Editing Vivienne Westwood (section)

==Life and career==
===Early years===
Westwood was born in [[Hollingworth]], Cheshire,<ref>{{Cite web|url=https://www.showstudio.com/news/the-vivienne-westwood-family-return-home-for-tintwistle-campaign|title=The Vivienne Westwood Family Return Home for Tintwistle Campaign |website=www.showstudio.com}}</ref><ref>{{cite book |url=https://books.google.com/books?id=-KptFTtpC3QC&dq=%22vivienne+westwood%22+Millbrook,+Hollingworth&pg=PT13 |title= Vivienne Westwood: An Unfashionable Life|last=Mulvagh |first=Jane |publisher=[[HarperCollins]] |year=2013 |isbn=978-0007-5151-27}}</ref> on 8 April 1941.<ref>{{Cite web|url=https://www.biography.com/history-culture/vivienne-westwood|title=Vivienne Westwood - Clothes, Career & Life|date=25 May 2021|website=Biography}}</ref><ref name="grande dame">{{cite news|author=Susannah Frankel|url=https://www.independent.co.uk/news/people/profiles/meet-the-grande-dame-of-glossop-743124.html|title=Meet the grande dame of Glossop|work=The Independent|date=20 October 1999|access-date=30 March 2010|location=London, England}}</ref> She grew up in nearby [[Tintwistle]], and was the daughter of Gordon Swire and Dora Swire (née Ball), who had married two years previously, two weeks after the outbreak of the [[Second World War]].<ref name="detective">{{cite news|author=Nick Barratt|url=https://www.telegraph.co.uk/news/features/3631589/Family-detective.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/news/features/3631589/Family-detective.html |archive-date=12 January 2022 |url-access=subscription |url-status=live|title=Family detective|work=The Daily Telegraph|date=24 February 2007|access-date=30 March 2010|location=London, England}}{{cbignore}}</ref> At the time of Vivienne's birth, her father was employed as a storekeeper in an aircraft factory; he had previously worked as a greengrocer.<ref name="detective"/>

In 1958, her family moved to [[Harrow, London|Harrow]], Greater London. Westwood took a jewellery and silversmith course at the [[University of Westminster]], then known as the Harrow Art School,<ref>{{cite web |date=24 September 2015 |title=Vivienne Westwood chooses University of Westminster for London Fashion Week catwalk show |url=https://www.westminster.ac.uk/news/vivienne-westwood-chooses-university-of-westminster-for-london-fashion-week-catwalk-show |url-status=dead |archive-url=https://web.archive.org/web/20191102004257/https://www.westminster.ac.uk/news/vivienne-westwood-chooses-university-of-westminster-for-london-fashion-week-catwalk-show |archive-date=2 November 2019 |access-date=1 November 2019 |publisher=University of Westminster}}</ref> but left after one term, saying: "I didn't know how a working-class girl like me could possibly make a living in the art world".<ref>{{cite web |title=Vivienne Westwood – The Early Years |url=http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_01.html |url-status=dead |archive-url=https://web.archive.org/web/20110108102427/https://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_01.html |archive-date=8 January 2011 |access-date=30 March 2010 |publisher=Victoria and Albert Museum}}</ref> After taking a job in a factory and studying at a teacher-training college, she became a primary-school teacher. During this period, she created her own jewellery, which she sold at a stall on [[Portobello Road]].<ref name="grande dame"/>

In 1962, she met Derek Westwood, an apprentice at the Hoover factory, in Harrow.<ref name="disgracefully yours">{{cite news|url=https://www.independent.co.uk/news/people/profiles/vivienne-westwood-disgracefully-yours-the-queen-mother-of-fashion-178866.html|title=Vivienne Westwood: Disgracefully yours, the Queen Mother of Fashion|work=The Independent|date=2 June 2002|access-date=31 March 2010|location=London, England}}</ref> They married on 21 July 1962; Westwood made her own wedding dress.<ref name="disgracefully yours"/> In 1963, she gave birth to a son, Benjamin.<ref name="disgracefully yours"/>

===Malcolm McLaren===
Westwood's marriage to Derek ended after she met [[Malcolm McLaren]]. Westwood and McLaren moved to Thurleigh Court in [[Clapham]], where their son [[Joseph Corré]] was born in 1967.<ref name=i20020729>{{cite news|url=https://www.independent.co.uk/news/people/profiles/joe-correacute-and-serena-rees-sex-and-the-city-649844.html|work=The Independent|title=Joe Corré and Serena Rees: Sex and the City|date=29 July 2002|url-status=dead|archive-url=https://web.archive.org/web/20100412135859/http://www.independent.co.uk/news/people/profiles/joe-correacute-and-serena-rees-sex-and-the-city-649844.html |archive-date=12 April 2010}}</ref> Westwood continued to teach until 1971 and also created clothes which McLaren designed. McLaren became manager of the punk band the [[Sex Pistols]], and subsequently the two garnered attention as the band wore Westwood's and McLaren's designs.<ref>{{cite news |title=Dame Vivienne Westwood obituary |url=https://www.thetimes.com/uk/obituaries/article/dame-vivienne-westwood-obituary-nt0fvdrvf |work=The Times |date=30 December 2022}}</ref>

===Punk era===
Westwood was one of the architects of the [[punk fashion]] phenomenon of the 1970s, saying "I was messianic about punk, seeing if one could put a spoke in the system in some way".<ref name="disgracefully yours"/> Westwood's emergence as a designer who made garments that reflected the economic, social, and political contexts of 1970s Britain coincided with a disillusioned youth, who developed a unique style of dress and musical expression which was instantly identifiable through its aesthetic and sound.<ref name="auto">{{Cite web |last=Price |first=Authors: Shannon |title=Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style {{!}} Essay {{!}} The Metropolitan Museum of Art {{!}} Heilbrunn Timeline of Art History |url=https://www.metmuseum.org/toah/hd/vivw/hd_vivw.htm |access-date=2023-07-17 |website=The Met's Heilbrunn Timeline of Art History |date=October 2004 |language=en}}</ref>

Westwood's boutique, originally managed with McLaren, was a meeting place for early members of the London punk scene. The boutique regularly changed names and interior design through the 1970s to fit with collections and design inspirations. It remains in its original location at 430 Kings Road, Chelsea, London (under the name Worlds End since 1980, following a short period of closure in the 1980s) to this day.

McLaren and Westwood were keen entrepreneurs, and their designs sold in their boutique – named ''Let It Rock'', ''Too Fast To Live Too Young To Die'', ''[[Sex (boutique)|Sex]],'' and subsequently [[Seditionaries (boutique)|''Seditionares'']] – helped to define and market the punk look at the exact moment that it exploded in popularity on the streets of London.<ref>{{Cite web |last=Price |first=Authors: Shannon |title=Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style {{!}} Essay {{!}} The Metropolitan Museum of Art {{!}} Heilbrunn Timeline of Art History |url=https://www.metmuseum.org/toah/hd/vivw/hd_vivw.html |access-date=2023-04-01 |website=The Met's Heilbrunn Timeline of Art History |date=October 2004 |language=en}}</ref> Westwood's designs during the Punk Era and thereafter were informed by historicism; the V&A describing Westwood as "a meticulous researcher".<ref>{{Cite web |title=Vivienne Westwood: a taste for the past · V&A |url=https://www.vam.ac.uk/articles/vivienne-westwood-a-taste-for-the-past |access-date=2023-07-17 |website=Victoria and Albert Museum |language=en}}</ref> Westwood began challenging gender norms and promoting experimentation in her designs, which at the outset were created in collaboration with McLaren.

Initially, Westwood created garments referencing the dress of the 1950s Teddy Boys, which were worn by McLaren. Upon opening ''Let It Rock'' in 1971, the first incarnation of Westwood and McLaren's boutique, early creations for the shop incorporated such influences reminiscent of the youth subculture fashions of the 1950s'''.'''<ref>{{Cite web |title=The Story So Far |url=https://blog.viviennewestwood.com/the-story-so-far/ |access-date=2023-07-17 |website=Vivienne Westwood |language=en-US}}</ref> Inspired by the rebellious nature of the 1950s youth, Let It Rock referenced the clothing, music, and décor of the immediate postwar era.

In 1972, Let It Rock was refashioned into ''Too Fast To Live Too Young To Die'', in homage to the death of James Dean. Though design references for garments retailed under Too Fast To Live Too Young To Die focussed on the rocker aesthetic of the 1960s,<ref name="auto"/> the boutique still sold Teddy Boy inspired garments under the Let It Rock label.<ref>{{Cite web |last=AnOther |date=2022-12-30 |title=The Many Lives of Vivienne Westwood's Worlds End Shop |url=https://www.anothermag.com/fashion-beauty/8672/clothes-for-heroes-story-of-vivienne-westwoods-worlds-end-shop-sex-kings-road |access-date=2023-07-17 |website=AnOther |language=en}}</ref> The new politically leaning design inspirations for Too Fast To Live Too Young To Die were conveyed through Westwood's sleeveless T-shirts, bearing various statements such as ‘PERV’ and ‘ROCK’, created using a combination of safety pins, chicken bones, and glitter glue.

Two years later, in 1974, Westwood and McLaren's boutique was re-modelled, and reopened as [[Sex (boutique)|''Sex'']]. Pieces sold in Sex were intentionally abrasive and challenging, with designs grounded in fetish and sado-masochism, seeking to provoke a comfortable middle class and inspire young punks into political action by challenging the status quo.<ref name="Scottie Andrew">{{Cite web |author=Scottie Andrew |title=How Vivienne Westwood dressed the Sex Pistols and shaped punk |url=https://www.cnn.com/style/article/vivienne-westwood-punk-fashion-sex-pistols-cec/index.html |access-date=2023-04-01 |website=CNN |date=30 December 2022 |language=en}}</ref> Garments retailed at Sex included skirts and dresses made from rubber as well as t-shirts with pornographic material printed on them.<ref name="vam.ac.uk">{{Cite web |title=Vivienne Westwood: punk, new romantic and beyond · V&A |url=https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-romantic-and-beyond |access-date=2023-07-17 |website=Victoria and Albert Museum |language=en}}</ref><ref name=":0">{{Cite web |title=Westwood [née Swire], Vivienne |url=https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002081175 |access-date=2024-03-17 |website=Grove Art Online |date=2009 |language=en |doi=10.1093/gao/9781884446054.article.t2081175 |last1=Deihl |first1=Nancy |isbn=978-1-884446-05-4 }}</ref> The clothes often had large intentional rips in them and sizeable zippers incorporated into the garments.

Sex became a meeting point at the centre of the punk scene, and transformed into [[Seditionaries (boutique)|''Seditionaries'']] in 1976. Clothing retailed at ''Seditionaries (Seditionaries: Clothes for Heroes)'' retained the familiar references of Sex, including historicism, the challenging of gender norms, and fetish.<ref>{{Cite book |title=Fashion: The Ultimate Book of Costume and Style |publisher=Dorling Kindersley Ltd |year=2012 |isbn=978-1-4053-9879-4 |editor-last=Hennessy |editor-first=Kathryn |edition=1st |location=London |pages=390}}</ref> However, Seditionaries pieces were made from different cloths and fibres. The development of Westwood signatures – bondage trousers covered with straps to restrict, ‘unravelling’ loose-knit jumpers made of mohair, and long-sleeved tops fashioned from soft muslins, which featured graphic screen printed designs and fastenings to the sleeves to give the effect of a straight-jacket – during this period quickly became archetypal punk staples.<ref name="vam.ac.uk"/>

Westwood also inspired the style of punk icons, such as [[Viv Albertine]], who wrote in her memoir, "Vivienne and Malcolm use clothes to shock, irritate and provoke a reaction but also to inspire change. Mohair jumpers, knitted on big needles, so loosely that you can see all the way through them, T-shirts slashed and written on by hand, seams and labels on the outside, showing the construction of the piece; these attitudes are reflected in the music we make. It's OK to not be perfect, to show the workings of your life and your mind in your songs and your clothes."<ref>{{Cite book|title=Clothes, clothes, clothes : music, music, music : boys, boys, boys : a memoir|last=Albertine, Viv, 1954–|date=25 November 2014|isbn=9781250065995|edition= First U.S.|location=New York, N.Y.|pages=130–131|oclc=886381785}}</ref>
[[File:1981 Vivienne Westwood and Malcolm McLaren dress and sash, Pirates collection.jpg|thumb|Vivienne Westwood and [[Malcolm McLaren]] hand screen-printed cotton dress and sash, ''Pirate'' collection, 1981. Museum of Art Rhode Island '',''Design, tl 2008-2.]]
Westwood was disenchanted with the direction that adoptees had taken punk in, many of them uninterested in punk's political values, viewing the style of the movement as a marketing opportunity instead of a medium for radical change; with the dissolution of the Sex Pistols, Westwood's inspiration for her eponymous line shifted instead to the 18th century.<ref name="Scottie Andrew"/> She was particularly influenced by [[Pirates]] and the [[Incroyables and merveilleuses]] a radical movement amongst nobles who had survived the [[French Revolution]] which referenced the [[guillotine]] to which many had lost family members.<Ref>{{cite news | url=https://www.lemonde.fr/en/obituaries/article/2022/12/31/vivienne-westwood-british-designer-and-activist-dies-age-81_6009825_15.html | title=Vivienne Westwood, British designer and activist, dies age 81 | newspaper=Le Monde.fr | date=31 December 2022 }}</Ref>

===Fashion collections===
Westwood's designs were independent and represented a statement of her own values. She collaborated on occasion with Gary Ness, who assisted Westwood with inspirations and titles for her collections.<ref>{{cite journal|last1=O'Neill|first1=Alistair|title=Exhibition Review: Vivienne Westwood: 34 Years in Fashion|journal=Fashion Theory: The Journal of Dress, Body & Culture|date=21 April 2015|pages= 381–386}}</ref>

McLaren and Westwood's first fashion collection to be shown to the media and potential international buyers was ''Pirate'', combining 18th and 19th century dress, British history and textiles with African prints.<ref>{{Cite web |title=Post-modernism in fashion |url=https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002082725 |access-date=2024-03-17 |website=Grove Art Online |date=2009 |language=en |doi=10.1093/gao/9781884446054.article.t2082725 |last1=Deihl |first1=Nancy |isbn=978-1-884446-05-4 }}</ref> This was the first time in which Westwood explored her inspiration of historic sources in current day couture, the ''Pirate'' runway had featured both rap and an array of ethnic music.<ref name=":0" /> Subsequently, their partnership, which was underlined by the fact that both their names appeared on all labelling, produced collections in Paris and London with the thematic titles ''Savages'' (shown late 1981), ''Buffalo/Nostalgia Of Mud'' (shown spring 1982), ''Punkature'' (shown late 1982), ''Witches'' (shown early 1983) and ''Worlds End 1984'' (later renamed ''Hypnos'', shown late 1983).<ref>{{cite web|url=https://www.viviennewestwood.com/history/early-years|title=Vivienne Westwood: the early years|access-date=21 September 2014|url-status=dead|archive-url=https://web.archive.org/web/20141215223730/http://www.viviennewestwood.com/history/early-years|archive-date=15 December 2014}}</ref> After the partnership with McLaren was dissolved, Westwood showed one more collection under the Worlds End label: ''Clint Eastwood'' (late 1984–early 1985).<ref>{{Cite book|last=Vermorel|first=Fred|title=Vivienne Westwood : fashion, perversity and the sixties laid bare.|publisher=Overlook|year=1996|isbn=9780879516918|location=Woodstock, N.Y.|pages=94}}</ref>[[File:Vivienne Westwood Mini Crini.jpg|thumb|The 'Mini-Crini,' 1985–87]]She dubbed the period 1981–85 "New Romantic" (during which time she created the famous look of the band [[Adam and the Ants]])<ref name="piratelook">{{cite web |title=Why the Swagger of Vivienne Westwood's 1981 Pirate Collection Resonates 40 Years On |url=https://www.vogue.com/article/the-pirate-look-in-fashion-1981-2021 |website=Vogue |publisher=Condé Nast |access-date=5 January 2023 |date=17 May 2021}}</ref> and 1988–91 as "The Pagan Years" during which "Vivienne's heroes changed from punks and ragamuffins to ''Tatler'' girls wearing clothes that parodied the upper class". From 1985 to 1987, Westwood took inspiration from the ballet ''[[Petrushka (ballet)|Petrushka]]'' to design the mini-crini, an abbreviated version of the Victorian [[crinoline]].<ref>{{cite web|last1=Staff|title=Vivienne Westwood designs|url=http://www.vam.ac.uk/content/articles/v/vivienne-westwood-designs|publisher=Victoria and Albert Museum|access-date=5 June 2015}}</ref> Its [[miniskirt|mini-length]], bouffant silhouette inspired the puffball skirts widely presented by more established designers such as [[Christian Lacroix]].<ref>{{cite book|last1=Evans|first1=Caroline|editor1-last=Breward|editor1-first=Christopher|editor2-last=Ehrman|editor2-first=Edwina|editor3-last=Evans|editor3-first=Caroline|title=The London look: fashion from street to catwalk |date=2004 |page=149|publisher=Yale University Press/Museum of London|location=New Haven, CT|isbn=9780300103991|chapter=Cultural Capital 1976-2000}}</ref> The mini-crini was described in 1989 as a combination of two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance in woman's dress", and the miniskirt, representing an "equally dubious mythology of liberation".<ref>{{cite book|last1=Evans|first1=Caroline|last2=Thornton|first2=Minna|title=Women and Fashion: A New Look|date=1989|publisher=Quartet Books |location=London, England|isbn=9780704326910|pages=[https://archive.org/details/womenfashionnewl00evan/page/148 148–50]|url-access=registration|url=https://archive.org/details/womenfashionnewl00evan/page/148}}</ref> Westwood continued her research in fashion history by studying garments found in museum collections, which are evident through her incorporations of neck ruffs, corsets, bustles, breeches, and paniers in her various collections.<ref name=":0" /> Works from the artists [[Antoine Watteau|Jean-Antione Watteau]], [[Anthony van Dyck]], and [[François Boucher]] have been used as inspiration for several pieces of Westwood's garments including scarves, corsets, and leggings.  

For Autumn-Winter 1987/88, Westwood showcased the '<nowiki/>''Harris Tweed''' collection which launched her long-standing relationship with the Scottish cloth, [[Harris tweed]], and the [[Harris Tweed Authority]]. The collection is often credited as being instrumental in reviving its use as a fashion fabric, thereby boosting the local industry. In the collection, she had also adopted the use of the Orb logo, an orb resembling the [[Sovereign's orb|Sovereign's Orb]] with a satellite ring around it like the one around Saturn. This sparked heavy controversy as it was very similar to Orb Mark of the Harris Tweed Authority (at the time named ''The Harris Tweed Association'').

Following her death, The Harris Tweed Authority released the following statement: <ref>{{Cite web |last=domhnall |date=2022-12-31 |title=In memory of Vivienne Westwood |url=https://www.harristweed.org/journal/vivienne-westwood/ |access-date=2024-05-22 |website=The Harris Tweed Authority |language=en-US}}</ref>
{{Blockquote|text=In the late 1980’s Vivienne Westwood commenced use of a logo which, we consider, acknowledged her connections with and affection for our cherished cloth. Whilst that may not have been well received by everyone in the Harris Tweed® industry, subsequently both brands have very successfully collaborated to their mutual benefit. We hope and expect that collaboration will continue for many years to come.|author=|title=|source=}}
In 2007, Westwood was approached by the Chair of [[King's College London]], [[Patricia Rawlings, Baroness Rawlings|Patricia Rawlings]], to design an academic gown for the college after it had successfully petitioned the [[Privy Council]] for the right to award degrees.<ref name="kcl.ac.uk">{{cite web|url=http://www.kcl.ac.uk/newsevents/publications/comment-archive/pdfs/2008/comment-183.pdf|title=Comment: The College Newsletter: Westwood unveils gowns|date=September 2008|publisher=King's College London|access-date=21 February 2016}}</ref> In 2008, the Westwood-designed academic dresses for King's College were unveiled. On the gowns, Westwood commented: "Through my reworking of the traditional robe I tried to link the past, the present and the future. We are what we know."<ref name="kcl.ac.uk"/>
 
[[File:King's College London academic dress designed by Vivienne Westwood.jpg|thumb|[[Academic dress of King's College London]] in different colours, designed and presented by Westwood in 2008]]
In July 2011, Westwood's collections were presented at [[The Brandery]] fashion show in [[Barcelona]].<ref>The Brandery, Catwalk, [http://www.thebrandery.com/portal/appmanager/efiraSalones/S094011?_nfpb=true&_pageLabel=P75201021481310034214819&profileLocale=en TV Fashion Runway Show] {{webarchive |url=https://web.archive.org/web/20110903012646/http://www.thebrandery.com/portal/appmanager/efiraSalones/S094011?_nfpb=true&_pageLabel=P75201021481310034214819&profileLocale=en |date=3 September 2011 }}, thebrandery.com. Retrieved 20 February 2016.</ref>

Westwood worked closely with [[Richard Branson]] to design uniforms for the [[Virgin Atlantic]] crew. The uniform for the female crew consisted of a red suit, which accentuated the women's curves and hips, and had strategically placed [[Dart (sewing)|dart]]s around the bust area. The men's uniform consisted of a grey and burgundy [[three-piece suit]] with details on the [[lapel]]s and pockets. Westwood and Branson were both passionate about using sustainable materials throughout their designs to reduce the impact on the environment and so used recycled [[polyester]].<ref>{{cite journal|last1=Karimzadeh|first1=Marc|title=Vivienne Westwood Takes Flight With Richard Branson On Virgin Atlantic|journal=Trade Journals|date=2 May 2013|volume=205|issue=90|id={{ProQuest|1349800397}}}}</ref>