westwood

punk's grandmother

just a seamstress

or an activist?

Vivienne

Vivien grew up in a modest family with no connection to fashion: her father was a shoemaker and her mother worked in a cotton factory. Vivien's fashion studies did not go well, and she had to become an elementary school teacher. However, the passion for design did not pass: at night she made jewelry and sold them on the legendary flea Portobello. Life in Britain in the late 1960s was not the most peaceful: economic crisis, protests and anti-war rallies. During this difficult time, fate brought her together with Malcolm

McLaren: the future manager of the Sex Pistols. Together they opened a store that became the epicenter of a fashion rebellion. It changed its name many times: “Let It Rock”, “Too Fast to Live, Too Young to Die”, “SEX”, “Seditionaries” and, finally, “World's End”. It was here that Vivienne sold items inspired by the punk scene: ripped T-shirts with political slogans, leather jackets, corsets and latex. She drew inspiration from the streets of London, where the counterculture was beginning to emerge.

How did a schoolteacher

change fashion?

Landmark shows

The first collection |

to “plunder” the world's history and culture for inspiration. Vivienne designed a print that resembled both the waves of the sea and pirate chains, which became one of the symbols of the collection. She would later patent the print.

The concept was inspired by the pirate philosophy, which was very similar to that of Vivien and Malcolm, who were ready

ready to “plunder” the world's history and culture for inspiration. Vivienne designed a print that resembled both the waves of the sea and pirate chains, which became one of the symbols of the collection. She would later patent the print.

The concept was inspired by the pirate philosophy, which was very similar to that of Vivien and Malcolm, who were

mini

crini

1985

An experiment with crinoline inspired by Victorian silhouettes, but in a shorter version. A new interpretation of female sexuality.

Voyage to Cythera

A collection that continued the exploration of historical costume. Westwood presented intricate draping, corsets and asymmetrical silhouettes inspired by 18th century painting.

1989

1993

In the early 90s, the Anglomania collection was born. The heritage of her homeland was a red thread running through Vivienne’s work, and in the collection she worked with cultural codes: Scottish plaid and Welsh argyle rhombus, impeccable tayloring and capes, corsets and royal dresses, hats with feathers and watch chains.

For the fall-winter 1993/1994 collection, Westwood created her signature McAndreas  tartan in honor of her lover. The material was woven at the vintage Lochcarron of Scotland manufactory. Among the iconic looks of the show is Kate Moss' appearance in a plaid wedding dress, which became a trademark of Vivienne Westwood.

Kate Moss's iconic runway appearance in a plaid wedding dress

Campbell tried desperately to stay on her feet, but in the end she literally sat down in the middle of the catwalk, laughing in the middle of the runway.

The main episode of the show
|

She walked on the catwalk wearing 23-centimeter platform shoes and couldn’t resist. The next day her picture was on the front pages. Later, the model confessed: she was offered to repeat the fall at other shows. But she refused. "I don’t fall on purpose," Campbell declared. And so the fame went to Vivienne. Today, the legendary Super Elevated Gillie shoes are kept in London’s Victoria and Albert Museum.

In the early 2000s, it became clear that the punk icon, a provocateur in life and on the stage, was also an ardent activist. Westwood made the AR collection show, which means "active resistance to propaganda", a political act: she and the models came to the catwalk wearing T-shirts with the inscription "I am not a terrorist". Vivienne drew attention to the amendments in the laws that would allow terrorism suspects to be held in custody for three months without charge.

The designer used prints reminiscent of campaign materials. There were elements of military uniforms and futuristic details in the collection. Many models looked theatrical: grotesque makeup, exaggerated shapes, huge hairpieces and massive accessories.
The "Propaganda" show was a classic example of how fashion can be not only a garment but also a tool of social criticism.

Propaganda

2005

In 2014, in the framework of World Water Day, a provocative video was released in cooperation with PETA. In it, a 72-year-old British woman stood under a shower and spoke about the global water crisis.
A year later the name of Vivienne Westwood was again in the center of attention: the designer spectacularly drove up to the house of the then British Prime Minister David Cameron on a white tank.

This was her way of protesting against shale gas extraction, believing that it could lead to an environmental disaster.
Before the Fashion Week show, Westwood’s models, wearing bright leggings, shorts, red lipstick and colorful crowns, demonstrated near the event. In doing so, they reminded the world that fashion should not only inspire but also be responsible.

Climate

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Vivienne Westwood

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Elizabeth Kononova

Designer

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