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"title": "Vivienne Westwood: 36 Years in Fashion",
"headTitle": "Vivienne Westwood: 36 Years in Fashion | KQED",
"content": "\u003cfigure id=\"attachment_129095\" class=\"wp-caption alignleft\" style=\"max-width: 313px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\" alt=\"Vivienne Westwood outfit\" width=\"313\" height=\"471\" class=\"size-full wp-image-129095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471.jpg 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471-199x300.jpg 199w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debby in Jubilee Outfit, from 1977 Seditionaries in 430 King s Road\u003c/figcaption>\u003c/figure>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "\"Punk was never chic,\" insists Sid Vicious, \"Never chic.\" In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid's protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.",
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"title": "Vivienne Westwood: 36 Years in Fashion | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_129095\" class=\"wp-caption alignleft\" style=\"max-width: 313px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\" alt=\"Vivienne Westwood outfit\" width=\"313\" height=\"471\" class=\"size-full wp-image-129095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471.jpg 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471-199x300.jpg 199w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debby in Jubilee Outfit, from 1977 Seditionaries in 430 King s Road\u003c/figcaption>\u003c/figure>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Raymond Loewy: Designs for a Consumer Culture",
"headTitle": "Raymond Loewy: Designs for a Consumer Culture | KQED",
"content": "\u003cp>This week, on what felt like the hottest day in San Francisco, EVER, I limped from the Stockton Garage to the \u003cb>San Francisco Museum of Craft and Design\u003c/b> to see the exhibit on industrial designer Raymond Loewy, dragging my feet the whole way. And what a relief to get inside, where the concrete floor keeps the place cool.\u003c/p>\n\u003cp>I entered the museum not knowing much about Loewy, or so I thought. But he’s the guy who designed the coolest cigarette package I’ve ever seen or been seen with — you know, Lucky Strikes? Besides that, he pretty much invented that peculiarly American look where everything is streamlined and seems like it’s moving fast as a bullet into the future, from refrigerators to pencil sharpeners to locomotives to Skylab to. . . well, to too many things to list. For Loewy, it was all about the combination of packaging and function; he knew so intimately that products had to be simultaneously practical and aesthetically appealing. Though what appeals to mass culture depends on what is going on in that culture at the time, meaning that what appeals to most people is apt to change with the weather, Loewy had an uncanny ability to suss out what looked sleek and modern to most people at any given time.\u003c/p>\n\u003cp>And here I’m contradicting myself a bit, because I still find his designs incredibly appealing — and I’m sure I’m not alone. Which is a testament to something in his own aesthetic that has stood the test of time, because his stamp is everywhere. The lean silhouette of the dog on the side of the Greyhound bus line, the yellow-and-red shell at the Shell sation, that triangular wedge at the top of your box of Nabisco shredded wheat — it’s all Raymond Loewy, and you’ll likely experience this uncanny, familiar feeling at the exhibit. Because Raymond Loewy \u003ci>is\u003c/i> the culture.\u003c/p>\n\u003cp>While there were many items worth drooling over at the San Francisco Museum of Craft and Design, the one that appealed to me most was the Elna Lotus sewing machine (1968), the first compact sewing machine of its kind, meaning that the case and all of its accessories were integrated into the unit — the case opens up like a Lotus to provide a smooth ramp for the fabric the user slides beneath the chrome foot as they sew. It looks like something one might place in the overhead compartment on a jet to Milan. And I’m talking Milan in the spring, when the weather is cool. If I tried to lift my old Kenmore machine over my head in a crowded airplane, chances are I’d accidentally crack someone’s skull open. Though I noticed the drawings of the Avanti, with its curved windows and long, blunt nose, was much more popular with the rest of the crowd. As much as I love my car, there’s no way I’d turn down the Avanti. But my first choice? The sewing machine.\u003c/p>\n\u003cp>That day, Loewy’s design sensibility was having a strong effect: I wanted the Elna Lotus, and I wanted to feel like I was going somewhere exotic. But it wasn’t for sale, and the security guard wasn’t about to turn his head long enough for me to steal it, so I left the exhibit empty-handed. I noticed, however, that during my walk back to the Stockton garage I felt a little racier, a little less sweaty and dull. I got into my car and rolled down the windows so I could feel the wind in my hair. As I sped up Sutter Street, beating the yellow lights, I pretended that I wasn’t driving a dirty Nissan with leaky tires; instead, I was in something that slices through the air like one of the speedboats Loewy designed. And for a while there, it seemed as though every hill I crested was a brand-new symbol of the future, filled with pencil lines that symbolize rushing air, the forward movement of progress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Raymond Loewy: Designs for a Consumer Culture\u003c/b> exhibit runs through August 27, 2006 at the San Francisco Museum of Craft and Design, 550 Sutter Street, San Francisco. Phone: 415.773.0303.\u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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