Vivienne Westwood, Britain’s Provocative Dame of Fashion, Dead at 81

In this file photo taken on June 19, 2011 British designer Vivienne Westwood acknowledges the audience at the end of the Vivienne Westwood Spring-Summer 2012 Menswear collection during the Men's fashion week in Milan. (AFP)
In this file photo taken on June 19, 2011 British designer Vivienne Westwood acknowledges the audience at the end of the Vivienne Westwood Spring-Summer 2012 Menswear collection during the Men's fashion week in Milan. (AFP)
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Vivienne Westwood, Britain’s Provocative Dame of Fashion, Dead at 81

In this file photo taken on June 19, 2011 British designer Vivienne Westwood acknowledges the audience at the end of the Vivienne Westwood Spring-Summer 2012 Menswear collection during the Men's fashion week in Milan. (AFP)
In this file photo taken on June 19, 2011 British designer Vivienne Westwood acknowledges the audience at the end of the Vivienne Westwood Spring-Summer 2012 Menswear collection during the Men's fashion week in Milan. (AFP)

As the person who dressed the Sex Pistols, Vivienne Westwood, who died on Thursday at the age of 81, was synonymous with 1970s punk rock, a rebelliousness that remained the hallmark of an unapologetically political designer who became one of British fashion's biggest names.

"Vivienne Westwood died today, peacefully and surrounded by her family, in Clapham, South London. The world needs people like Vivienne to make a change for the better," her fashion house said on Twitter.

Climate change, pollution, and her support for WikiLeaks founder Julian Assange were all fodder for protest T-shirts or banners carried by her models on the runway.

She dressed up as then-prime minister Margaret Thatcher for a magazine cover in 1989 and drove a white tank near the country home of a later British leader, David Cameron, to protest against fracking.

The rebel was inducted into Britain's establishment in 1992 by Queen Elizabeth who awarded her the Order of the British Empire medal.

"The only reason I am in fashion is to destroy the word 'conformity'," Westwood said in her 2014 biography. "Nothing is interesting to me unless it's got that element."

Instantly recognizable with her orange or white hair, Westwood first made a name for herself in punk fashion in 1970s London, dressing the punk rock band that defined the genre.

Together with the Sex Pistols' manager, Malcolm McLaren, she defied the hippie trends of the time to sell rock'n'roll-inspired clothing.

They moved on to torn outfits adorned with chains as well as latex and fetish pieces that they sold at their shop in London's King's Road variously called "Let It Rock" and "Seditionaries", among other names.

They used prints of swastikas and, perhaps most well-known, an image of the queen with a safety pin through her lips. Favorite items included sleeveless black T-shirts, studded, with zips, safety pins or bleached chicken bones.

"There was no punk before me and Malcolm," Westwood said in the biography. "And the other thing you should know about punk too: it was a total blast."

‘Buy less’

Born Vivienne Isabel Swire on April 8, 1941 in the English Midlands town of Glossop, Westwood grew up at a time of rationing during and after World War Two.

A recycling mentality pervaded her work, and she repeatedly told fashionistas to "choose well" and "buy less". From the late 1960s, she lived in a small flat in south London for some 30 years and cycled to work.

When she was a teenager, her parents, a greengrocer and a cotton weaver, moved the family to north London where she studied jewellery-making and silversmithing before re-training as a teacher.

While she taught at a primary school, she met her first husband, Derek Westwood, marrying him in a homemade dress. Their son Ben was born in 1963, and the couple divorced in 1966.

Now a single mother, Westwood was selling jewellery on London's Portobello Road when she met art student McLaren who would go on to be her partner romantically and professionally. They had a son, Joe Corre, co-founder of lingerie brand Agent Provocateur.

After the Sex Pistols split, the two held their first catwalk show in 1981, presenting a "new romantic" look of African-style patterns, buccaneer trousers and sashes.

Westwood, by then in her forties, began to slowly forge her own path in fashion, eventually separating from McLaren in the early 1980s.

Often looking to history, her influential designs have included corsets, Harris Tweed suits and taffeta ballgowns.

Her 1985 "Mini-Crini" line introduced her short puffed skirt and a more fitted silhouette. Her sky-high platform shoes garnered worldwide attention in 1993 when model Naomi Campbell stumbled on the catwalk in a pair.

"My clothes have a story. They have an identity. They have character and a purpose," Westwood said.

"That's why they become classics. Because they keep on telling a story. They are still telling it."

The Westwood brand flourished in the 1990s, with fashionistas flocking to her runway shows in Paris, and stores opening around the world selling her lines, accessories and perfumes.

She met her second husband, Andreas Kronthaler, teaching fashion in Vienna. They married in 1993 and he later became her creative partner.

Westwood used her public profile to champion issues including nuclear disarmament and to protest against anti-terrorism laws and government spending policies that hit the poor. She held a large "climate revolution" banner at the 2012 Paralympics closing ceremony in London, and frequently turned her models into catwalk eco-warriors.

"I've always had a political agenda," Westwood told L'Officiel fashion magazine in 2018.

"I've used fashion to challenge the status quo."



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”