Vivienne Westwood's Mumbai show couldn't 'serve'; but why is the designer so important?

The Vivienne Westwood brand debuted in India with a rainy showcase at India Gate in Mumbai. Andreas Kronthaler, Westwood's husband and longtime collaborator presented a collection that was curated to pay homage to Indian craftsmanship as it lined up handwoven textiles like chanderi and khadi, blended the sort of avant-garde aesthetic, which Westwood had championed during her time.

Critics however were not pleased as this marriage of two fashion languages did not come across as seamless or even fully-baked. The Internet criticised the lack-lustre tailoring, the disastrous celebrity samples and the poor runway picks, none of which did anything for the rebellious, edgy and provocative cuts Dame Westwood was applauded for. However, the problem may not be so superficial; the showcase lacked the gumption, radicality and innovation which gave the iconic British label its identity.

Vivienne Westwood's debut at The Gateway of India featured the Spring Summer 2025 collection

The show was at best a poor sketch of the counterculture and pageantry which Westwood mastered. It failed to show Indian audiences what Westwood's fashion stood for and why it stood the test of time. Even a few years ago, a badly curated showing like this wouldn't have mattered.

But India with its $50 billion fashion market, booming digital ecosystem, rising number of billionaires and burgeoning luxury market has emerged as a new playground for the biggies. The late Dame Westwood didn't care if she sold clothes but it's hard to wave away what a successful show in a market like India could spell for the brand.

But why is Vivienne Westwood important and what did the show miss?

Vivienne Westwood emerged as a pivotal figure in British fashion during the 1970s; she was a pro at incorporating the chaos of her time in her clothes giving them a voice which helped shape the punk rock movement and also opened up key avenues for alternative fashion in the West. Westwood was able to situate herself as an icon of rebellion and innovation, and her designs reflect her fearless commitment to her activism.

She opened her first boutique, "Let It Rock," in London on King's Road, and the shop became a hotspot for the burgeoning punk scene, selling not only clothing but also a vision of youth culture that challenged societal norms. This boutique evolved, changing its name several times, including to "Sex" and later "World's End." Under these names, Westwood introduced a daring aesthetic characterized by torn fabrics, safety pins, and provocative graphics. Her bold designs captured the spirit of rebellion and influenced countless musicians and artists.

Counterculture was at the centre of her fashion identity. Westwood understood history and sought to free it with her clothes. She frequently drew inspiration from British history, incorporating Victorian and Rococo influences into her collections while infusing them with a punk edge. This juxtaposition of past and present was not only a hallmark of her design philosophy but also served as a commentary on the nature of fashion itself – often cyclical and deeply entwined with societal changes.

Her collections over the years have included iconic pieces such as the "Anglomania" collection (1993), which celebrated British culture, and her use of tartan fabric, which has become synonymous with her brand. Westwood’s designs often feature daring originality tailoring and a keen sense of playfulness, making her garments not just clothing but works of art.

Westwood’s defining collections like Pirate (1981) and Mini-Crini (1985) were provocative and challenged mainstream fashion by fusing chaos with couture and protest with pageantry. Westwood's creations over the years had something to say, be it about climate change, anti-capitalism or consumerism.

Vivienne Westwood's first India showcase struggled to hold up the ethos of the legendary brand. "Why are the celebrity attendees in bridesmaid dresses?" screamed someone's Instagram story. Where was the angst, the radical flair or even the sheer fun which Westwood used to speak about the most crucial things? The brand's India debut could at the very least commit itself to the drama which helped people connect with the late designer's social messaging.

Westwood’s capsule collection of khadi and chanderi silks celebrated the hand-woven fabrics and was sourced from Khadi India and Aaranya Gwalior in Madhya Pradesh in central India. The fluid tailoring and the manipulation of fabrics came across as interesting but if customisation was the strategy to attract Indian buyers, it probably needed some more time and more depth.

In recent years, the late Westwood had made strides toward sustainable fashion. She emphasized the importance of environmentally friendly practices in the industry, calling for reduced waste and promoting the idea of 'buying less' and 'cherishing what you have.' Maybe Westwood's strong passion for saving the climate could be her connection with her Indian buyers given the appreciation for heritage textiles that already exist in the market.

It's important to remember that Westwood's creations were a critique of mass consumerism and conventional beauty standards which did not care for inclusivity. Westwood's 2016 Red Label collection featured models carrying placards declaring “Austerity is a crime” and “Fracking is a crime”. In 1989, Women’s Wear Daily publisher John Fairchild described Westwood as “the Alice in Wonderland of fashion” in his book Chic Savages, and also named Westwood as one of the six most influential designers of the 20th century. Westwood knew her connection with her buyers' angst is what made her brand so special.

“I own my own company, so I’ve never had businessmen telling me what to do or getting worried if something doesn’t sell,” she said in 2009. “I’ve always had my own access to the public, because I started off making my clothes for a little shop and so I’ve always had people buying them. I could always sell a few, even if I couldn’t sell a lot, and somehow my business grew because people happened to like it.”

The Indian showcase of the brand comes months after Dior's Pre-Fall 2023 show at the same Mumbai venue which managed to impress with its lineup. Dior’s creative director of women’s collections, Maria Grazia Chiuri, sent out 99 looks which paid homage to the country’s craftsmanship, textiles, shapes and colour palette and balanced extravagance and wearability just right.

“I am dazzled by the modernity of Maria Grazia. She is curious, passionate and always on the lookout for savoir-faire,” said French actress and model Laetitia Casta who was present at the Dior show. Dior's commitment to artisans and their craft shone through with the resplendent runway looks featuring block prints, glittering Madras checks and unique elements of fusion. Westwood's brand of course is very different from Dior, it caters to a different market and also has a very different history. Unlike Dior, Westwood has always been a symbol of rebellion; Vivienne's imagination never stopped 'serving' as the Gen-Z would say.

A few years ago, a bombshell Vivienne Westwood pearl necklace known as the Bas Relief choker took TikTok by storm after Bella Hadid, Dua Lipa, Rihanna, Kylie Jenner and Saweetie were seen sporting it. Deemed the ‘Tik Tok Pearl Necklace’, the vintage piece was originally designed by Westwood in the late ’80s as a counter-culture statement against classic fashion. After the necklace went viral, demand for Westwood's pieces caused searches to rise on resale sites and platforms that sold archival fashion. Westwood's passion for conservation aligns perfectly with the Gen-Z commitment to saving the world and it's easy to see why the young and the restless love Vivienne Westwood. It's because her fashion moves the audience to think, question and criticise.

"The sexiest people are thinkers. Nobody’s interested in somebody who’s just vain with a hole in their head, talking about the latest thing — there is no latest thing. It’s all rubbish," Westwood had said once. “You’ve got to invest in the world, you’ve got to read, you’ve got to go to art galleries, you’ve got to find out the names of plants. You’ve got to start to love the world and know about the whole genius of the human race. We’re amazing people.”