What did she show us? The real Westwood was always bad girl. Most dirty shop in 60's, fashion career and finally the huge name and flame. How did you do that Dame Vivienne Westwood?

430 KINGS ROAD.

1971 – 1980

The hippie movement was still the fashion look of late 1960s London, but this did not inspire Vivienne Westwood and Malcolm McLaren, they were more interested in rebellion and in particular 1950s clothing, music and memorabilia. Vivienne began by making Teddy Boy clothes for McLaren and in 1971 they opened Let it Rock at 430 Kings Road.

By 1972 the designer’s interests had turned to biker clothing, zips and leather. The shop was re-branded with a skull and crossbones and renamed Too Fast to Live, Too Young to Die. Westwood and McLaren began to design t-shirts with provocative messages leading to their prosecution under the obscenity laws; their reaction was to re-brand the shop once again and produce even more hard core images. By 1974 the shop had been renamed Sex, a shop ‘unlike anything else going on in England at the time’ with the slogan ‘rubberwear for the office’.

In 1976 the Sex Pistol’s God Save the Queen, managed by McLaren, went to number one and was refused air time by the BBC. The shop reopened as Seditionaires transforming the straps and zips of obscure sexual fetishism into fashion and inspiring a D.I.Y. aesthetic. The media called it ‘Punk Rock’.

The collapse of the Sex Pistols and the absorption of Punk nto the mainstream left Westwood disenchanted. In 1980 the shop was refitted and renamed Worlds End, the name still in use today.

Things and style icons that are always going to stay. I actually wanted to say... stay in our hearts but it's too trite.

one of my favorite videos ever.

EDIE...SEDGWICK.

The Factory days

In March 1965, Sedgwick met artist and avant-garde filmmaker Andy Warhol at Lester Persky's apartment. She began going to The Factory regularly in March 1965 with her friend, Chuck Wein. During one of those visits, Warhol was filming Vinyl, his interpretation of the novel A Clockwork Orange. DespiteVinyl's all-male cast, Warhol put Sedgwick in the movie. She also made a small cameo appearance in another Warhol film, Horse, when she entered towards the end of the film. Although Sedgwick's appearances in both films were brief, they generated so much interest that Warhol decided to create a vehicle in which she could star.

The first of those films, Poor Little Rich Girl, was originally conceived as part of a series featuring Sedgwick, called The Poor Little Rich Girl Saga. The series was to include Poor Little Rich Girl, Restaurant, Face, and Afternoon. Filming of Poor Little Rich Girl started in March 1965 in Sedgwick's apartment. The first reel shows Sedgwick waking up, ordering coffee and orange juice, and putting on her makeup in silence with only an Everly Brothers record playing. Due to a problem with the camera lens, the footage on the first reel is completely out of focus. The second reel consists of Sedgwick smoking cigarettes, talking on the telephone, trying on clothes, and describing how she had spent her entire inheritance in six months.

On April 30, 1965, Warhol took Sedgwick, Chuck Wein and Gerard Malanga to the opening of his exhibit at the Sonnabend Gallery in Paris. Upon returning to New York City, Warhol asked his scriptwriter, Ron Tavel, to write a script for Sedgwick, “something in a kitchen – something white, and clean, and plastic,” Warhol is to have said, according to Ric Burns' Andy Warhol: A Documentary Film. The result was Kitchen, starring Sedgwick, Rene Ricard, Roger Trudeau,Donald Lyons and Elecktrah. After Kitchen, Chuck Wein replaced Ron Tavel as writer and assistant director for the filming of Beauty No. 2, in which Sedgwick appeared with Gino Piserchio. Beauty No. 2 premiered at the Film-Makers' Cinematheque at the Astor Place Playhouse on July 17.

Although Warhol's films were not commercially successful and rarely seen outside The Factory, as Sedgwick's popularity grew, mainstream media outlets began reporting on her appearances in Warhol's underground films and her unusual fashion sense, which consisted of black leotards, mini dresses, and large chandelier earrings. Sedgwick also cut her hair short and colored her naturally brown hair with silver spray, creating a similar look to the wigs Warhol wore. Warhol christened her his "Superstar" and both were photographed together at various social outings.

DRUGS+ALCOHOL+HUGE EYES+SHORT DRESS+HUGE EARRINGS+FACTORY PARTIES= REAL EDIE