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Tailoring
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| Westwood’s work is rooted in English tailoring, from the plain 18th-century frock coat to the Savile Row suit and pink hunting jacket. Her investigation of tailoring has continued from collection to collection. Using traditional techniques as a starting point, she has devised innovative solutions to the puzzle-like complexities of cutting and piecing fabric. Some of the suits are closely moulded the body, while others form dynamic structures with folding and pleating. |
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Arabesque suit
Street Theatre, S/S 2003
The cut of the jacket and skirt utilises the right and the reverse of the fine wool.
Wool
Lent by Vivienne Westwood
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Applicator jacket and Alien skirt
Anglophilia, A/W 2003
Wool
Lent by Vivienne Westwood
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Bettina suit
Erotic Zones, S/S 1995
The Bettina jackets are named after a 1950s Dior model.
Rubber
Lent by Vivienne Westwood
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The Metropolitan Suit
Vive la Cocotte, A/W 1995
The suit reflects Westwood’s interest in the work of the French couturier Christian Dior, in particular his use of men’s styling for the female form. mind at all telling people that I copied it, because I believe in copying if you can. There is nothing better.
Jacket and skirt (worn over foundation): wool
Hat: felt
Lent by Vivienne Westwood
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Watteau suit
Storm in a Teacup, A/W 1996
The jacket has a flaring swing back inspired the 18th-century sack back. This gives a
fitted look from the front and volume at the Westwood studied the style in historical
dress, in the costume depicted in paintings, and
in actual garments in the V&A collection of historical
costume.
Jacket, skirt and hat: cashmere
Lent by Vivienne Westwood
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