The Magnifique Podcast
Hi guys! Welcome to Magnifique, your favorite fashion lovers podcast.
My names Gabrielle and I’m a fashion industry newb, though I’ve loved playing dress up for as long as I can remember. The fashion industry is an intimidating space, filled with elitist know-it-alls, it's hard to feel invited to learn about the rich history behind modern-day fashion.
I started this podcast because time after time, I've tried to find podcasts to learn more about hmm: how Gilded Age fashion influences modern-day attire, or Marc Jacobs being the reason for Louis Vuittons ready-to-wear line, OR how Levi Strauss pioneered Western Denim…and I'm met with a graveyard of results. I can't find anything! So I guess if I want something in this niche, I must do it myself. I invite you to join me as I expand my knowledge of the fashion space. Together we'll kinda be geniuses of fashion.
The Magnifique Podcast
Episode 28 - Vivienne Westwood: Punk Queen and Fashion Icon
Vivienne Westwood transformed from a primary school teacher to punk fashion pioneer, creating iconic designs that challenged societal norms while drawing inspiration from historical costumes and art. Her journey from outsider to Dame showcases how she revolutionized fashion through provocative designs and political activism, leaving an indelible mark on the industry.
Not me providing a bibliography, find my sources used here : Vivienne Westwood Links
Gabrielle’s social media links: LINK
Hi, divas, and welcome to MagnaBeak, your favorite podcast for learning about fashion's most influential women. Today we talk about Vivian Westwood. Um, I will be so for real. Before researching for this episode, I can't say that I knew much of anything about Vivian Westwood, but, but, but, but. I have grown so fond of her. I think she's the coolest. I want to be her. So I've gained a lot of respect for this woman right here and I will take great care of her. While we talk about her, and let's just jump into it. So, as a person, vivian Westwood can be described as a leader of the modern punk movement, somebody who craves knowledge so much that her designs emulate and take spins on classic art history and make them into modern marvels, taking influence from varying sectors to create some of her most influential collections, ie Pirates, the Minirenny and Anglomania. Let's take a closer look on how Vivian conquered the fashion scene as a once-outsider, becoming one of the most well-renowned artists of the modern fashion age.
Speaker 1:Born April 8, 1941, an Aries queen in Glossop, derbyshire, england, her parents, gordon and Dora Schweier, lived a modest life, with her father being employed as a storekeeper in an aircraft factory. They resided in Derbyshire until 1958, when the family moved to Harrow, london. It was here that Vivian was first introduced to the world of the arts. She took a jewelry making and silversmith course at Harrow Art School, though this endeavor was short-lived, as after the first term she quit, citing that she, a working class girl, could not understand how she could possibly make a living in the arts. Luckily, we come to know that where there is a will, there is a way. Vivian got it done. Instead of initially pursuing her passion for design and art, she takes up a job in a factory while she studies to be a teacher. It was at this factory job that she met her husband-to-be, derek Westwood, and once she successfully fulfills her education, vivian becomes a primary school teacher, while on the side creating her own jewelry and maintaining a stall at the Portobello Road Market. The Westwoods wed on July 21, 1962. Vivian made her own gown. Go ahead and take a note of this for later and later. In 1963, their family expanded with the welcoming of their son, benjamin Westwood. Their family expanded with the welcoming of their son, benjamin Westwood.
Speaker 1:Vivian seemed content with her quiet, slow suburban life. She had her husband, her kid, her career, but was that enough to keep her satisfied? Unfortunately, I don't believe it to be in this situation. In 1965, vivian Westwood met Malcolm McLaren, a publicist, and this was the beginning of the end of her marriage with Derek Westwood. The two ended things and Vivian moved in with McLaren. She maintains that while they met before divorcing Derek, there was not any romantic overlap, citing that the divorce is a cause of not feeling as though she could reach her fullest potential.
Speaker 1:While teaching, vivian maintained an interest in fashion and design, seeking out knowledge wherever possible. This created a collaborative opportunity with Malcolm McLaren, allowing Vivian to break into a new exciting career in fashion. So now we are moving into what I like to call her McLaren era, which was pivotal to Vivian finding her footing in the fashion industry and laying roots to catapult her into icon status. This era starts in 1965, when Westwood and McLaren meet and start pursuing a career in fashion together. Westwood kept her status as a schoolteacher but on the side, created designs with McLaren to dress a punk band that McLaren managed named Sex Pistols. Westwood and McLaren would move to Clapham and birth their son, joseph Corey, in 1967.
Speaker 1:In 1971, westwood left teaching and the two of them opened a boutique to fill with and sell designs that had been seen worn by the band. The boutique was called Let it Rock and it was located at 430 Kings Road in Chelsea, london. The designs produced here were based on opposition against the traditional British standard of morality. It defies polite society and expresses the wearer's deviation from society. This boutique very quickly became a hub for the punk movement. The designs towed the line of completely unhinged and grotesque to hardcore and loved by those without alternative views. With provocative prints and slogans.
Speaker 1:The designs got them in legal trouble, being prosecuted under the 1959 Obscene Publications Act. This act essentially makes it an offense to produce anything deemed obscene for public display, though making exceptions for art and literary purposes. But after facing prosecution, the duo started making more t-shirts with even more obscene designs. I do believe that this inspired the creation of the swastika shirt, which aimed at sending a message about denouncing the system and dictatorships, more so than endorsing the actual Nazi regime. The anarchy shirt was released in 1977, displaying a swastika on the front, laid over an inverted photo of Christ on the crucifix, also in conjunction to Queen Elizabeth II, on a stamp with the words in all caps DESTROY above the imagery. Now I want to hear your thoughts on that. Let's hear it. I'm unsure of my thoughts. I see how she got there. I do, however, I feel uncomfortable about the execution. To speak my God-given truth, yeah, let me know your thoughts on that.
Speaker 1:Throughout the 70s, westwood continued to master up unique pieces to push forward the punk movement. For example, she merged the leather jackets worn by bikers with classic pornographic imagery and because why not? Traditional Scottish tartans think plaid skirt textiles as a tartan, and this produced what she dubbed the DIY aesthetic that raged through the punk movement punk community. They loved to DIY their own garments. The boutique saw many rebrandings and many name changes five to be exact all matching the aesthetics and titles of their varying collections. So a few more fun facts about the shop itself before moving on to the collaborative collections with the pair. With the shop changing names so many times, it's kind of hard to keep track of which name belongs to which era.
Speaker 1:The shop originated as Let it it rock, which sold vintage 1950s clothing. They changed their name to too fast to live, too young to die, in 1972 to cater toward biker core. They then rebranded in 1974 to sex and use the slogan rubber wear for the office. Sure. Then they reopened to cater to punk rock and the sex pistols. Transforming fetishism into fashion under the name Seditionaries. Lastly, maintaining the name World's End A fun fact about the shop and I know I've said fun fact twice in this paragraph, but these are fun and factual. So a fun fact about the shop. The basement used to be a local restaurant, but World's End was so successful that they eventually purchased the space to expand the stockroom. Today the space remains aesthetically as it was 40 years ago, though it was restored in 2017. So the two collaborated on five collections together. Let's go through them.
Speaker 1:The Pirates Collection was the first collaborative collection made by the pair and shown to the media and international buyers. Released for the fall-winter 1981 season, the Pirates Show was inspired by pieces sold at their boutique. It was praised for its liberation from the constrictive silhouettes of the 70s. It was looser, more loose. I guess the collection was inspired by an 18th century engraving of a pirate with breech-style buccaneered trousers and a matching jacket. This collection highlighted her attention to technique. While maintaining classic technique. The designs were also partly inspired by African textile patterns, especially the pirate trousers, which included a baggier rear which contrasted the hippie tight-ass style of the time. This collection featured many historic nods to the 18th and 19th century dress, british history and textiles using African prints. The runway was also accompanied by rap and ethnic music, which was considered unique for the time.
Speaker 1:Soon after Pirates debuted, westwood and McLaren ended their personal relationship but would continue to collaborate for an additional five years, working on the following collections together Savage in 1982, which featured inspiration from indigenous peoples, incorporating sheepskin and shell detailing. Punkature in the fall of 1982, which featured distressed or recycled garments in pre-washed materials, which often the look was being referred to as hillbilly. Then we have the Buffalo Collection in fall winter of 1982-83, and it gained its name from Malcolm's 1983 track called Buffalo Gals and was integral in Westwood's early work. The collection itself aimed at blending streetwear with quote-unquote multicultural sensibility, and this was taken from the A to Z guide of Vivian Westwood. The collection features a lot of layering and earth tones and can even be seen by Pharrell Williams', dare I say, most iconic look of wearing the mountain hat to the 2014 Grammys. It is a comically large hat. I reckon you all look it up. Lastly, the Witches' Collection of 1983, their final collaborative masterpiece. This collection's most noteworthy feature is the interpretation of the men's trench. Westwood aimed for a unisex masculine style with exaggerated cuts similar to those worn by officers in the First World War. Post-mclaren partnership, westwood showed once more for the world's end label entitled Clint Eastwood in late 1984. The Vivian Westwood brand continues to open up four more shops throughout London and eventually throughout the world, with products varying in aesthetics. Some merchandise promoted political causes that Westwood felt called to promote, ie climate change and civil rights groups.
Speaker 1:So now that the McLaren era is over, vivienne Westwood's empire continued and prospered. Post-entanglement, her fashion muses moved less in the direction of streetwear and found more fulfillment indulging in the past. Her Harris Tweed collection reflects this perfectly. This collection celebrates traditional English tailoring. Westwood began prioritizing refinement and education of a piece rather than youthful rebellion. It was due to this shift that Vogue began to feature her work more regularly throughout the late 80s.
Speaker 1:Westwood's work throughout the 80s and 90s reigned supreme in her resume. She appropriates the aristocratic establishment, status and elitism in a theatrical show. She continues to draw on this theme of heritage and culture throughout her work. Let's talk about my favorite collection from hers and it's crazy because it is like the first independent collection the Mini Cranny of 1986, a statement piece meant to juxtapose the traditions of 18th century English women. This debut marked a turning point in the brand and Westwood's career. For the next 20 years, she would continue to create collections that draw from classical sources, such as paintings from Francois Boucher and Jean-Honoré Fragonard.
Speaker 1:Sorry, I didn't google that, but this era of Vivian's work included features like the 19th century bustle into dresses and tartan miniskirts. The mini crinny garment itself is a reimagining of the Victorian crinoline, fusing the concept with the modern miniskirt. With its mini-length, bouffant, large, outrageous puffball skirt, it's meant to interweave the two conflicting ideals, with the crinoline representing the restriction of women's clothing of the past and the liberation of women and women's clothing in the modern day. With the miniskirt, it's one of her most popular reworkings, with arguably her most popular being the borrowing of the corset and turning it into daywear, slash outerwear, leaning into the fetishism and fetish wear trend that she created in the 70s. When speaking on the corset, westwood is quoted saying for me, the focus of a woman is the waist, and that was taken from also the A to Z guide to Vivienne Westwood. He felt it as reappropriating the cinched waist silhouette to add a playful effect, effectively transforming the historically restrictive tool of the male gaze and validation into a garment that exudes female sexuality. So, in short, vivian Westwood is to blame for the corset epidemic of late 2010s.
Speaker 1:If you were a teen or early 20s gal, in like 2017 to from 2017, 2016, 2017 to like now basically, but I would say the peak, like 2019 I just felt like the main garment to wear out and about to look slay was a corset, and I never fell for the propaganda, although it looks really cool and I would love a corset. And I never fell for the propaganda, although it looks really cool and I would love a corset. I just it's not my vibe. But anyway, thank you, vivian Westwood, for the trends. Appreciate it. Okay, let's briefly go back to the Harris Twee collection. I know we mentioned it three minutes ago, but we're back.
Speaker 1:The Harris-Dewey Collection of 1987. This collection was inspired by the Tattler girls and the parodying of the upper class. This period is marked as the pagan era, with the slogan being Britain must go pagan. In 1989, vivienne Westwood appeared on the Condé Nast-owned magazine Tatler dressed as the then Prime Minister, margaret Thatcher. This collection kickstarted her long-standing relationship with the Scottish Harris Tweed brand and is often credited for reviving the use of tweed in garments. You'll also notice that during this collection, Vivienne Westwood's brand adopted the use of the orb with rings around it that resemble Saturn into their brand identity. The use of this orb sparked controversy as it does closely resemble that of the Harris Tweed Authority symbol. But the HTA or Harris Tweed Authority came out post-Westwood's death to clarify that, while the symbol is similar and Westwood did lean into the authority for inspiration, there is no bad blood between the brand and they fully endorse the use. I did add the word fully by myself, so maybe they don't fully endorse the use, but they endorse the use.
Speaker 1:Let's talk about the 90s. The 90s were busy for our dear Miss Westwood. 1990 and 1991, she received the award for Fashion Designer of the Year from the British Fashion Council. In 92, vivienne Westwood was awarded by the Queen Elizabeth the Most Excellent Order of the British Empire, or OBE. She dared to be bold once more, because why wouldn't she? And she showed up to this event pantyless, which was a big scandal because pantyless next to the Queen. Scandal because pantyless next to the queen.
Speaker 1:In 92 she capitalized on her knack for making wedding dresses this is the callback I was talking about by launching her wedding gown line which, if you're up to speed in pop culture, charlie xcx just married george from the 1975 and vivian was to address and she looked so iconic it was, I think, like at a courthouse. Very slay, very slay, mama. I love a courthouse wedding. I had a courthouse wedding, except in New York instead of our hometown, and that's so slay too. I'll say it. Where was I? Oh yes, 1992 through 1993 saw the release of the Pouty and Orb watches. Same year she also opened a new boutique on Conduit Street and additionally, in 1993, she was appointed as a professor of fashion at the Berliner Hochschul-de-Kunst-School Social de Kunz Day School I'm so sorry about.
Speaker 1:1993 was a busy year for her. Westwood married once more to her assistant, andrea Cron-Taylor, whom she remained married to until her death in December 2022. The two met while Westwood was teaching at the Vienna School of Applied Arts. Once married, he remained a silent partner of the label and is now the creative director of the brand, creating some really beautiful pieces. I said 1993 was busy for her, I wasn't lying. One more, one more event for Miss Girl in 1993.
Speaker 1:The Anglomania show of winter 1993, where she debuted her tartan clan MacAndrea named after her husband, andrea, which is officially recognized and preserved by the national records by the Lacheron of Scotland. The Anglomania Collection of 1993 was one look to classic medieval and renaissance core costumes for inspiration. This is considered one of Vivienne Westwood looked to classic medieval and renaissance core costumes for inspiration. This is considered one of Vivian Westwood's most iconic shows with Naomi Campbell is being recorded as falling during the show due to wearing extremely high heels and she laughs and walks it off and it's kind of iconic. But 1996, we finally got a break for a couple years.
Speaker 1:1996 saw the release of Vivienne Westwood's Nan collection in Milan and continuing through the 90s, vivienne and the brand continued to play with feminine Rococo inspirations through their drapey, silky evening gowns, just in general throughout the 90s. In 98, their debut fragrance, boudoir, is released. In 99, vivienne Westwood launches the red label, which stands to resemble kind of a pret-a-porter of the French couture lines, kind of a pret-a-porter of the French couture lines, and the gold label for made-to-measure demi-couture lines. Considering you can't claim haute couture outside of France, this is the closest that the brand could get. Early 2000s were also so kind to the business of Vivienne Westwood. In the year 2000, from April to June there lived an exhibition titled Vivienne Westwood, the Collection of Romilly McAlpine, and it opened at the Museum of London 2001, the official brand website launched for e-commerce and more boutiques in Hong Kong and Korea were opened. In 2003, moet and Chandon Fashion Tribute paid honor to Vivian Westwood as the first designer to have a solo exhibition at the Victoria and Albert Museum, and in 2011, los Angeles became home to their first Vivian Westwood flagship store.
Speaker 1:Most of Westwood's work throughout the 2000s and 2010s categorized in one term activism. She really leaned into activism for her collections Her 2006 show coming in as one of her most political messages for being a resistance to propaganda. Her spring-summer 2016 show she stages a climate fash mob in which models carry placards that read Climate Revolution. And jumping back four years, in 2012, the Vivian Westwood Group ended a long-standing business relationship with Hervea, which operated seven stores linked to the VW brand. This brought on a legal battle on the grounds of breach of contract, leading to Hervea settling and releasing the stores back to Vivienne Westwood. Today, the brand stands strong, with Andrea Cranthier leading the brand as creative director and with 63 locations worldwide, two in the US, both in New York City and Los Angeles.
Speaker 1:Westwood built a fashion empire with international acclaim, supporting departments in women's wear, shoes, cosmetics, men's wear, you name it. She had a cult following in every category. I briefly touched on her personal achievements just throughout, but I wanted to give her own section on personal achievements. So if any of these sound familiar, consider it, just really ingraining it into your brain. How about that? Vivian Westwood is loudly celebrated at many points of her career. Let's talk about her highest achievements. To start, let's flash back to 1992, when Westwood is made an Officer of the Order of the British Empire, the OBE, and also became Dame Commander in 2006, effectively being titled Dame Vivienne Isabel Westwood. Vivienne Westwood is also named among the top six designers in 1986, along with Armani Saint Laurent and Karl Lagerfeld. Notice how they're all men. Vivienne Westwood is beating stereotypes. In the same year, she accepts the appointment to be a professor at Vienna Academy of Applied Arts, where she ended up meeting her husband. In both 1990 and 1991, vivian Westwood is awarded Fashion Designer of the Year from the BCF, bfc British Fashion Council my bad.
Speaker 1:In spring of 2000, the Museum of London has an exhibition opened to honor Vivian Westwood and the collection Romilly McAlpine, and in 2004, she decided to devote all of her creations to the Victoria and Albert Museum in London. In 2007, it was requested to redesign the academic gowns for the King's College London, westwood cites that through her reworking of the traditional dress, she tried to incorporate all of the past, present and future of the traditional dress. Present and future of the traditional dress. As mentioned, vivian Westwood is no stranger to climate activism and in 2012, she launched her climate revolution campaign with protests at the London Paralympics and in 2014, she turned up at the then Prime Minister's David Cameron's home disguised in a Santa suit, attempting to deliver a gift of asbestos. Obviously, she was unsuccessful, but at no shock to anybody, she is noted denouncing overconsumption. She says I don't feel comfortable defending my clothes, but if you've got the money to afford it, then buy something from me. Just don't buy too much. Perhaps my most favorite achievement of hers, she is a self-taught fashion student who followed her passion and built a brand whose influence knows no borders, with the manga anime series Nana depicting characters wearing what resembles Vivian Westwood throughout the series, using Westwood's unique and powerful designs to express the main character's nana's inner thoughts and feelings. Westwood continued deepening her research and understanding of fashion throughout her career, studying garments found in museums and historic sources, which is evident in her use and transformation of corsets, bustles and, most iconically, the crinoline.
Speaker 1:She is my favorite woman in STEM. I love her. I find her to be dazzling. She is complex, she's intelligent, she is just amazing. I am in awe of her. I feel like every time I cover a woman on this podcast, I just find her to be so inspirational. And then I do the men and I'm like, oh, why, why, why, just why? Hey, how about, why? No, that's not true. I love YSL. I think he is fabulous. I'm just feeling a lot of gratitude for this podcast, even though there's like four listeners. But I was journaling about it today and I feel so grateful for my intelligence in this space and getting to just learn new things all the time. So that's kind of how I'm feeling. I hope you feel the same way. And, yeah, I hope you enjoyed this episode. Vivian Westwood is amazing. She's my favorite woman ever, next to Marilyn Monroe, of course. Yeah, like I said, I hope you enjoyed.
Speaker 1:I'll leave my sources down below if you want to do a deeper dive. And until next time, ooh, next time we're doing fashion illustrations. I know we kind of talked about it in the fashion industry dive, but hey, you mind if we dive deeper Marianas Trench style. So that's what we're going to in september. Is that september? I don't know. My days are kind of a blur now. Anywho, much love, much love. Kisses to my bitches. Bye.
