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The career of [link widoczny dla zalogowanych]
In 1982 Women's Wear Daily described London as ‘a teeming fashion market-place buzzing with ideas. They bounce off the streets and out of the prodigious art colleges'. That year Westwood and McLaren launched their second collection,[link widoczny dla zalogowanych], Savage (Spring/Summer 1982),[link widoczny dla zalogowanych], which featured geometric American Indian patterns. Although the balance of Westwood and McLaren's creative partnership was changing,[link widoczny dla zalogowanych], Vivienne still consulted Malcolm. She said at the time: ‘He edits my work,[link widoczny dla zalogowanych], sorts out my story,[link widoczny dla zalogowanych], unscrambles my programming and gives me an avenue of approach'. The third collection,[link widoczny dla zalogowanych], Buffalo (Autumn/Winter 1982–83, also called Nostalgia of Mud,[link widoczny dla zalogowanych], featured sheepskin jackets and big swirling skirts. Westwood exhorted her fans to ‘Take your mother's old brassiere and wear it undisguised over your school jumper and have a muddy face'. Like many of her fashion ideas,[link widoczny dla zalogowanych], the bra worn on the outside was soon picked up by other fashion designers. Westwood was now on the Paris fashion circuit and Buffalo was followed by Punkature (Spring/Summer 1983), a futuristic interpretation of Punk. It introduced the tube skirt, one of Westwood's most successful and commercial designs.
In 1984 Westwood moved briefly to Italy with her new business partner, Carlo D'Amario (today Managing Director of her company) and most of her ‘ready-to-wear' is still produced there today. She designed Hypnos (Spring/Summer 1984) which featured sleek garments made out of synthetic sports fabric in fluorescent pinks and greens,[link widoczny dla zalogowanych], anticipating later trends in sportswear. The Hypnos collection was selected to be shown in Tokyo at Hanae Mori's Best of Five global fashion awards.
By the mid 1980s,[link widoczny dla zalogowanych], Westwood's self-taught tailoring skills converged with her increasing interest in British traditional clothing in the humorous Mini-Crini and Harris Tweed collections (Spring/Summer 1985, Autumn/Winter 1987–88) The crini was a short, full skirt with plastic boning,[link widoczny dla zalogowanych], inspired by the 19th-century crinoline and also by a ballet performance which Westwood had seen. She said: ‘Even if you're on a crowded tube, it always springs back after being squashed'. For summer, it was made in printed cotton with polka dots and stripes and teamed with cotton twin sets by the long-established British company John Smedley.
The winter version was in bright red Harris Tweed, hand-woven in the Western Isles of Scotland. It was worn with a matching jacket with velvet collar,[link widoczny dla zalogowanych], inspired by the traditional double-breasted children's coat. Westwood said ‘I'm not really trying to be English — you can't avoid it,[link widoczny dla zalogowanych], it's what you've absorbed. I do have fun knowing that I am doing it. I very much enjoy parody and this English sort of lifestyle … and I really am in love with the fabrics'. She has continued to draw international attention to British fabrics, including tartan,[link widoczny dla zalogowanych], throughout her career and was awarded the Queen's Award for Export Achievement in 1998. The Harris Tweed collection also launched the corset,[link widoczny dla zalogowanych], which Karl Lagerfeld described as one of the most important fashion ideas of the 20th century.