Robert Wun's creative process is a bit like keeping a diary, he said backstage before his second couture show in Paris, and his surreal creations on the runway are a small glimpse into the workings of his mind. Horror movies, for example, are a great inspiration and give shape to surreal and moody silhouettes. “I love movies and certain horror genres that don't really scare me; They are actually very poetic,” he said.
One ash-colored tulle dress was paired with a wide-brimmed felt hat with burnt holes, while another appeared engulfed in flames. Covering the face increased the dehumanization of various views. One of her bridal ensembles (there were several in her “For Love” line) was embroidered with crystals to look like freshly sparkling bloodstains. One coat was covered in glass shards, a reference to Trinity in “The Matrix.” “She is inspired by what she does for love, she sacrifices everything,” she explained. Meanwhile, armor-like designs in heavily structured satin were inspired by the death of the designer's grandmother.
The collection was a retrospective of sorts, looking back over 10 years since she created her brand. There were reprisals with already familiar silhouettes, but with a more sure hand, proof that the designer is picking up pace, of which there were also plenty sitting in the front row.
Initial looks, in charcoal wool, were embroidered with crystals that, from a distance, looked like realistic raindrops collecting on the fabric or dripping from the edges of a wide-brimmed felt hat. From umbrella hats and peaked helmets to sculpted, face-hugging headdresses, their imaginative hats deserved a special mention. The final look, a spectacular red bustier dress, featured a matching mannequin emerging from the waist in the back, perched on the model's shoulders like the weight of the subconscious.
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