In the sea of collaborations between celebrities and popular brands, there is one that stands out. The legendary Riccardo Tisci tapped the iconic Vivienne Westwood for his first Burberry collab. Tisci just won’t stop shaking the world of high fashion. First, he announced that he is leaving Givenchy after 12 years as a leading designer. In an unexpected turn of events, he was then announced as the new creative director of Burberry. Now the designer pulled out another big surprise of his sleeve.
When things begin to feel stale, seek out Vivienne Westwood, whose collections are always miles and further from boring and stale. The Andreas Kronthaler for Vivienne Westwood fall/winter 2017-2018 ready-to-wear collection showed a lot of color, texture and prints going down the runway, with just as many different silhouettes as well.
The show was co-ed, showing outfitting options for men that also included dresses, which even now is not typically done. Vivienne Westwood is well known for her adventurous runways and most everything being done now she has done before. Case in point, her most recent Vivienne Westwood fall 2017 ready-to-wear collection showcased in London was all about climate advocacy brought to life through unisex fashions.
Her partner, Andreas really wanted to show and prove how proud he is of his Austrian heritage, saying: “The realization at the end was that I see myself as an Austrian designer, it was about acknowledging my nationality and giving shape to my identity.”
Andreas Kronthaler apparently had three different sources of inspiration to fuel the designs of this particular Vivienne Westwood collection. The first source of inspiration is actually a bit of a celebration for the Vienna tourist board, which reached the centenary of creation of Vienna Modernism. Andreas Kronthaler made certain to pay homage to that achievement, while also secondarily citing his second source of inspiration as something related to himself.
Apparently, he recently cleaned out his family home and thus his childhood bedroom which boasted his love for Klimt with posters galore. Finally, the third source of inspiration was explained to be two outfits for children from the Wiener Werkstätte, The Vienna Workshops (1908-1932). Kronthaler stated that the collection was a tribute to the Wiener Werkstätte, which explains the aesthetic he was aiming for with traditional style costumes and a childish dirndl.
All of this background, the oddly chosen accessories and extreme silhouettes of the Andreas Kronthaler for Vivienne Westwood fall 2017 collection were what they were, but nothing really stirred the crowd as much as the biggest surprise of the show – Vivienne Westwood herself modelling the looks. The audience, who would not be there if not for a love and recognition of her brand anyway, erupted into applause and verbal outcries of support and surprise.
Amusingly enough, though it may not have been immediately apparent, Vivienne Westwood also showed up in a print full of faces as well, so she was on the runway in more ways than one. The collection showed a great range of options that will be diluted through the personal wardrobes and tastes of the buyers. It will be interesting to see what happens as people purchase their favorite parts of the collection.
Photos courtesy of Vogue
Many jaw-dropping things happen whenever there is a Vivienne Westwood runway show on. For her Vivienne Westwood fall/winter 2017-2018 collection, which was unveiled this week during London Fashion Week, the designer brought politics, climate advocacy and the epitome of gender-bender fashion on stage, showcasing both her fall 2017 men’s and women’s wear line-ups.
With the staples being so genderless, however, we could fairly state that almost each one of the looks is neither conventionally masculine nor feminine, meaning that one could easily mix and match most of the garments according to her own taste. Even the very few über-feminine outfits appeared infused with Westwood’s post-modernist takes on fashion, as proven by the fact that she let male models sport some of the most gorgeous gowns.
The idea of the swapping clothes is, fashion aside, a philosophic statement Vivienne Westwood wants us to embrace (or at least to visualize), and of course has to deal with her never-ending advocacy for a more sustainable kind of fashion (that we are very grateful for).
“She and he are having fun with Unisex and swapping clothes. ‘Buy less, choose well, make it last’ limits the exploitation of the planet’s natural resources,” press release about the show reads. “He and she have joined Intellectuals Unite (IOU) and are becoming ever more scared of Climate Change.” The release also calls for a “responsible government responsible to people, not only responsible to banks and conglomerate monopolies.”
To better reinforce such statements, Vivienne Westwood even “marked” her more genderless-inspired pieces with captions such as “IOU” and “Ecotricity” (the latter is a British energy firm that provides green economy).
Those who are used to Vivienne Westwood’s shows know, however, that the designer is no stranger to gender-bending collections, as she also firmly believes their motifs could help anyone explore oneself. “My very first shows were all mixed. Really, they were. Pirates, Buffalo Girls. . . . men and women together. Although, in this show some of the men are wearing dresses, which isn’t something they did much of before,” she remarked backstage.
And speaking of dresses worn by men, the staples everybody is talking about these past hours are precisely punk prom frocks with loads of tulle and organza worn by both male and female models, along with the show’s very last few pieces that are all about golden shades and flattering figures. Although the Vivienne Westwood fall 2017 ready-to-wear collection features tailored coats and capes, revisited bolero jackets, elegant shirts and pinstriped trousers aplenty, it is with the dresses (and accessories!) that Westwood gave her best.
Although being heavily punk-inspired, the dresses exude nothing but a soigné allure and strong, empowering personalities, the tailored silhouettes of which got often juxtaposed with more maverick and ironic phallic pins (we bet those will fly off the shelves the soonest!).
This was Vivienne Westwood’s debut at the London menswear fashion week’s schedule and, under these premises, we cannot wait to see the next one.
Photos courtesy of Vogue
The Andreas Kronthaler for Vivienne Westwood spring/summer 2017 collection has been anticipated for several reasons that range from a desire to see what Andreas Kronthaler will dream into reality to good old label anticipation. Regardless of why people were so excited to see the runway show, it was clear to see that they had a lot of fans ready and waiting.
Vivienne Westwood is a strong brand with an exceptional background and Andreas Kronthaler did not disappoint. There were pieces with significant symbolism in them, while others, like a textured see-through jumpsuit over a shiny pewter bikini, were fashionable items only. The variation of the styles and looks was certainly eye catching with straw pieces, wide-necked, high-shouldered designs.
There are interesting distressed shirts, and a few ensembles here and there, but in all honesty most of the collection does not seem very wearable for most people. A pewter colored dress is so drastically short that walking would not be a possibility for some, and the same is about the broadly opened neckline that anyone with more than a B cup will need some heavy duty fashion tape to wear without major wardrobe malfunctions happening.
Some of the accessories were interesting in that they were miniatures of severed appendages, hands, and fingers. Large open-front shirts and jackets had a distinctly ‘80s feel to them. Other pieces were expertly draped, a white strapless dress being a perfect example of this impeccable tailoring. A favorite is the striped spaghetti strapped halter dress with the front side split with a matching bag and brown boots.
Andreas Kronthaler let his feelings be known by saying: “You need to be relevant somehow; I try to be conscious and responsible,” before elaborating that “clothes are a celebration of life, and that’s my responsibility.” He isn’t just speaking about his scantily clad models but his more thoughtfully clad models, where he is representing the pain Europe is feeling on all scales.
There are subtle and outright phallic references in the design of the clothes and accessories as well as the overall ensembles. The outfits are wildly unexpected and some of the more wearable pieces show off an interesting pattern and more interesting tailoring. The shoes were an interesting version of sandals for a very warm feel.
When someone inquired about Kronthaler’s bold and audacious style choices, Dame Vivienne Westwood supportively stated that, “He does develop and exaggerate things, but I think it’s the most sexy thing in I can’t remember when.”
Boiled down the style of the Vivienne Westwood by Andreas Kronthaler spring 2017 ready-to-wear collection has a lot of Matisse-esque cutouts, asymmetrical pieces and slightly unrealistic day and party wear.
Photos courtesy of Vogue
Vivienne Westwood’s spring 2017 collection was full of patterns, and nearly dream like in appearance. Eighties style jackets were prevalent in this collection, seen on a large number of the looks in different patterns, cuts and sheens. Vivienne Westwood is not known as a subtle designer, her clothing erring just on the side of much and barely touching the nearly too much category.
The Vivienne Westwood spring 2017 collection features bright greens, creams and blues, as well as dark grey, black and white. Unlike many other spring collections, Vivienne stays true to herself and provides a spring evoking palette that is not like anything else shown during London Fashion Week.
There are a few trends that have shown up here in Vivienne Westwood’s spring 2017 collection and drawn in fashionistas. The looser, baggier style is evident and the corresponding silhouettes are very relaxed. Interesting cuts in the design of the jackets make for a different appearance of flow, especially on the looks that include a pattern.
The green pant set with the swerving lines also features the currently very popular long tailed belt. The set was paired with a dark green bag and slip-on black sandals for a relaxed yet moderately professional look.
Another two-piece set featured jogger style capri pants and a matching shirt with an open neckline design, brown buttons and pink piping with pink button holes. This set was finished with a pair of brown sandals that matched the buttons on the shirt. There were a few different shoe options as well, including a few comfortable slides and sandals.
Vivienne Westwood’s spring 2017 collection had a lot of interesting elements to it that included micro ponchos, several patterns, a bit of shimmer, which is seen in a pair of dreamscape appearing leggings that are actually covered from top to bottom in sequins. The leggings were paired with an oversized off-the-shoulder top and oversized blue cuffs.
The Westwood fans will be elated at the variety offered in her upcoming spring line, as well as the changes happening with a few of her other fashion lines. There will be a lot of imminent changes coming about for Vivienne Westwood.
The Gold label that has been under the command of Vivienne Westwood’s husband will be renamed and renewed as Andreas Kronthaler for Vivienne Westwood, named after the man himself. In January 2017, both the men’s line and the women’s line, which was previously known as Red, will be merged under a single label called Vivienne Westwood.
As with most of her work, this fashion line is already seriously anticipated. Regardless of the upcoming changes with other lines, the Vivienne Westwood spring 2017 collection is a well-planned and beautifully executed visual win that is sure to keep her fans happy.
Photos courtesy of Vogue
When punk rock fashion queen Vivienne Westwood met eclectic artist Andreas Kronthaler, it was love at first sight. The married couple that is also a professional duo still perfectly embodies the quirkiest side of fashion even after more than 20 years spent living and creating together. Newly born, the Andreas Kronthaler for Vivienne Westwood fall/winter 2016-17 ready-to-wear collection was unveiled for the first time ever at Paris Fashion Week, denoting an intriguing new path for Westwood’s lines too.
Vivienne Westwood earlier announced that only her eponymous label and her Gold Label line were going to be produced, and that the latter was going to be renamed after her devoted husband. Such a choice also emphasizes some solid differences between the two lines, besides denoting how deep and respectful the relationship between Westwood and her husband is. “I have designed with Vivienne for more than 25 years. To add my name is to emphasize and clarify the differences between our lines. It is not a big change to the way we work but it will bring a new direction and I am happy and excited for the future,” declared Kronthaler, to which Westwood added: “over the years Andreas has taken on ever more responsibility and I wish this fact to be reflected in public perception.”
Dramatic, dark-toned and overall imposing, the Andreas Kronthaler for Vivienne Westwood fall 2016 collection combines Westwood’s signature punk rock motifs with Oriental, bohemian and British vibes. Aside from the gauzy trousers and sharp jackets, the collection’s main lines could be regarded as gracefully relaxed, even when combined with geometric colorful patterns and contrasting hems. Oversized and genderless, most of the pieces inevitably remind us of the Eighties, with all their studded applications and gender-bender allure.
To describe the collection’s debut is not an easy task, as it may be literally regarded as a well-served potpourri of all the things Kronthaler likes. He deconstructed fashion to the point that gender, proportions and patterns are not important anymore, yet always manages to create designs that are a pure pleasure to watch. Kronthaler’s controlled chaos made him combine dramatic pointy hats with oversized coats, voluminous golden windbreakers with unisex suits, not to mention the abstract, asymmetrically cropped pants and surrealistic jackets.
To top it all off, he even mixed warm and cozy jackets, as well as furry neck warmers with Japanese sandals, making sure each one of his designs had at least one Far East-inspired motif. I mean, who else could so gracefully mix wrapped kilts, tartan waistcoats, bellboy jackets with velvet athleisure pants, deconstructed earth-toned Saris and Bishop hats all together, if not Andreas Kronthaler?
It is also extremely interesting to notice how he did, however, manage to celebrate his wife’s legacy through the very last pieces of the collection, wherein studded frocks, oversized cape coats, contrasting collars and shredded blazers confirm once again how deeply interconnected the artistic, professional and sentimental bonds are between the two of them.
Photos courtesy of Vogue
Generally one of the most unique designers on the Fashion Week runways is Vivienne Westwood, using her main line to create quite the stir. She would normally get included in most memorable, most bizarre and such other lists for each season, but it appears that she will be disappointing in that aspect this time around. We just finished going through the Vivienne Westwood Red Label fall 2016 ready-to-wear looks and we can easily say Westwood will not be making any of her usual lists this year, even though the pieces are pretty awesome unto themselves. Within the 39-piece collection, we can find quite a bit of fun, with apparently lots of layers included.
It starts with a certain 1940s style to it, from the blazer to the tucked in pants, creating a courtier’s look for the ladies. Layers are huge here it appears, with dresses thrown over shirts and pants, tucked into socks and red half boots. Some of the looks are tedious in their simplicity, like the long black dress with the navy blazer thrown on top. And then there is the blazer over see-through plunging neckline dress over straight skinnier pants look that is confusing to say the least.
Bubble skirts are found on this show as well, along with some mushroom hats in maroon and antique looking belts thrown with simple shorts and puff-sleeved blazers. Yeah, the blazers seem to be a very common trend for this particular ready-to-wear line. The outfits are not the best of her creations but they are certainly enjoyable to watch strutting down that catwalk.
Add on some hats in maroon, belts in gold and garnet and pointy shoes that include bows on top and you have a pretty wacky combination of styles, despite the lack of exaggeration and extravagance. You just see the wacky here and we can easily see Vivienne Westwood as a high profile costume designer for the independent movie sets.
In terms of hair and makeup, we see lots of short curls and a focus on the contouring more than anything else, with a good amount of blush used. The eyebrows are shortened and drawn straight across, looking pretty strange and unnatural, as per Vivienne Westwood style, while some of the girls have bright red lips and prominently drawn brows to ramp up the style.
Many of the girls also appear quite boyish, with their clothing, their hair and makeup giving into the androgynous look that is so very much in for 2016. Those curls though, it is very hard not to notice them as they peek out from under hats or create their tiny afro as they are left free under the sun. The look appears to be enjoyed by models of all colors as well, leading to a gender-neutral, race-neutral and fashion-neutral combination. With so many strange layers happening, we are not quite sure what category this one can be fit under.
Photos courtesy of Vogue
Fashion need not always be so straightforward. Often, it can be crazy! Crazier than crazy! And that’s where designers like Vivienne Westwood come in with their ability to scare the hell out of us (apparently red eyeliner works wonders in creating vampires and zombies of the evil nature) while still ensuring we are awed by the designs. Zombies on the beach wot flat abs and long, toned legs appear quite fashionable actually, in bedraggled bikinis covering barely anything, the hair pulled back with an edgy cloth and dead eyes covered with oversized sunglasses.
Pretty dolls and varsity team cheerleaders come up to the Vivienne Westwood spring/summer 2016 catwalk, each with their specific appeal, alongside all the other students attending. While it all starts tame enough, we move on into headless women (wearing a coat on hanger that closes around the body) as well as rounded headpieces with veils that remind us of hellish brides in white. Between bright red lipstick and a shift in focus to beautifully done up colorful demonic eyes, Westwood sure has the Halloween spirit captured on hand.
The clothing itself is pretty enough, with sweater dresses and silken gingham skirts and blouses; we notice plunging necklines here and there and diagonal hems to the dresses, ankle cropped trousers and a few shoulder pads. We love the boyish slouch to the pants here and there, as well as the silken material, which captures the light and gives every piece it is used on a richer, more vibrant feel. Splotched denim jacket over frilly ruffled skirts with a mini hem certainly are appealing in the doll-like stature, while the Happy Hippie holding a coconut loving bag makes thigh slits look so very good.
There are 54 looks to choose from and while some are downright freaky in their presentations, others are not quite so bad, even leaning towards being rather lovely. A psychedelic Alice in Wonderland? No problem! Sequins out of the Milky Way? It appears Westwood has her eye on the treasure and prefers to see the glittering masses walking about on legs. There is also a dark bride in there somewhere in tattered but very expensive clothes, wearing black rain boots as she trudges through the dirt and the muck of daily life, her gauzy robes hinting at an affluent background.
This Vivienne Westwood spring/summer 2016 collection was unveiled on the Paris Fashion Week and literally threw us off kilter, though we were expecting something even crazier. A whole slew of monsters was in line with expectations actually, or grotesque figures as Maison Margiela and Vivienne Westwood are both more on the freakier side of the fashion industry. Though we have to admit that after the zombies and vampires seen during the beginning, the final showpiece of a nature-loving beekeeper was a bit unexpected, veiled hat and all; though technically it appeared to be more of a nymph bride with woodsy stockings, a blue ruffled crop top reminding us of the riverbed and flowers with long stems woven about the waist where a small ruffled skirt appears, bouquet in hand.
Photos courtesy of Vogue
Fashion is ridiculous, a pathetic parody of what it used to be… The Vivienne Westwood Red Label spring/summer 2016 collection takes a political side just before the show, and gets even better with the ‘Austerity is a Crime’ and ‘Fracking is a Crime’ signs held by some other activist-models located on a balcony just above the audience (‘fracking’ is a controversial procedure used to extract oil and gas by drilling the earth with a dangerous mixture of chemicals and water). Whenever there’s a Vivienne Westwood show, everybody knows and waits for her anti-government demonstrations, which this time, however, may put the designer under a bad light. In fact, while some have surely agreed with Westwood’s protest against fracking, which is one of the most discussed topics in England at the moment, not everyone appreciated her anti-fashion comments, saying it is extremely hypocritical of her to despise what made her not only famous but, above all, wealthy.
The show began with police sirens and then proceeded with people screaming slogans, like the highly controversial ‘Hashtag-Twitter-Tumblr-Instagram’, which may be seen as an attempt to remind us of what the real important things in life are. As the first models stomp out, we quickly understand the show’s major theme: dichotomy. With casual dresses, delicate lines and pastels colors, almost all Vivienne’s models have one thing in common: their outrageous makeup. While some of you may look at it as a sort of Mad Max tribute, those black thick lines across the forehead actually represent robber-masks, and surely call into question the clean and somehow conservative lines of the clothes. Is Vivienne trying to tell us we shouldn’t judge a book by its cover, or is this just another way to explain her ‘Fashion is a Parody’ statement?
Although the political leitmotiv took most of the audience’s attention, Westwood’s great tailoring skills didn’t go unnoticed. While fitted jackets and elegant ruched frocks remain the undisputed protagonists, folded off-the-shoulders dresses in linens take her signature look to a more delicate level. High-neck kimono dresses and deconstructed oversized chemisiers probably are the most genuinely unconventional pieces of the collection, the pastels colors of which and A-line skirts take the attention away from Westwood’s purposes: make us focus on bigger issues.
Anyway, although most of the pieces show feminine pastels colors, the lineup does have brighter and more vivid tonalities like red, blue and yellow. As for the prints, on the other hand, Vivienne seems to be stuck on the floral graphics. It is interesting to notice that, while most of the jackets have mannish cuts, there is a solo vinyl piece with tied waist that is surely going to become a future must have. Furthermore, as already seen in other collections, with Vivienne’s collection the metallic print trend has another follower.
Punk rock queen par excellence, Vivienne Westwood’s collection seems nothing but puck. However, regarding the fact that fashion is a parody of what it used to be, not being punk might actually be the new punk.
Photos courtesy of Vogue
The Vivienne Westwood fall/winter 2015-2016 collection on the Paris Fashion Week runway today featured some interesting pieces that throw us into the world of Little Red Riding Hood and even the modern day Once Upon a Time. They are woodsy, they are strange and we certainly do not expect to see too many of these on the streets or at the best or worst of parties. Some are a lot more palatable than others, and we can appreciate the hard work that has gone into creating such a collection.
Speaking of Little Red Riding Hood, we seem to have found a piece to covet in the Marsala colored two piece set with the tunic over the matching pants, a head over the head and falling into a cape behind the model wearing it on stage. Those shoes though, they are as hideous as it comes and cannot for the life of us imagine donning on such pieces unless we are on a casting set or filming a movie. We can neither do those oversized brown lace up shoes with the round toe, nor the pointed toe dwarf footwear that seems to belong in the Disney film known as Snow White and the Seven Dwarves. On the other hand, the suede black knee high boots are not just palatable but also quite covetable, perfect particularly with a black flowing loose fitting mini dress thrown over woodland print leggings in cream, green and brown coloring. We may not be so sure about three quarters of the Vivienne Westwood fall/winter 2015-2016 collection that looks more like it has been commissioned as set costumes for a fairy tale inspired movie or television series, but we certainly know that many of these will never find a place in our sacred closets.
Of course the show would end with a shared kiss, because of course, which fairy tale does not end in a happily ever after? But along the way we run across mad hatters and Red Queens, sexy villains and zombie school teachers, wolves in sheep’s clothing as well as dwarves with gentle hearts but no sense of style; you run into all types of characters that would inhabit an enchanted forest, while the good guys also appear along the way to guide one through the mazes. Floral prints and pinstripes, satin blouses and grass skirts, oversized breeches and incredibly high hats, thigh high slits and miniskirts, onesie style jumpsuits and fringed designs, multiple layers and wide lapels… There are so many aspects to this collection by Vivienne Westwood, the 73-year-old English fashion designer known for bringing modern punk and new fashion waves into the mainstream, that we can spend all night counting them out. This is a collection in which Westwood seems determined to break all the rules, underlining a rather “unisex” theme to the garments and bringing to the stage a line-up of not so ready to wear fashions since it may not be feasible to have a dark baroque dress that lifts away from the legs on struts to form bat like wings. Whatever the message she was trying to send with this, we definitely found the whole show perfectly amusing.
Photos courtesy of WWD