy Boy world. At first, they listened to American jazz, skiffle and jump blues, but the release of Blackboard Jungle in 1955 changed everything. The film’s use of Bill Haley’s “Rock Around the Clock” introduced rock ’n’ roll to Britain and sparked cinema riots up and down the country. Soon, Teddy Boys were hooked on artists like Elvis Presley, Eddie Cochran, Gene Vincent and Chuck Berry, while British acts such as Tommy Steele, Cliff Richard and Billy Fury became local heroes. Dance halls were the scene’s social hubs, where they jived and performed their own dance known as The Creep, which even earned them the nickname “Creepers” before it became associated with their shoes. Unlike some later subcultures, drug use was minimal. Instead, alcohol-fuelled fights and violent confrontations became part of their reputation.
Teddy Boys were often portrayed as dangerous and violent, with media headlines amplifying their clashes with police, rival groups and their involvement in events like the 1958 Notting Hill riots. While some were indeed drawn to violence, many were simply passionate about fashion and music, looking for identity and a sense of belonging.
Their notoriety made its way into film and literature. The 1953 film Cosh Boy depicted youth violence in London, seen by many as a direct nod to Teddy Boy culture. Anthony Burgess’s novel A Clockwork Orange borrowed elements of the Teds when creating his droogs. Films like The Damned and Nowhere Boy later captured aspects of Teddy Boy style, while photographers such as Chris Steele-Perkins and documentaries for the BBC have helped preserve their place in British cultural history.
Though the original scene faded by the 1960s, the Teddy Boys’ influence has lived on through numerous revivals. In the 1970s, the look resurfaced sharper and more flamboyant, often blending with elements of glam rock. But perhaps their most lasting influence is seen in the football casuals movement that emerged in the late 1970s and 1980s. Like the Teds, the casuals were working-class young men who used fashion to stand out and project status. While their style favoured designer sportswear brands like Stone Island, Fred Perry, Sergio Tacchini and Lacoste, the underlying philosophy was the same. Both subcultures shared an obsession with detail, exclusivity and presentation. Dressing well wasn’t just about looking good; it was a way to assert identity, confidence and a place within their community.
The Teddy Boys were far more than a fleeting trend. They were the pioneers of British youth culture, setting the template for every subculture that followed. Their sharp tailoring, love of rock ’n’ roll and unapologetic defiance captured the imagination of a generation. Even today, their influence echoes through British fashion, music and street style.
The Teddy Boys were far more than a fleeting trend. They were the pioneers of British youth culture, setting the template for every subculture that followed. Their sharp tailoring, love of rock ’n’ roll and unapologetic defiance captured the imagination of a generation. Even today, their influence echoes through British fashion, music and street style.