According to the accompanying release 90% of the Vivienne Westwood in this look book was made “from materials that have a reduced impact on our environment,” including a newly-sourced recycled denim. Much of its design exemplified these ingredients in repurposing many of the Westwood ideas that have over the years had such a positive impact on the environment of fashion. From the mini-crini and beyond, Westwood has long upcycled deadstock modes of dressing to renew them through her urgent and maverick eye.
This collection’s refreshed melange starred a print of Daphnis and Chloe, a 1743 painting by François Boucher from the wonderful Wallace Collection that sumptuously pictures a sleeping shepherdess being ogled by a ripped shepherd. This starred across prints on shirting, t-shirts, denim, bodysuits, dresses and a frock-coatish parka, competing with clashing ginghams, stripes, herringbones, and checks. Not unlike Boucher, Westwood is a master at subverting apparent propriety to invoke the truthful and unruly; her signature brustrokes of drunken tailoring and subversive drape were in full effect here.