Laura Jordan explores a series of unpublished, backstage moments from the iconic S/S94 Westwood show
The word ‘icon’ is thrown around so liberally that it runs the risk either of being diluted in meaning, or dwarfing whomever it’s thrown at. The formidable Vivienne Westwood, however – a unique presence who manages at once to be a national treasure and anti-establishment rebel – easily inhabits the grand accolade. So imperious, so impressive is Westwood herself, that it’s easy to forget her clothes and collections also deserve that ‘iconic’ epithet. Westwood’s anarchic spirit is the lifeblood of her bold, audacious designs; pieces that both draw on and subvert historical and establishment codes. Even inundated as we are with hundreds of shows every season, Westwood’s pirate boots and corseted gowns, for instance, are indelibly marked on the collective sartorial conscience. That’s serious staying power.
One of Westwood’s most memorable collections was Spring/Summer 1994’s Café Society, which drew on late 19th century French fashion and cited the creations of the first haute couture house, Worth, and 17th century paintings of Van Dyck as an influence. Presented in Paris in October 1993, the supermodels of the moment – Christy Turlington, Kate Moss, Helena Christensen, Naomi Campbell et al – seductively swanned around the Grand Hotel in bustles and bustiers, ruffles and tassels, their hair piled high or topped off with fittingly theatrical hats.
Backstage, a 21-year old Steve Harries – assisting his friend Gavin Bond (who was shooting the collection’s look book) – played witness and documenter to the scene unfolding. He remembers Westwood as always making time for him and being, “Surprised at how calm and professional everyone was. There was a real sense of excitement and anticipation. It felt special. I was young and we had a lot of fun, but people were privileged to be there and worked hard.” Alongside assisting Bond, “Vivienne asked if I could also shoot accessories, shoes and details of the collection at the fittings, as a record,” Harries explains. The result is a series of photographs capturing intimate moments amongst the hubbub of backstage and which provide a new, more personal perspective of the much-documented collection.
Having remained untouched in a shoebox in his home for over 20 years, now Harries is unveiling these hitherto unseen photographs to a public audience for the first time at London’s Webber Gallery Space. “Revisiting the images today I feel an obvious sense of nostalgia,” he explains. “Although my work has developed over the last 20 years, the shots have a naivety and spontaneity which I love. There is a certain sensitivity that I still recognise. The experience was invaluable to me”. Here, he reflects on some of the most truly iconic images from the collection.
“This was backstage on the day of the show. Pictured are Vivienne’s mum and her friend. I remember them being almost un-noticed as people worked around them, hidden amongst the rails”.
“This was at the fitting. I love the image of Vivienne watching over her team, adjusting and perfecting her collection on Nadja’s sculptural body”.
“Another taken at the fitting. The textiles were incredible; this dress looked amazing with movement”.
“One of the most iconic moments in the show; everyone remembers that skirt. This was snapped in one frame, just as Kate was walking off”.
Vivienne Westwood, Café Society, 1994 by Steve Harries opens at the Webber Gallery Space, London, on February 19 and runs until March 16, 2016.
