Dissecting my 360 campaign and its projected collaborators has proven advantageous for showing me the importance of critically analysing concluded decisions. I have addressed any limitations, resolved them, and now progressing with my journey to ensure the campaign remains fitting for the specified assignment.
Towards the end of the last module, I wasn’t entirely satisfied with where my project was going, it felt over complicated. I admire the depth I went to in curating it, but I am now directing my focus on establishing something which continues to challenge me significantly but is coherent from an outsider’s viewpoint.
Analysing my ideas and choosing to alleviate both Jil Sander and Mateo Velasquez, has driven me to an avenue where I only have a collaboration between Charles Jeffrey and the music industry presently. I plan to pursue a target consumer of Generation Alpha and maintain my market as luxury through a conceptual lens, but I must now proceed my route in searching for an accompaniment to compliment Charles Jeffrey’s subcultural club night styles as well as bringing forth a modified gap in the market which can be bridged in completion of the latter.
In discussion with my mentor Tracey Hall, I expressed my passion for non-conformity and producing something which was statement- perhaps creating a pivotal movement which can be fictitiously recollected years down the fashion line. Delving into the history of protest fashion, its key influences and HOW I can lreinterpret the findings I compile is my next detour which I feel may gravitate me into a new direction of knowledge and ideas.
Fashion- “a popular or the latest style of clothing, hair, decoration, or behaviour.” Activism- “the policy or action of using vigorous campaigning to bring about political or social change.”
“In understanding fashion as means of communication and articles of clothing encrypted with powerful messages shaped by social and historical value systems, scholars define fashion activism as the visual representation of social political beliefs and ideology to achieve change.” (Haynes,2021)
As I immerse myself within this course, I realise I am just as much a communicator than a marketer. My research emphasises the depth I look into for navigating a niche and finding minor details. I search far and wide for answers and have a vast fascination for the history, semiotics and stories behind imagery and collections. I am intrigued to push a greater focus on this and establish a depth within my creativity aspects too as I believe communication is an incredibly strong skill to master, but when done effectively, creates a powerful connectivity between the outcome and the target market. Something I am determined to achieve.
Fashion Activism- an unspoken act with forceful impression. Protest within clothing has circulated for centuries as a communicational uniform and solidarity between individuals to express opinion, emotion, and values as well as reclaiming their identity. Often, cultures and their traditions are subverted to create controversy, and this has been a prominent influence for establishing conversation ever since.
The Sans Culottes of the 18th century French Revolution had an undeniable impact on society for their political radicalism and violent nature. Associated as the inferior, the militant group were disgruntled with the severe living conditions during the Ancien Regime and aimed to overthrow the aristocracy.
As the face of a revolution, the working-class ‘mob’ utilised their clothing as a symbol of freedom instead of oppression, “their working-class trousers served as shorthand for their radical pride in their humble origins and egalitarian values” (Chrisman-Campbell, n.d). Through looser fittings, short jackets, wooden shoes and a red cap of liberty, the Sans Culottes overthrown former customs of aristocratic breeches over stockings and fashioned their slouchy styling as a badge of honour. “The people had found a voice and suddenly the ordinary, the “artisans and peasants”, became extraordinary” (Werlin, 2017) thus demonstrating how the power of clothing and its ways of communication have in proving a statement of frustration which further converted the wealthier of the time to fear the ones they once looked down upon.
Researching into the Sans Culottes deeply inspired me since they have such great relatability to what Generation Alpha are enduring presently. Despite not associating themselves as a deprived class, Generation Alpha is deprived of support from the government and feel failed by the society decades before them. They have the same anger of the Sans Culottes and will want to utilise their individualistic and activist spark to make this known. How the Sans Culottes presented themselves wasn’t entirely radical, they homed in on what made them different from everyone else, which was their lack of luxury and angry demeanour, acting on this to create fashion history influencing today’s trends and runway experiences.
Perhaps this is an approach I should consider within my styling- what makes Generation Alpha disparate?
Progressing forward, I feel further research is necessary to determine what Generation Alpha’s ‘difference’ is to civilisation today and how they can home in on this to portray the shock factor as the Sans Culottes once did.
Figure 1 : (Llewellyn, 2020)The Suffragette Movement was highly acknowledged for its powerful standpoint for femininity and women’s rights. The female activists of the 20th century fought long and hard to receive voting eligibilities, adopting to strategies of art, debate, propaganda, and attack in a ‘deeds not words’ approach (Museum of London,2021).
Their visual identity was also significant in their success, using fashion as a mode of provocative and cohesive communication. The Suffragettes resolved to wearing shades of white (typically associated with chastity and innocence) to present an image of an ‘advancing army’ as well as a perceived subversion of its connotations. Despite being categorised as a stripped back shade, the white outfits appealed visually to the black and white prints which featured upon front page covers, thus allowing all focus to be on them.
The Suffragette’s approach to fashion highlighted a strong unity and comradeship with the women involved, yet I believe there was a strategic technique to this manner too- “They sought to effect change not by challenging contemporary fashion and ideals of femininity, but by conforming to them” (Blackman, 2015). Whilst research on protest fashion often accentuates a defiance to conventional dress norms through styles which stimulate astonishment, it ought to be recognised that the Suffragettes actually exercised their polished style and elegance to diminish judgment, and to, rather, align themselves with what was orthodox within this period.
I want to take this finding forward with me towards my FMP, in understanding that protest dressing doesn’t always have to be outlandish and shocking to create a voice, it’s the messaging and strategical communication which ultimately emphasises frustrations. In comparing the Sans Culottes and the Suffragettes, I can discern a definitive difference in their approaches to protest fashion and curating exasperation through garments; it’ll be interesting to observe which avenue relates to Generation Alpha most today.
Regressing to the early 1980’s and a continuation of the 70’s societal crisis, Katharine Hamnett London became eponymous for its eclectic and disruptive garment designs which pioneered as a tangible advocate for vigorous frustration.
Fabricated in 1979, by Central Saint Martin’s graduate, Katharine Hamnett, the now 75-yearold British Designer, was notorious for being the face of many front-page headlines due to her daring and provocative attitude towards protest fashion. She was labelled as a “bad girl with integrity” (About Katharine Hamnett. Biography, n.d), a title which demonstrates her passion for being controversial; for creating awareness surrounding the dangers encircling the future of the industry, but in a methodology which was sure to open eyes and spark conversation.
Her movement ironically united with a decade of youths distinguishable for their mutinous acts and stood as a voice to a disenfranchised generation (Woodward, 2017) on matters like homophobia, animal protection and nuclear power. Renowned pop culture talent like Mick Jagger, Madonna, and Boy George, all of whom share a dissenter outlook, were great fans of Hamnett’s defiant designs too.
Transparency was the kernel of Katherine Hamnett London since it relaunched in 2017. During her departure from mainstream industry, Hamnett educated herself of the true cost of fashion which encountered environmental degradation and human suffering. Her discoveries pushed her to reimagine the brand as well as her advocacies, to emphasise her commitment for change and to strategically empower through endless campaigning and contentious advertising.
In 1981, Katharine Hamnett unveiled the first slogan tee which became an eminent trend and talking point of the decade as well as central DNA to her brand. The angered energy of society was paraphrased onto plain t-shirts in large block font, enunciated by Hamnett to be “the same typeface as The Sun newspaper, so it would be unmissable 200 yards away” (Hamnett, 2018).
One of her most audacious career moments was performed in a slogan tee which quoted “58% DON’T WANT PERSHING”, (figure 2) a contest of the decision to allow the stationing of US Pershing missiles in Britain. This was worn to a reception with former Prime Minister Margaret Thatcher- I believe an extremely powerful act which secured her the necessary headlines and publicity she desired for- emphasising to me the strong capacity of radical marketing.
However, I believe I could take inspiration from Katharine Hamnett in reference to her out of box thinking and extravagant nature towards societal circumstances and implement it within my FMP outcomes to orchestrate a campaign which does shock and present a controversial stance within the industry currently.
“T-shirts are some of the strongest messaging tools for consciousness raising” (Hamnett, n.d) I agree with this statement to some extent. At the time of the Thatcher-Hamnett affair, protesting within tees were new on the scene, thus receiving the noticeability it did. Today, such strategies would fail to present the same shock factor.
Figure 2 : (Guardian, 2018) Figure 3 : (KatharineHamnettLondon, 2019))
Leading advocates like Stella McCartney also use fashion as a voice for activism through collections and campaigns.
The English fashion designer is “a product of the arts” (Taylor M, 2020) with her parents notably popular in the public eye. Her father Paul McCartney has influenced his eclectic and creativity essences into her fashion spirit, whilst her mother is perceived as the muse for her brand and its values. As an outspoken animal rights activist, McCartney’s mother infused her knowledge and thirst for an animal cruelty-free world into Stella from an adolescent.
Since graduating Central Saint Martins in 1995, McCartney’s style of sharp tailoring and nonchalance has been underpinned by a vegetarian fabrication- a core component of her brand. The 51-year-old designer continues to use her platform as a foundation for advocacy and education, pushing this through collaborative partnering’s to amplify her messages further.
I believe the FW20 runway from Stella McCartney profoundly demonstrates her activist nature. Whilst still invigorating a care-free spin to her show, McCartney ushers a significant message to the audience and through sartorial references, the British Designer insinuates a less provocative manner and a fresh strategy to protest fashion.
The Opera Garnier in Paris saw models flaunting the catwalk in animal costumes- a distinct irony since the “typical” animal on the runway comes in the shape of a bag, fur, or feathers. The ‘animals’ presented the audience with baby trees attached with labels reading “we should all be carbon neutral now”.
Not only is this a memorable experience for onlookers to receive and learn from her messages, but in giving the trees, it urged guests to plant them, thus assisting the offset of CO2 produced by the show.
In an article from The Guardian, McCartney quotes “what we try to do here at Stella is to sugar-coat a powerful, meaningful message in a little bit of humour and fun, to make our point palatable and digestible way so that people listen” (Cartner-Morley, 2020).
I feel this is a unique mode of catering to a consumer today, by enlightening them in a joyous way whilst proving a point. I appreciate the singular methodology behind Stella McCartney’s visions and the consideration she interposes to ensure her messages appeal to a younger generation as well as cater to the niche of her unfussed aesthetic.
When next looking into Generation Alpha, this is something I must consider too- what approach would they want and why?
Figure 4 : (British Vogue, 2020) Figure 5: (British Vogue, 2020)Katharine Hamnett’s strong influence within the industry has continued to translate into designer’s fashion collections today. For her SS21 Shared campaign, Stella McCartney centred on the current generations optimistic attitude for a brighter future and collaborated with Japanese contemporary artist, Yoshitomo Nara, to produce a wearable gallery of garments containing graphic sets and organic cotton tees. Alike Hamnett’s designs, McCartney’s collections were blanketed in slogans including “we are punks” and “don’t waste another day” yet through a playful and bright composition.
McCartney’s ‘rebellious’ features appear less provocative than the stripped back boldness of Hamnett’s, as represented in figures 4 and 5. In comparison to Katharine Hamnett, it is perceivable that McCartney’s work accommodates to a younger generation, associating herself with upcoming names and changemakers, paving a way for the next youth to learn and continue her legacy and education. The employment of Nara was effective, I believe, since his storytelling parallels with McCartney’s in which the collaboration, therefore, carried a mighty, protesting substance. Nara has a signature style which “expresses children in a range of emotional complexities from resistance to rebellion to quietude and contemplation- celebrating the introspective freedom of the imagination and the individual” (Pace Gallery, n.d)- highly
evident in his anime-like illustrations which offer a crayon-drawn aesthetic. In collaborating together, Stella McCartney and Yoshitomo Nara created a successful novelty which has recently (December 2022) seen a second capsule collection- showing how effective this type of marketing is with a Generation Z audience, thus urging me to continue with the notion of collaboration within my FMP.
I believe the employment of model Iris Law (daughter of Jude Law) as face of the campaign was efficacious too in establishing noticeability and connections with Generation Z. This is something I should continue to consider- would working with an influential figure be beneficial for promotional tactics?
Figure 6 : (Stella McCartney Website, n.d)
Figure 7: (Stella McCartney Website, n.d)
In the first year at FMC, I was introduced to the avant-garde frivolities of Kawakubo’s designs for Comme des Garcons; I was confused to say the least. See, I am not ashamed to say I accustomed myself to the trend-driven brands when coming into university. And, when learning of such brands (like CDG) you begin to question WHAT THE IS THIS?! I know I did. I was naïve, believing I knew the ins and out of good fashion. How wrong was I…
My perception has changed incredibly now.
I see fashion through a new lens. A conceptual and innovative outlook which nit-picks the how’s what’s and why’s to a designer’s methodology.
My understanding and appreciation for the unique is substantial and I am profoundly lucky to have had the opportunity to explore such designers further in this setting. I now search for these outrageous and novel collections and have a broad keenness to dissect their stories. Something I never thought I’d say!
Rei Kawakubo approaches protest fashion through her own abstract scope. As founder of Comme des Garcons, Kawakubo has displayed deconstructionist style and unconventionality in fashion since 1969. An abstract from the book Critical Design In Japan: Material Culture, Luxury and the AvantGarde reads she “engaged with the politics of the body and identity and countered the aesthetic discourse and pressive values imposed by the fashion world through dress patterns and fashion photographs that presented women with an imaginary ‘ideal’ body” (Bartel, 2021).
Personally, I didn’t perceive Kawakubo as a ‘protest fashion’ leader. However, in reading the ideology behind the above concept, then conducting further research (particularly looking at her work from this angle) I can wholly respect the reasoning behind this title!
Kawakubo’s designs, to me, are a liberation. A freedom from the confinements and cultural/ social conventions of how one should look today. Her work for Comme des Garcons has a limitless approach to anti fashion, in that there are zero boundaries as to what one should create and conform with.
Contrary to the mainstream, the Japanese designer homes in on her visionary and defying perceptions to amalgamate outlandish shapes, asymmetrical pieces, and voluminous proportions. Described as “a kaleidoscope variety of identities- an artist yet true business thinker, a punk at heart, the queen of the avantgarde, and the caterer of the underground” (Material Magazine, 2017) I believe I resonate with this completely. My work underscores a multitude of genres and I find it difficult to define it as one.
I deeply admire Rei Kawakubo’s fortitude in challenging the conventions of Western fashion, who are synonymous for symmetrical and fitting garments and instead, producing the unorthodox. Kawakubo’s collections are a voice in itself, there is no radical nature in essence of behaviour, but a contest of definitions through complexity and experimentation of the body, as emphasised in figure 7. She is a progenitor of craft and innovation, affronting traditionalised norms and rejecting their beauty- something I am intrigued to invite into my working methods.
Revisiting Rei Kawakubo and her collective designs for CDG has pushed me to acknowledge the employment of layering, shape, and protrusion to create a statement. Fashion is her predominant force of language which she uses to dominate and blur the sexual politics of dress. Moving forward, I am inclined to work with a mannequin and test shoot how this could look for an FMP concept. I feel this mode of fashion matches the conceptual market I am proposing to, so I am keen to observe how this may align with the ideas I have fused so far.
Figure 7 : (Roversi, Body Meets Dress- Dress Meets Body, n.d)“A cultural group within a larger culture, often having beliefs or interests at variance with those of the larger culture.”
In a world full of Kylie Jenner’s and Bella Hadid’s, be a Johnny Rotten.
You could say that there has been an end to subcultures in the past decade. That, society today is abundant in trend-driven youths, dominated by the army of social media platforms and purposing these for a medium of self-worth and gratitude. I know I would. Personally, I don’t recognise a cultural movement or a community of individuality like that of the hippies or Mods.
Instead, I see fear. A lost generation.
Looking into protest fashion drove me to relocate into the past and how minorities established a unity for themselves and their values. In the Contemporary Fashion Module and my 360 campaign, I grasped onto the subcultural references of stylist, Robbie Spencer, who’s work propelled me to look at fashion from a wider gaze. I viewed subcultures as the literal forms of protest movement, but I don’t see that in society now.
Subcultures hold a substantial sentiment to the fashion industry. They are a movement from the audacious and an action through clothing for those who lacked the power to challenge authorities in traditional methods. Subcultures contain a community for the marginalised who are distinguishable by their features, costume, and interests. This visual code translates their opinions and beliefs, often of which raises awareness of current societal conventions and their desire to be freed from its impostures.
Commonly, these references are deciphered into fashion designer’s collections for runways, and for that reason I want to explore one of the most influential subcultures in greater depth and how it provided a frustrated generation of muted teens with a voice for disruption and, most significantly, a democratic change. Re-interpreting Robbie Spencer’s styling pushed me to overcome boundaries and stand out from the crowd, just like these minorities did. It introduced me to a world of fashion which escaped traditions and commodities; something I could influx into my concept.
Whilst engaging in research, I feel it is beneficial to understand the theories and principles behind fashion.
The Populist model is a theory I educated myself on which alternates from the typical ‘Fashion Systems’ Model whereby there is an interconnected network in a fashion chain who are responsible for the production, manufacturing, design, and marketing of garments. The ‘Fashion Systems’ Model encapsulates “designers work from the premise of one look, one image for all, with rules about hem lengths and what to wear with what” (RevellDeLong, 2022), ultimately having conformity at the core of its methodology. T his is a highly relatable theory to what fashion in society is like presently.
In comparison, the Populist Model differs since it is “characterised as polycentric, where groups based upon differences of age, socioeconomic status, location, and culture create their own fashion” (Revell-DeLong, 2022). The Punks are a fine example of the Populist model as they focus heavily on DIY features and have a no one size fits all mantra- reflective of their individualistic and expressive approaches to style.
American fashion anthropologist, Ted Polhemus, associates the punks as ‘styletribes’ since they construct their own looks and have a distinctive taste to fashion. Often, the punks of the 70’s derived from lower economic classes, thus saw freedom and comfort in like-minded individuals who shared the same frustrations of the ever-growing capitalist society. I will be utilising the Populist Model within my work developments as I want my project to reject the norms of fashion and its, now preliminary, focus of profit and expansion.
The only punks you see today are on the stage at Butlins…
The 360-campaign component of Brand Me taught me a lot about myself and how I typically conform to the simplicities around me until finding my feet and urging the inner creative boundaries to be challenged. The Punk era was an element I stumbled across during these studies and I am interested in extending my findings further to fathom the notions behind the subculture as well as how designers have implemented it within their collections as a contemporary method of telling stories.
I discerned a similarity between the 1970’s and society today, typically from a youth viewpoint. Amongst heightened political corruption, economic downfall, and social restriction, there was a country falling to its knees, as it is presently in the UK. Europe was brimming with high unemployment statistics, ongoing strikes, increasing energy prices and a generation of juveniles fearing the future ahead of them.
The Punks reflected this cohort, echoing the decline in culture through fashion, music, and arts. Administered by the Sex Pistols, the multifaceted group of youngsters paved the way for a reaction. A voice which screamed rejection and stirred anarchy. Their movement dictated the 70’s, driving media channels crazy and sending shockwaves through the ‘Silent Generation’ of adults, corrupting an, already, broken system and dismantling its rulebook entirely.
There is much more to punk than what is documented and publicised. Personally, I think the media spotlights the overall conventional ‘essence’ of punk like the hairstyles, drugs, and drinking. However, there is a greater creativity to the scene than the “yobs” the youth were titled as. Despite its rough n ready demeanour, it embarked a new scope on fashion, something which bubbled up into designers’ collections and remains to exist as influence today.
I have found a great appreciation for the punks both within this project and the 360 campaign, especially how they utilised their economical class associations as a staple for voice and change.
Lower minorities are often looked down upon and theories such as trickle down home in on this as they were established to advance the societal status of the wealthy who had the money to influence fashion trends. These trends would filter down to mainstream fashion and provide cheaper alternatives to accommodate those who wished to emulate their status.
The punks disseminated this theory and opted for a do-it-yourself style whereby an anti-consumerism approach was taken through customisation of pre-used garments.
I have great admiration for this and their retaliation to society regarding its stereotypical connotations to defining class as categories. The Punks embraced their street upbringing and wrapped this in a unique creativity to devise decorative garments. Such pieces like leather jackets were revitalised through studs, defacing prints, chains, and slogans and proved to be iconic in challenging the idea that fashion had to be perfect. Again, an area I really want to push in my concepts.
The bubble up theory, coined by George Field in 1970, is something I feel passionate about in relation to the punks. I congratulate how the small British ‘underclass’ minority established garments which are translated throughout fashion collections today and are adopted by higher classes, whilst presenting society with a past historical reference.
But I can’t help but have a deep frustration for how wrongly these classes were deceived previously and now their innovative natures are being commodified and “a gratuitous part of mainstream fashion trends” (Summers, n.d). Within my studies I found an image *FIGURE * of Kim Kardashian wearing a stud coated leather jacket. I believe such items have been scouted for their recognisable silhouette but removed of their uniqueness and purpose.
What frustrates me further is that their purpose today is contradictory to what the punks designed them for – anti capitalism.
I completely agree with the statement “Punks bubble up into designer fashion ignores the prejudices that punks had to face in order to express their opinion in a regimented society” (SchmidtRees, 2019) and believe it truly accentuates the problems with cultural appropriation in societal circumstance currently. The recreations of punk garments have immortalised the origins it came from.
I am determined to relive these origins yet bubble them up within a brand collaboration which will appreciate its founding’s fondly.
The Punks style made them most identifiable and frightening to civilisation. Their negation was always best used as a source of creativity; a means to reassemble and recreate; to build from the ruins (Worley, 2020). And this nihilistic attitude was reciprocated in their dress sense of deconstructed, torn, and defaced garments.
The utilisation of leather, bondage, and denim, initiated offense with the additions of safety pins, chains and studs as harsh decoration and accessory. Despite wearing what others feared to display, the Punks drove an acceptation for androgynous clothing which is highly valued in fashion today for its ease of accessibility and inclusive nature towards genders.
I can perceive a correlation between Rei Kawakubo and the punks in that they both reject prettiness, and instead are eager to produce the ugly and unrecognisable. They both have an unorthodox way of styling wherein punks often self-mutilated and pierced their bodies to demonstrate their extreme lengths of anger towards societal conventions.
They offended sensibilities through fashioning swastikas, pornographic imagery, and fetish wear. It was their uniform for change and a voice to be listened to and it proved successful, just as Kawakubo’s is for creating conversation too.
Punk hair wasn’t anything elaborate, quite the opposite in fact. But it infused the DIY mantra they so highly exercised within their clothing which made it just as distinctive to an onlooker eye. Mohicans and liberty spikes are what we mostly associate with punk hair do’s today. But alongside this, buzz cuts, beehives, and pixie cuts presented the same superficial shock factor. Put down the blow dry brushes and leave in conditioners we utilise for our slick ricks, the punks instead employed sugar and water, soap, gelatine and PVA glue to achieve the voluptuous designs and structured do’s.
Editorial and journalism are underlying aspects
I have fully immersed myself and concentrated in within my studies due to my keen researching and copyrighting skills.
Scoping into punk fanzines enlightened me since I could compare their approaches to marketing and promotion with a modern-day prototype. Importantly, I thought it would be interesting to observe their layout and discern if this could be employed into my work as a greater nod to the subculture.
This module, particularly, I am driven to looking under the carpets for exciting and innovative ways of conducting work and researching into this topic may assist me in doing so!
Figures 8 and 9 demonstrate what punk fanzines looked like within the 1970’s. Quite disparate from our typical magazine, these were “selfwritten, published and distributed “magazines” that were created by fans out of love and the desire to share” (Montana State University, 2022).
I have great appreciation for this since these edits would have been wholly factual and contained an infused passion from individuals who embraced being different and wanted to
share their voice. I love how un-neat and reckless they look in perception- it really represents what the punks were like themselves. There is a rawness to them, especially in relation to the handwritten aspects and crossing outs. For me they demonstrate an uncanny ugliness, yet an artistic flair through collaging, photocopying and black and white imagery. Leaning in on this, I should consider enveloping this “unusual” and creative freedom in my outcomes and editing. Today, society is entirely fixated on perfection- I would love to disrupt this notion in numerous forms- establishing my own fanzine can be one of them!
Figure :(Perry,2016)
Figure : (Kane, 2016)
Sniffin Glue was a name which appeared in my searches on several occasions, and I was intrigued to learn why it was popularised amongst the masses. Produced by council-estate kid, Mark Perry, in July 1976, Sniffin Glue was the first punk fanzine to have existed in Britain. Its contents replicated that of the DIY punk ethos with a rough n ready exterior and rudimentary cut and paste graphics featured throughout. These zines had similarities to contemporary publications in terms of news, gossip, and reviews, however Sniffin Glue contained additional punk literature and specified revelations and hidden facets of a life younger generations could never comprehend today. Described as “primitive, impassioned, and opinionated” (Peacock, 2022) Mark Perry ensured the monthly paper captured the 70’s cultural scene in its purest and authentic form.
Delving further into research, I unearthed an interview Mark Perry participated in with DAZED magazine. He described how the production of the fanzine was unrefined and far from perfected, exclaiming how this can be observed through the dodgy typewriting and mistakes in spellings. I admired his honesty within this interview and his smart intellect on society today linking it to capitalism. “The problem now is that we do everything through Google or Microsoft. We are conforming just by using them things”- for me, this emphasises how singularly creative the punks were and how today, we will never incur the same vision since our voice and creativity are rooted within private enterprises with zero originality and solely encompassing economic value and prosperity.
Generations fail to understand that they are continuing to feed into the capitalist system through using platforms like social media to share their voice, it is contradictory.
For me to produce a robust and effective FMP, such stand should be dictated through clothing and new methods of producing opinion; farther accentuating a reason to creating a fanzine or form of documentation myself- perhaps physically.
Undeniably, Vivienne Westwood was the eyes, ears, and epitome of Punk! My research on the legendary Dame during the 360-campaign module opened up an extensive knowledge and understanding to the 70’s period and I was heavily inspired by her offensive styling, daring charisma and vigorous passion for creating change.
Her late passing considerably knocked the fashion industry. She was a connoisseur of all things audacious, and it has urged me to continue her shift in provoking conversation through my final stages. I wanted to revisit the Queen of Punk’s history more intensely and use it as inspiration in my final work.
I admire Westwood’s passion a lot. Her bold, tenacious, and unapologetic manner to deceive the public eye and to establish work, which was far ahead of her time, massively influential and a tactful cajole at the British establishment, was invigorating.
Working alongside former hubby Malcolm McLaren, they created a generational home for the lower income and youth in Britain, which was many times belittled and humiliated. Vivienne Westwood was raised within a small village in Derbyshire to a factory worker and cotton weaver and her upbringing was considerably tainted from a post-war culture. Enduring the hardships and poverty herself, I believe Westwood’s creations were both a reflection of her childhood as well as an assimilation for the youth of the 70’s too. I often think she saw a negligence in them, as she once had as a child, thus acting on this to provide them with the escapism and voice she never had.
Despite not being the inventor of punk, Westwood is highly regarded and credited for its popularity and commercialism. With McLaren, the pair discerned an emerging dissidence in youth and their disconnections with society and dictated the former ‘Paradise Garage’ into ‘Let it Rock’, a staple recoil from the flared denim and wide lapels of the hippie movement.
The store opened sporadically, thus adding to the hype of when you could observe the outrageous and provocative motifs, channelling London conversation for years.
Westwood and McLaren evolved with proto-punk, reinventing the shop numerous times- the most notable being SEX. Westwood’s interpretation of the punk aesthetic has always been a visual expression of the heretic lifestyle and the rhetoric of insurgents (Onessimo, 2022), she centralised on the notion of subversion and wanted to create a stagnant statement of voice for a disenfranchised generation- something she materialised very successfully.
I unearthed an interview from 1998 of Vivienne Westwood and Sue Lawley. In the interview, the legendary designer showcased her new collections which looked fairly correspondent to figure 10, detailing the infamous mini-crini “a modern take on the crinoline undergarment mixed with the mini skirt craze of the 1980s” (Yi, 2023).
Westwood experienced a humiliating and crude response from both, presenters, and audience. For me this interview truly captured the ridicule, mockery and discouragement Vivienne faced for establishing something which didn’t commodify with the standardised rulebook of fashion at the time.
I see Westwood’s designs as an inspiration for individuals like Kawakubo in which they reimagined style, so it defies the norms and allows the body to be unrestricted and liberatedcreating unusual shapes. I have taken great inspiration from this interview into my work, as I often feel it is judged for its uniqueness and lack of compliance with current trends.
The storytelling and premature thinking of such designers reminds me that my productions can be ahead of the curve and conceptual to the eye, but they don’t have to look like anybody else’s either!
Figure 10 : (Yi, 2023)Throughout my projects, I aim to educate myself through a variety of sources. On the Disney+ platform, a contemporary interpretation showing the history of the Sex Pistols was airing, and I found it hugely beneficial for providing an insight into their story as well as the fashion of the punks. The series demonstrated the harsh realities of the socioeconomic state of the 70s, presenting Britain in a downward spiral, just like it is today.
The Sex Pistols were a band consisting of members Johnny Rotten, Steve Jones, Paul Cook, Glen Matlock and Sid Vicious. Managed by Malcolm McLaren, the scandalous group took the country AND media by storm for their anarchic behaviour, offensive language, and brash music.
As Elizabeth Wilson expressed in the book Bohemians: The Glamorous Outcasts “Punk was trash culture gone avant-garde and/or the avant-garde gone trash, and just as Dada had tried to destroy the institution of art, so the punks seemed bent on destroying the very institution of fashion” (Wilson, 2003)-
I feel the Sex Pistols had the same intention but with music. The working class of antagonistic teenagers were fuelled to infuse rage and destruction into their lyrics as “an attempt to strip rocks complexities to the bone” (Savage, n.d) and tear down the traditions of British culture. The Sex Pistols typically styled garments from Vivienne Westwood’s SEX shop which enhanced their provocative nature further. In an interview with Bill Grundy on YouTube, you can observe the band fashioning sleeveless graphic tees, leather jackets, piercings, safety pins and swastikas as clothing and accessory.
This series has made me understand the value and strong emphasis music has when collaborated with fashion. The Sex Pistols were not just a punk rock band, they were the style icons and influential figures to the youth of the day. It makes me questioncould I incorporate music, so it has such an effect with the consumer I am proposing for?
Figure 11 : (Radio X, 2023)Towards the early 1980s, the punk scene made its departure from the limelight, as did the relationship of Vivienne Westwood and Malcolm McLaren. Choosing to establish her own brand, Westwood maintained her non-conformist strategies to fashion and played on the ideas of British identity and historical reference but through new forms of protest. Today, Vivienne is highly denoted for her strong enforcements for Climate Change, where she tirelessly educated and voiced her opinions of the effects of overconsumption and climate problems way before it was on the global agenda, up until her passing in 2022.
Vivienne Westwood employed her platform again as a stage for democratic frustration, this time in activism for a better future. As a creative, I have huge respect for Westwood, as her garments always had intention and meaning behind them. She did not want average, she wanted improvement. A true pioneer who valued protest and power over profit.
Her clothing is synonymous for its disruptive voice, and I was particularly drawn to her SS20 collection which expanded on this.
This season Westwood reflected her calling for sustainability in her collections too, ensuring that her words matched her actions in terms of consuming less and doing more. Described as an artful mismatch, inspired by the stand-up theatre of Italian Commedia Dell’arte and Pinocchio (Leitch, 2019) the editorial images concentrate on models sitting on bars like puppets and wearing a range of garments from deconstructed, tartan, utilitarian and tailoring.
From this, I can perceive that Westwood hadn’t lost her touch with punk as it was still infiltrated into her collections. Models’ hair resembled that of Vivienne’s in the 70s or was crimped, with harsh makeup sketched upon the face. Her nod to the British identity is present too, especially through plaid blazers.
However, what interested me most was the storytelling of protest through her illustrative concepts. She placed her models upon wasteland backdrop, featuring protest imagery, sparse trees, and desolate landscapes (Grace, 2019). Westwood made her statement through more than just the clothing and this is something I would love to consider for my FMP- how could the concept as a whole present storytelling- could it be through background, like Vivienne Westwood has implemented here? Or could I find another way to portray my messages of a frustrated generation through more than clothing?
The thrills and frivolities of Fashion Weeks always excite me, and it is where I unearthed the Maison Margiela FW23 collection which instantly transformed my FMP viewpoint and challenged new ideas.
I had always familiarised myself with punk as the red and black grungy aesthetic, so, observing Maison Margiela exhibiting the subculture through a more youthful and muted approach pleasantly surprised me. The layout of the editorial imagery corresponding with the collection enhanced the storytelling dramatically. The dot to dot joining of all little details from safety pin accessories, high collar shirts, frayed layered draping, and netting cascading over the face, was mesmerising to me.
Throughout my books I have emphasised my appreciation for dissecting imagery and seeking the semiotics to distinguish its novel, I feel Maison Margiela did just that in this collection. I appreciate how they have upcycled materials, thus maintaining a conscious feel, whilst modernising the punk subculture in an artful setting. With punk boasting a DIY mantra in which clothing was often messy and deconstructed, I love how Margiela has preserved this, yet still made the garments have the luxury appeal where they are situated in the fashion hierarchy. Pairing the copious layers of tulle, tartan and fishnet tights with the signature tabi-toe shoes really encapsulated the latter.
It, therefore, leads me to question- how can I re-interpret the punks yet still inherit its origins through my work?
The storytelling of the Maison Margiela FW23 collection was powerful, and I found a spark in this brand which ignited my theatrical and performing arts ‘Ellie’ you observe in Brand Eleanor as a form of escapism. I’d love to study this in greater depth in more of their collections too so I can install it into my imagery.
I presented Tracey Hall with my new findings and when she gives you a pat on the back, you know you’re doing something right!
I feel this is just the start of something exciting approaching. I want to continue my research into Maison Margiela, but more so into their current Creative Director, John Galliano. I feel it’ll be interesting to delineate if it’s his vision or the brand itself where my interest lies since looking into the FW23 collection.
My research so far has solidified a direction towards the 70’s punk and I would certainly like to continue this into my FMP. My 360 Campaign collaborator, Charles Jeffrey, values punk, its morals and meaning of fashion, but still deposits his own contemporary twist on the culture too. Currently, I believe he remains a perfect fit for my project and needs to be collaborated with a brand which matches this style, sustainable thinking, and storytelling, but propel it to a larger audience where he can be more widely recognised. Maybe Maison Margiela could do just that…
UP NEXT: MERGING THE ELITE WITH THE EMERGING (CHARLES JEFFREY) JOURNEY BOOK 3
