FRUiTS legend Shoichi Aoki on Palace and Westwood’s punk collision

On paper, Palace might not exactly scream punk, but the British skate brand has the same DIY spirit that powered the 1970s movement pumping through its veins. In just over 15 years, Lev Tanju and Gareth Skewis’ label went from obscure name-to-know among London’s skaters, to a global fashion behemoth that’s collaborated with everyone from Gucci and Calvin Klein, to CP Company and GAP. Not a day goes by – even in London, when the sky is slate grey and it’s pissing it down more than it’s not – a queue of kids whose style spans countless subcultures doesn’t snake round the block in Soho, as they line up to get their hands on hoodies, tees, skate decks, and stickers.

Now, the label has released news of its latest collab, and it’s a really good one. After linking up with GAP on a collection that clashed its very British sensibilities with a heady dose of 90s Americana, this time around Palace is looking closer to home and joining forces with Vivienne Westwood. It’s a move that makes total sense. The two houses, though very different aesthetically, share an undeniable synergy, their humour and tongue-in-cheek approach to design providing a common thread that runs through their garments – whether a windproof, Gore-Tex cagoule, or a cinched satin corset.

The collection itself sees Westwood’s signature Orb mashed together with Palace’s own Tri-Ferg logo and plastered across t-shirts, track tops, and belt buckles, while Westwood’s seminal SS92 Salon show is the source of inspiration for the prints emblazoned across hoodies, jackets, and trackies. And while plenty of girls have been dipping their toes into Palace since day dot, this project marks the first time the label has officially ventured into womenswear – Lev Tanju’s cute little dog Stuart makes his debut on a corset, denim skirt sets get the logomania treatment, and ribbed vests and saucy knickers come covered in leopard print and Tri-Fergified Orbs. Rounding things off are tartan berets, teddy bear bags, bondage trousers and bombers, plus a bunch of beanies finished with horns – which Viv herself surely would have put to one side for herself. 

To coincide with the launch of the collection, legendary street style photographer Shoichi Aoki was enlisted to create a zine, and captured an eclectic cast of misfits – including musicians Sematary and Matt OX, legendary model and activist Sibyl Buck, and Palace star skater Lucien Clarke – rampaging around souvenir shops and tourist traps across Soho. As the brains behind iconic style title FRUiTS, Aoki has been photographing the world’s coolest kids for almost four decades, with the pages of his mag filled with tons of Westwood across the years. More recently, since Palace’s store opened in Japan’s Harajuku district, he’s also been snapping countless mirror-shine shopping bags, but admits he’s never actually been in to check out what it’s all about. In fact, when in London to shoot the zine, he admits he still never went inside its Berwick Street flagship. Whatever: he doesn’t need to set foot inside to know that something very special is going on. 

Hey Shoichi! You’ve seen countless brands come and go across the course of your career. When did you first come across Palace and what did you make of it?

Shoichi Aoki: When Palace’s Harajuku shop opened, I noticed the silver bags and wondered what they were. Since the shop was located in an area I don’t usually pass by, it took a while before I noticed it – I’ve still never actually been inside the store. Two years ago, I came to London for the first time in 20 years and saw that there was always a line outside the Palace store in Soho. The atmosphere was great, and I felt it would be nice to do something together. But I still haven’t gone inside the store!

And what about Vivienne Westwood? We’ve seen so many kids wearing her clothes in loads of issues of FRUiTS through the years.

Shoichi Aoki: In 1986, I went to London for the first time to shoot for the magazine STREET. At that time, the punk craze that Westwood had created had calmed down a bit and there were only a few punks left on the streets, but I loved that you could still feel the punk spirit live on in London’s street fashion. I visited World’s End on the King’s Road a few times. In Japan, a few stores imported and sold Westwood’s clothes. The clothes were for a niche group of enthusiasts and were very expensive, making them difficult to incorporate into one’s wardrobe. It was also intimidating to enter the stores. 

“In 1986, I went to London for the first time to shoot for the magazine STREET. At that time, the punk craze that Westwood had created had calmed down a bit and there were only a few punks left, but I loved that you could still feel the punk spirit live on in London’s street fashion” – Shoichi Aoki

The explosion of street fashion in Harajuku that inspired me to start FRUiTS in 1996 was partly triggered by Westwood fashion becoming accessible to the general public. This was due to the start of licensed production in Japan and the fervent support from young people for a few designer brands that were heavily influenced by Westwood’s style. Westwood’s fashion went beyond just being a brand; it became a philosophy, and wearing their pieces became a form of self-expression.

Why do you think there is a good synergy between you and Palace and Westwood?

Shoichi Aoki: I perceive fashion tastes as vectors. Palace and Westwood are different angle vectors. Both have strong, exclusive tastes, but their collaboration involves different directional vectors. When I first heard about it, I was excited, and after seeing the products and styling, I was even more thrilled. FRUiTS fashion is about mixing items with different vectors. In FRUiTS magazine, various fashion vectors are featured, and there’s a philosophy that embraces mixing different vectors within an individual’s fashion. There is a vector generally recognized as FRUiTS fashion, but it is different from the vectors of Palace and Westwood. I imagine that the vectors of all three, being different, form a triangle similar to the Palace logo.

What does London represent to you? 

Shoichi Aoki: The pinnacle of street fashion. A creative spirit.

What do you look for in a subject, and what did you make of the cast Palace brought together? 

Shoichi Aoki: Presence, atmosphere, aura, and confidence in their fashion. Palace did a fantastic job with the casting – everyone had a strong presence and great style. The shoot was a whirlwind. A lot of creative energy.

Do you have a fave Westwood show? 

Shoichi Aoki: I’m usually more interested in the fashion of the audience than the shows themselves, but the 1992 show at the Grand Hotel in Paris was crazy. 

What will you be taking home from the collection? 

Shoichi Aoki: When you ask like that, it makes me want it all 🙂  Probably the denim jacket, the hoodie, and the blue bear shirt. If I don’t button the shirt up, I think I could wear it. I’d like to wear it loosely, like in the zine.

Speaking of the zine, why do you think printed media is still so important? 

Shoichi Aoki: I’d actually like to ask Palace that question. Even with a small page count like this, creating a zine is a challenging task. That effort, along with the fact that it exists as a tangible object, might stir some kind of subconscious excitement. In a time when images have become fleeting and disposable, perhaps an image that doesn’t disappear has begun to take on a new meaning.

Last question. What advice would you give someone trying to get into style photography?

Shoichi Aoki: If you mean street style photography, it’s important that it’s a documentary and has value as a record even 100 years from now. Also, there should be respect for the fashion of the subjects.

Shop the Palace x Vivienne Westwood collection from September 6. Click through the zine above and the product gallery below.