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1993 – 1999



Vivienne Westwood collaborates with Swatch to create the ‘Putti’ and ‘Orb’ watches in 1992/93. 

A new boutique opens at 43 Conduit Street, in central London. 

Vivienne is appointed Professor of Fashion at the Berliner Hochschule der Künste in 1993. 

Vivienne channelled her creative nature into producing her own tartan for the ‘Anglomania’ Autumn-Winter 1993/94 collection and invented her own clan, MacAndreas. The Lochcarron of Scotland officially recognized the clan, which is a process that normally takes 200 years, a huge achievement for Vivienne. 

A three-part Channel 4 series, Painted Ladies, was broadcast in 1996 examining the relationship between fashion and art. Vivienne looked at the costumes depicted in the art of the classical, mediaeval and renaissance periods.

Vivienne Westwood opens a new boutique at 44 Conduit Street, London in 1997.

Vivienne Westwood’s debut fragrance ‘Boudoir’ launches in 1998. It was developed in conjunction with world-famous ‘nose’, Martin Gras of Dragoco. “My perfume is called Boudoir. A boudoir is a dressing room and a place to get undressed. It signifies a woman’s space, a place where she is on intimate terms with herself, where she sees her faults and her potential” (Vivienne).

Vivienne Westwood Red Label launches in 1999. The prêt-à-porter line combines Vivienne’s continued interest in Savile Row tailoring and French couture.

The first Vivienne Westwood New York boutique opens in 1999.

The Vivienne Westwood MAN label launches in 1996 in Milan. 

A Vivienne Westwood licensed boutique launches in Tokyo, Japan, a first outside of the UK. 

‘Anglomania’ launches in 1998 as its own diffusion line, taking inspiration from the Vivienne Westwood archive collections. The youthful collection pays homage to Westwood’s iconic tailoring and draped silhouettes and includes styles from the SEX, Pirate, Mini-Crini and Bondage collections. 


Vivienne believes that fashion is a combination and exchange of ideas between France and England; “On the English side we have tailoring and an easy charm, on the French side that solidity of design and proportion that comes from never being satisfied because something can always be done to make it better, more refined.”



Grand Hotel, Spring-Summer 1993 – In reference to the 1932 Greta Garbo film. – Full skirted ball gowns become a Vivienne Westwood motif. – Hotel lobby rendezvous’. – Pyjama collars. – Vivienne models for the first time. – Endangered animal print. – Inspiration: Saint Laurent and Dior shapes. – Long ‘Circle’ skirt. – Grey suit was worn by Vivienne when receiving her OBE. 

Anglomania, Autumn-Winter 1993/94 – At the time of Gainsborough the French became mad about English tailoring and the spontaneity of country charm. – The corset as the foundation for an evening dress. – Patriotism. – French Art through an English lens. – Affinity for European culture. – Naomi Campbell’s tumble in Elevated Ghilli heels. – Stout tweed. – Commissioning of the MacAndreas tartan as a tribute to her husband. – Vivienne Westwood Gold Label was born. – Double-breasted suits. – Woollen capes. 

Café Society, Spring-Summer 1994 – Cafes as a continuation of Salons. – A homage to Charles Frederick Worth, the 19th-century founder of French Haute Couture. – The hourglass figure began here with a bustle provided by a cushion. – By this time the volume of the gowns and their trains had reached maximum proportions due to collaboration with Andreas Kronthaler. – Crinoline gowns. – Knitted tassels. – Topless Kate Moss in a micro-mini skirt.- Layered faux furs. 

On Liberty, Autumn-Winter 1994/95 – Emphasis on individual freedom, inspired by: English philosopher John Stuart Mill. – “Couture must exist alongside mass production” (Vivienne). – Reset of modern proportions. – Bum pads. – Distortion of proportion. – London department store Liberty prints. – Championing the voluptuous female form. 

Erotic Zones, Spring-Summer 1995 – Extreme silhouettes. – Women as heroic figures. – Reminding audiences of the power of female sexuality. – ‘Cul cage’ wire bustle was created by Andreas Kronthaler’s father. 

Vive la Cocotte, Autumn-Winter 1995/96 – We have now arrived at a brand-new silhouette, the ultimate hourglass figure with padded bust and bustle now constructed out of a lightweight metal cage. – Extremely high platforms. – Vivienne needed to make two collections, one was less extreme for selling. – ‘Metropolitan’ jacket.

Les Femmes Ne Connaissent Pas Toute Leur Coquetterie, Spring-Summer 1996 – Relaxed silhouettes. – Less exaggerated. – Marie Antoinette’s portrait. – Ladylike. – Dressing-gowns with thick satin ribbons. – Inspired by: Watteau’sThe Shop Sign of Gersaint’. 

Storm in a Teacup, Autumn-Winter 1996/97- Exploring extreme asymmetry. – Inspired by: decorative Rococo furniture. – The unpredictable British weather. – Pinstripes, tartans, and tweed. – Clashing not matching. – “Facing up to the horror of uniformity and minimalism” (Vivienne). – Brown chalk stripe ‘Watteau’ jacket. 

Vive la Bagatelle, Spring-Summer 1997 – Dedicated to a woman who “isn’t fussy about the number, but about the choice of her affairs” (Vivienne). – Bias cuts. – Ripened fruit prints. –  Camouflaged demi-cup bras on shirts. – Bondage straps and the blindfolded bride. – “Bagatelle means nothing, a trifle” (Vivienne).

Five Centuries Ago, Autumn-Winter 1997/98 – Inspiration: Tudor and Jacobean – Highly constructed. – Skirt slits with exposed suspenders. – Standing collars. – Inspired by: Holbein portraits. – Very Elizabethan.  

Tied to the Mast, Spring-Summer 1998 – Sailor’s tall tales. – Paintings of Theodore Gericault. – Reimagined Pirate boots. – Women’s walking suits. – Crystal rope print. – Salt-stained, sun-bleached. – Eyepatches, hats made from maps and Brigand hats. – Thinking of Elizabeth I. 

Dressed to Scale, Autumn-Winter 1998/99 – Displacement and discombobulation. – Shoulder-length lapels. – Oversized buttons. – Cuts that reshape the body. – Folk costume of Andreas’ childhood. – Looking at caricatures. – 18th-century satirist James Gillray. – ‘The whole point about civilization is to be as artificial as possible’ (Vivienne). The grey stretch wool ‘Amphora’ jacket. 

La Belle Helene, Spring-Summer 1999 – Inspired by: Ruben. – Satin and lace typography. – Back to school. – Line and contrast. – 1953 Matisse collage ‘The Snail’. – Naughty pencil drawings.