Robert Wun Fall 2024 Couture Collection

Robert Wun News

Robert Wun Fall 2024 Couture Collection
Fall 2024 CoutureRunway_ReviewRunway
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Robert Wun Fall 2024 Couture collection, runway looks, beauty, models, and reviews.

Robert Wun celebrated the 10 year anniversary of his label with a couture show called Time today. He said he wanted to reflect on “why I’ve been doing this for so long, why do I still want to keep doing it, and for how long.” He used these questions as a starting point for a collection of one-of-kind extravagant showstoppers. “I asked myself why I do fashion, and what does time mean?“ Did he find an answer? “Yes, I did. The answer is to accept that one day everything ends — and that’s ok.

For Wun, accepting time limitations fuels creativity; the only way to make time meaningful, he reasoned, is enjoying the time you’ve been given on earth. “To say that we’ve got to live in the moment is a cliché, but really, what you’re doing you can only do it once, so better enjoy it no matter success or failure.” So far, success has been a more likely prospect for Wun than failure.

To translate the concept of the passing of time into actual clothing , Wun envisioned the progression of seasons. The opening look was a majestic black gown with matching veil embroidered in crystals, depicting “the first falling of snow,” he offered. “It’s winter, a season that makes people more reflective, so I started from there.

The answer seemed to be provided by a sinuous black mermaid number, from which a tight-fitted bodice embroidered in pink cherry blossoms emerged. Wun said it was intended as an harbinger of spring. “In Chinese philosophy, flowers are beautiful because they aren’t meant to be forever; if they’d blossom forever people wouldn’t find beauty in them.

In the collection’s narration of the passing of time, the four final looks represented respectively the skin, the flesh, the bones, and the soul, in a sort of progressive stripping off, both physical and spiritual. The most impressively rendered were the flesh and the bone. The flesh was a blood-red slender sheath entirely covered in bugle beads that were sewn standing up as spikes and not flat as they’re usually embroidered. The dress was apparently so heavy that it couldn’t be hung.

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