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Too Fast to Live Too Young to Die: Punk & post punk graphics 1976-1986

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People ask: where does this movement come from?” said Blauvelt. “It was all against the systemic control of the music system. This idea of provocation in the streets, the field of punk was a social protest, elements of that still exist.”

No fashion designer ever had a Paris show like the one staged by Vivienne Westwood in 1991. Although she was by then 50 and had been making clothes for sale for 20 years – and the British Fashion Council had named her designer of the year – she stitched much of that collection on her own sewing machine in her shabby south London flat, hand-finishing it in the van that transported her, and the models, to France, where the couturier Azzedine Alaïa had invited her to guest-show. Despite those limitations, the collection was a major success. Vivienne Westwood at an Extinction Rebellion demonstration outside the London headquarters of BP, protesting crimes against the climate in the Papua rainforest, October 2019. Photograph: Ki Price/Getty Images

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The punk aesthetic also carries elements of futurism – just look at the constructivist posters of Kraftwerk – as well as German expressionism, Soviet-era posters, pop art and the Bauhaus design movement.

From the dress and hairstyles of its devotees and the onstage theatrics of its musicians to the design of its numerous forms of printed matter, punk's energy coalesced into a powerful subcultural phenomenon that transcended music to affect other fields such as visual art, fashion, and graphic design." Mythical wheezes, such as a Pistols-era plan to visit Madame Tussauds and melt the wax effigies of the Beatles, were typical of McLaren's tendency to blur fantasy and reality and turn hype into an art form. His talent was perhaps not so much in coming up with ideas as seizing on other people's and making them more successful. Unless otherwise noted, all objects in this exhibition are courtesy of Andrew Krivine. The Museum of Arts and Design is extremely grateful for his support of this exhibition. She was born in Tintwistle, just outside the mill town of Glossop, Derbyshire, the daughter of Dora (nee Ball) and Gordon Swire. Her father was a factory worker; her mother had been in the mills and appreciated a length of good wool worsted – although everything was in short supply during Viv’s childhood. Her education at Glossop grammar school ended in 1958, when the Swires saved enough to buy a little post office business in London, and moved to Harrow. Viv soon left her art school course, frustrated that it prohibited sewing. Her own style was beehive hair, pencil skirts, stiletto heels – all the music-allied experiments of London’s first teen generation. Her finances remained unsound. With introductions from rag trade friends, she moved incrementally into bank loans and business funding to pay off the debts of Worlds End, and to buy rather than rent her second shop, in Davies Street, Mayfair. Westwood earned where she could, teaching fashion at the Academy of Applied Arts, Vienna (1989-91), and the Hochschule der Künste, Berlin (from 1993). In the Vienna lecture room, she fell in love with her best student, Andreas Kronthaler. He moved to London, then into her flat, and they married in 1993.The Harris tweed and later, far wilder, Brit collections gave Westwood her second, and permanent, fashion identity: London tailoring plus romantic gowns, with a dissident edge, labelled with her logo, a coronation orb circled by Saturn’s rings. I really have no idea what they view as ‘punk art,’ and so why not? Let’s have a go at it.”—John Rotten Lydon in Rolling Stone The store was kind of disposable in a way. Vivienne and Malcolm would pull out one thing and put in another,” explains the architect David Connor, who took over the design of Seditionaries from Ben Kelly in 1974, his first commission after graduating from the RCA at age 26. With an intimidating opaque façade and an interior depicting the air-raided scenes of Dresden, Seditionaries was the ultimate rejection of West End consumerism, a topic that McLaren had explored in his unfinished 1970 film Oxford Street, and which was listed as a hate on Westwood’s ‘hates’ and ‘non-hates’ T-shirt. “You had to be really brave to go through the door,” Connor explains. “We put white glass in the front windows, so that you couldn’t see inside… Some people actually thought it was a betting shop.” He is survived by Young Kim and his son by Westwood, Joe Corré, who set up the lingerie chain Agent Provocateur, which continues to parade McLaren's own risque and somehow thoroughly English identity in our high streets.

In October 1986, when asked about the plans for her S/S87 collection, Vivienne Westwood told The Face, “I’m using my shop as a crucible. The stuff that’s in there is what will sell elsewhere… It’s kind of market research…” Westwood and her then partner Malcolm McLaren had opened their first Chelsea-based boutique in 1971, and it operated not only as a testing ground for global sales, but as a location of diverse and famed retail incarnations, selling the uniforms of socio-economic rebellion. Originating at Bloomfield Hills, Michigan's Cranbrook Art Museum, the exhibition has been adapted for its run at MAD to include selections that showcase the visual output of New York City's punk scene: flyers from the famed East Village punk venue CBGB; concert posters and memorabilia from Blondie, the Ramones, and other artists; early issues of Punk magazine; and more reports Dexigner.McLaren's eye – as much as his ear – for pop talent was crucial. He once told a Ramones fan, Vic Godard, and his pals, "you look like a group", so they formed one called Subway Sect. His gift for turning notoriety into a promotional tool (inherited from the Rolling Stones manager Andrew Loog Oldham and surely passed on to Factory Records' Tony Wilson and Creation's Alan McGee) loomed equally large in his next project. She became a primary school teacher and in 1962 married Derek Westwood, a toolmaker with ambitions, which he achieved, to be an airline pilot. Their son, Ben, was born in 1963, but the couple separated soon after, divorcing in 1966. She returned to her parents, and began to make jewellery for a stall in Portobello Road.

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