Later this month, the personal archive of the late Vivienne Westwood, designer, style icon, and pioneer of punk, will be auctioned off at Christie’s for charity. Westwood, who passed away at 81 in 2022, had a significant impact on the fashion world. From her boutique, which went by various names over the years like Let It Rock, Sex, Seditionaries, and World’s End, she attracted celebrities and punks alike. The auction will showcase her wardrobe, featuring Harris tweed suits, faux-pearl necklaces, and intricately tailored dresses from collections with names like Witches or Britain Must Go Pagan.
Westwood was known for her political affiliations, at times aligning with different parties and advocating for sustainability in the fashion industry. She once stated in an interview that although she didn’t feel comfortable defending her clothes, if someone had the means, they could buy something from her, but should avoid excessive consumption.
Reflecting on childhood memories of visiting charity shops with her mother to buy second-hand books, the writer shares her own passion for second-hand clothing. She describes her ritual of visiting charity shops in search of unique finds, scoring deals like a €50 Chanel jacket from a second-hand store and a €40 jacket from a market in Berlin.
While she acknowledges the thrill of finding designer pieces at affordable prices, she also contemplates the impact of second-hand shopping on consumerism and sustainability. The writer realizes that her collection of second-hand clothes may serve as a disguise, allowing her to adopt various styles without truly understanding her own preferences.
Recently, she decluttered her wardrobe, donating some items to charity and discarding others. This process prompted her to ponder the emotional significance of clothing and the environmental consequences of fast fashion. Despite the allure of buying new clothes, she recognizes the importance of buying less and embracing personal style that lasts.
The writer highlights the environmental impact of the fashion industry, noting that it accounts for a significant portion of global carbon emissions. While she admires Westwood’s efforts to promote sustainability, she acknowledges the complexities of balancing a love for fashion with ethical concerns.
In conclusion, the writer asserts that it is possible to enjoy fashion while being mindful of its environmental impact. She emphasizes the importance of government regulations and industry accountability in addressing the sustainability crisis in fashion. Personal style, she believes, should be a reflection of one’s true self and story, transcending trends and lasting beyond individual lifetimes. Like Westwood, who lived as her fantasy self, we should strive to build wardrobes that tell our stories authentically and sustainably.