Currently Obsessing Over, Debrief No.3: All Hail Queen Vivienne Westwood & Here’s to her Eternal Reign
-Vivienne photographed in June 2012-
“Fashion: I really love doing it. It’s really a kind of lifeline to me. It’s recharging my batteries. It’s exciting. I love what we’re doing, and I think the next thing we are doing is the best thing I have ever done. Because it’s totally political.”
-With Chrissie Hynde & Jordan at the SEX boutique in Chelsea, 1976-
-Clockwise L-R: making an appearance on the runway with husband Andreas Kronthaler at the Andreas Kronthaler for Vivienne Westwood 2016 Menswear collection, in 1976 with Chrissie Hynde & Jordan, c. 1976, and in 2012 in her studio-
-in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023, centre: Lila & Kate Moss, clockwise L-R: Alexa Chung, Matty Bovan, Christina Hendrix & husband, Helena Bonham Carter, Ellen von Unwerth, Farida Khelfa, Lucinda Chambers, Elle Fanning-
-Anson Boon in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023-
Look, I am far from a royalist but as London Fashion Week draws to a close, the weekend saw a who’s who of the fashion mourn a Queen of the people whose crowning would’ve truly made me reconsider my position. It goes without saying that the impact Vivienne Westwood has had on both her contemporaries and a younger generation of up and coming designers is monumental, but above and beyond that, what made her such an incredible individual was the consistency with which she stuck to her principles over the years and championed a fairer world, free of structural barriers, discrimination and the destructive force of rampant capitalism on the earth.
-Upper left portion: Vivienne Westwood RTW S/S 2016, & bottom right: Vivienne Westwood RTW S/S 2017, then whole image clockwise L-R: Vivienne Westwood RTW F/W 2010, & RTW F/W 2009-
-Charles Jeffrey LOVERBOY collections, Clockwise L-R: Menswear RTW F/W 2020, RTW F/W 2022, RTW Menswear S/S 2018, RTW S/S 2023-
-Undercover collections, clockwise L-R: RTW F/W 2011, RTW F/W 2013, RTW S/S 2004, RTW S/S 2009, RTW S/S 2011-
-Matty Bovan collections, L-R: RTW F/W 2018, & S/S 2019-
-Ambush Resort 2023-
-Vivienne Westwood RTW, top to bottom: F/W 2007, S/S 2013-
-Undercover collections, L-R: RTW F/W 2019, RTW S/S 2022, RTW F/W 2020-
-Stella McCartney collections, L-R: RTW F/W 2018, RTW F/W 2017, F/W 2020-
-Undercover collections, upper left portion, clockwise L-R: RTW F/W 2003, RTW F/W 2015, RTW S/S 2005, RTW S/S 2007, then whole image clockwise L-R: RTW S/S 2015, RTW S/S 2014, RTW F/W 2014-
She didn’t have to be That Bitch, in an industry which too often actively worked and continues to work against her goals, but she did at risk to her own success, and she made some fucking incredible clothes whilst she was at it.
Vivienne had every capability of being a thorn in the side of the industry figureheads operating business models domineered by overconsumption and yet her legacy will outlive every trend cycle imaginable ten to the dozen, reminding us that above all, principles & passion are the best thing we have if we want to truly make in impact.
-12 Emerging Designers on How Vivienne Westwood Inspired Them, AnOther Magazine, Autumn/Winter 2021 issue-
-”Pirates” collection, 1981: Though by this point Vivienne had already established a name for herself within the industry, namely through the widespread popularity of the Chelsea boutique she opened with partner Malcolm McLaren in 1971 and her work styling the Sex Pistols, whom McLaren managed, it wasn’t until a decade later that she made her runway debut with her “Pirates” collection. And you know what? She was so right for that. These are men who sail the world in pursuit of Jewells, ffs. How historically accurate that statement is, I have no clue; Peter Pan probably isn’t the best frame of reference. All I know is that ruffles and Jewells and big hats and bold patterns are absolutely my cup of tea and all those of us girlies with a preference for maximalism owe Vivienne Westwood a thank you for helping the stiff upper lipped power players of that period realise that.-
-”Britain Must Go Pagan” collection, S/S98 RTW-
-Clockwise L-R: Vivienne Westwood RTW F/W 1993, RTW S/S 1994, RTW F/W 1994, RTW S/S 1997, RTW F/W 1995, RTW S/S 1994-
-Arguably, the early years of Vivienne’s runway residency was characterised by a consistent drive to dissect, explore, and push the boundaries of the fashion of bygone eras through her work in a provocative, tongue in cheek kind of way, but one that ultimately showed her knowledge and love of fashion. Her flirtation with the whimsical, ethereal hallmarks of romantic period dressing and references to the costume-like decadence associated with the nobility and wealth of the post-renaissance world helped to torpedo a giant, jagged hole through the perfectly polished wall high fashion had built around itself to retain its status as an interest reserved for the privileged.
Vivienne’s growing cultural relevance occurred in the midst of the 90s grunge movement that banished the illusion everything had to be perfectly refined at all times, and championed the gaudy, the over the top, the playful, controversial and performative. This time, counterculture was unruly, broody, and intentionally unyielding in a way that closely harked back to the values of the ‘70s London punk scene where VW had started out, and so it makes sense that interest in her work grew given the position her clothing came to be associated with in this decade
I don’t claim to be enough of a fashion expert to know the complete history of costume piece inspired designers and to be able to say Vivienne was the very first to bring this subversion of the expectation to appear aloof, elegant, and let’s be honest, occasionally boring as fuck, to the runway through her exploration of period clothing but she has to be one of the first to bring such a playfulness to it and her collections at the time certainly helped to reignite the childhood desire that exists in every person interested in fashion to play dress up.-
-Christian Dior Haute Couture F/W 1998, “Les Incroyables” collection-
-Christian Lacroix Haute Couture S/S 1998-
-Vivienne Westwood RTW F/W 1996-
-Christian Lacroix Haute Couture S/S 1999-
-Clockwise L-R: Vivienne Westwood RTW S/S 2013, RTW S/S 2012, RTW S/S 2014-
-Christian Dior Haute Couture S/S 1998-
-Vivienne Westwood RTW S/S 1996-
-Clockwise L-R: Vivienne Westwood RTW S/S 2010, RTW F/W 2015, lower right portion: RTW Menswear F/W 2017, RTW F/W 2011, RTW Menswear F/W 2017, & RTW F/W 2011-
-L-R: Vivienne Westwood Bridal Made to Order 2022, Vivienne Westwood Bridal Made to Order 2020.
Marriage:
*Reasons AGAINST: too many to list
*Reasons FOR: Vivienne Westwood’s bridal collections (and also a big party with all your friends that they feel morally obligated to attend, where you get to pick all the food and cheesy music is socially acceptable)-
-Vivienne Westwood Bridal Made to Order 2021-
-She further developed her brand’s reputation as a disruptor of the status quo in a time which saw young people in the Western world grow tired of the straight laced conservatism of the Thatcher/Reagan (forget Charlie Kelly and Frank Reynolds, these 2 were the OG gruesome twosome) and the tastemakers of the fashion world followed suit, lauding her work. As much as the impact of massive industry players is portrayed as having a trickle down effect (see what I did there) on the trend cycle, designers inevitably draw inspiration from the current social climate whether acknowledged or not and in this way the aesthetics adopted by boots on the ground, the influence of art and pop culture, makes its way back up to the runway where the Anna Wintours of the world have to like it. For people like Vivienne Westwood, Rei Kawakubo (founder of Commes Des Garcons), Ann Demeulemeester, and Yohji Yamamoto, who occupied much of the same avant-garde, anti-establishment scene from the ‘70s onwards with all 3 having been customers at Vivienne’s boutique and setting up shop in London at one point or another, incorporating that disruptive spirit probably felt like a return to their roots as designers.-
-Vivienne Westwood Bridal Made to Order 2019-
-Yohji Yamamoto collections, L-R: RTW S/S 2015, & S/S 2016-
-Vivienne Westwood RTW, top to bottom: F/W 2008, S/S 2012-
-Yohji Yamamoto RTW S/S 2023-
-Vivienne Westwood RTW, top left: S/S 2009, remaining photos: S/S 2011-
-Top to bottom: Ann Demeulemeester RTW F/W 2019, & RTW F/W 2017-
-In this period where anti-fashion established itself as an integral part of what was decidedly “in”-fashion, new roots, which would go on to produce some of today’s boldest designers, buried themselves deep and inevitably soaked up Vivienne and her contemporaries’ celebration of androgyny, experimentation with subversive silhouettes and prints, and embrace of the dark and dramatic to tell stories through their styling which served as the antidote to the immaculate coordination of looks showcased by fashion giants like Chanel. Vivienne collections managed to grasp hold of the psyches of even the most prestigious designers, and the lasting effects were visible in the heavily period themed, almost theatrical collections, the debuts of which broke the expected mould for labels traditionally associated with a sense of refinement and/or glamour. That Donatella Versace, for example, would draw influence from punk aesthetics is unexpected but once you’re aware she’s expressed her admiration for Vivienne Westwood, there are a number of Versace collections over the years where you can’t unsee that inspiration. John Galliano was known to sit front row at her shows! John Galliano. That, baby, is one mighty flex.-
-John Galliano collections, top to bottom: RTW S/S 2018, RTW F/W 1997, RTW S/S 2019-
-Valentino RTW F/W 2005-
-Versace collections, L-R: RTW F/W 2017, RTW F/W 2013, RTW F/W 2018-
-John Galliano RTW F/W 2018-
-Ralph Lauren RTW F./W 2016-
-Vivienne Westwood RTW, upper left portion, clockwise L-R: F/W 2016, “, “, RTW F/W 2016, then whole image, clockwise L-R: RTW S/S 2015, RTW F/W 2012, F/W 2013, & F/W 2012-
-Versace RTW S/S 1994-
-John Galliano RTW S/S 1993-
-You could argue the prevalence of Westwood gowns amongst the rich and famous is kinda antithetic to its founder’s manifesto but we can’t be delusional and forget it’s a high fashion label we’re talking about and well, a business. Ultimately the craftsmanship and time which goes into original designs means red carpet photos are probs the closest 99% of us are gonna get but I’ll take it. I’m thirsty. Helena Bonham-Carter, one of the many prominent figures in attendance at Vivienne’s funeral, kinda symbolises the dichotomy; as much as her public image is of her as someone who exists outside the boundaries imposed by a privileged, aloof, very airbrushed elite, we are talking a woman with a double-barrelled family name which carries with it the exactly the kind of wealth and lineage you’d expect it to. But at the same time, she is someone who has chosen to break away from the expectations set upon her by this kind of background and do things her own way. Not so much so that her whole mismatched, slightly dishevelled whilst simultaneously very cool outer appearance isn’t made up of expensive, designer subcomponents, but if you’re going to have some brand loyalty, Helena being a Vivienne simp feels correct:
“I have an obscene amount, a sinful amount of her clothes. Decades’ worth. She wouldn’t like it, given she was always telling us to buy less.” Helena recalled buying her first pirate shirt, aged 15, from Westwood’s shop in World’s End “so I could be Adam Ant.” She explained how she once reprimanded a red-carpet journalist who asked why she always wore Westwood, because it was always “the same, same, same.” Bonham Carter replied: “No, no, no…. You have no idea how many ideas and choices have gone into this dress. She is never boring. And the dresses do all the work. All the actresses on this red carpet haven’t eaten for weeks—and I have had a full-fat English breakfast.” Of wearing Westwood she said: “I feel like who I want to be. I feel like a woman…. She has given me my armor to face the world for so many years.” She added: “Thank you for the cutting, the draping that makes your clothes so dynamic and alive, so much so that I wouldn’t be surprised to wake in the night and find them dancing in my closet, alive.”
-Extract from “Vivienne Westwood is Remembered in London” Vogue article, Luke Leith, published 17th February 2013 @ https://www.vogue.co.uk/news/gallery/vivienne-westwood-memorial-
-Helena Bonham Carter in Vivienne Westwood-
-FKA Twigs wearing Vivienne Westwood, photographed for her zine, published May 2019-
-You can’t talk about Vivienne’s impact on street style and its adoption by today's anti-it girl (which in itself has made her kinda the ultimate it-girl in my eyes, lmao) without a section dedicated to FKA Twigs, whose love of the designer is evident in her ethereal take on ‘90s grunge inspired fashion. If anyone doubts the existence of Vivienne’s influence on Twigs’ street style, may I gift you with knowledge that she included an absolutely STUNNNNINGGG feature about her whole COLLECTION of VW corsets in her zine. Money can’t buy you happiness but it can buy you archival designer pieces by the Grand Dame of Punk (no, I’m not talking about Karen from RHoP) and the ability to circumvent a year long waiting list for treatment of your ailments on the NHS sooo I mean…we’re talking substantial quality of life improvements here.-
-FKA Twigs personal style-
-Public figures in Vivienne Westwood over the years, upper left portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards, Kim Kardashian via Instagram backstage @ the 2019 Emmys, Winnie Harlow on the red carpet @ the 2019 British Fashion Awards, Kim Kardashian photographed in 2019, Kristen Stewart hosting SNL in Vivienne Westwood suit in November 2022, Lashana Lynch on the red carpet @ the No Time to Die premiere in 2021, Jade Thirlwall on the red carpet @ the 2021 Brit Awards, Elle Fanning on the red carpet @ the 2021 Vulture Festival, upper right portion: Bella Hadid’s street style ft. a love of Vivienne Westwood, bottom right portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards and on stage for the event, Billie Piper @ the 2021 UK Fashion Awards, Thandie Newton on the Cannes Red Carpet in 2018, Rihanna performing @ the 2012 Victoria’s Secret fashion show, Zendaya on the red carpet @ the Art of Elysium gala in 2016, Maude Apatow via Instagram photographed @ the 2022 Emmys afterparty, Alexa Demie @ an event for Tiffany & Co. in 2022, bottom left: Winnie Harlow on the red carpet @ the 2020 Vanity Fair Oscars afterparty-
-Vivienne’s personal style over the years, clockwise L-R: making an end of show appearance in December 2011, photographed c. 1995, @ the V&A museum in London in 1998, with Naomi Campbell at the 1993 Designer of the Year Awards, @ the opening of the Costume Institute’s Anglomania exhibition in 2006, with husband Andreas Kronthaler at Ascot in 1995, photographed by paparazzi c. 2009-
-Vivienne Westwood’s “Portraits” collection, 1991-
-You really can’t talk about the common appeal of Vivienne Westwood and the label’s legacy without an acknowledgement of the irreverence of the Portraits collection, which most likely constitutes the strongest imagery of the brand in most people’s minds. For all that rambling on I did about her challenging fashion conventions, the corset is probably, like, one of the most stereotypically feminine garments out there, and so it seems contradictory that it’s probably the most famous VW piece. That being said, you just have to look at the earliest prominent iteration of the staple showcased in Portraits; the way the shape was utilised flew in the face of all that was conventional and “demure” through its combination with religious iconography, micro skirts and nude illusion cut outs, in the ‘80s ffs, so need I say more about what it is that made it so groundbreaking? It was a moment that was emblematic of the middle finger to the world attitude that Vivienne’s collections are known for, and which makes it such an iconic, and true to brand piece that is still loved, emulated, and collected by a very lucky few today.-
-Vivienne Westwood RTW S/S 2023-
-It’s only half the picture to say Vivienne’s participation in the fashion industry contradicts her personal politics, which completely ignores how much of her fortune has been redistributed through her activism over the years; to advocate for her brand is to advocate for the anti establishment mission she has made an inextricable part of it, which over the past few decades has ranged from her vocal commitment to fighting climate change, her stance on sustainability, her support of Chelsea Manning and Julian Assange, and notably her Ethical Fashion Africa campaign, shots from which feature below.-
-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2008, S/S 2007, S/S 2019, “-
-Andreas & Vivienne at Paris Fashion Week, 2nd October 2021-
-Andreas Kronlather for Vivienne Westwood RTW, top: S/S 2016, bottom L-R: S/S 2018, S/S 2014-
-”, top L-R: RTW S/S 2006, RTW F/W 2014, & bottom: RTW S/S 2023-
Ending with the content Vivienne would most likely find to be closest to her heart is a reflection on the Andreas Kronlather for Vivienne Westwood, surely the purest form of her punk spirit that will go on without her. Undeniably, Vivienne has had no greater influence on anyone than her husband, Andreas, with whom she publicly entrusted the more affordable offshoot of her brand, and whose creative relationship first began when he began working under her wing in the late ‘80s. They were artistic geniuses, revolutionaries, and basically the much more aspirational version of the rockstar bf/gf model bc/gf duo. Above all they were cutie pies<3
-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2010, “, F/W 2017, & F/W 2015-
-”, L-R: RTW S/S 2017, RTW S/S 2009, RTW F/W 2016-
Though for the majority of the 30+ years they spent collaborating Andreas chose to be a silent contributor, the name change of the red label offshoot to Andreas Kronthaler for Vivienne Westwood was the clear realisation of his journey in becoming an equal partner and suggests that over time, the direction of influence evolved from the latter over the former to a much more reciprocal force.
-”, L-R: RTW F/W 2012, RTW F/W 2018-
-”, left portion: RTW F/W 2010, top right portion: RTW S/S 2011, bottom right portion L-R: RTW F/W 2013, RTW F/W 2011-
-”, L-R: RTW S/S 2006, RTW S/S 2014-
-”, L-R: RTW F/W 2019, RTW S/S 2015-
I’m going to get real cheesy here but I have to say it: there is no doubt that whilst he continues to showcase his designs, Vivienne’s presence in the industry will not cease to be felt. Regardless-we’ll miss you anyways, Queen.-
-Vivienne photographed at the end of her RTW F/W 2016 runway presentation, February 2016-
-Vivienne photographed attending premiere screening at Regent Street Cinema, November 2022-
Vivienne Westwood, April 1941-December 2022
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FIRST MEETINGS MEME
A meme for first meetings and introduction threads, aka a ‘What you will notice about my muse first’ cheat sheet.
Repost, don’t reblog. Bold what applies. Fill in details.
(Please do not remove the credit + blank meme link)
tagged by: Stole it from my VTM account lool
tagging: Steal it from me!!!
blank meme: x
GENERAL APPEARANCE
Sex: Masculine. Feminine. Non-Binary.
Notes: Cici aligns and presents herself as feminine but she really could become anything or anybody. She likely doesn’t completely subscribe to the notions of human gender as she’s seen what it means to be feminine or masculine evolve on the whims of culture and fashion.
Race: Currently presents herself as white.
Complexion: Pale, almost milk-white. Of course she keeps herself smooth and just a smidge rosy since it’s what’s considered attractive.
Height: 5′9″
Body Type: Endomorph. Mesomorph. Ectomorph.
Other / More Details: Ye olde hourglass figure.
Body Build: Small. Medium. Athletic. Muscular. Soft. Curvy. Voluptuous.
Other / More Details: Somewhat idealized since it’s (again) what’s considered attractive but she’s got a full bust and wide curved hips. That said, she’s not rail-thin. Her waist is narrow in comparison to her bust and waist but it’s not teeny tiny and is enforced with muscle. Her thighs and arms are also pretty firm.
Body Hair: None. Shaves/Waxes. Trims/Grooms. Untamed.
Color: Pale blonde
Notes: Cici doesn’t like the idea of being completely barren of body hair, especially below the belt.
Head Hair: None. Buzzed. Short. Medium. Long. Very Long. Asymmetrical Cut.
Color: The classic platinum or light ash blonde, though she really liked the strawberry blonde look she had in the 60s.
Style: Currently, she’s got a “hime cut”; so a fringe with two pieces on either side.
Eye color: Ice blue
Details: Her eyes always seem to be strangely glossy and catch the light really easily. She has a very piercing stare.
Scars: In her truest form, Cicero is half-rotten; the left side of her face and belly are a perpetually festering wound.
FASHION
Fashion Style: Vintage. Traditional. Casual. Artsy. Vibrant. Geeky/Nerdy. Tomboy. Sporty. Trendy. Preppy. Girly. Bohemian. Elegant. Formal. Grunge. Punk. Rocker. Gothic.
Other: While she’s aware of the trends, Cicero has a taste for anything Victorian and 1970s Victorian-Edwardian revival. She isn’t above modern clothes though, she’s a bit of a Haute Goth if she sees something she particularly likes the silhouette of.
Color Palette: Mostly all black but red and purple are thrown in to mix things up.
Typical Clothing: The outfit that pops into my head when I think of her is a knee-length Victoriana dresses. Something tight around the waist, with a high collar, and a lot of lace. Ornate necklaces, earrings, rings, brooches, back-seamed stockings, and stilettos heels.
Piercings: Lobes and uh. . .a Christina (vertical mons pubis).
Tattoos: N/A
Other Information: Cicero’s a seamstress and has worked previously as a weaver way back then. She often makes her own clothing and uses Victorian sewing principles, so her clothing her very carefully and painstakingly stitched by hand.
EXPRESSION
General Facial Expression: She always looks like she’s listening intently because she probably is. Sometimes she’ll give a little flirtatious glance just to tease people. She’s also prone to a slight pout. She’s very deliberate with the facial expressions she makes since she’s aware how it will effect other may perceive her.
Default Body Language: Stands upright, tall and proud, often with her legs slightly parted and her arms crossed. She does her best to make her dominance known whenever she walks into a room.
General Movements: Again, she’s calculated in her approach. Refusing to stumble, slouch, or make herself seem smaller than she is. She moves with an unwavering confidence.
NOTABLE FOR RP
Presence: She can be a bit off-putting as she can be inviting. Young and pretty but her worldliness might throw people off since it’s not something you’d expect from somebody who appears her to be her age. She makes no effort to hide her nature to those who know she is. To those people, her presence can be almost oppressive and anxiety-inducing.
Appearance: Pristine. Manicured nails, brushed hair, clear skin, pressed clothes, and just smells pleasant. She almost appears too perfect, like she just stepped out of the pages of a magazine.
Scent: She prefers red fruit based scents: like pomegranate, strawberry, cranberry, and maybe a hint of jasmine. Though if you were to hug her a little too long, maybe you’d catch the whiff of putrefaction, earthy and almost sickeningly sweet.
Voice Description:
Accent: yes / no
More information: Cicero has long mastered the art of mimicking. She can adapt to the style of speech of any region. At the moment, that Northern Californian accent is what she’s mastered. She doesn’t want locals trying to probe her about where she’s from so she won’t utilize any other accent.
Speech Mannerisms: She tends to sing her words and accentuate certain syllables when she’s explaining something. I would say she keeps things to the point. Whenever she’s with her siblings or maybe other demons, she does slip into a more archaic pattern of speech.
Anything else to add?: I love her to bits but she’s so evil. Maybe more “in-tune” muses will be able to see that she’s full of shit.
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