Andreas Kronthaler for Vivienne Westwood UK

Behind the stage pre-appear, the model wearing Look 24’s whopper of a fish cap (which Andreas Kronthaler had stuffed before sewing on a layered skin of since quite a while ago spared vintage paillettes) was feeling crude like sushi. It wasn’t the cap, which she detailed agreeable, however the group around us: “The issue is society: There’s no regard for individual space. Individuals are continually pushing in from side to side as they pass.”

Once discharged into the unmistakable waters of the runway, she continued upstream to the pits left alone, some portion of a diverse gathering wherein Kronthaler’s motivations went from a photograph of an Albanian political dissident (the shirt tracksuit in Look 18) to a vessel head seen being hauled in the Thames in Henley (38’s reversed dinghy cap).

He played with volumes that looked dubiously medieval (12) or uncontrollably sentimental (Bella Hadid, covered up in 60). There were corseted chest pushing neck areas in coral tones enlivened by Botticelli’s Venus (13). From the chaps for chaps with protruding bottoms to the manufacturers’ gloves and the vinyl coverall beat in the state of human chalked murder scene diagrams, also the pieces of jewelry made of crab hooks taken from a fish cafĂ© in Thailand, this was a wide-extending frolic through Kronthaler’s occupied mindscape. Under the foam and commotion of detail were shrouded pools of quiet in which snuck appealingly woozy womenswear.