What was vivienne westwood style

Pagan V, SS Portrait, AW — Inspiration: Oil painting — the bravura of texture and display of material wealth — Wish to have the luxury of the whole range of fabric from linen underwear to fur fake. Cut and Slash, SS — Slashed fabric — satin, cotton, denim. On Liberty, AW Erotic Zones, SS Vive la Cocotte, AW — We have now arrived at a brand new silhouette, the ultimate hourglass figure with padded bust and bustle now constructed out of a light weight metal cage.

Beginning to put historicism to one side, Westwood returned to a more asexual cut, exploring the natural dynamic of the fabric by treating it like a living mass. A combination of flou and tailoring. We use cookies to improve the site and purchase experience. Continuing to navigate the site you accept our cookie policy. See Results. Vivienne Westwood. Vivienne Westwood, Portrait, AW Vivienne Westwood, Anglophilia, AW Embed from Getty Images.

Marie Simon, Fashion in Art. Claire Wilcox, Vivienne Westwood. Vivienne Westwood, On Liberty, Part 1: Nobility, Virtue and Morality. Part 2: Aesthetic Lust. Part 3: Luxury and Frivolity. Susie Bick Backstage at Anglomania. Vivienne Westwood: Anglomania, AW Sonia Rykiel.

Yves Saint Laurent. Kate Moss. Models and Dogs. From punk-era to tartan Vivienne Westwood, the Queen of Punk, is one of fashion's most provocative designers. Her cutting-edge style has produced some of the catwalk's — and the street's — most unforgettable looks. Here are 9 of her designs that shook up things up on the sartorial scene. Their shop, called SEX until before it became known as Seditionaries, was highly influential in London's punk scene.

This genderless Bondage Suit was one of their designs. Its zippers and straps mimic a straitjacket and is worn over the controversial "God Save the Queen" Sex Pistols t-shirt — the ultimate in protest fashion.

Shirt c. However, in she met Malcolm McLaren, a publicist and impresario, whose subversive ideas and alternative lifestyle gave Westwood the opportunity and momentum to break free from her former life and embark on a highly successful career of fashion. Vivienne Westwood's designs are a reaction against traditional British standards of morality-against petty bourgeois notions of etiquette and propriety. Since her early street style-based collaborations with McLaren, Westwood has defied the ideal of polite, anonymous clothes that express the wearer's ascribed social status.

She seeks to transcend definitions of class, gender, ethnicity, and sexual orientation and create outfits that are dramatic-that encourage wearers to carry themselves confidently as they masquerade in theatrical assimilations of eighteenth-century aristocratic dress or traditionally tailored suits adorned with fetish bondage buckles. West-wood is a utopian.

Through her work and the ideas she expresses in interviews, she strives to construct new personae for future cultures that draw upon idealized visions of the past inspired by portraiture and film. During the early to mids, she and McLaren merged tough biker leather jackets with pornographic imagery and traditional tartans to produce the DIY doit-yourself aesthetic that expressed the antiestablishment spirit of punk.

Based in London's King's Road, they changed the name of their shop from time to time to enhance the current collection's ideals, from Let It Rock to Too Fast to Live, Too Young to Die to Sex and finally to Seditionaries -a name and anarchic style that coincided with the increased notoriety of the Sex Pistols, a punk rock band that McLaren managed. Punk enabled Westwood to break free from the suburbs she had felt trapped in and experiment with fashion's power to shock and challenge.

Her sex shop-style plastic miniskirts worn with ripped fishnet stockings, buckles, and chains, fractured traditional notions of femininity and beauty. Along with her straggly-knit sweaters, Karl Marx portrait print shirts, and bondage trousers, they became emblems of pop cultural revolt.

Westwood's subsequent work with McLaren was just as closely linked to youth culture, music, and clubs. As her King's Road shop settled into its final incarnation as World's End in , she embarked on a series of collections that explored historical construction techniques. One example was Pirates, presented at her first catwalk show in She continued to play with the relation-ship between body and fabric in the multilayered bulk of the Buffalo collection of and the Witches collection of , which used sweatshirt fabric cut to pull away from the figure.

These collections have inspired other designers; for example, punk was revisited in the early s by Jean-Paul Gaultier and Karl Lagerfeld.