Malcolm McLaren `God Save the Queen' pink cheesecloth bondage shirt, 1970s, bearing the remains of the original label within the lower left waist panel, painted in turquoise and red with the Union flag, purple printed central motif, elongated sleeves with loops; together with an image of Debbie who worked in Seditionaries wearing an identical shirt in the 1970s.
A Malcolm Maclaren, Vivienne Westwood Seditionaries girl's stretch nylon t-shirt, circa 1977, black ribbon label to shoulder, simple black hooded rapist print to front, high round neck and short sleeves.
A rare Vivienne Westwood Malcolm Maclaren Seditionaries black muslin bondage shirt/dress, circa 1977, black ribbon label to lower right hem, printed in white to one side with "The Killer Rocks On!/ Anarchist Cook Book" and to the other "Vive le Rock and Disco.
Sweater, 1976. Loosely knit mohair with color blocks of blue green, rust, and gray.
"Vivienne struck an odd combination of the dominatrix and pantomime principal boy in leather jodhpurs, or tiny leather miniskirt with appliquéd motorcycle badges, a thick American leather jacket, fluffy mohair sweater and little pointy booties. With her spiky, white-peroxided hair and pale skin providing a neutral background for her luscious purple lips, she was simply stunning" (Nils Stevenson, Vacant: A Diary of the Punk Years, 1976–79 [New York, 1999], p. 15).
Common mohair sweaters had been seen everywhere in London since the 1950s, but Westwood made her own version with a looser knit and bolder, asymmetrical color blocks that was decidedly different from the predictable stripes and colors of past decades.
More than any other contemporary designer, Vivienne Westwood has been scrupulous in her study of historical forms of dress. Her brilliance, however, has not been in the literal rendering of period artifacts but in her application of contemporary techniques to resolve their form-making and an almost abandoned revivification of their sexual content. Despite its cartoon-like rendering of the bustle, this suit precipitated a surprisingly erotic response when seen in motion on the runway.
Shirt, 1976. Striped brown and white cotton with stenciled and painted slogans, and appliquéd patches.
"When the 'Dolls' folded Malcolm returned to Vivienne. Her latest design was an anarchy shirt—distressed to look old, with bleached-out stripes, and appliquéd with badges, flags and slogans: 'Only anarchists are Pretty!,' 'Dangerously close to Love,' 'We are not afraid of Ruins,' 'Chaos,' and a woven label from Chinatown of the portrait of Karl Marx, to which Malcolm added a swastika. This shirt looked as if it belonged to an urban guerilla and Malcolm saw in it the key to a new collection of clothes. All the current themes—rips, zips, porn, slogans, bondage and chains–were pressed into service and punk style was born" (Gene Krell, Vivienne Westwood [New York, 1997], p. 12).
This shirt epitomizes punk style and ideology. A similar shirt has been well documented in period photography as being worn by Johnny Rotten, lead singer of the Sex Pistols, and Sid Vicious, the group's bass player. It is thought that many of the expensive SEX garments worn by the Sex Pistols, which were given to them by McLaren and Westwood for promotion, were single garments passed around from band member to band member on a day-to-day basis.