Slid Needham refuses to remain in one category. The politically charged CSM womenswear designer moves between abstract make-up, uncensored clothing and performance—using the body as both material and message.
That freedom has repeatedly placed her at odds with Instagram’s nudity guidelines. After the platform removed her account, Needham began pushing further against its boundaries and asking, “Are we being overly censored for displaying our own bodies?”
Last year, she collaborated with Vivienne Westwood on the Andreas Kronthaler for Vivienne Westwood show performance, working closely with make-up artist Val Garland to create the models’ looks.
Montrose met Needham somewhere between censorship and self-expression to speak about creative plagiarism, meaningful representation and the ways her sexual and gender identity move through her work.

Photograph courtesy of Slid Needham.
MONTROSE
How did your work first enter the world of Andreas Kronthaler for Vivienne Westwood?
SLID
At the beginning of my second year at university, I curated a performance and installation piece alongside Adam Leach and Lucas Nettleton-Tate. Through Instagram, it caught the attention of a member of staff at Vivienne Westwood. We were invited to a meeting to discuss creating a performance for the Andreas Kronthaler for Vivienne Westwood show in March 2018. The rest is history. 🙂
MONTROSE
When does inspiration become theft?
SLID
Taking someone else’s work and claiming it as your own is wrong. I think we can all agree that we’ve experienced it to some degree. It becomes difficult when we live in an age of mass image consumption online. At the end of the day, credit where credit is due. Help support young talent—don’t exploit it!
MONTROSE
If you could shift one thing within the creative industry, where would you begin?
SLID
We still need equal and fair representation—not simply placing a few trans models in a project because it appears trendy or progressive.
MONTROSE
Where does your work end and everyday life begin?
SLID
My work and everyday life have always felt like one continuous blur. My process often seems different from those around me. I’m inspired not only by my beautiful and talented friends, but also by my experiences with sexuality and gender identity. The process has to be lived and projected back and forth between the mannequin and me—almost like a conversation.
MONTROSE
Do you remember the first time you wore make-up?
SLID
I must have been incredibly young, but I only began experimenting with it properly when I started college at Loughborough Arts University in 2016.
MONTROSE
If you could meet yourself five years ago, what would you say?
SLID
Practice more self-love, take even greater creative risks and, most importantly, accept help when you need it.