Vivienne Westwood Research Paper Outline

Essay Outline and Annotated Bibliography

I. Vivienne Westwood’s ‘Mini-Crini’
I have chosen to discuss British designer Vivienne Westwood’s S/S 1985 ‘Mini-Crini’ -pictured below (fig.1).
I wish to explore Westwood’s intriguing fusion of 19th Century crinoline with the 1960’s mini and the sexual connotations that arise from the conjunction of these two extreme fashions in relation to the female form.
FIG.1 VIVIENNE WESTWARD ‘MINI-CRINI’ S/S 1985
SOURCE: http://www.viviennewestwood.com/history/early-years
II. A Historical Mash-Up
A breakdown of Westwood’s ‘Mini-Crini’ in structural and material terms.
The origins of crinoline and its use in the 19th century.
The mini-skirt - ‘youth quake’ fashion and Mary Quant, the ‘inventor’ of the mini-skirt.

III. Sexualisation of the Female Form through Fashion
The Lolita Movement - The mini skirt a paradigm of womens’ liberation but also a pinnacle of sexualisation of women. The fetishisation of young girls through this fashion.
Fetishisation of the crinoline skirts of 19th century - machoism - adhering to male fantasy / restricting nature of the cage - limited movement - kept women contained / restrained
Westwood’s treatment of the female figure and her stance on femininity.

IV. Reaction
Critical and public reception of the Westwood

Looking at the Harris Tweed Collection (1987) and the Anglomania Collection of (193/4) Arnold explores the English essence of Westwood’s designs. When turning her attention to the ‘Mini-Crini’, Arnold focuses on the apparent sensualisation of the female figure that Westwood has attempted to achieve through a mockery of prude Victorian dress. Through incorporation of corsetry , crinoline and crowns she evokes a sense of English Monarchy while challenging it through daring prints and