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Paris- The light was streamted through the stained glass of Institute de France on a real platform: A lonely cellist plays a sadness air, which is next to a rotating tableau of an inverted umbrella and dying sunflower. It was a dramatic overcher for Saturday’s Paris Fashion Week. It was spring – Vivian Westwood Style.
Andreas Krontheler, who has ordered the house since Westwood’s death in 2022 and named the label in 2016, worked hard in the middle energy that made the brand a legend. Leopard-print men’s underwear were sitting with a medieval wind, ribbed tunics. The punk shone in a jewelry veil and shiny lapels. Model stroke in floppy, 70s shoes swashballing, which convert the grand academic setting into a carnival.
The lineup said fluent Westwood: Draped and decontrolled silhouettes, collecting clothes with double skirts, cut from stitching. The colors collided until the eye is adjusted and click in chaos in order near the colors. A jewelery necklace made it literal: “Anarchy.”
Westwood made his name on Kings Road in the 1970s, wiring Tartan, Corsetry and ripped tees in punk’s grammar. This external spirit still drives the house, even its reach has gone into the mainstream. Since “Sex and the City”, since Sarah Jessica Parker’s prestigious Westwood Bridal Gown, the label’s wedding business has bounced – an institute de France on Saturday underlined a point by hundreds of noise fans for Jostling for a glimpse for a glimpse.
Chrontheler has long prepared to exit bourgeois classics – fighting the jacket, loading the corsetry, rotating the tartan into punk romance. This maximalist can tip the urge in large quantities, yet it is the life -life of the house, which is rather than keeping the language of Westwood loud and elastic.
Most of the Westwood’s power comes from historically mining and collection – the 80s Corset Ligi, Napoleon Swagger, Shakespeareian Drama. Since the passing of Westwood, the chrontheler has moved from careful custodian to the provocator, only to create new hybrids instead of quoting the past. Saturday’s show is advanced that shifts: Historical tunics, technical clothes and other skin underwear designs, not accidents.
The closing gave a human punch to the collection. Heidi Clum loudly shut down the runway for Cheers. Chrontheler stepped out with a bouquet of sunflower, so that he was too heavy, he had to rest on the floor before handing it over – a echo of revolving sunflower still node a tender for life and stubborn romanticism of the house.
If there was a lack of orders in the collection, it did not lack conviction. Some label views turn the visual discord into motivational beauty. Westwood can still do – under stained glass and under that shiny necklace, did it.
This article was generated from an automated news agency feed without amending the text.
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