<a href="https://www.sothebys.com/en/search?query=Keith%20Haring&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Keith Haring</a>, <a href="https://www.sothebys.com/en/search?query=Vivienne%20Westwood&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Vivienne Westwood</a>, and Malcolm McLaren collaboration for the 1983 'Witches' collection.<ul><li>After Keith Haring (American, 1958-1990).</li><li>Released as part of the Vivienne Westwood collection AW1983.</li><li>Silkscreen design on cotton fabric, originally part of a women's top (design has been cut out from top and is now a flat piece of fabric).</li></ul> A rare, museum worthy art fashion piece published on occasion of the AW1983 Vivienne Westwood &amp; Malcolm McLaren 'Witches' collection featuring printed artwork by Keith Haring. Related pieces from this collection were modeled by Madonna in 1983 &amp; worn in her ‘Borderline’ video; and are featured as part of The Costume Institute: The Metropolitan Museum of Art, New York. This unique Keith Haring, Vivienne Westwood collaboration stands as a historic moment in fashion, signifying the last collaborative endeavor between Westwood and McLaren. The collection was born after a transformative trip to America, where they encountered Haring, who lent his iconic designs to several pieces. His fluorescent, public art-inspired motifs seamlessly merged with high fashion, while his symbols and characters, rich with social and political commentary, provided a bold visual language that perfectly aligned with Westwood and McLaren's rebellious punk ethos. "I went to America to talk to Keith Haring and get some of his art, using it with fluorescent and dark backgrounds with hieroglyphics...space-invader type images. His work was like a magical esoteric sign language" - Vivienne Westwood Haring immediately felt connected to the thriving alternative arts scene happening downtown in the late 1970s and became friends with&nbsp;Jean-Michel Basquiat&nbsp;and&nbsp;Kenny Scharf after enrolling in the School of Visual Arts (SVA). Haring’s first major works were his subway drawings. Haring produced a large number of these public works between 1980 and 1985, integrating his motifs outlined figures into everyday public space in a way that directly engaged its viewers. Haring's 1st solo exhibition was held at Westbeth Painters Space in 1981 and a celebrated show debuted at the historic Tony Shafrazi Gallery in New York the following year. Throughout the 1980s, Haring was committed to democratizing the art experience and along with paintings, he also created theater sets, billboards, murals, advertising campaigns and even a line of Swatch watches. In 1986 he opened the Pop Shop in SoHo, selling apparel, posters and toys bearing his drawings. This was a controversial move, as many galleries criticized Haring for “de-valuing” the art object while others, such as&nbsp;Andy Warhol, championed Haring’s insistence on making art accessible and affordable. Pop Shop was highly influential to contemporary crossovers of art and merchandise that are now so dominant, as in the work of&nbsp;Jeff Koons,&nbsp;Yayoi Kusama,&nbsp;KAWS and&nbsp;Takashi Murakami. In addition to this ideology of accessibility, Haring was also very socially engaged and used his striking imagery to promote awareness of various political and social campaigns. His many notable public works included a mural on the western side of the Berlin Wall, the&nbsp;Crack is Wack&nbsp;mural in New York, and a mural for the 100th anniversary of the Statue of Liberty in 1986. Haring was diagnosed with AIDS in 1988 and used his presence in the arts community to raise awareness of the crisis. In 1989, a year before his death, he established the Keith Haring Foundation, whose mission is to raise funds for AIDS organizations and children’s literacy and arts programs. Since his death in 1990, Haring has become one of the most widely-recognized and celebrated artists of the 20th century.

Keith Haring and Vivienne Westwood Collaborative Silkscreened Fabric Piece

Four of <a href="https://www.sothebys.com/en/search?query=Vivienne%20Westwood&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Vivienne Westwood</a>'s fin-de-siècle runway shows inspired by Bacchus, Elizabethan pirates, and 18th-century caricatures, captured by legendary catwalk <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photographers</a> Dan Lecca, Fabio Pettinari, and others in Paris, London, and Milan.<ul><li>Sold as a set of 239 color slide transparencies.</li><li>Vivienne Westwood (English).</li><li>Dan Lecca (American).</li><li>Fabio Pettinari (Italian).</li><li>Paris, London, Milan: 1998-2000.</li><li>Black cloth binder housing dated and numbered color slide transparencies in clear plastic sleeves.</li></ul> "I love art, me," Westwood wrote in her published Diaries, and she really did: the art of Velasquez, Gericault, Matisse, Watteau, and Rubens, but also the arts of corsetry and tailoring, appropriating for herself all the exaggerated artificiality and technical tricks of both worlds, plundering several centuries in service of a vision that evolved beyond punk but never beyond beauty. "At Westwood, visions were sculpted, thought about, experimented with, directly on the body, on the stand, on the floor, or just tied to the mast" (Thornquist). The shows here include Milan Spring/Summer 1999 menswear (2 slides), the Paris Spring/Summer 2000 collection ("Summertime" — 75 slides), and the London Fall/Winter 1998 show ("Five Centuries Ago" — 69 slides), which "recalled the art world, through garments inspired by court costumes of Renaissance England, specifically in the age of Gloriana. Inspired in part by Dynasties, an exhibition of Tudor and Jacobean portraits at London's Tate in early 1996" (viviennewestwood.com). Yet the most important is the Paris Spring/Summer 1998 show ("Tied to the Mast" — 93 slides), a favorite of the designer's. That show — a seamless blend of early 1960s Italian glamor, "flamboyant, pirate" themes (New York Times) that harkened back to her first runway show ("Pirates," 1981), and Westwood's signature modish 1970s London punk — was a touchstone for the designer. She has returned to it for inspiration in several subsequent collections, and it remains a favorite of fans, from Gwen Stefani to Margo Robbie, who recently walked a red carpet in a vintage 1998 "Mast" gown. Said Westwood of this collection: the "name, 'Tied to the Mast,' was derived from the tale that in the event of an attack or storm, women onboard a ship were tied to the pirate ship's mast to ensure their safety." Typically retained for reference and company archives, primary materials from major fashion shows and designers are uncommon in the marketplace. A collection of unusual depth from one of the most important and influential designers of the last fifty years.

Color Slides From Fashion Runway Shows 1998-2000

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