Vivienne
Westwood
BUY LESS CHOOSE WELL “The sexiest people are thinkers”
BY CHLOE DRUETT
Contents
7 Vivienne Westwood
About-Vivienne Westwood
9 1974
Sex At The World’s End
16 1980
World’s End
21 1981
Pirates
26 2010 Get A Life
29 2011
Content
World Wide Women
33 2012
War And Peace
39
Our Approach
41
Competitors
43 Customer Profile
45 Design Process
47 SWOT and PESTLE
49 Interview and Survey
53 Overview
55
Moodboards
68 Fabric Board
71 Bibliography
Vivienne Westwood 8th April 1941, Vivienne Isabel Swire born, The Pennies-6 Mill Brook,row of cottages between villages of Hollingworth and Tintwistle. This is where Vivienne grew up she is the eldest of three - Olga and Gordon. Her mother, Dora nee Ball, stayed at home to look after them. Vivienne’s mother left school at 14 years old to work in the cotton mill. Her father, Gordon Swire, came from a family of shoemakers. His father died when he was 14 years old. During the war he made aircraft, bred dogs and made toys. Westwood loved school making models, embroidery. She loved dark nights and walking to her cosy home. She suffered trauma at the age of four when she saw a calendar of the crucifixion and became a freedom fighter. Vivienne always wanted to change the world. She passed 11-plus exams and went to Glossop Grammar School. That’s when she was introduced to literature one of her favorite books was E.M.Forster’s A Passage to India. Age 14 she lived for dancing. Made all her slinky evening dress;live bands, jive and smooch. Agd 17 her family moved to Harrow, bought Station Road post office. Her father thought his children would have better opportunities in London. Vivienne went to Harrow Art school and studied fashion but she didn’t like it as she wanted to make the clothes and all they did was draw. So she transferred to silversmithing after one term worked at Kodak factory. Age 18 Teacher Training College, St Gabriel's Camberwell. This is where she met Susan Goodyear her bestl friend. Who introduced her to the theatre. Receiving a art diploma. She became a teacher and married Derek Westwood in 1962. There was a gang of them that loved dressing up and dancing. Derek was a tool maker who saved money to become a pilot. He hired halls and put on gigs: The Who, Rolling Stones and Bingo. She was pregnant taking the money and talking to the bouncers. Her son Ben, born 1963. Her brother’s friend, Malcolm McLaren, changed her life. Malcolm was talented, Anti establishment and an art rebel. Vivienne learnt alot from him and it went beyond. When they became a couple. Malcolm designed shops, decorated them, he was full of ideas. Vivienne did the graphics and prints. She also designed and made the clothes followed the production - invented the anarchy sign. LET IT ROCK! 1971, 430 King Rd - Vivienne still has the shop. They would go down Brick Lane buying fifties records and secondhand clothing because Malcolm thought that trendy people would go for the rock ‘n’ roll. Vivienne copied and produced fifties clothes and stiletto shoes by Agamemnon. There was no rock ‘n’ roll on the radio. They got a trailer to make Teddy Boy suits and brothel creepers, fluorescent socks and bootlace ties. Vivienne got a crew cut which grew in to a punk hairstyle. TOO FAST TO LIVE, TOO YOUNG TO DIE,1973-inspired by rockers this was a chapter of Hells Angels down the road. Malcolm changed the name of the shop everytime they did a new collection. She had sample machinist, Anne, in the living room and the local rockers decorating there clothes with ,chains, badges and studs - black leather.
SEX, 1974- padded plastic, pink letters fur the sign inspired by Claes Oldenburg. Rubber-wear to the office, pornographic t-shirts’. Cuts , rips and holes, ripped clothes led to future innovations throughout the collection. Ripped edges, especially on chiffon and georgette, which Vivienne use to pre-wash so that they crinkle, never needed ironing and could be rolled up in a ball. Wine stains, dirty stains and grass stains. When punk collapsed with the death of Sid Vicious in 1979 they store transferred to a more romantic look: let’s get off this island. Hip-hop scratch records and her first collection ‘Pirates’. Innovation pirate trousers had convex centre-back seam and baggy saggy bum. Looked like hand me down worn for generations leading to street fashion, falling down pants ad too tight or too big styling mix of clothes. PIRATES,1981-82- the shop now called Worlds End to match Vivienne’s new collection. The shop decor was a pirate ship, sloping floor and a giant clock with thirteen numbers going backwards. She was still working with Malcolm but in the process of splitting up. Vivienne saw her punk designs on Paris catwalk and decided to enter fashion. Her first catwalk show ‘Pirates’ was a big success! She studied historical cuts and copied them very different from the modern tailoring. Ethnic tailoring she got from the diagrams of Tilke. Vivienne did not like to waste fabric so everything was made of rectangles. Her next collection was plunder the world and National Geographic which was a combination of ethnic and historical. WITCHES,1983- New York. Vivienne met Keith Haring he had invented an iconography, a visual language, a code of magic symbols. He gave her an artwork of free use. Jacquard knits, forest greens or night sky backgrounds. Hip-hop, breakdance, lots of sweatshirts. White trainers with three tongues customized for the catwalks. HYPNOS,1984- innovation: giant rain coats and body in nylon fluorescent. Gary Ness walked into her shop, riveting, chain-smoking elegance. He wanted to paint a portrait of Vivienne but they never got round to it. He introduced her to Chinese painting and the ballet. She was still a punk but thought to use crini for a rainy day. MINI-CRINI, 1986. Westwood wanted a feminine silhouette with a natural shoulder. She introduced the mini-crini in Spring/Summer 1986 and in the Winter 1987 collection. It was inspired by the doll in the ballet Petrushka. A photograph of the Queen as a child wearing a double- breasted Princess coat, the kind that children wear when they go to private schools. She introduced English tailoring and styled it for children. With platform shoes with a wooden sole that looked like clogs. Models had child like bobs, plaits and straw hats. Vivienne wrote a song called ‘Swing the Mini-Crini, ring the bell’. She had a band called Choice with Sara Stockbridge as singer. HARRIS TWEED,1987/88- the child theme continued with the Princess coat typically made in Harris tweed of the school uniforms of children who attended private schools. Vivienne was besotted with the colours in Harris tweed so she made a hat copy like the Coronation crown. With three dimensional jewels in colours of Harris. The show started with Sara Stockbridge and her son Joe in their underwear, dressing on stage like city gents. Black velvet jackets and city striped trousers, lipstick smudge like they had been kissing. Sadie Frost wore matching crown and Princess coat. Her love for English tailoring and Savile row fabrics: chalk stripe, pinstripe, barathea in huntingblack velvet looks seductive with tatan. Vivienne did a very small Collection as she was still producing with cottage industry. Akademie der bildenden Kiinste, Professor of Fashion,1988- Andreas was completely off the scale, she’d never seen anything like it. He had the models climb ladder to demonstrate a 5-meter circular dress. He looped two or three cords together to look like the Nike of Samothrace. As an art lover he noticed that Greek costume was not only from rectangles pinned together but also of such circular volume. PORTRAIT,1990- Vivienne wanted the look of the model as of she had just stepped out if a portrait. She put the model on a pedestal in super platforms. Vivienne used all different fabrics like lacee to velvet, tartan, rustic tweed. The Portrait hat was a high crown trilby with a small brim, which could have fitted every fashion since oil painting began. She then introduced the drop down pearl earring. With in three months they were in every department store. At this point a group of her students came around to visit her collection and Andreas never left. CUT,SLASH AND PULL,1991- the history of fashion. When Vivienne studied the history of fashion the most sensational outfits are mercenary soldiers, 1500. The fashion was totally cut up slashed to head to toe. Vivienne did this with denim this was streetwear. She used Andrea’s dress and printed ten different colour combinations the sun wheel print. They looped them up together into every kind of feminine silhouette.
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SEX AT THE
W O R L D ’S END
430 King's Road, London
There was no punk till Vivienne and Malcolm. It was everything to them. Vivienne doesn’t speak as much about the shop anymore. This is because she is foucing on the projects she is doing now. People think that she is ashamed of the past but that is far from the truth. She is still all about shouting for injustice and to make people think. Vivienne is proud to be punk! She is proud for the part she played to do with the shop. She feels it contributes to the stance young people take to this day: ‘Don’t Trust the Government’. Vivienne’s new ideas are still punk but just more developed.
The shop started with sourcing records through Exchange & Mart. Malcolm wanted the shop to be less market stall and more art installation. The store was not about cloths at first. Malcolm wanted to sell records. Tommy roberts- Mr Freedom suggest they should buy a stall out west. Vivienne was a regular customer there so she was very interested in the idea. Frist Malcolm bought some Teddy Boy jackets from Sid Green the tailor, and Vivienne customized them with different coloured velvet collars. Patrick Casey sourced some vintage zipper jackets with bat wings and a stripe, she made copies. She then also made stripy t-shirts for women but this was more later on when they had more resources.
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It properly started in 1971. Cloths and Vivienne. There was an event at Wembley Stadium it was for rock ‘n’ roll. They invited Chuck Berry, Little Richard and Gary Glitter. It all went haywire. They were throwing beer cans and stuff at him. Vivienne had invested in these t-shirts they didn’t sell. It was a disaster. As t-shirts didn't sell they experimented with them by putting holes in them, adding studs. One of the shirts Vivienne made into a pair of knickers which spelt ‘ Let it Rock’ on them. Then the items sold. Then on one of the white t-shirts she sewed sleeves on them slightly rolled up. This then started the craze of having a capped rolled sleeve.
So it was part Teddy Girl, part start of punk. Vivienne wasn’t only making these things she was wearing them to. They had to rethink and remake their products. Vivienne stuck bottle tops on the t-shirts the ones with the crinkly edges. Then they burnt holes into the t-shirts with cigarettes. The early years of Vivienne and Malcolm’s partnership were remarkable. These were the years of a rise of a new language in clothes that eventually transcended punk. Torn and ripped jeans and t-shirts, retro sampling and mixing of clothes. Things that would've been unimaginable in previous eras of fashion. Part of their success was there child Joe. Joe was also part of the fashion world and was very successful. He has modeled on his mothers catwalk. Malcolm was more interested in the ideas of modern art. Whereas Vivienne was more interested in the technique and the making of something.
Vivenne and malcolm had a boutique called ‘Sex’. It was on 430 Kings Road in London. In 1974. The press and people were outraged. But there was nothing sexual about it. It’s empowering that a young women is comfortable in her own skin. Malcolm was manerging the Sex Pistles at the time. The shop encouraged people to dress differently. Raising to the era Sex sold t-shirts designed with the Cambridge Racsist, bare breasts and pornographic T-shirts. Her activism was about human rights. Vivienne’s generation was politicised by the hippies and punk was a reaction against the people who had caused the Vietnam war. Also the fact that those people were still running the world. She wanted to show that people weren’t going to accept any of there taboos or there values. The shop changed the name to ‘World’s End’ in 1984. When Vivienne had a new collection. The store also sold pieces designed by Mclaren and Vivienne.
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Raising awareness for the era’s sexual taboos the store sold t-skirts with bare breasts, pornographic text and images. Also Cambridge Racists images printed on t-shirts. The store also sold designs by Malcolm and Vivienne. Tartan bondage suits.
Sex Pistols’ singer Johnny Rotton in 1978 wearing Vivienne ’s designs on tour. English singer Siouxsie Sioux wore the bare breasts t-shirt.
World’s End is Vivienne Westwood’s original boutique. Formally known as Let is Rock, Sex, Sedititionaires, and Too fast to live, Too young to die. It has a brilliant history of creating clothes for ‘heros’. Punk, Rockers and Pirates. It reflects the history of World’s End boutique. The range is made up of archive from the punk collection. ‘70s to the World’s End of the early and mid-eighties through to today.
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W O R L D’S
E N D 18
WOR LD’S
EN D
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PPII RRAATTEE SS
PIR AT ES
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P P II R R This was Vivienne Westwood’s catwalk debut it came late in her career as she was forty. In 1981. She had been designing for a decade creating clothes for King’s Road boutique. Which she ran in partnership with Malcolm McLaren. This was the true beginning of her fashion designing career. This show chimed with reinvention of the boutique as ‘Worlds End’, inspired by pirates. The underlying theme of plundering history and global cultures for inspiration.
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With no previous experience of a formal fashion show, Vivienne hired mostly unprofessional models she let them determine their own outfits. She used a mixture of menswear and womenswear as she did for the next fifteen years. The make-up artist, Yvonne Gold, did the models make up for the first eight years. She covered the models teeth with gold foil from cigarette packets. The colour gold was important it linked to the idea of plunder
A AT TE E SS
The show staged at Pillar Hall in London’s Olympia. The clothes were rich, colourful and romantic. This decorated tasselled scarves, softly buckled boots and asymmetric bloused tunics with full sleeves, worn under bicorne hats and over petti-drawers based on 18th century underwear. There was humour to Westwood’s designs. A t-shirt with a tube connection each breast. Malcolm linked the new collection ‘Pirates’ with the band Bow Wow Wow. More widely the idea of the collection connection to the burgeoning New romantic movement in London’s club culture. Three months after the debut of ‘Pirates’ Diana Spencer and Prince Charles married in a widely romantic taffeta ballgown, to a global audience of 750 million. At the time her collection was offered for sale on mainstream retailers including Bloomingdale’s, Bendel’s and Mercy’s in America and Joseph in London. They also debuted in british Vogue. This show truly began Vivienne Westwood’s career as a fashion force.
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‘ It is not possible for a man to be elegant without a touch of femininity.’ Vivienne Westwood
GET A LIFE
Spring/Summer 2010. ‘Get a Life’ is the provocative title Vivienne Westwood gave this collection, tied with her interests of conservation, continued reading of the work of James Lovelock and of course the life of the planet. Vivienne’s inspiration came from a Greek earth goddess Gaia in mythology born from Chaos. Westwood reprised her own seditionaries ‘Anarchy’ shirt, bleached stripes and ‘Chaos’ branding intact. This version was rebranded as an ‘AR’ shirt. It was even presented to a soundtrack of Sid Vicious’s rendition of Frank Sinatra’s ‘My Way’.
This was the second of Westwood’s collection espousing Lovelock’s ecological theories. A continuation to be inspired by inventive ways of dressing not just to reflect on the environmental crisis but to aid in deflecting it. ‘Do it Yourself’ and ‘Buy Less’ were Westwood’s stances much to the chagrin of both mainstream and many fashion writers. In her punk years Vivienne knew how to get under the skin of establishments of ortherdox thinking.
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GET
For Vivienne in the 21st century the ecological crisis was tied up with a cultural crisi: stopping climate change and stepping off the customer treadmill could arguably effect the same result. Alongside DIY gestures such as ribbons of cloths tied haphazardly around the body allowing the wearer to compose their own graphic collages. There were grander themes at play. One of the print was inspired by a tapestry of a hunting vignette. They set the forest on fire by scribbling over the scene. Frilled sleeves and full skirts. The evening wear which was less overblown looked brilliant being tucked around the body to previous but proudly unfinished affect.
LIFE
Vivienne Westwood’s models reflected her Rococo ideal of beauty. With powdered faces and high teased hair, even punkish clothes. They had orange hair dye and ostrich feather featured throughout their hair. A visual comment on global heating and the need to cool the planet. The DIY wasn’t just an aesthetic statement it extended to direct action. She urged her audience to contact politicians and sign partitions to save the rainforest. Westwood’s preferred was Prince Charles's rainforces 28
WORLD
WO
WIDE
MEN
The power of the feminine and the agency of women is a recurring theme in Vivienne Westwood’s work( Autumn/Winter 2011). In the 1980s, against a fashion scene of masculine female bodies she glorified curves. Vivienne’s work has celebrated two women more than any other. Political influential women of the era were Queen Elizabeth. Of course, in recent collections, the idea of Westwood’s women had also extended to encompass Mother Earth.
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Women
Vivienne expanded the message behind her collection with the title ‘World Wide Women’ and through the clothes and in words. She introduced the collection with these words ‘Traditionally and in general, men have been the pioneers, women the civilizers; they have had the vast responsibility in educating their children, they are the centre of the homes, bringing sweetness and delight, stability and refinement; they are the guardians of culture, most importantly in their creation of the salon. It is women who forge the bonds of society.
Westwood has frequently said that she dresses women to look powerful and that is important for her. ‘You have a much better life if you wear impressive clothes’, she once stated. She showcases the power-dressing with overtones of masculinity. Westwood’s clothing this season that oscillates between armour like tailoring and tender evening dresses. Wearing underscored helmets and war-paint, golden brocade was woven with the faces of medieval icons. Yet all remained feminine.
WORLD WI DE
Vivienne Westwood also stated that ‘World Wide Women cultivates her values for the sake of our planet and all who live on her…’ This season advertising campaign was photographed by Juergen Teller in Kenya. In celebration of collaborative work Westwood had begun on bags and woven fabrics with the Ethical Fashion Initiative of the International Trade Centre. A joint agency of the United Nations and the World Trade Organization.
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WAR AND PEACE
Confucian culture, desert wastes and corestry from the court of Charles II. Spring/Summer 2012 collection drew right back to her 1980s combining ethnic-inspired cuts with historical swagger. Lace collars and off the shoulder necklines of the late 1600s with references to Chineses and Tuareg dress. Instead of doing corsets that she had done in previous collections Westwood and Andreas Kronthaler wanted the silhouette to be more oversized in the structure of a corset. The garments are more bulked out. Westwood wrote in her notes ‘I thought i could give them a feeling of armour; worn as a jacket they would look tough like a soldier or a biker’.
WAR 35
The corsets found a counterpart in long, romantic dresses with a period feel. One of Westwood’s favourite looks was the 17th century women’s portrait’s. Later in an interview Vivienne stated that the corset gives a feeling of somebody’s mistress pretending to look like a Greek goddess.
PEACE
Westwood’s interest in environmental issues was on display in the ‘Family Tree’ handed to every attendee. It connected the earth's goddess Gaia with science offering an alternative view of a world born from the marriage of progress and quality. The former to art as a pinnace of ‘quality’ in human achievement. The collection notes stated ‘Art Lover is a Freedom Fighter for a better world’ - a neat connection of Westwood’s cultural interests with her ecological crusade. In the spirit of family Westwood brought out Kronthaler in her final show.
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WAR
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PEACE
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OUR
Vivienne Westwood is building a modern brand. The brand is one of the last independent global fashion houses in the world. Vivienne Westwood’s collection, collaborations and catwalks promote protecting the life of Mother Earth, Gaia. The brand strives to make clothes with care and to promote Art and Culture. Also using Vivienne Westwood’s voice to mobilise people around Climate Change and Human Rights. There approach is based on three areas of work: QUALITY OVER QUANTITY GAIA ART & CULTURE
Using the brand's voice they raise awareness of the environmental impact, urging people to buy less and buy better quality clothes. While also making the clothes that meet that standard. They strive to make quality products that respect people and the environment. By focusing on the four key areas: Craft and Heritage, People Power, Materials and Processing and Reimagining Waste. CRAFT AND HERITAGE Traditional british textiles and Savile Tailoring have informed and influenced Vivienne’s work since the 1980’s. She has also collaborated with local industries. The brand still works with small skilled business such as Harris Tweed and Lochcarron of Scotland. Together for the past 30 years they have created iconic global looks and products.
PEOPLE POWER Vivienne Westwood respects Human Right of people who make their brand what it is today. Their supply chain workers, heritage partners, employees, customers and the wide public. The brand wants to be a responsible employer who provides desirable jobs and fair wages. Help employers develop skill and talent. Also have support groups. Committed to working with partners that share the same values. The brand have adopted a Code of Labour Practice and Modern Slavery Policy; within which they are very clear on the standards that they hold themselves and there suppliers to. Their Code of Labour Practice is based on the conventions of the International Labour Organisation. The modern Slavery Statment set steps out to ensure that slavery and human trafficing is not taking place in there supply chain or their own business. The brand is a member of Sedex a platform for sharing responsible sourcing data on supply chains. The membership helps the brand manage labour standards, supply chain monitoring, health and safety.
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APPROACH
MATERIAL AND PROCESSING The brand aims to source raw materials and have minimal effect on the environment. Animal Welfare- They are committed to upholding the highest animal welfare standards in their raw material supply chains. Based on the internationally recognised ‘Five Freedom’ for animal welfare. Blended Fibers- reducing the use of blended fibers as they are difficult to recycle to a high value. Certifications- Working with the following certification and standards for textile sourcing. Soil Associations, Global Organic Textiles Standards. Cotton- 96% of the cotton jersey that the brand uses is made from certified organic yarns. The brand is working to make this 100%. Committed to using organic cotton shirting made from certified organic yarns in 80% of their products in 2020. Dyeing- give preference to low impact dyeing and finishing techniques. Using GOTS dyeing and processing where possible in their silk supply chain. Exotic Skins- Does not permit the use of exotic skins in their products. Fabric Innovations- the brand actively researches and sources the latest sustainable fabric/fibre innovation. For example Coir (coconut fibre), Nettle, Lenzing Modal and Tencel. Fur- Vivienne Westwood dyes are not permit the use of fur in their products. Greenpeace Detox- In 2018 the brand initiated a chemical improvement process with Greenpeace Detox. Texmoda Tessuti who are taking measures to eliminate all the hazardous substances from production by 2020. Hazardous Chemicals- The dyeing and processing is done in compliance with REACH. The brand takes guidance with REACH for a Restricted Substances List. HEMP- Increased the use of fabrics such as hemp. It controls erosion of topsoil also produces oxygen and uses less water in cultivation. Packaging- The packaging is plastic free and made from FSC certified card and paper. In store packaging is made from 40% recycled pulp, 25% leather by-product and is produced with 100% green energy. Plastic- Eliminating all single- Use of plastic from transit packaging and use shredded card made from used boxes for protective inner packaging. The brand is working on changing the plastic coat hangers. Polythene garment covers to more sustainable alternatives. Synthetic Fabrics- The brand increasingly reducing their use of polyester and acrylic fabrics. Opting for natural or recycled alternatives. Tanning- increasing the use of leather that is processed using environmental friendly dyeing and tanning techniques, chrome-free and vegetable tanned. Viscose- the brand is part of the Canopy Style initiative (ensuring no fabrics made from dissolving wood pulp are sourced from ancient and endangered forest areas) and have committed to only using FSC certified viscose by 2021. Wool- 50% of the wool that the brand uses is from non-museled sources. Aiming to increase this to 75% by 2020 and 100% by 2021.
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Vivienne Westwood has many competitors. Gucci, Selfridges, Farfetch are all brands that sell similar products that have a signature look. Farfetch is an online platform that connects customers to sellers of luxury products. It was founded in 2008. Gucci is a fashion Italian brand founded in 1921. Making it one of the oldest fashion brands in Italy. The brand started in a luggage manufacturer producing travel goods to the wealthy upper class. Selfridges, also known as Selfridges and Co, is a chain of high end department stores that are in the UK. The brand was founded by Harry Gordon Selfridge in 1908.
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COM TIT
PE OR S
Other brands that can be considered as competitors are Alexander McQueen and Zandra Rhodes. Alexander McQueen is a brand foundered in 1992. The brands first collection developed a reputation for controversy. Shocked the nation with their wild designs. Zandra Rhodes is one of the UK’s most recognisable brands. Also the best-known designer. Her brand developed during the punk aesthetic in London. It defined the style during 1970s and 1980s.
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VIVIENNE
Demographics Name- Alice Louisa Middleton Age- 30 Gender- Female Occupation- Magazine Editor Income Status- £20,321 per year Geographics Country/Region- London, UK Urban/Suburban- City Property Type- Flat Climate Type- Cold, Warm
Psychological Habits- Shops a lot weather that be in store or online. Always binge watches the same Netflix shows. Lifestyle- Extrovert, loves going out to party and meet new people. Interests- Follows fashion, baking, music and art. Values- Her life is her family and boyfriend. Also has a dog and loves animals. Is a spiritual person.
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CUSTOMER
PROFILING
WESTWOOD
Customer profiling is way to create a portrait of customers so that the brand can make decision based off who you are and your needs. The customers are broken down into groups of customers sharing similar goals and characteristic s. Each group is represented with a photo, a name and description. This is based off Demographic, Geographic, Psychographi c and Behavioural.
Behavioural Alice is a very loyal customer to all the brands that she buys from. Other brands that she shops at are Selfridges, Prada and Chanel. Alice always keeps up to date with Vivienne Westwood's new collections. As she has signed up by email she receives personalised emails. That tell her when there is money off and what to expect next. Alice follows the brand on social media for example Instagram. She has
Design The design stage is where designers use there research to create their first initial design. This will correspond to there theme and research. Giving the designer time to explore ideas and designs within the theme. They usually design on a drawn figure. On these figures they show the colours, fabrics and textures. They will include this in there final design.
Design Process
Research The first stage of the design process is the research. Designers look at the trends and fashion forecasting. They research these to get new ideas for the silhouette, colours and textures. Following this research designers will then choose a theme. Their are all different themes that designers can choose for example a narrative, conceptual and abstract. A narrative theme can be based off a story. A conceptual theme can be a variety of different sources that all go together because of one thread. An abstract theme is where you work with a shape or a word. The shape could be floral.
Development The development stage is where the designers develop there designs even further from the first stage. This will usually include buyers and get samples for the clothing so they have a general idea of what the garment will look like. Also alter any details or shapes to best fit the garment. Selection The selection stage is where any final changes need to be made so that the designs are ready for the buyer and brand. Also do a wearing test and customer profile to ensure that the design is at it’s best standard. This is the final stage before the designs are sent to manufacturer. Realisation The realisation stage is where the final products are sent to distribution centres where they go through QC checks to ensure all garments are to a good standard. Then they are sent to retailers or influences in press packs. This is to ensure that the customers approve the new products
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A customer profile is a good way to identify who your designs are made for. As I did a customer profile for Vivienne Westwood I will do a customer profile for my own range. As I am doing a collaboration with Vivienne Westwood I will make my designs suitable to her customers as well as my own.
CUSTOMER PROFILE
Psychological Habits- Loves shopping for new clothing especially when it comes to events. Always shops at Vivienne Westwood. Has the film Mamma Mia on replay when at home. Lifestyle- When not at events Dream is a introvert likes to spend her time with close family. Values- Her family, children and husband. Also is a very spiritual person. Demographic Name- Dream Florence Age- 40 Gender- Female Occupation- Singer/Songwriter Income Status- £50,106 Geographics Country/Region- UK,London Property Type- House Climate Type- Cold,Warm
Behavioural
Dream Florence is a very loyal customer to Vivienne Westwood. Such as wearing her garments to events, premieres and red carpets.as she is a loyal customer she will trust any collaboration that Vivienne will make. Dream would be a good customer to my range as she is devoted to finding new and upcoming brands. Other brands she shops at are Prada, Chanel and Balenciaga. Always keeping up to date with my new collection and Vivienne Westwood’s. Following the brands on social media also being signed up with her email to receive personalised mail. Dream doesn’t return garments as some are custom-made for her. Buying gifts for her family she like shopping in store.
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SWOT What is SWOT? SWOT is used to recognize the strengths, weaknesses, opportunities and threats of a brand. It’s used so that businesses can identify directions for the future. The report can include things that the brand and staff do. For example what they are known for, generate business and reputation and what causes customers to come back and repeat business. Also making the business try and learn from their mistakes. I have done a SWOT report for Vivienne Westwood. Strength- Vivienne Westwood is a world wide acknowledged brand having stores all over the world. The brand has a recognisable and distinctive style including the name and logo. The business has a variety of products from jewelry, bags , dresses and shoes etc. Weakness- Vivienne Westwood has a very unique style that customers may not like or suit. Having to compete with other brands whilst still keeping their well known image. As knew trends may not suit the brands identity. Opportunities- Vivienne Westwood having an impact on the environment by contributing different strategies of how they make clothing more environmentally friendly. Also impacting human rights by having support groups for employees. Some of the brands collection showcase women's right this empowers female customers. The brands growth stays regconisable. Threats- Any new upcoming brand may intimate the brands image. Changing in trends may affect the brand even through Vivienne Westwood tends to be trend setters. Economy changes could affect the brand.
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PESTLE Social Political Social is how we adapt to the new trends. For
example due to covid people were stuck inside. Politics has inspired the So therefore online marketing and purchasing fashion industry in different ways for example suits. Wearing suits was a fashion statement as it showed that was more popular this has continued as we went through the pandemic. The women can wear them as well as men. shops in the high streets have shut due That was a big trend in the 80s when Margaret to this. More Thatcher was prime minister. brands and stores changed there This was a big movement as clothing to mor suits were a sign of power. It also e lounge and sports reflects on society and people's wear. As people weren’t going anywhere to wear the clothes. views and rights. For example People just wanted to be comfortable. LGBTQ and womens rights. Also with brexit the prices of clothing has increased as we are not part of the EU anymore. The UK pays 1 billion each year Another factor is branding. Having branded to import clothing. clothing is not such a trend anymore. I feel that for females day to day clothing isn't Economics always branded. Where as for males it is trendy to have branded clothing. To show Economics is the cost of living. How there isn't you have money. This also creates a lot of enough money to buy clothing. As much pressure on parents to be able to afford the as clothing is a necessity not every family has clothing and make their child happy.A huge the income to follow fashion trends. As they trend now is gender neutral clothing. This need to prioritise house bills and food costs. is inspired by David Bowie, Freddie Mercury and recently again with Harry Fast fashion is a massive part of people being Styles. able to afford clothing.
This is because the process of making the clothes is cheap therefore brands can afford to make there prices more affordable. As there products are always being supplied.
Legal & environmental There are strict rules on how we manufacture our clothes in the UK. Including# working conditions and minimum wage. This is why most brands will source abroad this makes it cheaper but makes more profit by cutting corners. Fashion is the second biggest polluter in the world. Creating a carbon footprint. 80% of the population in the UK buy clothing that they don't wear. This is sent to landfill and is detrimental to the environment. Sustainables fashion is where brand take care of the environment while making and selling clothing. This also means that the employers are not exploited. Or that the resources are recycled and good for the environment.
Technological This links with social where everything is online now. Social media plays a big part to. How certain apps know exactly what you like due to the algorithm. This keeps you updated with trends and makes you want to use the app again or the website. The VR sets are used as your personal dressing room. So virtually you can see the outfit on you without even trying it on. This technique can be used in some catwalk shows. So the de signer can visually see what it will look like. To be able to plan further. The future will be robots and humans will not be needed for making clothes. It will all be done by computers this will make it cheaper to make.
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Interview As my designs are for people who are middle aged I thought I would interview my Mum as she is 52 years old. With this information I can reflect on my designs and how they fit with the age group. Who do you follow in the fashion industry? Vivienne Westwood as she expresses herself through her fashion. Mum also feels that her work is a form of art. Who are your favourite brand? Mum’s favourite brands are Next, Monsoon, Zara, Chanel and Vivienne Westwood. What colours do you feel best suit the Alice In Wonderland theme? Colours that suit the Alice in Wonderland theme are vertebrate colours for example, blues, orange, purples and a touch of black. How do you define fashion? Mum defines fashion as a way of expressing yourself and wearing something that makes you feel good in your own skin. No matter what shape or size you are. Fashion doesn’t always cater for every age and still have sizing problems. What is your personal style like? Mum’s style is hippie, floral vibes, flowy skirts and dresses. Also loves a flare trouser with a nice top. What style of fashion interests you (something you wouldn’t wear in day to day life)? Mum wishes she could wear some of Vivienne Westwood's design. To have the confidence to and the financial ability. What style of dress do you feel best suits you? Mum feels the best style of dress that suits her are maxi dresses. Prephers a floral print as it makes her feel more feminie. What are your thoughts of today's sizing in fashion and shops?
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Mum is not impressed that the fashion industry still mainly carters for the silmer model. Each shop is different with sizes meaning that a Next size 12 could be a H&M size 16. Each shop seems to have their own size grid.
SURVEY 50
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I made a survey for the students in my class. The results of this will let me reflect on the work that I have done or that I will do. Also to get other people’s thoughts on my work. In people’s opinion Emma Chamberlain, Zendaya, Rihanna and Lily Rose Depp are the most stylish celebrities. The most used social media are tick tock and instagram. Finally the last question was ‘What would you expect to see in a Alice in Wonderland range?’ The feedback I got was for the range to be colourful, funky patterns and the inspiration to be playing cards. For the silhouette people said a 1960s ball gowns. All this information i will take on board when i design.
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Alice In Wonderland is about a young girl who visited a magical underground which she revistis as a teenager. The girl is the main character Alice. Alice has no memory of the place except in her dreams. Her life changes as she has a garden party for herself and fiance. She spots a white rabbit and stumbles down a hole after him. She becomes reunited with friends the Mad Hatter, Cheshire Cat, Tweedledee, Tweedledum and others. Alice realises that her destiny is to end the Queen of Hearts regin of terror. Alice has an adventure from taking potions to make her small to fit through tiny doors. Wanders through magical gardens. Having Tea Parties with the Mad Hatter and his friends. Also nearly getting her head topped off by the Queen of Hearts.
In my Vivienne Westwood research I have learnt that she does her part to save the world from human trafficing, animal cruelty and climate change. Standards are high on themselves and their suppliers. The brand has a Code Of Labour Practice which is based on International Labour Organisation. It sets out that human trafficking and modern slevery is not taking place in there supply chain. The brand also reduces the use of blended of fibers as it is difficult to recycle. Also that the brand has many competitors for example Gucci, Selfridges and Zandra Rhodes. That her boutique in King’s Road,London has had many different names. Vivienne and Macolum changed the stores name each time she had a new collection out. I find Vivienne Westwood empowering as she has worked so hard to get where she is today. This showcases her dedication and determination to never stop. I have decided to collab with Vivienne Westwood as her clothing is creative and freeing. She views her work as art and I love that perspective on fashion. Any collection that Vivienne creates their is always a message behind it for example: ‘Sex’ was about adressing the sexual taboos and for young women to be comfortable in their own skin. ‘Wide World Women’ was about the power of women. To celebrate different body types. Also showing political women and how strong they are. How the world is ran by Mother Earth. My inspiration which is Alice in Wonderland fits well with her brand. As it is fun, unique and quirky. I wanted my inspiration to be freeing so that with my designs I could do whatever I want. Next I am moving on to research my inspiration. I am going to put words together that come to my mind when I think of Alice In Wonderland. I will do digital 10 moodboards to show my inspiration and the colour pallet. Then make a mood board and fabric board from samples off online.
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48 Alice bottle’s/potions Mad Hatter
Tweedle Dum
Tweedle Dee Tea party White Rabbit Caterpillar Cheshire Cat
Old Books Set of cards Clocks
Queen Of Hearts Colour Tea cups/pots Mushrooms Flowers Heads
Time
Quirky
Alice In Wonderland
Flamingos
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Its Always Time
For Tea!
IT’S ALWAYS TIME FOR TEA
ALICE THROUGH THE LOOKING GLASS
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FABRIC BOARD
THEME BOARD
Bibliography
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Drury, C. (2019). Jordan poses at Vivienne Westwood’s SEX shop: “I’m not sure why I lifted my top, but it felt right.” [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2017/nov/10/jordan-vivienne-westwood-sex-shop-photo. Campbell, N. (2022). Naomi Campbell Meets Vivienne Westwood | British Vogue"}],“accessibility”:{“accessibilityData”:{“label”:“Naomi Campbell Meets Vivienne Westwood | British Vogue by British Vogue 2 years ago 16 minutes 358,908 views”}}},“longBylineText”:{“runs”:[{“text”:"British Vogue. YouTube. Available at: https://www.youtube.com/results?search_query=british+vogue+viviene+westwood [Accessed 25 Mar. 2022]. JP (2010). THE FILTH & THE FASHION | VIVIENNE WESTWOOD’S ’70s SEX RAG REVOLUTION. [online] The Selvedge Yard. Available at: https://selvedgeyard.com/2010/10/07/the-filth-the-fashion-vivienne-westwoods-70s-sex-rag-revolution/.
www.google.com. (n.d.). vivienne westwood sex range clothing - Google Search. [online] Available at: https://www.google.com/search?q=vivienne+westwood+sex+range+clothing+&tbm=isch&ved=2ahUKEwi5yuHqo qz2AhVF44UKHXcBBIcQ2-cC. Kids of Dada. (n.d.). SEX SHOP. [online] Available at: https://www.kidsofdada.com/blogs/magazine/11950453-sex-shop#:~:text=Rising%20to%20the%20ehttps://www.kidsofda da.com/blogs/magazine/11950453-sex-shop#:~:text=Rising%20to%20the%20era%27s%20sexual [Accessed 25 Mar. 2022]. Nast, C. (n.d.). Andreas Kronthaler for Vivienne Westwood Spring 2012 Ready-to-Wear Fashion Show. [online] Vogue. Available at: https://www.vogue.com/fashion-shows/spring-2012-ready-to-wear/andreas-kronthaler-for-vivienne-westwood/slideshow/collectio n#24 [Accessed 25 Mar. 2022].
Designer Fashion for Women - Shop Designer Brands at FARFETCH GUCCI® UK Official Site | Redefining Luxury Fashion Designer Fashion, Accessories & More - Shop Online at Selfridges Westwood, V. (2018). Our Approach | Vivienne Westwood. [online] WWW.VIVIENNEWESTWOOD.COM. Available at: https://www.viviennewestwood.com/en/our-approach/. www.posterlounge.co.uk. (n.d.). Finlay and Noa - Lewis Carroll Quote, Alice in Wonderland. [online] Available at: https://www.posterlounge.co.uk/p/715598.html?gclid=CjwKCAjwopWSBhB6EiwAjxmqDfRW w2Z82CgHWk5IAzAf9kxDgyW7G_gp3hJ6DnWWBBvVHaL74Le9yRoCGkYQAvD_BwE [Accessed 31 Mar. 2022]. I used the book ‘Vivienne Westwood, catwalk’. Then for ‘Sex at te World’s End’ i again used a biograpgy of Vivienne Westwood which is by Vivieene Westwood and Ian Kelly. Pinterest. (n.d.). Flower by ValentinPerrin on deviantART | Fotos de rostro, Retrato de belleza, Fotografia arte. [online] Available at: https://www.pinterest.co.uk/pin/12947917671035282/ [Accessed 6 May 2022]. WWW.VIVIENNEWESTWOOD.COM. (2019). Worlds End | Collections Worlds End Campaign | Vivienne Westwood. [online] Available at: https://www.viviennewestwood.com/en/collections/worlds-end-campaign/.
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