Press Enter to Search or ESC to Close
An under-acknowledged art world connection forged by Malcolm McLaren during his fashion design partnership with Vivienne Westwood was to the godfather of street art, conceptual artist Richard Hambleton. During his forays in New York in the early 80s, McLaren was struck by Hambleton’s eerie representations of The Shadow Man figure; there was one on a […]
It’s been a busy and satisfying week, rounded off by publication today in the Architects Journal of an essay of mine on the cultural significance of 430 King’s Road.
Years after concerns were raised about the authenticity of around half of the punk fashion pieces in the Metropolitan Museum Of Art Costume Institute collection, cleaning house has finally begun at the New York institution with the expulsion of two bondage suits purporting to have been original 70s designs by Malcolm McLaren and Vivienne Westwood. […]
The Bookseller has announced that British imprint Constable is to publish my book Malcolm McLaren: The Biography.
In the autumn of 1972 the small King’s Road boutique Let It Rock, which had been open for less than a year, received a fillip when the owners Malcolm McLaren and Vivienne Westwood were asked to contribute costumes to the production of 50s Britrock movie That’ll Be The Day.
I’m featuring this image of designer Ben Kelly in his persona of The Photo Kid in my presentation about the design history of 430 at the symposium Dead Or Alive: Popular Culture & The Interior, which takes place today at London’s ICA.
There’s a nice story behind this portrait of the late fashion designer Thea Porter, whose talents are celebrated at the just-opened exhibition at London’s Fashion & Textiles Museum. During preparations for the exhibition and the accompanying book, the curator and fashion historian Laura McLaws Helms visited British artist Penny Slinger, who had made feathered masks […]