Creative Histories and Industries session 4 NOTES

Vivienne Westwood 

In-House Design

This article is looking at how Vivienne Westwood has built her brand. Although it is a relatively small company in comparison to other fashion house such as: Gucci, Chanel and Dior she is very successful. It is clear the Westwood knows what she wants when it comes to branding, she still works closely with other designer to get her initial ideas across. This is unusual practice for the owner of a label to still be this much involved with the design process. The task of creating or initiating the ideas is often passed on to a head designer of a team. This proof of commitment shows throughout her work and all the designs that I have research are all linked with one another. There is a theme of old meets new with a touch of quirky, and sometimes outrageousness to them. Which to me comes up everything that Westwood is involved with. The symbols that are discussed in the article are all use in every part of her business. From fragrance to clothing, invitations to labels. Doing this keeps the brand classic and recognisable. 

Westwood is strong about her heritage (being English) as she includes many reference to England such as; Stone henge, the orb (what the Queen held during the opening ceremony of Parliament) and the British flag. All these images are not just references of the past, they are also associated with strength and leadership. These images I believe have a positive impact on the brand but also increase the feeling of false need, which consumers often feel with products, especially luxury brands. As they are not just buying e.g a jacket they are purchasing the strength, wealth and luxurious lifestyle that is associated with Westwood clothing.

Japenese subcultures

There are five different subcultures that are analysed in this a article they are Roppongi-zoku, Miyuki-zoku, Harajuku-zoku, Futen-zoku and Boso-zoku.  The differences between Japenese and British subculture are compared, this is achieved by using the semiotic approach. I had never heard of any of these tribes and had little knowledge of japanese culture post war era. 

It is very interesting to see the street styles that the youths of the post war periods were wearing. The similarities are incredible. To think of the distance between these to countries and then the similarities is just extroadery. What I have relised is that many of the movements are a cause of rebellion. To what would be 'in fashion' or politically correct at that current time. It is a way of silently rebelling against, people, lifestyles and even the government.  

Suits worn by the Miyuki-zoku men hinted at the power of consumerism due to the undeveloped clothing industry that Japan had. This therefore made American clothes very expensive and people were unable to afford these types of material, showing that Miyuki-zoku men were all about image and were very precise about this. Because they looked so smart one might say that this is more conformist, but due to Japenese people being unable to afford these items it provoked 'a sense of antagonism and jealousy.' This was similar to the Mods that were found in Britain. They were extremely smartly dressed to the point of obsessive. They would were a collar, suit and tie with slicked back hair (which  gave a very formal appearance) for everyday wear.

There are many factors that affected the dress, social activities and behaviour of these groups. Drugs, locations, ages and laws all had an effect of what subcultures emerge. It is a very interesting read as in many ways Eastern and Western ways are completely different (even the fact that they are separated like this does nt just refer to their global location but the difference in culture too.) But behaviour of youths is relatively the same in both country due to many factors of the time.


The Artist in The Marketplace


This article is an interview with Charlotte Cotton who is the director of cultural programming, Arts and Commerce.


The interviewer asks her about her background previously taking up the new York position she now has. (She is originally from London.) Cotton mentions that while studying art history at university she became interested in photography and film in her third year. She was concerned at that time that her education was making her 'un employable.' She managed to land a volenteering position at the V and A in London. She very much enjoyed it here as she 'Had acess to objects but no real responsibility.'


Coming from an academic backround Cotton learnt how to 'look' at photography. it became the centre of her thoughts. She then became promoted and ended up working at the V and A for 12 years! She is delighted with the public access that the V and A offers, 'Keeping photography a medium that everyone can have an opionion about.' To her this is a very positive thing. 


Throughout this article the interviewer asks Cotton many questions about what photography was once viewed as how important it is today(how views and opinions have change.) When discussing the marketplace for an artisit Cotton states that photographers in the early stages on their careers are pressurised to tailoring there work to fit the needs of the galleries. This shows that artists are not very powerful when this system is used which she feels is 'damaging to the nature of photographic practice.


In reference to documentary photography Cotton believes the best place for these artists is in the galleries because she feels that 'Something has shifted in how we look at images of real events in still form.' And believes that if photographers really want to bring actual real social issues into focus than this is the place for them as there is always going to be 'problematic space.'


The interviewer argues against Cotton's previous comment as he believes the gallery the photographer has chosen may love the work, but it will not be shown as it will not make any money from the images and they will be unable to sell it, which is the whole point of the business. So the gallery in his eyes has been eliminated as a placed for these artists, unless of course the work has a huge social impact. To which Cotton replies 'possibly' but states that people are more aware and open to different interpretations of world issues then they used to be and so therefore interested and in some cases more excepting as they now have a more modern approach.


I found some parts of this article interesting, mostly when I learnt new things! I was not aware of the impact that some images may have on a global scale such as  which we discussed during our lecture how nationally they can barely be recognised in one country but banned in another. 
In this article it mentions how the galleries are now aware of this impact that a single image can have, and how they do not want to be associated with this (as it is negative media for them and no one will purchase the work)or they are, if it is on a very large scale as it will receive lots of publicity and people will pay to see it.


This article is aimed at a more specialist audience. Who have a knowledge of photography as well as current issues and debates around the subject. It is a very long article which I did find bland compared to the other articles set for this task (as above.) For me it was a difficult read as my knowledge of photography is minimal and she mentions many terms that I don't always understand due to this. I fell that she tends to go on a little bit too in depth in some areas and therefore excludes a general audience.
It is clear that Charlotte Cotton has strong views on what photography is and what it has become. She has a great knowledge and understanding of this subject and the factors that surround it. I believe this is due to her extensive experience with this industry. However I would not recommend this article for reasons above.