Editing Vivienne Westwood (section)

===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>