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You can appreciate the rebelliousness in this knitwear that, like much of Westwood’s work, subverts the rules of fashion. The “undone” look belies their technical accuracy and supreme production. A historically important and poignant example of the Westwood aesthetic and influence, these garments are still as fresh as the day they were produced and must be seen up close to be fully appreciated.

Their inclusion in this exhibition helps to convey how diverse knit techniques can be, and provides a visual celebration of the power of craft in fashion.

The exhibition concludes with a small display titled “Scottish Knitwear Now”, focusing on the work of hand knitwear designer Di Gilpin and her collaboration with the Paris/Glasgow label La Fetiche, directed by April Crichton (former design director for Sonia Rykiel).

Garments consist of a neon pink knitted top, a cream mini-skirt and an oversized cream jumper with bold colour stripes. Every piece is made in an Aran-style handknit – a traditional technique that many people will know from fishermen’s jumpers. These pieces are far from traditional, though, and offer a modern take on a classic knit – a fitting end to the exhibition.

While an interesting connection is made here with contemporary Scottish design and craft, I was left clamouring for more – which can only be a good thing. This hints at possibilities for a future exhibition to celebrate the vast wealth of Scotland’s knitwear design talent and brands, from Johnstons of Elgin and Barrie Knitwear to Green Thomas and Jennifer Kent.

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