Robert Wun's mastery has earned him a well-deserved place on the haute couture catwalks of Paris, where he has not only offered a display of the techniques and aesthetics to which we are accustomed, but has also managed to transform the bad into good, accidents into opportunities, and fear into beauty.
By now, we all know Robert Wun, and if you don't, you've got a problem. One of the most original, fresh, and talented figures in fashion today, despite his youth, he has managed to establish his own style and aesthetic, and not in just any old way. Every piece, every look, and every garment of his is instantly recognisable. He started out dominating Instagram, appearing over and over again on those aesthetic fashion accounts, but over time we've seen him make inroads on the red carpet, in photocalls, and in editorials. The power of his discourse lies not only in the connection with his inner self and his roots that is evident in every project he is involved in or in that genuine personality that makes him one of those figures that everyone loves, but also in his expertise, in his attention to detail, and in his deeply meticulous and artisanal work that has found in haute couture its perfect habitat.
It is his debut in haute couture – but that can only be said officially because his way of working and constructing garments, even for ready-to-wear collections, is typical of a master couturier – great importance is given to handwork and craftsmanship. Despite being one of the most anticipated catwalks and despite our certainty that it would be a complete success, the show we saw as the closing show of the Paris haute couture fashion week both exceeded our expectations and completely deviated from the vision we had formed of the designer, expanding his universe.
The fluid and organic lines, the pronounced volumes without reaching excess, and the vibrant and intense colours have been the signature of his work since his beginnings, generally showing off in concepts that allow an easy deployment of these tools, such as those inspired by the natural world, especially flowers and birds. But this latest collection not only incorporates what is already inherent to its essence, but gives it a conceptual twist in which surreal elements are added to the equation, resulting in a completely unique and extravagant concept without falling into the comical. Accidents happen, and they happen frequently in the fashion industry. Fashion emergencies such as stains and burns on garments, accessories falling apart, unexpected rain, and broken heels –the industry's worst case scenario: a fashion disaster – are reinterpreted by Wun, turning fashion nightmares into dreams.
To tell the story, manipulations of various characteristics intervene in the appearance of recognisably aesthetic elements. No one works godets and pleats like Wun does, and this is still present in this collection, but it is the canvas of a larger concept, as are the looks in white fabrics splashed with drops of red wine or evident signs of burns on the hems of skirts and veils. The rain is also a problem (and a blessing) in coats, where the drops of water translate into small crystals that adorn not only the garment but also drip from the umbrella with which the model is covered; the beadwork is clearly magnificent. Broken heels are transformed into handbags, and ruined pearl necklaces adorn the garments with which they were paired. The handling of colour and its absence are impeccable, and even the details with the black and red ombre tights in the black and white looks demonstrate this.
The final look is not a bride as it is usually used in haute couture; it is a spectacular hybrid between a coat, cape, and black dress, with an infinity of white feathers coming out of it. The consistency of the garment and the seams seem to make you think that it is quilted, and that the feathers coming out of it are the usual filling of this kind of garment. A look that serves as a capstone to a collection that will go down in the history of not only Robert Wun, but of haute couture in general.
It is his debut in haute couture – but that can only be said officially because his way of working and constructing garments, even for ready-to-wear collections, is typical of a master couturier – great importance is given to handwork and craftsmanship. Despite being one of the most anticipated catwalks and despite our certainty that it would be a complete success, the show we saw as the closing show of the Paris haute couture fashion week both exceeded our expectations and completely deviated from the vision we had formed of the designer, expanding his universe.
The fluid and organic lines, the pronounced volumes without reaching excess, and the vibrant and intense colours have been the signature of his work since his beginnings, generally showing off in concepts that allow an easy deployment of these tools, such as those inspired by the natural world, especially flowers and birds. But this latest collection not only incorporates what is already inherent to its essence, but gives it a conceptual twist in which surreal elements are added to the equation, resulting in a completely unique and extravagant concept without falling into the comical. Accidents happen, and they happen frequently in the fashion industry. Fashion emergencies such as stains and burns on garments, accessories falling apart, unexpected rain, and broken heels –the industry's worst case scenario: a fashion disaster – are reinterpreted by Wun, turning fashion nightmares into dreams.
To tell the story, manipulations of various characteristics intervene in the appearance of recognisably aesthetic elements. No one works godets and pleats like Wun does, and this is still present in this collection, but it is the canvas of a larger concept, as are the looks in white fabrics splashed with drops of red wine or evident signs of burns on the hems of skirts and veils. The rain is also a problem (and a blessing) in coats, where the drops of water translate into small crystals that adorn not only the garment but also drip from the umbrella with which the model is covered; the beadwork is clearly magnificent. Broken heels are transformed into handbags, and ruined pearl necklaces adorn the garments with which they were paired. The handling of colour and its absence are impeccable, and even the details with the black and red ombre tights in the black and white looks demonstrate this.
The final look is not a bride as it is usually used in haute couture; it is a spectacular hybrid between a coat, cape, and black dress, with an infinity of white feathers coming out of it. The consistency of the garment and the seams seem to make you think that it is quilted, and that the feathers coming out of it are the usual filling of this kind of garment. A look that serves as a capstone to a collection that will go down in the history of not only Robert Wun, but of haute couture in general.
