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VivienneWestwood 1998 3Piece Runway Look for Jagger Shirt Skirt Suit Ensemble

Name: VivienneWestwood 1998 3Piece Runway Look for Jagger Shirt Skirt Suit Ensemble
Brand: Vivienne Westwood
Price: 6369.05 CHF
Availability: InStock
Rating: 5 (1 reviews)

About the Item

For the late British designer's Spring/Summer 1999 fashion show, this Vivienne Westwood runway-look three-piece ensemble of a black corset-style jacket, matching slit skirt, and colorful-stripe button-down shirt was worn for the catwalk-modeling debut of Elizabeth Scarlet Jagger (see our photo)--whose super-model mother Jerry Hall joined her on the runway to the delight of the Mick-Jagger-family loving paparazzi. Notably, the show where this cotton trio premiered was staged in London in Fall 1998 instead of Paris as it was linked to the launch of Vivienne Westwood's made-in-Italy "Red Label" line that was showcased in her new luxe Mayfair boutique. Vivienne Westwood must have been especially fond of this skirt-suit as she wore the design the following year for an unusual television-news interview that was scenically staged before the public-opening of The London Eye inside one of the rotating city-observation capsules of the gigantic wheel. The S/S 1999 collection is also historically significant because it was the initial one sold by Westwood's first namesake U.S. boutique in Manhattan's Soho, while she also introduced her first perfume "Boudoir". As The New York Times wrote in February 1999 about this career turning-point: Westwood "transformed what was essentially a shoe-string operation into a global brand." Specifically, this ensemble includes a dramatic twill draped jacket with distinct mutton sleeves, matching stretch-twill pencil-silhouette midi skirt, and a 100%-cotton meticulously fitted long-sleeve fuchsia-and-pale-yellow shirt whose short standing collar echos the jacket-lapels in miniature. For Jagger's catwalk, in punk-rock style, they were paired by Westwood with hand-shredded pink stockings for an eye-catching leg show. Combining elements of French couture and Saville Row tailoring, the hourglass-shaped jacket features folding and draping previously only found in Westwood's semi-couture Gold Label. Suggesting a corset, interior front panels are ribbon-fastened at the waist, where an enormous red brand-label is fully sewn on the left side. The black jacket's interior seams are piped in contrasting beige fabric. A Westwood signature golden-orb button closes the jacket in the center for a diagonally gathered waist. This creates a large triangular gap between the hem corners that gives the impression of a small waist with ample hips and breasts "stretching" the voluminous fabric. Notably, the low draping that contributes to the belly-concealing volume also hides two useful front pockets, such as for lipstick. As the jacket's "leg-of-mutton" sleeves begin off-shoulder (17-inch width for a narrower shoulder), a sleek drape is created along each single-seam arm when fastening the insignia golden button at the cuff. This turns the seam edge inward, which creates a deep linear shadow. As shown in our photo, Westwood also styled this skirt-suit as a mini without a shirt as another runway look. Here, Westwood positioned the wide shoulder seams and collar further back, which enabled the notched lapel to fall towards the collarbone for a deep V-neckline, which juts inward to frame the face. The shirt is equally complex in its extensive tailoring. Instead of shoulder seams along the top, two seams begin to descend in front from above the buttons at symmetrical angles, which end in curvilinear seams that bow at the breasts. At these princess-like seams, the stripe pattern changes direction, while the tiny angled breast pocket adds yet a third direction. Designed to compliment the jacket's notched lapel, the standing collar of the shirt has tiny notches above the top button. The angled stripes on the shoulder continue to the edge of the collar, further drawing attention to the face. In a British Victorian style, the shirt cuffs are long with two buttons each. The rounded shirt hem has two side slits like the skirt, which makes it equally attractive to wear untucked. The Roman-numeral size tag of the shirt is the equivalent of a U.S.-size 6 or international medium. The left side of the midi skirt has invisible-zip black-toggle closure with signature-orb button fastening at the waistband. The skirt is also a U.S.-size 6. The adjustable-tie and buttoned jacket will fit a U.S-size 6-8, while it is marked Italian-size 42. Perhaps this is because the flared back of the jacket is two inches shorter than the front at 21-inches from shoulder to hem. Only the jacket measurements are noted in the Measurement Units section of this listing. As the fourth item with this ensemble, the original "Vivienne Westwood Red Label" orb-insignia hanger is included. The ensemble is in very good condition after it has been cleaned several times according to the only owner, who sparingly wore it during the last 24 years. It is unlikely that other ready-to-wear buyers of this skirt-suit in 1999 also have the shirt that completes the Westwood-runway look. In light of the Christie's London auction in June 2024 of personal items designed and worn by Vivienne Westwood, during which a three-piece suit from another 1990s collection fetched over $19,000, our price is low for a similarly rare ensemble. More so, another 1998-1999 design by Westwood set a record at the same auction when the buyer paid more than $41,000 for a corseted silk gown worn by the designer for the opening of her museum retrospective at the V&A in London.

Designer:

Vivienne Westwood

Brand:

Vivienne Westwood

Dimensions:

Marked Size: 6 (US)Bust: 17 in (43.18 cm)Shoulder to Hem: 23 in (58.42 cm)

Style:

French couture & Saville Row tailoring (In the Style Of)

Place of Origin:

England

Period:

1990-1999

Material Notes:

While the shirt is crisp 100% cotton, the cotton twill skirt-suit will stretch slightly if worn tightly.

Condition:

Wear consistent with age and use. Four items are included in this fully signed set of jacket, skirt, shirt and London-boutique hanger.

Seller Location:

Chicago, IL

Reference Number:

1stDibs: LU3244218542872

Shop All Vivienne Westwood

Vivienne Westwood

For someone who regularly swatted away the industry that made her, audacious British fashion designer Dame Vivienne Westwood certainly knew her way around a garment. And she knew how to provoke. “I don’t follow fashion,” Westwood once told the New York Times. “I’ve never been interested in it.” Collectors are certainly interested in her work, and vintage Vivienne Westwood dresses, handbags, lingerie and jackets have become very desirable over the years.

Westwood was born Vivienne Isabel Swire in a village in Derbyshire, in central England, but moved to London as a teen. In the early 1960s, she began to make her own necklaces and other jewelry and met an artist, activist and entrepreneur named Malcolm McLaren. They became involved romantically and she made clothes for him in the style of the Teddy Boys — the city’s music-crazed, occasionally violent teenagers at the time who wore high-waisted trousers and tailored velvet blazers that drew on Edwardian-era fashions.

Westwood and McLaren opened a vintage shop on King’s Road in London in 1971. The flared denim and peasant blouses of the 1960s, then still popular with the “peace and love” set, didn’t hold any weight for Westwood. Instead, she was interested in provocative, edgy apparel. She repaired used clothing and endeavored to create bold new designs from scratch.

Together Westwood and McLaren sold older rock-and-roll records, customized T-shirts with antiestablishment slogans, biker jackets and snug trousers inspired by the Marlon Brando film The Wild One as well as bondage fetish wear. The shop, once called Let It Rock and then Too Fast to Live, Too Young to Die before Sex became a more appropriate moniker, evolved into a youth mecca. The DIY garments — zippered tops, burnt tees emblazoned with anarchist messages — flew off the shelves. More notably, it brought punk to the masses.

Westwood was soon dressing the Sex Pistols, a band that McLaren managed, all the while bridging the gap between music and fashion in a manner that has reverberated throughout the industry for decades.

In 1981, the couple’s first fashion show marked the debut of their Pirate collection — a swashbuckler-themed line that sprang from Westwood’s research into Indigenous Americans and the “power garments” of the Louis XIV era. The collection’s ample proportions and cutting-edge tailoring countered punk’s geometry and tight latex fits as well as what rocker Adam Ant called the “Puritanism” that plagued England at the time. The Pirate collection’s enduring influence on the world of fashion as well as the theatrical work of designers such as John Galliano and Alexander McQueen is undeniable.

For the colorful corsets of her 1990 Portrait collection, Westwood drew on 18th-century oil paintings — her models donned the pearl necklaces that have become a social media star and a favorite of influencers and fashion lovers all over the world. For a jacket-and-shorts suit from her Fall/Winter 1996–97 Storm in a Teacup line, the designer used the extreme asymmetry of a tartan mash-up to confront, according to Westwood, “the horror of uniformity and minimalism.”

The self-taught Westwood enjoyed a rapid ascent in fashion, with British society embracing her looks and Vogue immortalizing them in its glossy pages. She garnered accolades for introducing corsets to the runway and dressed Kate Moss and Helena Bonham Carter. And an original Vivienne Westwood wedding dress is featured in 2008’s Sex and the City film.

The fires of political and environmental activism burned brightly for Westwood: She was a Greenpeace ambassador, having designed the organization’s official “Save the Arctic” logo; her clothing brand is committed to using recycled canvas and other eco-friendly materials in the production process; and in 2020, she protested the extradition of Julian Assange by suspending herself in a bird cage outside London’s Old Bailey court. But she will always be the grande dame of British design.

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