Malcolm McLaren

Malcolm McLaren
Born	(1946-01-22) 22 January 1946 England
Died	8 April 2010(2010-04-08) (aged 64) Switzerland
Occupation(s)	Fashion designer, music manager, musician
Known for	Managing the Sex Pistols, influence on punk and new wave music scenes

Malcolm Robert Andrew McLaren (22 January 1946 – 8 April 2010) was a prominent English fashion designer and music manager, recognized for his pivotal influence on punk and new wave music scenes. He managed and promoted seminal bands such as the New York Dolls, Sex Pistols, Adam and the Ants, and Bow Wow Wow, significantly impacting the development of punk culture.

Following his father’s departure, McLaren was brought up by his grandmother and attended various British art institutions throughout the 1960s, immersing himself in underground art movements and leftist activism. Between 1974 and 1976, he partnered with Vivienne Westwood to operate the Chelsea boutique Sex, which became a central venue for early punk fashion in London. After advising the New York Dolls during their US stint, he took charge of managing the Sex Pistols, recruiting their iconic frontman Johnny Rotten. His use of provocative marketing tactics included the infamous 1977 release "God Save the Queen", a satirical critique of the Queen’s Silver Jubilee that garnered widespread attention, especially following McLaren’s arrest during a promotional boat event near Parliament.

Throughout the 1980s, McLaren managed various London-based artists while embarking on a solo music career that initially explored hip hop and world music before branching into funk, disco, and electronic dance genres. His first album, Duck Rock, attained UK silver status and featured hit singles such as "Buffalo Gals" and "Double Dutch". Despite facing accusations of commercializing popular culture, McLaren openly embraced this aspect of his reputation.

Later in life, he lived in Paris and New York City before passing away from peritoneal mesothelioma in Switzerland.

Early years

Born on 22 January 1946, McLaren was the son of Peter McLaren, a Scottish-born engineer from an upper-middle-class London family serving with the Royal Engineers, and Emily Isaacs, whose lineage included tailor Mick Isaacs and affluent Rose Corré Isaacs—her grandfather was a Portuguese Sephardic Jewish diamond merchant.

His parents separated when he was two years old after Peter McLaren left due to Emily’s repeated infidelities, which McLaren later alleged involved notable individuals such as Selfridges’ magnate Sir Charles Clore and Sir Isaac Wolfson, owner of Universal Stores.

"We've talked to Malcolm's mum. Even she doesn't like him." — Judy and Fred Vermorel, 1984

Following the divorce, McLaren was raised by his grandmother Rose next door at No. 49. At age sixteen, he departed Orange Hill with three O-levels to his name and briefly took on various jobs before enrolling at St Martin's School of Art. He also completed a foundation course at Harrow School of Art. Over the subsequent seven years, he furthered his studies at South East Essex School of Art in Walthamstow as well as Goldsmiths, University of London.

430 King's Road, Vivienne Westwood and New York Dolls

In October 1971, McLaren assumed control of the rear section of the retail space at 430 King's Road in Chelsea, West London. There, he sold rock and roll records, refurbished vintage 1950s radiograms, and surplus clothing under the name "In The Back Of Paradise Garage". Collaborating with art school colleague Patrick Casey, he transformed the ground floor into a shop called Let It Rock that specialized in dead stock and military surplus apparel. As business grew, McLaren enlisted then-partner Vivienne Westwood to repair original garments and produce replicas.

Let It Rock attracted clientele from the teddy boy subculture, while McLaren and Westwood's designs gained exposure through stage productions like The Rocky Horror Show and That'll Be The Day. By spring 1973, the store was renamed Too Fast To Live Too Young To Die, shifting its focus toward 1950s-inspired leatherwear including bespoke pieces for Ken Russell's film Mahler. In August 1973, McLaren and Westwood attended New York’s National Boutique Fair where they forged connections with the New York Dolls, supplying them with stage costumes and joining their tours across the UK and France.

In October 1974, they rebranded the boutique as Sex, signaling a move toward fetish-inspired fashion designed to provoke. By January 1975, McLaren and Westwood had created red patent leather outfits emblazoned with Soviet hammer and sickle motifs for the New York Dolls’ US performances aimed at generating publicity. This strategy did not succeed; soon after, the Dolls disbanded amid tensions attributed by guitarist Johnny Thunders to McLaren’s involvement. Conversely, McLaren blamed drug problems affecting Thunders and drummer Jerry Nolan. He returned to Britain in May 1975.

Sex Pistols

Beginning in 1974, McLaren provided guidance to Sex patrons Paul Cook and Steve Jones regarding their musical pursuits, recommending that shop assistant Glen Matlock join them as bassist in a band McLaren dubbed Kutie Jones and his Sex Pistols. In the summer of 1975, McLaren dismissed lead singer Wally Nightingale for not aligning with his concept. His colleague Bernie Rhodes, who later managed the Clash, identified customer John Lydon as a potential new vocalist. Following Lydon's addition, McLaren rechristened him "Johnny Rotten" and abbreviated the band's name to Sex Pistols, intending to conjure the image of "sexy young assassins."

By May 1977, after substituting Matlock with Sid Vicious—reportedly due to Matlock's fondness for The Beatles—the group released the provocative single "God Save the Queen" during Queen Elizabeth II's Silver Jubilee celebrations. McLaren organized a performance aboard a Thames boat near the Houses of Parliament, which was interrupted by police, leading to McLaren's arrest and widespread media attention.

Their album Never Mind the Bollocks, Here's the Sex Pistols debuted in October 1977. Following their last concert in the UK, they embarked on a U.S. tour in January 1978. The band accused McLaren of poor management and withholding earnings; however, McLaren asserted that he had orchestrated their entire career trajectory, as portrayed in The Great Rock 'n' Roll Swindle. Lydon's feeling of being exploited motivated him to form Public Image Ltd. A legal battle over the Sex Pistols' name in 1979 culminated in a 1986 High Court decision granting rights to Lydon, Jones, Cook, and Sid Vicious's estate. The 2000 documentary The Filth and the Fury offers the band’s viewpoint. McLaren’s role as manager is depicted by David Hayman in Sid and Nancy and by Thomas Brodie-Sangster in the miniseries Pistol.

Other artists

Following the release of their 1979 debut album, McLaren was approached by Adam Ant to manage Adam and the Ants. Shortly thereafter, three members departed to establish Bow Wow Wow, with McLaren taking on their management. He continued overseeing Ant’s revamped lineup and provided guidance to the Slits and Jimmy the Hoover.

Bow Wow Wow sported attire created by McLaren and Westwood, and McLaren involved the band in controversies including proposals for a magazine titled Chicken, which centered on sexual themes involving individuals below the age of consent.

Solo music career

In 1983, McLaren introduced Duck Rock, a project created in partnership with producer Trevor Horn and the hip hop duo the World's Famous Supreme Team. This album fused elements from African and American music traditions, notably hip hop, playing a key role in popularizing the genre to a broader audience. The singles "Buffalo Gals" and "Double Dutch" both secured spots within the UK top 10, while "Buffalo Gals" also achieved regional chart success in the United States.

By 1984, McLaren had transitioned towards electronic sounds with the release of the single "Madame Butterfly," which reached number 13 on the UK charts and number 16 in Australia. Producer Stephen Hague gained recognition following his work on McLaren’s album Fans.

The 1989 album Waltz Darling showcased a blend of funk and disco influenced by voguing culture. Tracks such as "Waltz Darling" and "Something's Jumpin' in Your Shirt" became popular European radio hits within the top 20. Notably, the remix of "Deep in Vogue" climbed to number one on the U.S. dance charts in July 1989, preceding Madonna’s vogue-themed hit "Vogue." This song featured collaborations with voguing icon Willi Ninja and filmmaker Jennie Livingston, who permitted sampling from her documentary Paris Is Burning.

For the visual presentation of Waltz Darling, McLaren enlisted Creative Director John Carver after thorough discussions, entrusting him with design and art direction responsibilities.

In 1989, McLaren worked alongside composer Yanni to reinterpret the "Flower Duet" from the opera Lakmé into a piece titled "Aria on Air," which was used extensively in British Airways' international advertising campaigns throughout the 1980s and 1990s.

McLaren co-wrote the song "Carry On Columbus" for the film sharing its title, released in 1992.

The 1994 concept album Paris incorporated contributions from prominent French figures including actress Catherine Deneuve, singer Françoise Hardy, and fashion designer Sonia Rykiel.

In 1998, McLaren issued Buffalo Gals Back 2 Skool under Virgin Records, featuring collaborations with hip hop artists such as Rakim, KRS-One, De La Soul, alongside producer Henri Scars Struck revisiting tracks from Duck Rock. That same year, he formed the band Jungk; however, it did not achieve commercial success. Additionally, he released "The Bell Song," accompanied by various remixes.

McLaren’s track "About Her" appeared on the soundtrack of Quentin Tarantino’s 2004 film Kill Bill: Volume 2, incorporating samples from "She's Not There" by the Zombies and Bessie Smith’s "St. Louis Blues." In 2005, a French court ruled in his favor against plagiarism claims made by audio engineer Benjamin Beduneau concerning this work.

His solo output, particularly material from Duck Rock, has been extensively sampled: Dope Smugglaz’s 1999 UK Top 20 hit "Double Double Dutch," Mariah Carey’s 1997 remix of "Honey" sampling "Hey DJ," Eminem’s 2002 track "Without Me" incorporating elements of "Buffalo Gals," and Amerie’s 2007 song "Some Like It" drawing from "World's Famous."

In 2001, author Paul Gorman released The Look: Adventures In Rock & Pop Fashion, which included contributions from McLaren; its 2006 edition featured a CD containing "Deux" from Paris Remixes.

Disputes over Royalty Payments

During a 1982 trip to Johannesburg, South Africa, McLaren's track "Double Dutch" was created using elements from "Puleng," a song by the mbaqanga group The Boyoyo Boys. Similarly, the B-side "Zulus on a Time Bomb" drew from their track "Tsotsi." Additional songs such as "On The Road To Soweto" incorporated material from General M. D. Shirinda and the Gaza Sisters. Furthermore, two compositions from the Mahotella Queens were adapted: "Thina Siyakhanyisa" transformed into "Jive My Baby," and "Kgarebe Tsaga Mothusi" became "Punk It Up."

Previously, McLaren had also reworked the Mahotella Queens' "Umculo Kawupheli" into the Bow Wow Wow single "See Jungle! (Jungle Boy)." Initially, none of these original musicians received royalty payments. Legal action ensued against McLaren, resulting in a UK court order freezing his royalty earnings. Ultimately, the dispute was resolved privately with a confidential settlement.

Film Production

By 1984, McLaren redirected his creative efforts from music toward theater and cinema. He embarked on an off-Broadway musical adaptation of the Fans album, a project developed over three years in collaboration with impresario Joseph Papp and choreographer Tommy Tune.

At the same time, he crafted a film concept called Fashion Beast, which merged the narrative of Beauty and the Beast with the biography of fashion icon Christian Dior. In 1985, McLaren presented this alongside other ideas—such as Heavy Metal Surfing Nazis, depicting a dystopian gang tale; The Rock'n'Roll Godfather, a biographical film about Led Zeppelin's manager Peter Grant; and Wilde West, examining Oscar Wilde's impact on rock music—to Hollywood figures including David Geffen and Lynda Obst.

That year, McLaren was appointed production executive at CBS Theatrical Films, where he advanced work on Fans: The Musical and enlisted British writer Alan Moore to develop the screenplay for Fashion Beast. After CBS Theatrical Films ceased operations later in 1985, McLaren joined Amblin Entertainment as an ideas consultant while continuing to pitch projects independently. He secured development capital for Fashion Beast from Manhattan businessman Robert Boykin; although Avenue Pictures optioned it, progress halted following Boykin’s death in 1988.

In 2012, Alan Moore adapted the Fashion Beast screenplay into a ten-issue comic book series released by Avatar Press.

Returning to Europe in the early 1990s, McLaren produced various film and television ventures from bases in London and Paris. He co-directed, wrote, and performed in The Ghosts of Oxford Street, a musical documentary aired by British broadcaster Channel 4 in 1991 that featured artists such as Happy Mondays, Tom Jones, and Sinéad O'Connor.

In 2000, McLaren wrote and starred in the six-episode series Being Malcolm for French youth channel Jimmy. He remained active in film development, notably producing the 2006 adaptation of Eric Schlosser's book titled Fast Food Nation. For this project, he collaborated again with British producer Jeremy Thomas and director Richard Linklater, both of whom had worked with him previously on The Great Rock'n'Roll Swindle.

Mayoral Campaign for London

In December 1999, the New Statesman published an article highlighting the "McLaren Manifesto," which fueled rumors about McLaren's possible run for Mayor of London. Supported financially by Sony Music through entrepreneur Alan McGee, McLaren embarked on an independent bid for the first-ever mayoral election in 2000.

His platform advocated for environmentally conscious traffic management and proposed allowing public libraries to serve alcoholic beverages. McLaren positioned himself in opposition to established political parties, which he accused of rendering London "expensive, oppressive and boring." However, his campaign ceased once Ken Livingstone declared his candidacy.

Broadcasting Endeavors

McLaren hosted Malcolm McLaren's Musical Map of London on BBC Radio 2 in 2006, followed by the 2007 program Malcolm McLaren's Life and Times in L.A..

That same year, he took part in ITV’s reality series The Baron, filmed in Gardenstown, Scotland. The show’s broadcast was postponed due to the passing of contestant Mike Reid and eventually aired from April 2008. During production, McLaren stirred controversy by engaging in disruptive acts such as urinating in the harbor and antagonizing local residents. He finished in last place, with Reid emerging victorious.

On 7 November 2007, McLaren was announced as a contestant on ITV’s I'm a Celebrity... Get Me Out of Here!, but he withdrew immediately upon arrival in Australia, labeling the show as "fake" and expressing a lack of interest. His spot was subsequently taken by Katie Hopkins. The following year, he featured as a 'celebrity hijacker' on E4’s Big Brother: Celebrity Hijack, where he encouraged participants to create body art using paint and a bicycle.

Reflecting on his influence within popular culture, McLaren referred to himself as "the culprit responsible for turning British popular culture into nothing more than a cheap marketing gimmick," openly acknowledging both criticism and notoriety.

Artistic Work and Exhibitions

McLaren debuted publicly as an artist in 1967 at London’s Kingly Street Art Gallery. In 1986, curator Nick Waterlow invited him to participate in the 6th Sydney Biennale, where he showcased his adaptation of Édouard Manet’s Le Déjeuner sur l'herbe as the album cover for Bow Wow Wow.

His interdisciplinary creations were highlighted in the 1988 exhibition Impresario: Malcolm McLaren and the British New Wave at New York’s New Museum of Contemporary Art. The 1996 London exhibit I Groaned With Pain featured his collaborative fashion work with Vivienne Westwood, emphasizing their cultural importance beyond traditional art forms.

Later in his career, McLaren returned to visual arts with an installation at Maastricht’s Bonnefanten Museum in 1999. This project evolved into the 2005 Casino of Authenticity and Karaoke displayed at Germany’s Center for Art and Media Karlsruhe. In 2008, Creative Time premiered nine segments from his 21-part sound painting series Shallow on MTV’s Times Square screen, marking a collaboration between Creative Time and MTV focused on public art. The complete series was later exhibited at Philadelphia's Pennsylvania Academy of the Fine Arts from October 2009 through January 2010.

In 2009, JRP Ringier published McLaren’s book Musical Painting, which included contributions from artists such as Damien Hirst. At the time of his passing, McLaren had finished the film Paris: Capital Of The XXIst Century, which premiered at the Baltic Centre for Contemporary Art.

The U.S.-based biennial festival Performa established an award named The Malcolm in 2011 to recognize daring performance art inspired by McLaren’s legacy. Additionally, in 2013, the Metropolitan Museum of Art’s Costume Institute dedicated a section to McLaren and Westwood within its exhibition "Punk: From Chaos To Couture."

Posthumous exhibitions

In August 2014, McLaren’s impact on the fashion world was celebrated during the Copenhagen International Fashion Fair. The exhibit, titled Let It Rock: The Look of Music The Sound of Fashion, was curated by Young Kim and Paul Gorman and focused on the six retail stores McLaren operated alongside Vivienne Westwood. The display included original garments, photographs, and various memorabilia loaned by the Malcolm McLaren Estate as well as collectors such as designer Kim Jones and musician Marco Pirroni. British fashion journalist Charlie Porter commended the exhibition’s curation for its outstanding and thoughtful arrangement.

Between October 2014 and February 2015, McLaren’s background in visual arts was prominently featured in Art in Pop at Le Magasin, Centre National d'Art Contemporain in Grenoble, France. This exhibition, curated by Yves Aupetitallot with Paul Gorman, Young Kim, and artists John Armleder and John Miller, presented McLaren as a pivotal figure who challenged conventional artistic limits. The show also included contributions from musicians such as Daniel Johnston, Don Van Vliet (Captain Beefheart), Genesis Breyer P-Orridge, and Alan Vega, alongside artists connected to music like Alix Lambert and Takuji Kogo.

McLaren’s segment showcased original fashion pieces co-created with Westwood, supported by loans from Kim Jones, Pirroni, anthropologist/writer Ted Polhemus, and streetwear authority Hiroshi Fujiwara. Exhibited materials featured photography, ephemera, visuals from a 1969 student art exhibition, and McLaren’s mid-1980s painting I Will Be So Bad. The presentation was accompanied by a soundtrack of McLaren’s music, with Marie France describing it as "an invigorating exhibition not just to see but hear as well."

Personal life

McLaren’s partnership with Vivienne Westwood concluded around 1980; together they had a son, Joseph Corré. Subsequently, he was involved with Andrea Linz, a fashion student at Saint Martin's School of Art who had formerly been part of the German pop-disco group Chilly. Their relationship ended when McLaren relocated to Los Angeles in 1985.

While living in Los Angeles, he entered a relationship with model and actress Lauren Hutton, cohabiting for several years until their split in the late 1980s. Following this, McLaren became engaged to fashion agent Eugena Melián; they worked jointly on projects including his 1994 album Paris. He briefly dated architect Charlotte Skene-Catling before beginning a romantic relationship with Young Kim, an American woman he met at a social gathering.

Later life and death

McLaren encountered Young Kim in Paris; she was 26 years old while he was 25 years her senior. She moved in with him in 2002, and they shared homes in both Paris and New York during the final twelve years of his life. Kim serves as the sole executor and beneficiary of his estate.

After being diagnosed with peritoneal mesothelioma in October 2009, McLaren passed away from the illness on 8 April 2010 in Switzerland. His reportedly final words were "Free Leonard Peltier". Tributes poured in from friends and former collaborators such as John Lydon and Steve Jones, who acknowledged McLaren as a key catalyst behind punk's commercial breakthrough.

His funeral took place at One Marylebone, a former church located centrally in London. Attendees included Westwood, Sex Pistols members Paul Cook and Glen Matlock, along with notable figures like Bob Geldof, Tracey Emin, and Adam Ant. The coffin bore the phrase "Too Fast To Live Too Young To Die". Geldof later recounted conflicts among those present, underscoring lingering tensions even at this solemn event.

McLaren was interred at Highgate Cemetery in North London to the Sid Vicious rendition of "My Way". In 2012, probate granted Young Kim control over his estate, excluding his son Joe Corré. A headstone featuring the inscription "Better a spectacular failure, than a benign success"—expressing McLaren’s ethos on risk-taking and creativity—was placed on his grave in April 2013.

Television and radio documentaries on McLaren

The South Bank Show: Malcolm McLaren was broadcast by London Weekend Television on 8 December 1984. Directed by Andy Harries and introduced by Melvyn Bragg, this documentary centered on McLaren's studio work in the United States for his album Fans. It also delved into his early life, art school experiences, and collaborations with groups such as the New York Dolls, Sex Pistols, Bow Wow Wow, among others. Featured contributors included Sex Pistol Steve Jones, Boy George, and Adam Ant.

Following McLaren's passing in April 2010, BBC Two aired Malcolm McLaren: Artful Dodger. This film, produced and directed by Jeremy Marre and hosted by Alan Yentob, incorporated archival footage alongside interviews with Joe Corré, Young Kim, and additional participants.

On 25 April 2020, BBC Radio 4 presented Malcolm McLaren: Spectacular Failure to commemorate the tenth anniversary of his death. Produced by Just Radio and narrated by McLaren’s biographer Paul Gorman, the program included insights from his friend and campaign manager Peter Culshaw as well as writer Lou Stoppard, who emphasized McLaren’s pioneering influence on contemporary creative practices that transcend traditional boundaries.

Further reading

• Bromberg, Craig. The Wicked Ways of Malcolm McLaren. HarperCollins, New York, 1989.
• Brown, Dalia; Graham, Rodney; Hirst, Damien; McLaren, Malcolm. Malcolm McLaren: Musical Paintings. JRP/Ringier, 2010.
• Macleay, Ian. Malcolm McLaren. John Blake Publishing, 2010.
• Overbury, Steve. Guns, Cash and Rock 'n' Roll: The Managers. Mainstream Publishing, 2008.
• Reynolds, Simon. "Serious Mayhem", London Review of Books, 10 March 2022.
• Taylor, Paul. Impresario: Malcolm McLaren and the British New Wave. MIT Press, Cambridge, Massachusetts, 1988.
• Walker, John. "Malcolm McLaren and the sources of Punk" in Cross-Overs: Art into Pop/Pop into Art. Comedia/Methuen, London/New York, 1987.

External links

• Authentic creativity vs. karaoke culture – TED Talk