Tuesday, 24 March 2009

Vivienne Westwood 1991 S/S Collection : Cut and Slash

Color Analysis

Color Scheme :
- Analogous Color Scheme
- Triad Color Scheme
- Achromatic Color Scheme
Vivienne Westwood loves using Achromatic Color Scheme , we can always find Blacks , Whites and grays in her collections. Westwood also used this scheme to design outfits so as to create the feeling of classic and elegant.

The below outfits are using Analogous Color Scheme. The left one is using violet and pink and the two rigth outfits are using red and orange to create the Analogous Color effect, thus as a whole I find the these outfits can create the feeling of harmony.

The below outfits are using Traid Color Scheme , which are Red , Yellow and Blue , both outfits are using high value. These two outfits really impressed me a lots, as I know that Traid Color Scheme is not easy to use, but Westwood use this scheme in these two outfits in a very proper way and it can make the outfit become more shape and impressive.


About the coleections

This collection employed the 17th century technique of slashing and gives depth to the fabric - satin , silk , cotton and denim all received the smae confindent treatment. The effect was achieved in a variety of ways: the large slashes were hand-cut while the smaller , regular cuts were made using a broderie abfkause programme in which embroidered sections were cut, but the embroidery itself omitted. The technique was further emulated in chunky hand - knits.

This collections utilized denim , partly because Westwood realized that it was the most commercial application of the technique.

The deep , hand-cut gashes and frayinf edges animated the jackets and jeans, emulating the passionate, masculine vitality the Wetswoos admired so much in Tudor portraits.

In this collections , Westwood explored clothing that was androgynous, as she had done intermittently since Punk. Incorporating references to 18th centtury court dress and the 19th century dandy, she created a more clinging and less angular profile for the torso, eschewing certain late 20th century masculine tailoring conventions.
Westwood said ' There are certain polarities operating in whatever I do, very strong ones - vetween masculine and feminiine, how much fermininity goes into men's clothes , how much masculinity can go into women's clothes . '

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