![](\"https:\/\/ourculturemag.com\/wp-content\/uploads\/4.-Westwood-Kawakubo-CI.jpg\")
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Put Vivienne Westwood\u2019s punk anarchy stitches in the same room as Rei Kawakubo\u2019s avant-garde brain-melting silhouettes and you get a fashion match where the only loser is the one who didn\u2019t book the NGV<\/a> ticket. It\u2019s everyone\u2019s favorite fashion talk right now, with editors flying across hemispheres, stylists losing all structural integrity and every fashion student pretending they\u2019ve \u201calways been deeply influenced by both designers\u201d.<\/p>\n Vivienne Westwood\u2019s<\/a> collections never aimed for \u201cproper\u201d. Corsets felt like historical glitches and tartans<\/a> never really played nice with tradition. Her work with McLaren turned the King\u2019s Road into a political stage where ripped tees, safety pins, and bondage trousers became middle fingers to the British keep-it-polite culture. She claimed them, stamped them with her signature, and dragged them onto runways<\/a> and the mainstream with the very loud message that fashion is, in fact, a form of cultural protest. In other words, Westwood is a major reason Punk and New Wave didn\u2019t die in dimly lit London basements. If environmental activism became PR-friendly, fabric became a weapon for questioning authority, and subcultures never went back underground, it\u2019s partly because Westwood made it all wearable, bless her, honestly.<\/p>\n Rei Kawakubo<\/a> has always worked in her own dimension, she didn\u2019t really care about wearability either, she was too busy reshaping the idea of the body<\/a> itself. Her silhouettes at Comme des Gar\u00e7ons turned clothing into something you had to take a moment to think about, practically causing fashion moral panic more often than you\u2019d think. In her retail world, Dover Street Market, fashion is part gallery and part experience, a space that constantly reminds us of her fingerprints all over the industry, from messing with proportions, to all-black 80s shockers, to Yohji Yamamoto dialogues. Now, if avant-garde became everyday vocabulary and sculptural fashion found its way into museums, it\u2019s largely because Kawakubo made the weird, the abstract, and the \u201cis this even clothing?\u201d a conversation in your favorite label\u2019s table.<\/p>\n Few know it, but these two have a history of rubbing shoulders creatively. In 2002, they joined forces for a short-lived collaborative collection where Kawakubo cherry-picked Westwood archives and dressed them in Comme fabrics. Honestly, I\u2019m surprised it took this long for them to share a room, they kind of make perfect sense. They use different languages, for sure, but both have spent decades rejecting rules and questioning beauty. Westwood\u2019s anarchy and Kawakubo\u2019s abstraction might look worlds apart, but all I\u2019m seeing is two designers who have been quietly rewriting the same rulebook from very different corners of the industry\u2019s map.<\/p>\n The post Why Everyone\u2019s Obsessed with NGV\u2019s Westwood | Kawakubo Exhibition<\/a> appeared first on Our Culture<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" Put Vivienne Westwood\u2019s punk anarchy stitches in the same room as Rei Kawakubo\u2019s avant-garde brain-melting silhouettes and you get a fashion match where the only loser is the one who didn\u2019t book<\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[],"class_list":["post-292","post","type-post","status-publish","format-standard","hentry","category-fashion"],"_links":{"self":[{"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/posts\/292","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/comments?post=292"}],"version-history":[{"count":0,"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/posts\/292\/revisions"}],"wp:attachment":[{"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/media?parent=292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/categories?post=292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kudoscript.com\/index.php\/wp-json\/wp\/v2\/tags?post=292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Screenshot](\"https:\/\/ourculturemag.com\/wp-content\/uploads\/4.-ZI-203x300.jpeg\")
Punk Fashion as a Cultural Weapon: Westwood\u2019s Manifesto<\/h2>\n
![\"Screenshot](\"https:\/\/ourculturemag.com\/wp-content\/uploads\/4.-ZII-216x300.jpeg\")
What Even Is A Garment? Kawakubo\u2019s Conceptualism<\/h2>\n
Why It Actually Makes Sense To Share A Room<\/h2>\n