The Avant-Garde and Rebellious Aesthetic of Vivienne Westwood
For those who may not know the one and only, Vivienne Westwood, she is the Mother of Punk. She became the most influential designers bringing back crinolines but mini, the corset, and introducing underwear as outerwear for the first time in fashion history.
During England’s economic depression, the youth rebelled against the older generation by wearing clothes that made the punk aesthetic/subculture what it is. Westwood only brought the trend to the forefront of fashion. Her partner for both work and a romantic relationship at the time, Malcolm McLaren, had helped create many of the punk designs that you may recognize.
Many performers were influenced by this subculture as well and created music that went with the aesthetic of punk fashion. The Rolling Stones, the Beatles, the Sex Pistols, New York Dolls, and Richard Hell were few of many that protested against the elitist mentality of life after war.
These radical designs and outbursts of madness inspired McLaren to open a store with Westwood back in London after being in New York for some time called, Let It Rock that later morphed into Too Fast To Live Too Young To Die, SEX, Seditionaries and finally Worlds End where the consistent theme screamed BDSM aesthetic. Westwood was a school teacher and seamstress so she worked with McLaren and brought his visions to life. She and McLaren would share their visions of punk culture and express it through their work. While this store was up and running, they managed the Sex Pistols as they connected fashion and music in this subculture of punk.
A lot of their looks contained safety pins, spikes, chains, tartan, Teddy Boy suits, anarchist slogans, and graphic tees galore. If you want more of a visual, think of motorcycle style with leather and silver hardware everywhere.
COURTESY OF PINTEREST
In AW82, Westwood showcased her interest in traditional South and North American cultures. This collection was known as the “Buffalo Girls” where many looks consisted of full pleated skirts and bowler hats.
In that same year, Westwood realized her growth as an individual designer and her talents that she had from the start. She no longer wanted to be an interpreter of McLaren’s visions anymore as they had some issues within their working relationship altogether. The last collection they did together was a celebration of Keith Haring’s art and Haitian voodoo.
COURTESY OF PINTEREST
COURTESY OF PINTEREST
Throughout the 1980s-90s Westwood drew inspiration from past trends in history. She modernized the crinoline skirt to a mini skirt (SS85) and tailored her garments to be more form-fitting while maintaining the sexual character her pieces have always had.
For her SS91 collection, she embodied the slashing and cut from the 16th century clothing. These fabrics revealed bare skin and undergarments while giving a distressed, edgy look.
Westwood remains popular in modern day and often centers her campaigns around climate change, environmental issues, human rights, nuclear disarmament, etc. to raise awareness. Her funky, sexual personality to her clothing will always attract attention.