The legendary Vivienne Westwood brand, born from the rebellious spirit of British punk, made headlines by opening Riyadh Fashion Week on Thursday. This marked the first time an international label took center stage at the Saudi Arabian event, now in its third year.
Many found this collaboration intriguing. Riyadh Fashion Week is the brainchild of a real royal in a conservative Islamic kingdom, where modesty in dress is typically the norm. Vivienne Westwood, however, was famously provocative, having defined punk fashion in the 1970s by outfitting the Sex Pistols in a style replete with pins, torn fabrics, and daring graphics. Before her passing in 2022, she further developed her luxury brand, using it as a platform for her left-wing activism.
Just this week, the Vivienne Foundation, a charity she established, re-released one of her iconic early pieces: a T-shirt adorned with framed female breasts. This garment was famously worn by the Sex Pistols guitarist during a notoriously crude 1976 television interview that caused a sensation across Britain.
Such a design would likely face fines under Saudi Arabia’s public decency laws. While the Crown Prince has spearheaded a significant loosening of social restrictions over the last decade, he has also overseen a widespread crackdown on dissent.
However, for some local Saudi designers, the inclusion of such a bold, rebellious brand in the fashion week lineup is simply another indicator of changing times. They view it as evidence of official efforts to boost the kingdom’s cultural appeal and foster a thriving creative community.
“It’s an important step to put our region on the global fashion map,” explained Mohammed Khoja, 38, the designer and founder of the Saudi brand Hindamme, who is also slated to showcase his collection at Riyadh Fashion Week on Sunday.
With Vivienne Westwood kicking off the event and Stella McCartney set to close it, Mr. Khoja expressed his excitement about being alongside such “huge, very respected global brands.” He believes this marks the beginning of a new chapter for Saudi designers.
Mr. Khoja noted that historically, banking and petroleum have been Saudi society’s primary economic drivers, with creativity often overlooked. When he launched Hindamme in 2016, “creativity wasn’t really part of the popular culture,” he recalled, though pioneering designers like Adnan Akbar and Yahya Al-Bishri had previously achieved recognition, even designing for figures like Princess Diana.
In recent years, Crown Prince Mohammed bin Salman, the de facto ruler of Saudi Arabia, has significantly eased religious restrictions and is actively working to diversify the economy beyond its reliance on oil. This ambitious initiative, known as Vision 2030, involves substantial investments in business, sports, tourism, and culture, including hosting major international events. Fashion is clearly a key component of this vision.
Just this month, Saudi Arabia established an $80 million fashion fund to support local talent. Last month, the Ministry of Culture hosted its inaugural Cultural Investment Conference, focusing on “advancing cultural capital,” among other objectives. Adding to this momentum, the renowned Italian fashion school Istituto Marangoni opened a campus in Riyadh in August.
These initiatives have, however, drawn criticism from human rights organizations and public figures. They argue that Saudi Arabia is using such cultural events to distract from domestic repression, and that international involvement inadvertently legitimizes these efforts. Recently, prominent comedians, including Marc Maron, voiced their disapproval of peers like Dave Chappelle for participating in the Riyadh Comedy Festival.
The announcement of Vivienne Westwood’s participation in Riyadh was met with a sharp rebuke from the designer’s granddaughter, Cora Corré. She publicly stated that the brand’s decision was inconsistent with her grandmother’s core values. Ms. Corré had parted ways with the company last year, citing a deviation from its original principles, but remains involved with the Vivienne Foundation charity. Both Ms. Corré and the foundation, as well as the Vivienne Westwood company itself, did not provide comments when contacted.
The company had previously framed its first Middle Eastern show as an opportunity for cultural exchange. This justification is often used by others who defend their involvement in the kingdom’s significant modernization efforts.
In Riyadh, Vivienne Westwood presented elegantly embroidered gowns, crafted in collaboration with local artisans from Art of Heritage. This organization focuses on preserving cultural artifacts and training Saudi women in traditional crafts. Princess Nourah bint Mohammed Al Faisal, the founder of Riyadh Fashion Week and head of Art of Heritage, emphasized in an interview with Harper’s Bazaar Arabia that this collaboration demonstrates how Saudi craftsmanship can achieve global recognition.
Mr. Khoja shares a similar aspiration. His designs are a heartfelt tribute to his roots and the places he has called home, including Texas, where he spent nine years of his childhood, and Paris, where he pursued business administration and developed his passion for fashion. One of his collections features a print inspired by local rock art petroglyphs, aiming to highlight what he calls “the genesis of visual culture in Arabia.”
Conversely, criticism of international participation in Saudi projects has also triggered a counter-backlash. Some argue that accusations of “whitewashing” are hypocritical and unfairly dismiss the genuine aspirations of the kingdom’s leadership to diversify its economy and cater to its youthful, digitally-connected population.
“It’s not a uniform society,” Mr. Khoja asserted. “There’s a vibrant tapestry of creative expression here.”