Saturday afternoon in the V&A. Inspired by a trip Westwood took to the London museum twenty years ago, the collection felt like a journey through the world’s myriad cultures, spanning decades. It was the V&A coming to life.
Revolving bright lights and an LED backdrop screen added a strange sense of futurism to the archaic church space. The soundtrack can only be described as primitive drum beats meet opera.
How they wore it:
With incredible make up by Val Garland. Diamonds of blue were spray painted over the face, while on others a brush of red had been swept over the forehead. Cheeks were rosy like a doll’s, and beaded necklaces swung low to the hips.
In the details:
Baroque tights, shaggy coats, chain prints, a dove motif, orange and navy tartan, laser cut lace, headpieces constructed from feather quills, and an eighties scarlet ball gown with billowing leather sleeves.
The Westwood bride:
The final model appeared from an opposite entrance, in a sheer white tulle net gown, with elaborate puffy eighties sleeves, and a roll neck. For her finale, Vivienne Westwood wore a delicate feather headdress.
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