Fashion House History: Vivienne Westwood

Contents:

• Peace and quiet
• This is outrageous
• SEX exists
• Mother of anarchy
• Beginning with the end
• Aristocracy for the masses
• A queen of one's own
• Anglomania
• Lifestyle: active

All is Peace and Quiet

Vivienne Isabel Swire, born April 8, 1941, in Glossop, Derbyshire, grew up in a simple family far removed from the world of fashion. Her father worked as a shoemaker, and her mother worked in a local cotton mill. At the age of 17, the family moved to Harrow, a quiet suburb of London, which marked the beginning of a new stage in Vivienne's life and opened up opportunities for self-expression and immersion in the fashion industry. This move became an important moment that shaped her future path in the world of fashion and design.

Westwood was looking forward to the move, as she dreamed of enrolling in a fashion and jewellery course at the School of Art at the University of Westminster in Harrow. She was successful, but had to leave after the first term due to two failed exams.

By the late 1950s, the standard of living of the working class reached historical highs. The proletariat, traditionally a contradiction in capitalist society, began to adopt the practices and values ​​of the middle class. As Michael Young, founder of the Institute for the Study of the Social Sciences, noted, the working class lost its explicit ideology of conflict with public morality. This change in social structure led to new dynamics in class relations and a change in the perception of the working class in society. He now became more integrated into the social fabric, which influenced his political and economic interests.

Miss Swire completed a teacher training course and became a primary school teacher. At that time, teaching was considered a respected and stable profession with a guaranteed income, which was important to Vivienne. In conservative England of the mid-1960s, when opportunities for women with her education were limited, the desire for financial stability for a 25-year-old girl seems entirely justified.

Despite her passion for design, she continued to create jewelry at night, which she then sold at the famous Portobello flea market on weekends. Soon Vivienne married Derek Westwood, an apprentice at a local factory. Although their life seemed harmonious at first glance, and a year later they had a son, the marriage did not bring her happiness. She dreamed of more than the daily life of a housewife and teacher.

Life in Britain in the late 1960s was full of tension. The country was experiencing an economic crisis, accompanied by working-class protests and the anti-war rallies of 1968. During this time, subcultures were actively developing that rejected the values ​​of the previous generation and spoke out against political decisions, the Vietnam War, puritanical morality, racial discrimination, and the exploitation of workers. Young people, disdainful of conservative authorities and corporations, adopted a "do it yourself" approach, which defined their lifestyle, behavior, and style. This philosophy of self-expression and self-sufficiency had a significant influence on the culture and art of the era, contributing to the formation of new social norms and values.

A pivotal moment in Vivien's life occurred that would change her destiny: her younger brother introduced her to Malcolm McLaren. This meeting would mark the beginning of a new chapter in her life and career, opening up new opportunities and horizons.

This is outrageous

Malcolm lived the life Vivienne secretly dreamed of: he studied at art school in London, worked at the punk fashion boutique Paradise Garage, and was a passionate fan of rock music. Their relationship began, and in 1965, Vivienne divorced her husband. Even though she continued to work as a teacher, meeting Malcolm opened a new world for her: “It seemed to me that there were many opportunities ahead, and he had the keys to all doors… Besides, his political views inspired me, because I needed someone to look up to.”

In 1971, McLaren and his best friend purchased Paradise Garage and renamed it Let It Rock. They believed this new name better reflected the spirit of the times and the style of clothing they offered. Let It Rock became a symbol of the fashion revolution, embodying the creativity and individuality of the youth culture of the time.

Vivienne Westwood demonstrated a unique ability to push the boundaries of what was acceptable in fashion. She used visual irony to criticize puritanical morals and made bold statements through her clothing collections. These tools helped her create a unique style that continues to inspire and provoke discussion in the fashion world.

At this time, Britain remained under the influence of Victorian traditions: power was in the hands of conservatives, and the royal family personified stability and established values. Gender roles were strictly defined: men were relegated to the spheres of power and politics, while women were expected to focus on domestic chores, childcare, and religion; divorce was virtually impossible. However, as history shows, just 20 years later, significant changes occurred, particularly with the arrival of Princess Diana, which marked the beginning of the first public drama in the life of the British royal family. These events became landmark and showed how quickly public opinion and gender roles in society can change.

Vivienne Westwood has always strived to ensure that her work provokes deep thought, rather than simply shocking viewers with inappropriate images. Each of her creations is a subtle commentary on social norms and political issues. Some of Vivienne's T-shirt designs are so bold that they are difficult to imagine even in today's fashion world, which is already oversaturated with provocation. We prefer not to display these works in order to preserve their significance and uniqueness.

It soon became clear that not all of the store's selection corresponded to Vivienne's concept. He continued to focus on the Teddy Boy subculture, which was very popular but in reality represented nothing more than a rejection of the style of previous generations. Rebellion for the sake of rebellion, without a clear goal or position, was at odds with its philosophy. Together with Malcolm, they began to consider the possibility of rebranding.

SEX

In 1973, a store called "Too Fast to Live, Too Young to Die" opened. This unique project became a significant event in the world of fashion and culture, attracting the attention of young people and connoisseurs of original style. The store's signage captured the spirit of the times, combining the desire for freedom and individuality. From its opening, it became a popular destination for those seeking unique items and inspiration. The store successfully established itself as a hub of creativity and innovation, leaving a bright mark on the history of the fashion industry.

A couple convicted under the Obscene Publications Act for T-shirts with provocative slogans did not stop producing such clothing. After rebranding the store, they released a new collection with even more provocative prints. This confirms that even after the legal battles, interest in provocative fashion continues to grow, capturing customer attention and spurring discussions of current social issues.

In 1974, a store named SEX opened, reflecting the boldness, simplicity, and current trends of the time. This name was not only memorable but also a successful marketing ploy, attracting customer attention and ensuring the store's popularity.

Clothing of the era was often made from distressed fabrics with exposed seams and provocative graphics touching on themes of homosexuality, morality, and political action. Westwood's audacity sometimes exceeded the limits of even the boldest fashionistas. A famous example is the 1974 print titled "Two Cowboys," which is on display in the MET collection. This print became a symbol of boldness and defiance of accepted norms, reflecting the spirit of the era and the unique style of the designer.

Vivienne Westwood and Malcolm McLaren created the slogan "Rubberwear for the Office," which combines paradox and a transparent allusion to latex fetish wear. Westwood actively experimented with materials such as leather and PVC, and also drew inspiration from fetish culture. These elements not only distinguished her work from others but also emphasized the uniqueness of her style, which made her an iconic designer in the fashion world.

Mother of Anarchy

At this time, McLaren is actively involved in the music scene, striving to realize himself as a producer and create a real star group. He spends a lot of time at the SEX club, which becomes a center of attraction for young punks. It was here that he met musicians who would later become legends of punk rock. His attention to talent and desire for innovation contribute to the formation of new directions in music.

The Sex Pistols group was formed in the store of Vivienne Westwood and Malcolm McLaren, where the designer created their stage images. Vivienne's influence on popular fashion grew along with the band's growing popularity, and it was she who shaped the visual identity of the punk subculture. However, many fans and participants in the movement did not realize that a former elementary school teacher was behind their unique style.

Westwood & McLaren released a shirt with a provocative print: an upside-down swastika against the backdrop of the crucifixion of Christ, the image of Queen Elizabeth II on a British stamp, and the inscription "destroy." This graphic was intended as a criticism of corruption and dictatorship, causing widespread resonance and discussion in society.

More broadly, it was an appeal to the older generation: "We reject your values ​​and taboos - you are all fascists." The issue of the connections of the British aristocracy, especially the royal family, with the Nazis was extremely relevant at that time. Investigative journalism regularly surfaced, confirming or refuting various aspects of these people's lives in the 1930s and 1940s. One of the most discussed facts was that Prince Philip's sisters had married German aristocrats whose families had direct ties to the Nazi regime. These facts often became the basis for bold generalizations in the press.

The Sex Pistols became the catalyst that brought punk into the mainstream and pop culture. Vivienne was disappointed by this turn of events, but was determined to continue and deepen its influence.

Punk became both a reflection and a victim of late capitalism. This youth subculture, the most quickly adopted of all its predecessors, developed rapidly, but soon fell under the influence of mass marketing in less than three years. Since then, punk has remained relevant and continues to influence youth movements and culture, remaining a vital element of the music and social scene.

Shannon Price is a costume expert at the Metropolitan Museum of Art's Costume Institute. She researches historical and contemporary costume and its impact on culture and society. In her work, Shannon Price emphasizes the importance of preserving textile heritage and explores how fashion and style reflect historical events and social change. Her work at the Costume Institute promotes awareness of costume and its role in our lives.

Beginning with the End

In 1980, Vivienne Westwood finally changed the name of her store, choosing the name World's End. This London boutique continues to operate to this day and has become an iconic place in the fashion world. World's End embodies Vivienne's unique style and creative approach, which attracts the attention of both locals and tourists. The store has become not only a retail outlet, but also a cultural center where fashion, art, and history intersect.

In 1981, the first catwalk collection "Pirates" was presented, which became a sharp contrast to the previous works of Vivienne Westwood. The collection featured loose silhouettes, vibrant colors, original patterns, and flowing fabrics. This shift was a deliberate move: Vivienne sought to avoid associations with her work exclusively associated with punk aesthetics, black clothing, and leather goods. The Pirates collection symbolized a new stage in the designer's work, opening the way to diversity and experimentation in fashion.

The first clothing collections were created in collaboration with the McLaren brand, and his name appears on the labels of that era. However, according to Westwood, he had already begun to act like a man who had abandoned the family. She was solely responsible for the design, although they remained partners both in their personal lives and in business. This collaboration became an important stage in her career, emphasizing her creative independence and ability to express herself in the fashion world.

In 1984, Clint Eastwood presented his first completely independent collection, created under conditions of acute financial deficit. The lack of funds was so critical that Westwood's seamstresses sometimes worked by candlelight, as there was not enough money even to pay for electricity. This collection became a symbol of perseverance and creativity in the fashion world, demonstrating that even in difficult circumstances, something unique and memorable can be created.

Neo-romanticism is manifested in the work, where spaghetti westerns and night-time Tokyo create a unique atmosphere. Deserted spaces where people are left alone and free from all rules are reminiscent of the old Wild West. In this context, the author once again boldly combines different eras and sources of inspiration, opening up new horizons for perception. Translating an idea into a fictional world allows for the creation of a unique reality populated by amazing characters. This process opens up limitless creative possibilities. Fantastic images and original worlds help immerse oneself in alternative realities, inspiring new achievements and ideas. Creating such worlds requires imagination and skill, allowing one to explore themes that may not be accessible in real life. Vivienne Westwood presented her new collection, inspired by the works of Clint Eastwood. This collection combines elements of classic style and contemporary design, reflecting the unique aesthetic and spirit of cinema. Each piece in the collection embodies the atmosphere of Eastwood's films, conveying their energy and character. Vivienne Westwood uses high-quality materials and innovative techniques, making the collection not only stylish but also durable. This clothing line will be an excellent choice for those who value individuality and want to stand out from the crowd. The collection has already attracted the attention of fashion critics and fans, highlighting Westwood's talent as a designer who is able to interpret cultural icons in her work.

During her creative period, ex-punk Vivienne Westwood found herself in the spotlight of the fashion elite, including Giorgio Armani and his manager Sergio Galeotti. They offered her a seven-year contract, under which Westwood would lend her name and Armani would provide financial support. However, Westwood lacked commercial acumen, and her business was in jeopardy. As a result, she declared bankruptcy. The Italians withdrew their offer when the factory working on Westwood's collection complained that she was not providing properly designed designs and was displaying excessive temperament. This situation highlights the challenges faced by creative individuals in the fashion world, where artistic vision sometimes conflicts with commercial interests.

There is an alternative version of the contract termination, according to which McLaren announced his intention to go to court after learning about the possibility of his ex-wife receiving significant financial benefits. At that time, not all legal aspects had been resolved, and the brand was not yet under Westwood's full control.

Aristocracy for the Masses

For over a hundred years, the inhabitants of the Outer Hebrides in Scotland have been creating a unique fabric known as "Harris tweed." This fabric is the only one in the world protected by a special Act of Parliament, requiring that it be made exclusively from virgin wool, dyed and woven on the islands themselves. Harris tweed suits were especially popular with Queen Elizabeth II, and the Windsor family wore them for many generations. This traditional fabric symbolizes quality and craftsmanship, maintaining its roots in Scotland's cultural heritage.

In 1987, Westwood's Harris Tweed collection marked a turning point in tweed's return to the fashion world. This collection emphasized tweed's uniqueness and style, making it a sought-after material for designers and fashionistas. The tweed revival of the 1980s opened up new horizons for creative expression in the fashion industry, and Westwood's work became an example of a bold combination of tradition and modernity.

Perhaps Vivienne's familiarity with Italian standards of elegance led her to abandon ripped clothing in favor of formal English suits. Against the backdrop of her personal and financial difficulties, her choice of fabrics, manufacturers, and references for her clothing became quite patriotic. This reflects not only her commitment to quality but also a deep connection to cultural traditions, which adds uniqueness to her style.

Jane Mulvaugh is the author of Vivienne Westwood: An Unfashionable Life, which intimately explores the life and work of one of the most influential figures in fashion. Known for her provocative designs and contribution to punk culture, Vivienne Westwood left an indelible mark on the industry. Jane Mulvaugh's biography is not only an account of Westwood's career but also an analysis of her impact on society and culture.

The book covers key moments in Vivienne's life, from her early years to her contemporary achievements. Mulvaugh explores how Westwood's personal beliefs and political activism shaped her approach to design and business. In "Unfashionable Life," readers will find many interesting facts about her collections, collaborations with famous figures, and extraordinary events.

In her work, Jane Mulwaw shows that Vivienne Westwood is more than just a designer, but a cultural phenomenon who continues to inspire new generations. The book will be an interesting source of information for both fashion lovers and those who want to understand how art and politics can intersect in the world of fashion.

Westwood purchased a limited supply of fabric from Harris Tweed and created her pieces almost entirely by hand. While other fashion designers used automated factories to mass-produce clothing, Westwood preferred to cut and sew her small collections on home sewing machines. This approach emphasizes the uniqueness and high quality of each piece, as well as the attention to detail that sets her work apart from the mass fashion market.

When punk culture established itself in the mainstream, Vivienne Westwood changed the direction of her work and began creating looks that became known as "Tatler girl outfits." She interpreted this style as a parody of high-class fashion, which allowed her to stand out from traditional designers.

Tatler girls were young women who participated in debutante balls and prestigious events at Buckingham Palace. These events served as a kind of showcase in the marriage market, where girls could demonstrate their manners and attract the attention of potential suitors. Tatler magazine actively covered these events, publishing photographs and articles, which contributed to the formation of the cultural code and traditions of high society. Participation in these events was considered an important step in the life of every debutante, opening doors to the world of aristocracy and providing an opportunity to find a worthy life partner.

Westwood has noted that she did not draw inspiration for her collections from the world of aristocracy. In her words, she emphasized: "The concept for this collection came to me after meeting a little girl on the subway. She was about 14 years old. She had her hair in a neat bun, she was wearing a Harris tweed jacket, and she was carrying a bag of ballet flats." This story demonstrates how everyday life and simple images can become the basis for creating unique fashion solutions.

Vivienne Westwood's logo also uses elements of Harris Tweed. Since 1911, the textile's symbol has been the orb, a royal globe that Vivienne loved so much that she decided to make it part of her brand, adding the ring of Saturn. Harris Tweed management initially considered this "blatant misappropriation" and even considered legal action. However, consultations with lawyers indicated that legal action was unlikely to succeed.

A Queen of Her Own

In 1988, Vivienne Westwood presented a collection called "Britain Must Go Pagan," inspired by her homeland and the Hellenistic period of ancient Greece, when art and enlightenment reached their peak. Westwood masterfully combines historical references with modern punk elements such as drapery, asymmetry, and prints with pagan symbols. The collection was a reflection of Westwood's unique style, which continues to influence the fashion world by combining tradition with innovation.

In 1991, Vivienne Westwood was awarded the prestigious Designer of the Year award in the UK. Until then, she had often been criticized and labeled self-taught, but now the fashion community and journalists were forced to recognize her talent and influence on the fashion world. This award became a landmark event, changing attitudes toward Vivienne and confirming her status as one of the outstanding designers of her time.

In 1992, Queen Elizabeth II awarded Vivienne Westwood an honorary Order of the British Empire. At the ceremony held at Buckingham Palace, Westwood appeared in an exquisite tweed suit, skipping underwear because, as she said, she "never wore it with skirts." The event sparked a storm of emotion: Westwood twirled with joy, and paparazzi photos quickly made the rounds. As a result, she began to be accused of disrespect for the royal court.

In 1992, Vivienne Westwood She married Andreas Kronthaler, who had remained largely in the background until then. He was her assistant and a young man from a working-class family. Kronthaler had previously studied at the Vienna Academy of Fine Arts, where Westwood taught a course on fashion history. He later began creating demi-couture collections, a unique blend of ready-to-wear and haute couture. This union not only strengthened personal relationships, but also had a significant impact on the world of fashion, bringing new ideas and approaches to it.

Anglomania

The 1990s became a time of total Anglomania, when British culture and style gained worldwide recognition. Princess Diana, a symbol of elegance and style, along with cultural phenomena such as football, the Spice Girls, and Britpop, embodied everything that was fashionable and trendy. Kate Moss, a fashion icon, also contributed to the 1990s image, which still evokes nostalgia and admiration. This era left a bright mark on history, defining trends that continue to influence modern culture and fashion.

Westwood certainly played a significant role in shaping this trend. She possessed a unique ability to spot trends early and masterfully integrate them into her collections.

From 1993 to 1999, the designer conducted in-depth research into the archives and heritage of English fashion, drawing inspiration from the styles of past centuries. This resulted in the emergence of a new aesthetic that seamlessly blends traditional British tailoring with elements of French Rococo. The designer added miniature crinolines to classic tweed skirts and actively experimented with corsets, creating unique and memorable looks. This approach allowed us to rethink English fashion and bring fresh ideas into it, which made it more relevant and attractive to the modern viewer.

In the "Anglomania" collection for autumn/winter 1993/1994, Vivienne Westwood presented a unique tartan in shades of blue, named McAndreas in honor of her lover, Andreas Kronthaler. This special material was created at the historic Lochcarron manufactory in Scotland, known for its high-quality textiles and traditions. McAndreas tartan has become a symbol not only of love but also of outstanding design, which continues to inspire fashion trends.

In 1993, during the Anglomania collection show, supermodel Naomi Campbell fell on the catwalk. The incident was caused not only by fairly high heels, but also by latex stockings, which limited her movement. This incident became a landmark moment in fashion history, highlighting the risks models faced on the runway.

This image captures the essence of the brand, especially during an era when top models dominated the runway. At the time, models were held to strict standards, and falling on the runway was considered a serious failure. The brand emphasized high standards and perfection, making such incidents especially critical for the models' careers.

Nevertheless, this incident was a humorous episode that did not harm the careers of those involved, but rather highlighted the uniqueness of Westwood's world. In her universe, pranks and provocations are welcomed, challenging the strict rules of the fashion establishment. This once again confirms that creativity and individuality will always be valued in the world of fashion.

At the spring-summer collection show In 1993, a seminal moment in the worlds of fashion and anarchism occurred. Kate Moss, already a superstar, walked the runway topless, wearing a miniskirt, a tricorn hat, and a strand of pearls. She held a popsicle in her hand, adding a provocative and playful touch to her look. This appearance became a symbol of boldness and freedom in fashion, emphasizing a unique blend of aesthetics and controversy. This prank turns out to be more complex than it might first appear. Aware that Kate's photos would receive widespread media attention and that everything she wore would sell out within days, Vivienne decided to dress her in practically nothing. This move continues her rebellious strategy, demonstrating boldness and provocation in the fashion world.

Lifestyle: Active

Vivienne's fame continues to grow, and with it, her desire to discuss current political and social issues. She actively raises crucial issues such as climate change and the protection of human rights. These topics become central to her work, allowing her to draw attention to critical issues of our time and inspire others to take action.

Since the early 2000s, major brands have begun to actively address social issues, which has become a noticeable trend in the fashion industry. However, few famous designers have dared to openly discuss environmental and political issues, preferring to remain in the shadows. This has created a certain paradox: despite the growing attention to important social topics, many representatives of the fashion industry have avoided direct dialogue with the public. As a result, consumers began to expect brands to offer not only stylish collections but also take an active stance on pressing issues.

In 2005, Vivienne Westwood presented the AR collection, which stands for "active resistance to propaganda." The show became a political statement: models walked the runway wearing T-shirts emblazoned with the slogan "I am not a terrorist." Westwood thus drew attention to changes in legislation that allowed terrorism suspects to be detained for three months without charge. This move underscored the importance of protecting human rights and freedom of speech in the face of increasing repression.

In 2012, Westwood founded the Climate Revolution Foundation, which focuses on environmental protection. The initiative included a fashion show of the same name, which drew attention to important environmental issues and the need for action to protect the planet. The foundation actively works on projects aimed at raising awareness of climate change and promoting sustainable practices in the fashion industry.

In 2014, she said in an interview with The Guardian: "My priority now is climate change, not fashion." This phrase emphasizes the importance of environmental sustainability and the need to pay attention to climate change. In a modern world where environmental issues are becoming increasingly pressing, focusing on climate issues is especially significant. Combining fashion and sustainability opens new horizons for designers and consumers, allowing them to choose stylish, yet eco-friendly solutions.

In 2015, renowned designer Vivienne Westwood staged a demonstration on the streets of London before her Red Label Spring/Summer 2016 collection show. Models held signs with slogans such as "Climate Revolution," "Austerity is a Crime," and "Politicians are Criminals." The event highlighted the importance of social responsibility in the fashion industry and drew attention to pressing environmental issues. Westwood used her platform to protest government inaction on climate change.

Just a year later, Christian Dior sent models down the runway wearing T-shirts with the slogan "We should all be feminists." Although some have since been called prophets of pop feminism, this event marked a turning point: activism of various kinds and slogans began to penetrate the world of high fashion, and later the mass market.

Thank you, Vivienne.

In 2019, Vivienne Westwood held her final physical fashion show at London Fashion Week. In response to global sustainability challenges, the designer decided to switch entirely to digital presentations. This decision underlines her commitment to environmental initiatives and innovative approaches in the fashion industry, making her a leading figure in the fight for a sustainable future for fashion.

Vivienne Westwood's final years can be characterized through the prism of activism, not fashion. A successful collaboration with Andreas Kronthaler and the stable operation of her brand allowed her to focus on actionism and give in-depth interviews. In these conversations, Vivienne, like a messiah, raised important issues that humanity often ignores: global warming, the exploitation of nature and animals, and totalitarian control by governments. Her work helped draw attention to pressing issues, highlighting the need for social change and calling for a more responsible approach to the world around us.

Vivienne Westwood, the legendary designer and fashion icon, died on December 29, 2022, in London at the age of 81. She continued to actively work on her brand until her final days. In January 2023, a private funeral was held in the village where she spent her childhood. The church was decorated with a 45-meter-long piece of classic MacLeod Harris Tweed tartan, as was Vivienne's last wish. Her contribution to the world of fashion and her influence on the industry will be remembered by many.