PREFACE TO THE 2004 EDITION

      When I concluded the first edition of this book in March 1998 I felt that it was ‘too soon to establish Vivienne Westwood’s place in fashion history’. I am happy to see that the Victoria and Albert Museum in London now believes that her work deserves a major retrospective. The curators have supplemented their archives with the purchase of three hundred early Westwood items from Michael and the late Gerlinde Costiff’s collection. They were two of Vivienne’s most avid early customers, and wore the clothes everywhere: to work, to the carnival in Brazil every year; ‘Even in places like the Sudan or Mali or Burkino Faso, people would point and say, “World’s End!” People always recognised Vivienne’s things,’ Michael Costiff recalls.

      The Costiff collection has been acquired by the V&A for £100,000, £42,500 of which was raised by a grant from the National Art Collections Fund. On 1 April 2004 (a date that will amuse Vivienne) it will open a major retrospective of Vivienne’s life’s work. It is pleasing to see her work properly curated and exhibited, especially by a museum whose knowledgeable and brave Director of Textiles and Costume in the seventies and eighties, Valerie Mendes, had the foresight to invest the department’s meagre funds in the ‘Pirates’ collection. Mendes’ early commitment to Westwood, and this biography, have contributed to the latter’s recognition as an important, original and above all worldwide influence on modern fashion.

      Coincidentally, as the cycle of fashion turns Vivienne’s oeuvre sits happily with the times once again. In a reaction to the last five years of ubiquitous sportswear, relieved only by skimpy slip dresses, her fashion vocabulary has resonance now. Whether it’s the playful layers of the ‘Buffalo’ look from her early years or the cut, fit, and dress-up idiom of her later collections, her clothes have found a new generation of fans. The Vivienne Westwood revival went mainstream three years ago when Kate Moss turned up at a party wearing original ‘Pirate’ boots. Leading auction houses and specialist stores, such as Rellick in West London, have enjoyed a busy trade in her vintage clothes and accessories. Indeed, one whole sale at Sotheby’s was devoted to the Vivienne Westwood collection of Lady Romilly McAlpine. Vivienne Westwood Ltd has launched the Anglomania label to exploit her back catalogue. The company also keeps in its archives over ten thousand pieces of clothing stretching over twenty-five years so that clients can have pieces from the past copied and made to measure. It is a popular service.

      Celebrities from a new generation have been drawn to Vivienne’s clothes, leading yet more fans in their footsteps. Heather Graham, Christina Applegate, Jerry Hall and Elizabeth Jagger, Cameron Diaz, Drea de Matteo, Sarah Jessica Parker, R’n’B star Lil’Kim Joy Bryant, Kate Winslet and Jennifer Connolly