In the meantime, we play around with rectangular shapes, as Vivienne has long favoured this cutting principle
Reflecting on my project, Vivienne's name and my association with the brand keeps resurfacing. Teaching draping at SHU touched upon Westwoods draping method, using a technique I found online. I have previously carried out private work for Ben Westwood (youngest son) and consequently this has secured live tailoring projects at SHU for our second year students, both addressing climate change (one directly an done challenging the notion of what is luxury). Since my early work with Ben I have attend numerous IOU (Intellectuals Unite) private meetings hosted by Vivienne in an attempt to tackle climate change and injust in the world. This relationship to the Westwood studios from multiple angles prompted me to add her draping work to one of mood boards alongside Morris and Carpenter, as like Westwood they were also activists, environmentalists and also anarchists.
Reading Rickards thesis from 2015, in chapter 1.3 he talks about his time pattern cutting at the Westwood studios, starting with a rectangle piece of cloth and draping on a mannequin.
Unknown to me, this is also the approach I have taken, however I have adopted a 3D and 4D method as opposed to a 2D one.
Given my connection with the Westwood studios I am wondering whether it is worth approaching them at some point either in a industrial mentoring or collaborative role?
This is something I will talk to Robin about as I am concerned my ideas may become Vivienne's?