Eva Répessé
Inside the Institut de France in Paris, Andreas Kronthaler unveiled Vivienne Westwood’s Spring/Summer 2026 collection. Longtime partner of Westwood and now guardian of the house, Kronthaler worked in dialogue with the codes Westwood shaped across decades. The show displayed a clash of centuries; Baroque extravagance collided with Punk rebellion, and royalty met chaos.
The theme of Boudoir A boudoir is historically defined as a private space where lingerie, corsetry, and slips are worn. It has a theatrical aspect, but it is also the place you can be most yourself due to its secrecy. The show reflected on this theme and unveiled what is normally concealed; sheer fabrics and underwear were shown as outerwear transforming the show into a private chamber. (Look 1, 26, 41) If Boudoir was the main theme of this collection as seen on garments, it also refers to the iconic fragrance of the house “Boudoir”, first launched in 1998 and now relaunched to coincide with the collection. Its composition perfectly mirrors the runway’s spirit with a romantic yet provocative scent. Lush florals like rose and jasmine conjure opulence, while deeper notes of tobacco leaf and spice drag that refinement into something rawer and more rebellious.
Celebrity front row
In the front row, Paris Hilton appeared in a dramatic green and gold ballgown with a plunging neckline. She styled it with long white opera gloves, a sparkling choker, and cat eye sunglasses echoing Westwood theatricality. Beside her, Ice Spice chose an ivory mini dress with a ruffled plunge, thigh high socks, and platform shoes. Demi Lovato opted for an oversized brown tweed blazer over a mini skirt and a tartan Westwood bag. The finale of the runway belonged to Heidi Klum, who closed the show in a bold and spectacular sheer white corset dress revealing thong straps and garters.
A regal spectacle The show dripped with echoes of royalty. The Institut de France perfectly embodied the language of palaces and courts with its marble and dome, setting the stage like a palace. Echoing court music and aristocratic salons, a Mozart symphony played in a live cello performance. Staple of Baroque and Rococo, this kind of music was once meant for kings, queens, and noble audiences in their chamber.
The collection’s most extravagant looks felt regal due to their silhouettes, fabrics and accessories. The waists were cinched, the skirts voluminous as they swept the floor and the sleeves were sometimes puffed out. They came in gold, imperial blue, turquoise silk and black; shades that are loud, imposing and dramatic.
(Look 21, 30, 34, 37)
The accessories played a crucial role in shaping the collection. Between masks draped in tulle, veils and sculpted hats twisted into unique shapes. (Look 4, 6, 4)
One of the strongest looks was a steel-blue satin gown, weighed down with chains and keys, a huge heart shaped lock swinging at the front. It turned the dress into something heavy, romantic, and brutal all at the same time. A simple idea that transformed a dress into living art. (Look 33)
When Rococo meets Rebellion
If the looks reminded us of a palace’s wardrobe, the Rococo extravagance was placed in the present through deconstruction.
The collection embraced asymmetry, oversized cuts, ripped punk seams, clashing textures, and fabrics rich in pattern placed next to each other. One look in particular broke the rules. One sleeve was cut like something royal, embroidered and elegant, while the rest burst into chaos with bold colors, feathers trailing along the floor, and a pink tulle headpiece. It was messy and nothing was supposed to match, yet everything made sense. (Look 39)
The rebellion did not stop at the clothes and was enhanced by the choices of the makeup and jewelry. Some gowns were paired with sharp black lipstick, eyes were painted in thick, graphic black shadow and pink blush was dragged across the cheeks left raw and unblended. It was not about looking beautiful here but showing defiance. (Look 36)
Even the jewelry spoke the same language, some pieces were engraved with the word “chaos.” A word that sums up the show’s intention, finding beauty in disorder. (Look 28, 29) As Heidi Klum closed the show in a half bridal, half lingerie dress, Andreas Kronthaler stepped onto the runway, handed her a bouquet of tangled, drooping sunflowers, and kissed her. The moment felt raw, messy, and human, a perfect ending for a collection built on beautiful chaos.