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Andre Walker on Vivienne Westwood


Vivienne Westwood in front of her and Malcolm McLaren’s shop Seditionaries, London, 1977. Photo: Elisa Leonelli/Shutterstock.

VIVIENNE WESTWOOD. The place to start out? This author was born in London, Wembley, Middlesex, to Jamaican dad and mom and raised in Brooklyn from the age of six or seven. Canarsie and King’s Highway are miles aside culturally, but it didn’t cease my hairdresser mother’s W subscription from arriving to our door each week at East Ninety-Sixth Avenue. I clocked the plaid bondage, the whitest of pores and skin, and the loopy pink, purple, and blue hair. It was 1976. The protection-pin piercings cinched the imagery. Loopy to suppose that one thing related to diapers and DIY clothes restore would change into an emblem of riot and anarchy and go on to affect excessive style in additional methods than one. The Seditionaries tops with the Tom of Finland–like imagery additionally struck a chord: I couldn’t recover from these man-on-man photos being included into punk.

The subversion of Viv’s and Malcolm McLaren’s input-output went method past demographics: It was so frank and enlightening, completely different from all the pieces that was happening. I don’t know who obtained the inside track first, the Village Voice or the SoHo Weekly Information, the place Kim Hastreiter was style editor and a mentor-hangout buddy of mine. However the Westwood-McLaren Brit invasion took maintain within the downtown tradition bubble. This was 1980–81, about half a decade after my preliminary introduction through W; punk was mainstream and about to cede to an embrace of Neo Romantic aesthetics. All I knew was punk was useless, and New Wave—the commercialization of punk ideology—was not an possibility; novelty was key.

I used to be at Brooklyn Technical Excessive Faculty once I met a set of women often called the Rat Pack who launched me to the Rock Lounge, Botany, and Membership A. The beautiful Kool Girl Blue, aka Ruza Blue, introduced her lauded Friday-night “Wheels of Metal” events to the Roxy whereas additionally operating Vivienne and Malcolm’s Worlds Finish 2 retailer on Prince Avenue. So Vivienne’s garments had not solely a platform however a showcase. I used to be on the market carrying the brocaded pirate pants and vests, squiggle-print scarves and T-shirts and ultimately the Nostalgia of Mud titty-connector fishnet tank till their ends. All these clothes had been entities unto themselves and endlessly cemented my notion of what garments might be.

Think about being a teen absorbing all this en directe. The factor about these garments is that they had been even higher in actual life than within the runway images I’d see in Italian Vogue, Blitz, the Japanese style journal Ryuko Tsushin, or our bible, I-D Journal. The clothes impressed whole devotion and a sure self-consciousness, which was eased by their matted but opulent glamour and anomalistic presence. Gosh, I’d have beloved to be there when she was selecting the materials for the 1981–82 Pirate assortment.

It’s very troublesome to piece collectively precisely how I met Vivienne and Malcolm, however Malcolm was scooping up plenty of native expertise in New York and I used to be reducing class and spending a lot of time on the golf equipment and in Susanne Bartsch’s boutique and Worlds Finish 2. In 1983, on one in every of my second journeys to Paris for the style reveals, my girlfriend-muse Leslie Macayza, who’d modeled for Vivienne and Malcolm’s Buffalo Gals, was requested to stroll within the Witches assortment, and I obtained caught placing collectively swimwear on a straight sew machine. Vivienne’s unpreparedness endeared her to me, as I’d already been amateurishly making an attempt my very own style reveals with associates. I bear in mind Vivienne’s face when she spoke. She at all times gave the impression to be questioning all the pieces.

There’s a lot extra to say. Vivienne is the insurgent’s insurgent, imbuing her garments with historicity, private know-how, and instinct. The garments opened our notion and made us suppose. It is sensible that she began out as a primary-school trainer. Her late ’80s and ’90s work is past reproach and serves all inquiry. I’m not a historian, only a designer with an observant but famous presence throughout the neighborhood. These issues pay tribute to my timeless love and comfortable spot for Vivienne, whose work with Malcolm helped encourage my ongoing obsession with style as a instrument of expression.

Andre Walker is a designer at the moment based mostly in New York.


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