Westwood’s presentation was a commentary on justice, sustainability and Julian Assange.
“I want to work with Extinction Rebellion and have Julian Assange freed,” said Vivienne Westwood, whose voice could be heard above the crowd that had gathered at London’s Serpentine Gallery.
Taking the form of a sit-in protest, Westwood’s presentation was themed entirely around the controversial whistleblower, while the gallery space was filled with her creations. On the walls there were signs saying: “Politicians are Dickheads + Devils,” “Culture-fit, Consump-fat” and “Assange v. U.$.” Models wore slogan T-shirts that proclaimed: “Too Fast to Live, Too Young to Die,” and “The poor get poorer.”
It was difficult not to get distracted by her team members wearing masks with an illustration of a beheaded man or by the large installation in the middle of the main room: A metal frame with cloth posters hanging off it and writing that said “Rot $ Fossil Fuels,” and “Growth = Destroy.”
The clothes were statement-making, too. A blue and red tartan suit was almost tame next to the bright electric blue tailored pieces and lime green flared trousers. Other tartan looks came by way of a corset and a patchwork tracksuit mixed with black nylon. A highlight was a short light blue tartan blazer shown under a contrasting tartan wool coat.
Westwood designs in the same way that she protests, with gusto. And irony. Cue a model wearing a cow–print coat with a printed tote bag of the designer’s face in an expression that can only be described as greedy.
After jumping on a collaboration with ASICS, Vivienne Westwood has returned for a vibrant co-sign, this time with Vans for a footwear capsule dubbed “Anglomania.” Spanning a range of classic silhouettes like Sk8-Hi, Slip-Ons and Old Skools, the assemblage sees a series of bold designs that echo the aesthetic sensibilities of British culture.
Featured are sneakers with punk-inspired 1971 Checkerboard Slip-Ons, Pirate boot Platform Sk8-His, Vintage Style 53s in black suede and other colorful sneakers. One standout piece is a black Sk8-Hi, complete with a wide leather belt strap that goes over the forefoot. The shoe is decked in black all the way from the collars to its tonal midsole, while a bright yellow “Vans” label is sewn over the tongue. Another highlight is a blue Era decorated with Westwood’s logo and multi-colored lightning bolts. More details like crisp white laces, silver-tone eyelets and “V.W.” initials at the rear quarter round up the features of the sneaker.
The Vivienne Westwood x Vans “Anglomania” Capsule is set to release globally on September 20 at vans.com as well as select retailers worldwide for $83 – $153 USD.
English creator Vivienne Westwood (b.1941) started her style vocation in the mid 1970s, similarly as the common designs started a move towards the forceful look of punk. Grasping a plan sense that investigated the conceivable outcomes of rot and obliteration, punk was a test to the idea of apparel as a way to embellish the person. In spite of the fact that Westwood didn’t without any assistance produce the tense and fierce look of punk, her initial work is intently connected with the visual basics of punk style, including subjugation references and deliberately tore or torn textures. While these plan highlights may appear to be practically typical today, in the late 1970s they were an extreme takeoff from the sentimental and non-Western impacts present in late sixties style. This new look was all the while stunning and powerful.
During the 1980s, Westwood started digging craftsmanship history for structure motivation. Utilizing noteworthy articles of clothing and works of art as a beginning stage, Westwood made structures that exhibited memorable styles, for example, undergarments and crinolines. She turned out to be profoundly inspired by British style conventions, including fitting and the utilization of woolen textures. However, Westwood’s plans were still mixed with an eccentric and testing reasonableness. Her Anglomania assortment from 1993 was a champion, exhibiting a refined converging of her punk sensibilities with her increasingly preservationist interests. In an audit of the Anglomania runway appear, New York Times design pundit Bernadine Morris acknowledged Westwood for a “divine lunacy” and called the assortment “adorable and somewhat insane.”
Given that Westwood’s initial vocation was established in a rebellious position, this two-piece suit nearly appears to be a dismissal of her initial advantages. Fresh and exact, it is a positive tribute to the customs of British fitting, known as the best on the planet. With the plaid flawlessly coordinated at all creases, the coat seems to have been produced using a solitary, consistent bit of texture. The “minikilt” skirt is very short and however the suit is unmistakably planned for a lady, it incorporates a tie, an adornment that is still related fundamentally with men. The sphere logo seen at the tip of the tie is both Westwood’s logo and a reference to Harris Tweed, an admired Scottish factory.
In spite of its fine development and to some degree preservationist plaid, there is something saucy about the vibe of this suit proposes Westwood’s punk beginnings. Plaid was a famous example among lovers of punk design, and however this specific plaid was charged by Westwood for use in her Anglomania assortment, its utilization is a gesture to punk. Outfits from this assortment were combined with misrepresented, splendidly hued stage shoes, which caused model Naomi Campbell to fall during the runway introduction. The shoes were miles from the solid, reasonable shoes related with the two suits and plaid. This mix of numerous and clashing references is consistent with punk style, which relied upon a mix of assorted components for its fierce worth.
In spite of the fact that Westwood’s structure reasonableness has developed, unmistakably her initial a long time as a punk architect profoundly educate her present work. The test present in this outfit is unpretentious and fun loving yet consistent with Westwood’s punk starting points. Obviously, you can remove Vivienne Westwood from a tore and torn T-shirt, yet you can’t remove the punk reasonableness from her manifestations.
Womenswear brand Temperley London has opened its first standalone store outside the South East in Leeds.
The brand launched at Hammerson’s flagship destination Victoria Leeds on 15 November 2019.
The outlet stocks the Temperley London Autumn and Winter 2019
collections, along with a select offering from its Bridal collection.
Iain Mitchell, UK commercial director at Hammerson, said: “Temperley London’s unique design-led products will be a great addition to Victoria Leeds, and will really complement the broader fashion offer at the destination, which includes the likes of Louis Vuitton and Vivienne Westwood Outlet.
“Pop-up stores are a great way for brands to test out their offer in
new locations, and also help us to keep our destinations fresh and
exciting for consumers.
“Across our portfolio, when it comes to fashion, we’re looking for
unique, independent brands that deliver products and an in-store
experience that breaks the mould, and Temperley London is a great
example of that.”
Luca Donnini, chief executive of Temperley London, added: “Temperley
London is aiming to expand its own retail operation in key UK locations
outside London; we have chosen Victoria Gate as a first step.
2This is part of a strategy which aims to give access to a wider
audience in our national market. Leeds will be an important space to
showcase our new product categories launching in 2020, together with the
magic bridal collection.”
Temperley London focuses on women’s ready-to-wear collections, and
offers a comprehensive range of daywear, cocktail and eveningwear. The
brand was founded by Alice Temperley MBE in 2000, and she continues to
head up the creative direction of the business.
It currently has four standalone stores, including its flagship
outlet in Mayfair, and its products are distributed in more than 30
countries across the world.
As we get ready to enter another decade, Vivienne Westwood is restoring a component of her past: the bodice. Not the conventional, rib-squashing kind that ladies were binding themselves into, thinking back to the sixteenth Century – however the engaging, punk-injected adaptation she released in her Harris Tweed assortment in 1987.
The British style fashioner, who originally joined bodices into her punk stylish during the 1970s, reconsidered the article of clothing through a viewpoint of female power, as opposed to mistreatment. Presently, one of her most famous structures is set to make an arrival. Wearing three conceals – ivory, red and dark – Westwood’s exemplary bodice (£1,045) is being reissued temporarily just in stores in London, New York, Paris, Milan and Los Angeles.
Originators from Stella McCartney to Jean Paul Gaultier have explored different avenues regarding the undergarment or bodice like fitting in their structures, however it stays most connected with Westwood, who initially used it while trying different things with obsession wear at Sex, the King’s Road boutique she ran with Malcolm McLaren during the 1970s.